Decolonize Music Education


Nate Holder BA (Hons), MMus is a musician, author, speaker and music education consultant based in London. He graduated from Anglia Ruskin University with a BA (Hons) in Music. He moved to Hamburg, Germany and quickly embedded himself into the music scene there and was soon traveling and teaching across Europe performing with different bands and artists including Johannes Oerding, Oceana and SaraJane. He was appointed as the musical director for two music theatre shows, working with over 40 young people to write, arrange and perform to sold-out audiences in Hamburg. 

Moving back to London, he started teaching in various Primary schools while continuing to travel and perform. He founded Holders Hill Publishing in 2017 and published his first book called ‘I Wish I Didn’t Quit: Music Lessons’ in 2018. He completed a master's degree in music at Kingston University with a 1st class degree and winning the MMus Prize for Outstanding Achievement. 

Nate continued to perform, tour and record with artists such as KOKOROKO, Ghetts, Emeli Sandé and Stormzy across Europe, until the pandemic stopped all performances.

He is currently serving as a Professor and International Chair of Music Education at the Royal Northern College of Music and has written 5 books in total. Nate sits on various advisory panels including for Hal Leonard, Music Teacher Magazine and F-Flat Books. 

Finkapé ...

invites you, in the context of its Klang Keller project, to broaden your horizons in the field of music education and music perception in general. 

Through this conference we want to question the term 'world music'.

It is used by default to classify musical traditions from elsewhere into a monolithic group.

This term is devaluing because it invisibilises the specificities of so-called traditional music and erases the ancestral nature of the latter.

 In Luxembourg, public music education has recently become

free of charge. In this project of democratising musical education wouldn’t it be the time to rethink music education in depth.

Music is a universal language with many different ways of accessing and learning it throughout the world. Classical european music education with its notation and the european musical canon is certainly a good approach but it is not the only way of accessing music. In addition, it does not reflect the diversity and cultural richness of Luxembourg.

Too often the institutional pathway is restrictive and limited, preventing many aspiring musicians from accessing an institutional education.

Institutional music education could, with the help of competent teachers from different musical traditions, be a catalyst for linking all the benefits of musical practice to a common cause: a healthier and more inclusive citizenship.

General Information

TRIFOLION Echternach

Porte St. Willlibrord

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Friday, 22 July 2022