3 New and old in Milton Keynes 23
(a) The village of Stony Stratford
(b) New city housing estate (Fishermead)
4 The changing age structure in Milton Keynes 24
5 Socio-economic profile of Milton Keynes in 1979 25
6 Milton Keynes facts and figures (1983) 26
8 North Bucks Youth Orchestra 34
9 Christmas concert by the Sherwood Sinfonia 36
10 The Wolverton Town and British Rail Band 54
12 (a) and (b) ‘Folk on the Green’ 63
13 Publicity for local folk events 64
14 The Milton Keynes Amateur Operatic Society’s Babes in the Wood 74
17 Country and western musical events 95
18 The interaction of European and Afro-American musical influences 106
19 Some local bands: a few of the hundred or more rock and pop bands of Milton Keynes
20 Mike Skeet of the Whitetower studio records the Stratford Singers 157
21 ‘The Miracle of Spring’ 163
22 Singing a new song: composition and performance 164
23 Running order for a local gig: Basically Brian 177
24 Dragon Dance to celebrate the Chinese New Year 186
25 The Milton Keynes Pipe and Drum Band 187
26 A young performer at the annual Bletchley and District Middle Schools concert 199
27 (a) and (b) Performances at the annual Leon School music week 199
28 Organising a school carol service 201
29 The Sherwood Choir perform Brahms’ German Requiem 245
30 Pub and music shop advertisements 276
31 An annual celebration of music and dance 321
Preface to the 2007 edition
People are always complaining that things aren’t the same as in some golden age in the past – which for some is now the period twenty years ago when I first carried out this study of the amateur musicians in the English city of Milton Keynes. It is true that the local choir I sing in has dwindled drastically since its earlier heyday. It’s now down to a small core of mostly rather ageing members, and we sometimes worry about its continuance. On the other hand it has just appointed a new conductor – and an excellent one too. So, as it has done continuously since 1973, the Sherwood Choral Society goes on singing devotedly at its Wednesday evening practices and performing at its regular local concerts. Then again, new choirs have been founded in the meantime and are going strong, and another choir I sing in is getting almost too big for its long-time rehearsal place. The ebb and flow of specific groups is after all nothing new. Now, in the twenty-first century, the cyclical celebrations of the year are still supported by enthusiastic volunteer musicians, invisible to some but bringing their expertise to bear on the expected occasions. Brass bands are still performing in public places around the city, new rock bands emerge with their flamboyant names, and the old as well as the new styles are played across the wide spectrum from classical and brass band music to folk, jazz, country and western, and rock.
Of course there have been many changes in the city of Milton Keynes during those twenty intervening years, but what strikes me now are the continuities in its music-making, not just the changes. The town has grown bigger in both population and area. New migrants, both national and (far more than before) international, have settled in, providing additional resources for music and raising new issues for social and political debate both within and outside the city. New musical styles and fashions have flourished. The range of music shops has changed, and with the expansion of the city glamorous new venues for music have been erected and are patronised by visiting professionals. There are new technologies too, which many musicians have turned to avidly. In short, music in its varying guises seems to have remained as strong a commitment as ever for those thousands of people engaged in the musical pathways charted out in this study, and Milton Keynes still hosts a profusion of diverse musical worlds.
Many of the musical organisations noted in the 1980s still in one way or another function today, with their continually renewing cycles of members and innovations, not least the larger-scale and more formalised associations like the brass bands, operatic societies, classical orchestras, and the leading country-and-western club. Among the small bands only a sparse handful have survived since the 1980s (among them the Fenny Stompers of chapter 8), but just as before, new bands arise to fill the places of the old, themselves no doubt destined to dissolve in the coming years, following