Double Page Spread - FINAL VERSION

Contents Page - FINAL VERSION

Front Cover - FINAL VERSION

Evaluation Question No. 7

Evaluation Question No. 6

Evaluation Question No. 5

Evaluation Question No. 4

Evaluation Question No. 3

Evaluation Question No.2

2) How does your product represent particular social groups?
Since the magazine is intended to be read by younger people (namely older tens and young adults), it represents people of those age so that the people reading are not only attracted in seeing a relatable person a similar age to themselves, but can also be inspired by them. A reason for wanting to inspire people reading is that the classical music industry is a very hard working and expensive industry to uphold, and there is a decreasing lack of support for it. By being able to draw in younger musicians, those who play can get a growing support for their efforts, and musicians could be aided to flourish. This is obviously something that a classical music magazine would be very supportive of. However, as well as including younger models, the magazine also includes older successful musicians, as not to patronise the consumers.
A large number of the people featured in the magazine are female, and this isn't to secure a niche audience of female classical music fans. The magazine is still intended for both genders, thus it is given neither a 'girly' or 'masculine' approach. The reason the magazine contains a large number of female role models is because the classical music industry is widely known for sexism. Many professional orchestras largely consist of males, and up until recently, men were what made up entire orchestras. Where this bias is obviously much less than it used to be, there is still lack of representation of female musicians in the industry, and it is known for female musicians to be patronised within the workplace. Therefore, the inclusion of successful female musicians in this magazines shows to both male and female readers that the magazine is hugely supportive of aspiring girls who play music. An example of this is the fact that the front page of the magazine shows a female role model - someone a similar age to the intended market.
As well as being inspirational to readers, a use of using a teenage model on the front cover is to show that the magazine is still intended to be fun and read for enjoyment. The model is smiling as she looks at the camera, and in the inside pages (such as contents page and double page spread), she is making joke-like faces to show she isn't just to be taken entirely seriously.

Evaluation Question No. 1

Front Cover - Newest Edits

I've made the anchorage text a darker grey/ blue so it can be seen more clearly. I've put the words "free Venessa Mae posters" at a 45 degree angle, and changed the colour into a gold that matches the buttons on the jacket on the model. I used the eye-drop tool to make the colours match as much as possible.

Double Page Spread - Newest edits

I've added the NYO logo in the background of the text, but I've lowered the opacity. This way, both the text and the logo can be seen clearly.
I've edited the text over the picture of the model. It's now in the top left corner, and isn't inside a box. I've added emphasis to specific words by putting them in italics and making them larger.

Contents Page - Updated Version

This version has what I currently intend to be the finalised text. As well as this, it is now all the same colour and size. I've organised it so that nothing is overly cramped but there are no empty spaces

Contents Page - Newest Edits

In this, I've dramatically changed the design of the contents page. i've added a banner behind the title, which now matches that of the front cover. I've added more pictures and a different background which is in higher quality. The pictures are made clear by having a black border around them. I've made subheadings to separate the text, which aren't quite finalised. I plan to make some of the text (namely the names of the pages) smaller, so it doesn't look so cramped on the page.

Front Cover - Newest Edits

I've retaken the photo so that there isn't a hand in the way of the rest of the page and it doesn't stand out as such. Her outfit matches the colours of the rest of the page, similarly to most classical music magazines. The text on the side of the page is all the same colour and fits the scheme to keep it neat and organised. I plan to sort out the text on top of the bar code so that it fits the theme of the page. I'll also try to get the anchorage text easier to read. The model is now smiling more to make the magazine seem more friendly and appealing.

Contents Page - Newest Edits

I've changed the font of the word 'contents' so that it matches the front cover's masthead. This way I have continuity throughout the maazine. I'm making the picture in the right hand orner neater and am attempting to find a way to put text there.

Front Cover - Newest Edits

I've now added to the edits by changing the text to something that makes sense and relates to the magazine. I've changed the anchorage text to a plain white rather than light grey so it stands out more. I've moved the text so it fills up more space. They're now all the same fonts so it looks more organised, and the different sections of text are different colours.

Front Cover - Newest Edits

I've edited the fonts so they vary more and fit the magazine style more accurately. I've had the font of the anchorage text differ from that of both the other text and the masthead, so it can be differentiated from them. The captions for the headings are temporary, as I've just written anything random - this was just so I could, for now, see what the use of font size, colour and style looked like. My next task is to write captions for the headings that make sense.
I've edited the photo so that the model's hand is on top of the masthead. I did this by cropping out the arm and editing it onto the picture again - this way I could rub out the appropriate text and have it look as if the arm was on top of it.

Double Page Spread- second Double Page Spread

Where I prefer this design to my first one, I needed to cut a large chunk out of the introduction in order to fit it all clearly on the page. I have it more organised so it looks more visually appealing, and the picture is larger. However, I  think I need to edit it so it looks more like a real magazine spread.

Contents Page - Second Draft

My first contents page has gone through many changes, but this is the version that I've decided to call my official second draft.
I've changed the background to a picture, so the contents page has more images on it and looks more appealing. I would like to find a picture in higher quality if possible.
I've had the picture in the corner take up less space so that there is more room for text and the page doesn't look overcrowded.
I've edited the font style and size on the text so that it is clear what is the title of the page and what is the description. I've changed the 'circles' that the page numbers were in so that they're semi-breves, which is a musical note (this should fit the theme). The page numbers also now make sense according to how many pages should be devoted to each article.
The style of the box on which the text is displayed looks more clearly like it's based of manuscript music.

Double Page Spread - Second Draft (improving on teacher's comments)

The National Youth Orchestra of Great Britain is known to be one of the world’s best collections of young musicians; a grand symphony orchestra of 163 advanced players. The members are between the ages of about 14 to 18, and come together three times a year from across the entirety of the UK. The orchestra itself is larger than most symphony orchestras, with an extensive 10 desks in each string section, 11 French horns, 6 percussionists and a further extensive cast of people creating massively inspiring music and performing in concert halls in the UK and beyond.

Not only does the orchestra perform and play for others around the country, but they introduce other young players to the orchestra, and to classical music itself. Each year, every member will contribute to at least one event that includes, introduces and inspires progressing players to pursue their work. One of these events is ‘Play The School’, where a chunk of the orchestra travel to visit local schools and preform for them. As they do this, they run workshops where the pupils they work with can learn about and play with advanced musicians. Another is the ‘Inspire Day’ project, in which another chunk of the NYO musicians let other young musicians of a similar age (some of whom are younger) join them in a day of rehearsing. They work with a schedule and repertoire similar to that of an everyday NYO musician’s, to give them a sense of what it’s like to be in an orchestra playing at such a level. As well as this, some of the people who audition and don’t make the cut are allowed to join the orchestra for one day in their regular rehearsals for a real concert tour. This way, they get to know what it’s like to play with the entire orchestra, rather than just a handful of its participants. The purpose of these projects are to introduce as many young people as possible to new kinds of music, and inspire them to pursue their own musicality. As they say, representation matters, and for budding musicians to see their peers playing at such a seemingly ‘unattainable level’ and being approachable to others, it could encourage them to not only work hard to develop their own musicality, but may  help support the classical music industry- something that is losing its funding and support practically daily.

This year, the NYO are playing yet again at the BBC Proms, an international music festival hosted by the Royal Albert Hall in London. The repertoire for this year’s performance includes two of the most famous and popular pieces known worldwide today – The Planets, a suite by Holst, and ____ by Strauss. These pieces are likely to not only be executed phenomenally by the extensive orchestra, but attract a larger audience of younger people by bringing to them a live performance of pieces they will surely recognise and appreciate. We interviewed the orchestra’s new leader, Evelyn Purdy, who has played as a solo violinist in many a concerto, and has taken a pause from her own solo touring to lead the NYO in their upcoming year of concerts, culminating in the final Prom.

Q – HOW DOES IT FEEL TO LEAD THE NYO THIS YEAR?

A – “It’s a huge privilege – even to be part of such an amazing group of people is one thing, but to be able to actively help and guide them to drive their musicality towards such a goal is something I find astounding. I won’t lie, my job is hard work. I have to guide players during each rehearsal, and it can be slightly unnerving knowing that there is always someone behind you, watching your every bow so they can follow suit. But as scary as it can be, the people I work with are extremely supportive and I honestly couldn’t hope for a better environment to work in. I’m definitely proud to have been offered this role, and I look forward to embracing it further in the future!”

Q – WHAT DO YOU THINK OF THIS YEAR’S REPETOIRE FOR THE PROMS?

A – “Say what you like about it, I am so, so pleased this is what we’re playing! I think it’s funny that we’ve decided to go with a space theme for the concert but I can’t say why. You see, we don’t usually play more than one piece per concert with such renounce, so to have an entire programme to prepare with such famous works is going to be fantastic. The Planets is something I’ve played before, and I am more than willing to play it many times again! The Strauss, in all honestly, is new to me, but having heard it so many times in movies, videos, everywhere – it’s going to be so weird making that music myself! So weird but so wonderful, I guess. As well as this, the NYO’s aim is primarily to make classical and orchestral music accessible to as many young people as possible right? That way they can support the business, pursue what they enjoy, all of that. I can guarantee that anyone of any age will know the works we’re playing, and kids especially would enjoy hearing something they recognise. It’s all good stuff, I think.”

Q – WHAT ARE YOUR PLANS AS LEADER?

A – “Plans? Well, being a leader in this context doesn’t give you quite the freedom as you’d expect. It’s my job to sit at the front and play confidently, allow others to follow me and bring people in at their queue. When it comes down to it, referring to the final concert, I can’t really choose what happens at all. Having said that, it’s almost a completely different setup during the course. I have to make my contributions during rehearsals as to what I think sounds best, or how I think it’s easiest to play, or to pick out ay reoccurring mistakes that a conductor or tutor fails to notice themselves. I also have to work with bonding my section – during our free time on the residentials, we sometimes have what we call ‘section night’ – in short, it’s when we spend the evening getting to know the other members of our sections through activities organised by our section leader. That being, of course, me. So I guess my overall plan for this year is to make sure everyone knows their contribution and work as a performer is important, and to encourage everyone to work hard!”

Q – ANY ADVICE FOR MUSICIANS AROUND YOUR AGE, OR MAYBE YOUNGER?

A – “Be inspired! Keep trying! I am fully aware that all of this sounds kind of corny and that you probably hear it a lot, but each and every musician in the NYO started out by not knowing a thing about music. But they all pursued what they enjoyed; they worked hard at it, and look at them now! And there are more perks than you think. The thing about being a musician is that the better you get the higher standards you set yourself for playing. As well as this, you constantly find yourself surrounded by people around your level in playing. Because of this, it’s hard to believe that you’re getting any better at what you’re doing. But every now and again, you need to remind yourself that you are doing well and you are improving! Because if that’s what you’re working to do, it will inevitably happen. Being in the classical music business allows you to make friendships that last a lifetime. I’m still in close contact with a friend I met at an orchestra six years ago! We live miles and miles apart, but here’s the thing – you honestly meet such amazing and unique people that the relationships you make truly and honestly last a lifetime. There’s nothing like it, you’ve got to embrace the opportunities you have. Get out there! Make the most of it! And most of all enjoy yourself[MJ1] !”

---

 [MJ1]An informative and well-written article, Maddy. It suits your magazine style well and you have clearly put a lot of thought and effort into this. Well done!

Double Page Spread - With corrections and Layout

if possible, I'd like to be able to put more images on this to make it look more inviting, but I'd want to do this without making the article look overcrowded or unprofessional. I could also do with adding colour to the article, which may involve having to find or take a picture in colour. This is my first draft for the double page spread. 

Contents Page

This is my design for the contents page. The writing is arranged as if in 'staves' like manuscript paper, and the style of the word 'contents' and 'cadenza - 2016' are arranged in the same way writing would be arranged on apiece of music. To make this clear, I also used a font as similar as possible to the font used on written music. The paper effect used in the background is to make it look like an old piece of sheet music. If possible, I would like to lower the opacity of the background to see how a more or less clear background would effect the quality f the contents page, and to see if it makes it look more genuine.

February 2016 - Feedback

Double Page Spread - First Draft

The National Youth Orchestra of Great Britain is known to be one of the world’s best collections of young musicians, a grand symphony orchestra of 163 advanced players. The members are between the ages of about 14 to 18, and come together three times a year from across the entirety of the UK. The orchestra itself is larger than most symphony orchestras are in themselves, with an extensive 10 desks in each string section, 11 French horns, 6 percussionists and a further extensive cast of people creating massively inspiring music and performing in concert halls in the UK and beyond.

Not only does the orchestra perform and play for others around the country, but they introduce other young players to the orchestra, and to classical music itself. Each year, every member will contribute to at least one event that includes, introduces and inspires progressing players to pursue their work. One of these events is ‘Play The School’, where a chunk of the orchestra travel to visit local schools and preform for them. As they do this, they run workshops where the pupils they work with can learn about and play with advanced musicians. Another is the ‘Inspire day’ project, in which another chunk of the NYO musicians let other young musicians of a similar age (some of whom are younger) join them in a day of rehearsing with a schedule and repertoire similar to that of an everyday NYO musician’s, to give them a sense of what it’s like to be in an orchestra playing at such a level. As well as this, some of the people who audition and don’t make the cut are allowed to join the orchestra for one day in their regular rehearsals for a real concert tour. This way, they get to know what it’s like to play with the entire orchestra, rather than just a handful of its participants. The purpose of these projects are to introduce as many young people as possible to new kinds of music, and inspire them to pursue their own musicality. As they say, representation matters, and for people to see those their own age playing at such a seemingly ‘unattainable level’ and being approachable to others, it could encourage them to not only work hard to develop their own musicality, but maybe to help support the classical music industry, something that is losing its funding and support practically daily.

This year, the NYO are playing yet again at the BBC Proms, an international music festival hosted by the Royal Albert Hall in London. The repertoire for this year’s performance includes two of the most famous and popular pieces known worldwide today – The Planets, a suite by Holst, and ____ by Strauss. These pieces are likely to not only be executed phenomenally by the extensive orchestra, but to bring in a larger audience of younger people by bringing to them a live performance of pieces they will surely recognise and appreciate. We interviewed the orchestra’s new leader, Evelyn Purdy, who has played as a solo violinist in many a concerto, and has taken a pause from her own solo touring to lead the NYO in their upcoming year of concerts and, obviously, to end it with the final Prom.

Q – HOW DOES IT FEEL TO LEAD THE NYO THIS YEAR?

A – “It’s a huge privilege – even to be part of such an amazing group of people is one thing, but to be able to actively help and guide them to drive their musicality towards such a goal is something I find astounding. I won’t lie, my job is hard work. I have to guide players during each rehearsal, and it can be slightly unnerving knowing that there is always someone behind you, watching your every bow so they can follow pursuit. But as scary as it can be, the people I work with are so supportive and I honestly couldn’t hope for a better environment to work in. I’m definitely proud to have been offered this role, and I look forward to embracing it further in the future!”

Q – WHAT DO YOU THINK OF THIS YEAR’S REPETOIRE FOR THE PROMS?

A – “Say what you like about it, I am so, so pleased this is what we’re playing! I think it’s funny that we’ve decided to go with a space theme for the concert but I can’t say why. You see, we don’t usually play more than one piece per concert with such renounce, so to have an entire programme to prepare with such famous works is going to be fantastic. The Planets is something I’ve played before, and I am more than willing to play it many times again! The Strauss, in all honestly, is new to me, but having heard it so many times in movies, videos, everywhere – it’s going to be so weird making that music myself! So weird but so wonderful, I guess. As well as this, the NYO’s aim is primarily to make classical and orchestral music accessible to as many young people as possible right? That way they can support the business, pursue what they enjoy, all of that. I can guarantee that anyone of any age will know the works we’re playing, and kids especially would enjoy hearing something they recognise. It’s all good stuff, I think”

Q – WHAT ARE YOUR PLANS AS LEADER?

A – “Plans? Well, being a leader in this context doesn’t give you quite the freedom as you’d expect. It’s my job to sit at the front and play confidently, allow others to follow me and bring people in at their queue. When it comes down to it, referring to the final concert, I can’t really choose what happens at all. Having said that, it’s almost a completely different setup during the course. I have to make my contributions during rehearsals as to what I think sounds best, or how I think it’s easiest to play, or to pick out ay reoccurring mistakes that a conductor or tutor fails to notice themselves. I also have to work with bonding my section – during our free time on the residentials, we sometimes have what we call ‘section night’ – in short, it’s when we spend the evening getting to know the other members of our sections through activities organised by our section leader. That being, of course, me. So I guess my overall plan for this year is to make sure everyone knows their contribution and work as a performer is important, and to encourage everyone to work hard!”

Q – ANY ADVICE FOR MUSICIANS AROUND YOUR AGE, OR MAYBE YOUNGER?

A – “Be inspired! Keep trying! I am fully aware that all of this sounds kind of corny and that you probably hear it a lot, but each and every musician in the NYO started out by not knowing a thing about music. But they all pursued what they enjoyed; they worked hard at it, and look at them now! And there are more perks than you think. The thing about being a musician is that the better you get the higher standards you set yourself for playing. As well as this, you constantly find yourself surrounded by people around your level in playing. Because of this, it’s hard to believe that you’re getting any better at what you’re doing. But every now and again, you need to remind yourself that you are doing well and you are improving! Because if that’s what you’re working to do, it will inevitably happen. Being in the classical music business allows you to make friendships that last a lifetime. I’, still in close contact with a friend I met at an orchestra 6 years ago! We live miles and miles apart, but here’s the thing – you honestly meet such amazing and unique people that the relationships you make truly and honestly last a lifetime. There’s nothing like it, you’ve got to embrace the opportunities you have. Get out there! Make the most of it! And most of all enjoy yourself!”

Magazine Front Page - First Draft

 I made the picture on this cover black and white. This is unconventional of most covers, which are in colour. This may make it stand out and thus attract a reader. This also allows the text in colour to stand out. As well as this, the model fits into the background better, as the manuscript she's lying on is black music on white paper. The anchorage text is placed in the middle, so it can be easily noticed and attention is easily directed towards it. The model is using direct mode of address, acknowlaging the reader. As well as this, she's positioned unlike expected - lying down, and facing upside-down the photographer. Also, she's making a face instead of smiling normally. On top of this, her hair is spread out slightly messily over the music. This is different to most classical music magazines, as the models posing on the front are usually posing formally and often don't face the camera. This gives off a 'playful' vibe which will seem more friendly and will likely appeal more to younger readers. 

In this picture, the photo is black and white for the same reason as the last photo. I am less fond of this picture in comparison to the previous one, because there is more of the floor underneath the music visible, making it look professionally taken. However, she is still using direct mode of address. Where she is still lying down, she is smiling formally - however, she smiling still makes the magazine look friendly. As well this, she's holding a prop in this picture - a violin. This makes it more apparent to the viewer that she is a violinist, and shows them clearly what  she is doing on the cover of a classical music magazine. 

 In this photo, the prop (the violin) is used again, and is more prominent in the picture, as it is held in front of her face. This picture looks less informal, as she is neither smiling properly or  making a face. However, the placement of the masthead on the page is more unconventional of typical magazines, as it usually goes at the top. The text, in this case, is actually clearer than on the other two pictures (I think). Information like the price is displayed clearly, but out of the way of either the picture, or the text that will encourage the reader to buy the magazine and look inside. The text fits a colour scheme based around purples and blues. However, what I dislike about the colour scheme is that the model's outfit doesn't fit into the scheme - this was the advantage of the black and white photos, as whichever colour scheme I chose to use wouldn't clash with the photo.

This is the cover that I have chosen to use.