From the Blog: Arts Leadership

Phuong Nghi on "From the Top" (photo courtesy of John Servies)

Phuong Nghi Pham, a 14-year-old pianist from Dorchester, MA and Jack Kent Cooke Young Artist Award recipient, wrote a letter to Dr. Carol R. Johnson, Superintendent of the Boston Public Schools District, appealing for a spending increase on the city’s musical education programs for the following school-year budget.

Phuong Nghi shares her letter to Dr. Johnson below:

Dear Superintendent Johnson,

As you know, most schools had to make large budget cuts due to the recent economic recession. This included laying off teachers as well as cutting back or eliminating parts of the curriculum that may be perceived as unnecessary in the students’ growth and development. The budget crisis has and will have huge impacts on the arts departments in schools because many people do not consider art to be part of the core curriculum. I write this letter to ask for your support in saving the arts and funding the musical education of youth.

My name is Phuong Nghi Pham. I am a 14 year-old pianist from Dorchester and am currently in the eighth grade at Boston Latin School. This past February, I had the honor of performing in Jordan Hall on From the Top, a National Public Radio program showcasing America’s top young classical musicians. It is simply impossible to forget the passion and commitment I received from the staff and the two other talented young musicians who also performed in this taping with me. From the Top, however, is not just about that sole performance. It is about young classical musicians reaching out and communicating to others through music.

Regardless of whether one plays an instrument or not, music is still an integral part of everyday life. After all, it is everywhere and has lasted through the most difficult times in history. For me, music has the power to invite both relaxation and self-expression. I believe that the more people are introduced to classical music, the more they will appreciate the influence it has had on the different societies and cultures today. I think arts programs in schools are great opportunities for this exposure because kids explore, learn, and retain better in a learning environment. In addition, the skills gained from studying music can improve academic performance because they have to practice self-discipline, think creatively, and work collaboratively.

In fact, it was a school music program that opened the musical door to me. I was in a small class in kindergarten with other five year-olds. The main goal was simply to get the kids more familiarized with music. In the room, there were several tiny keyboards where we played and tried out various sounds. The teacher had seen potential in my playing and recommended that I move up to the piano – a more challenging instrument. And it all began from there…

At my school last year, there were decisions to reduce the number of teachers from the arts departments as part of the budget cuts. That meant that there would only be about three or four teachers in total for both visual arts and music. As a result, fewer students will be able to participate in music classes, ensembles, and bands. The chance of these programs lasting is slim. However, they have been extremely helpful to me and other students. They allow us to create a positive learning environment that encourages creativity, independence, and communication. In a time when there are many difficulties and hardships in life, music is one of the things that can comfort and give us the courage to keep going. Not only that, young musicians like us will be able to share this gift by inspiring others and enriching the world through our music-making!

I understand that as the school superintendent, you have to make very difficult decisions in creating the budgets for the coming school year. Please keep in mind that small as they may seem, these arts programs really can provide opportunities for young musicians to explore their own abilities and help many others cope with challenges in life. Thank you for your time and consideration.

Sincerely,

Phuong Nghi Pham

(photo courtesy of John Servies)

We asked Phuong Nghi a few questions about her letter to Superintendent Carol R. Johnson:

FTT: Why did you choose this project?

Phuong Nghi: Because of the unstable economy, most school budgets have been and are being cut. People like Dr. Johnson are involved in making the decision of which curriculum should be kept and which are not as necessary. Last year in my school, there was the decision of laying off some teachers who teach music and arts because it was not considered as important as other academic subjects. I do not want something like this to keep on happening again.

FTT: What did you hope to communicate to Dr. Johnson in your letter?

Phuong Nghi: Through this letter, I wanted to make her aware that musical education is very essential to students. It helps you to express yourself in new ways, acquire new skills, and it can also improve academic achievements as well.

FTT: What did you learn from the experience?

Phuong Nghi: It redefined, for myself, the role that music plays in my life. Because this is the first time I wrote a letter to an official, this experience helped me gain more skills in advocating about music to other people and being persuasive as well. Writing this letter helped me to understand how there are many, many ways to share music with others beside performing on stage.

Stay tuned for an update on her efforts!

This spring, 17 year-old composer/bassoonist Tim Woos, a Jack Kent Cooke Young Artist, held composition workshops at two different schools in Vermont - the Integrated Arts Academy in Burlington and the North Branch School in Ripton. For each school, he created  a “composing game”: a program that engaged the students as composers using visual aids and noisemakers. It was a big hit!

Tim at the Integrated Arts Academy

Tim wanted to show the students how composing music is by no means linear, and that the possibilities are endless. Tim shares more:

Young students get bored easily. If they have to sit and listen, things go downhill fast. I think that if they’re involved with the composing game, it will give them the opportunity to get excited about concert music.”

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We asked Tim to share more about his “composing game” and the overall experience:

FTT: How did you come up with your project idea?

Tim: I knew from the start that I wanted to go into schools and talk about being a composer. Not many kids really know what a composer does. My teacher, David Ludwig, has done a lot of presentations in schools. He advised me to involve the students as much as I could, so I decided on the composing game.

FTT: What was the experience like for you? How did the two schools compare?

Tim: It was an incredible experience. The students were as engaged and excited about what we were doing as they possibly could have been.

At the first performance (North Branch), it was very clear that the group performing was embarrassed and uncomfortable. They were laughing while they were playing and not taking it seriously. After they were done, I asked the other students for their comments. Most of the students said they wanted to hear the piece again because the performers were very distracting.

This made the performers realize that the other students actually wanted to hear their piece. They performed it again and it was much better. We then heard the other groups’ pieces. They were all very different and extremely creative. I was so impressed with all of the students and the work they had done.

As for the Integrated Arts Academy, I was very impressed with the school and the work they are doing. When the kids learned that I was going to school just for music one of them asked, “so, all you’re going to do is write music all day? I want to go to music school!”

The school is the only arts magnet school in the state. It’s located in a part of Burlington called the Old North End. This is the poorest area of the city and many of the kids are refugees from other countries and don’t speak English very well.

FTT: Can you give us an example of how the “composing game” works?

Tim: (At the North Branch School) I gave them the following instructions:

1. Fold your piece of paper in half.
2. Draw an enclosed shape anywhere on the paper.
3. Draw a line, wavy or straight, that connects any one side of the paper to any other side.
4. Unfold the piece of paper and draw another wavy or straight line from anywhere to anywhere.
5. Draw one thing, anything you want, wherever you want.

After they drew their “scores”, the class split into three groups of 9. Tal (Birdsey – the class teacher) went with one group, Rose Messner, the math teacher, went with another, and I went with the last. Each group picked one of the drawings to use as a score. They all went into different places after that. One group went outside. Two students grabbed their acoustic guitars and one grabbed an electric bass. I made them put the instruments away.

The pieces they came up with were very creative. One group used a piece of Sonotube, two PVC pipes, a wheelbarrow, a hand-pushed lawnmower, the top of a garbage can filled with sand, and a handful of marbles. All of the groups were very tied to rhythm and always wanted a clear beat. While they were still working on the pieces, I encouraged all of the groups to use both clear rhythm and very free rhythm as two “compositional devices” to express the score more effectively. They did a great job of this.

FTT: What do you think the students took away from the event?

Tim: That composing is not a strange thing to do. All of the students went through the process of creating a piece of music.

The game is interesting because it separates composing from performing. They were not writing a piece for a violin, they were writing it for a salad bowl and a plastic cup. For some of them, it will be a cool thing that they did once. For others, they could have been hooked and want to start writing music or playing an instrument.

I wanted them to see that no matter what it is they create, whether it’s a poem, a drawing, or a piece of music, the process of creating that thing is very engaging and feels really good to do.

It was a really great project. I know I got a lot out of it, and I know the students did as well.

Reed Messner, a student at the North Branch School, wrote an article that was published on his teacher’s (Tal Birdsey’s) blog, A Room for Learning. Click here to read Reed’s article on Tim’s visit.

This week’s installment of Links we Like is my final here at From the Top. It has been such an honor to share my thoughts and ideas on this blog for the past two months, and an experience I will not soon forget. Wanting to end on a high note (no musical pun intended), we observe two stories that demonstrate the resilience of classical music, and how there is always a “silver lining” to every cloud.

Ahead of the Curve: Despite budget cuts threatening school music programs and organizations across the country, the NAMM (National Association of Music Merchants) Foundation announced the results of its 11th annual “Best Communities for Music Education” survey this past May. 174 school districts made the list who, according to the website, “demonstrate an unwavering commitment to providing music education for their students”. The schools had to score within the 80th percentile or above in the survey to receive the title, with questions pertaining to funding, curriculum, requirements, facilities, etc. To see America’s “Best Communities for Music Education,” click here.

(courtesy Yale.edu)

Putting things into Perspective: In the same vein, many believe our nation’s orchestras are suffering tremendously from financial burden and social reticence. Yet Heather Lynn Mac Donald, fellow at the Manhattan Institute and contributing editor to the New York City Journal, attests that, despite times seeming rough, we are in fact living in a “Golden Age”. Her essay Classical Music’s New Golden Age compares the context of our time with that of Beethoven, Berlioz, etc. to show how conditions for classical musicians have vastly improved over the years. The following quote serves as an example to her case: “Beethoven’s Eroica Symphony premiered before an audience of 100 at most. These days, probably 10,000 people are listening to it during any given 24-hour period, either live or on record…” While Mac Donald believes musicians of the 21st century lead more favorable livelihoods than those of their predecessors, she acknowledges there is still a great deal that must be done to guarantee the future of classical music. She cites the efforts of El Sistema and China’s burgeoning demand for classical music as being “two of the best hopes for building future American audiences,” and  is highly optimistic that the genre will flourish for generations to come. To read the rest of Mac Donald’s essay, click here.

(courtesy EssentialsofMusic.com)

As a Jack Kent Cooke Young Artist, 17 year-old vocalist Kara Sainz, along with three peers from the Murrieta Valley High School choir, organized an interactive program demonstrating classical music for a group of nearly 75 elementary school children at the Ysabel Barnett Elementary School in Temecula, CA.

Kara with fellow vocalists at the Ysabel Barnett Elementary School

The program was titled the “Joy of Opera” and included several short selections from well-known works, both solo and ensemble. Opera is especially foreign to this age group, and Kara’s goal was to raise awareness and to expand the children’s understanding of and desire to explore classical music. She shares more:

Kara on "From the Top"

“The younger generation is a very important one, in that they are the future audience, and by influencing them through music presentations, it is setting up for a life where classical music/opera can continue to enrich peoples’ lives.”

Kara’s Program Structure:

• Performance: selections from Rossini’s La Cerentola, Mozart’s Voi Che Sapete (The Marriage of Figaro), and Delibes’ Lakmé Duet (Lakmé)
• Harmony Activity: discussion of major and minor triads
• Instrument Demonstrations: discussion of each instrument’s sound, origin, and purpose.
• Q&A Session

We asked Kara a few questions about the performance and the overall experience:

FTT: Why did you choose this activity?

Kara: I chose this activity because I find that young children do not know what opera is.  By holding a concert, I hope to open their eyes and minds to classical music and possibly a desire to ask questions or learn more on their own.  I hope that by influencing these young children, they will carry music with them forever.

FTT: What were your goals with the project?

Kara: Our objective was to educate young kids who may not otherwise have the opportunity to be exposed to classical music.  It was also a goal of mine to let the kids know that the study of music is something that they can pursue in middle school, high school, and beyond.

FTT: What was the experience like for you? Was there a favorite moment?

Kara: This project was more work than I anticipated, but well worth the effort. Because the word “music” is such a general term, I discovered that there were many ways to approach the kids while introducing them to opera. Overall, it was an extremely rewarding experience.

My favorite part of the presentation was at the end, when the kids asked questions. They had really inquisitive questions, which meant they were thinking about the presentation. I like that I had an effect on their thoughts about music. They were very interested in the different languages and how fairytales can be made into operas. I believe these kids now have a basic understanding and awareness of classical music in their world, which was an extremely important goal of mine for this project.

FTT: What have you learned from your project? Any insights you would like to share with us?

Kara: From this experience, I learned first hand that it is possible for one person to affect many people. I learned that if you talk, someone will listen. For most of these kids, it might have been their first time ever hearing classical music.  However, I truly hope that it’s not their last!

Overall, I learned that I have the drive to put on more presentations because the kids’ reactions were invaluable to me. This experience has already helped my development as a musician in that I have even more of a purpose to share this art form with new and excited faces.

FTT: Any advice for other musicians who want to do similar outreach performance for children?

Kara: Kids want to be entertained and if you’re excited and passionate about what you’re presenting, they will respond.  You have to be flexible when working with children, and not afraid to change your agenda. I was glad to have a larger audience, but had to make some adjustments at the last minute. All in all it really motivated me to do future presentations as my education progresses.

This week’s Links we Like is one of my last as an intern here at From the Top, so I wanted to take this opportunity to stress the inner strength and beauty of music. This final installment observes the capacity of music to better the lives of others. Whether it be the gift of healing, the advent of new opportunities, or the voice of peace, music has the power to bring our world “a better tomorrow.”

Remember the Time: As loved ones near old age, Alzheimer’s and Dementia become a scary possibility, as they are already a reality for millions worldwide. Yet recent studies conducted in Belgium, Canada, and the United States have found a hopeful solution: music! Emotions are a powerful incendiary for remembering, and most memories related to music have nostalgic connotations. Patients involved in the study were able to evoke melodies, lyrics, and more when moments before they had forgotten where they were or hadn’t been able to speak at all. It was concluded that memory function can in fact be improved through music. To read more on the study and treatment process, click here.

(courtesy health.howstuffworks.com)

Music from the Inside: This summer, Berklee College of Music took on an extraordinary initiative by launching a pilot program for blind and visually impaired students. The five-week program meets four days a week for four hours a day, and is run by two Berklee students (who are also blind). Amenities for the students include state-of-the-art equipment, like high-quality Braille printers, and a redesigned set of curriculum. The summer program consists of five participants who, after two weeks, have already become more acclimated to both the process and environment of their coursework. Berklee hopes the program will provide a more welcoming atmosphere to its growing constituency of blind students as well as serve as an example for other music institutions. To read more about the program and its development, click here.

Trumpeter Wayne Pearcy: one of the five participants in the Summer Pilot Program (courtesy berklee.edu)

The Voice of Peace: For almost a quarter of a century, war has devastated the nation of Uganda. The atrocities have divided its people, and many have fled their former lives with no hopes of return. Yet the women of Northern Uganda have begun to unite in the name of peace through a movement known as The Voice Project. These inspiring women, widows, rape victims, and former abductees, are using the power of song to convey their message. Their lyrics speak of peace and forgiveness, concepts that have long been shadowed by the brutality of war. Vocational training and scholarships are among the provisions of the Voice Project’s participants, as well as rehabilitation program for former soldiers/abductees. A number of mainstream artists have come on board to lend their support and their own music – a powerful component in spreading the message of these brave women. To read more on The Voice Project, click here.

(courtesy of tonic.com)

In May, we posted the inspiring ambitions of harpist Anna DeLoi, who has spent the summer traveling and performing with her ensemble Heartstrings to raise funds for CureSearch, a children’s cancer research foundation. The group has achieved a great deal these past two months.

Anna joined forces with two musician friends, Nash Ryder and Keith Williams,  who were also staying home for the summer, to collaborate with her on this project and help create Heartstrings. They put together a chamber music program, created a Facebook fan page to spread the word, and started contacting a wide range of places, from music festivals to local libraries to schedule performances. She passed up a prestigious spot at Boston University’s Tanglewood Institute this summer to pursue her passion of giving back through music. Among the festivals they have visited this summer are the Marblehead Arts Festival, Somersworth Children’s Festival, and Old Homes Days of Plaistow, NH. As a result of their efforts, CureSearch, has been receiving support and donations from town committees and audience members. Anna shares more about her summer experiences:

At the Barbara Bush Children's Hospital (Courtesy Heartstrings Facebook Page)

We’re having an amazing time!! Being able to interact with our audiences at these events has been especially rewarding for us. At festivals, it’s easy for people come up to talk to us about what we’re doing this summer. Everyone has been so supportive! We especially love when we can fulfill requests of favorite classical pieces, and make our performances more personal and exciting. The informal atmosphere is like none we’ve performed in before, but it’s refreshing! Classical music doesn’t need to be “stuffy”, after all!

At Plaistow Old Home Day (Courtesy Heartstings Facebook Page)

One of my favorite moments was at the Somersworth Children’s festival, when Keith showed a little girl – she was probably 5 or 6 – how to play the cello. It’s fun to let kids try my harp, too – they’re always so excited to get involved. It’s great to see how interested they are in classical music!

There have also been more emotional moments, though. At the Marblehead Arts Festival Street Fair, we talked to a woman who’s son had died of cancer a year and a half before. I think we all poured our hearts into the music a little more after that. And last week, we played at the Barbara Bush Children’s Hospital in Portland, Maine. We set up in a beautiful Atrium, and the music could travel into surrounding patient’s rooms. Hopefully we made their day a little brighter!

There are many more events we’re looking forward to in August, including two performances at Yankee Homecoming in Newburyport, a performance at Old Sturbridge Village, and multiple private functions – all raising money for CureSearch, of course. In fact, so many opportunities have come up this summer, we’ve decided to continue playing together in the fall. There is just so much more we want to do (plus, there’s nothing better than playing with friends)!! Once the school year starts, and there are no more fun-summer-busking opportunities, we’ll be putting together chamber concerts. We’ll also be giving classical music programs for kids – which we’re developing now – at elementary schools and libraries.

At the Marblehead Arts Street Festival

*We recently received an update from Anna on her travels and performances with Heartstrings. They performed at the Yankee Homecoming Festival in Newburyport, MA, and were part of that festival’s Family Day at Maudslay Park, then visited Old Sturbrudge Village in Sturbridge, MA. Anna shares more on future plans for the group:

We’ll be playing a couple of private functions… and then we’ll start doing concerts! We’ll soon have a date for our first fall chamber concert. Also, any new events will be posted on our facebook page: http://www.facebook.com/pages/Heartstrings/110695205643361?ref=ts.

Family Day at Maudslay Park

To learn more about the Heartstrings initiative and their inspiring story, visit their Facebook page. We will also keep you posted on further developments with the group here on our blog. Take a moment to visit the CureSearch website to help support finding the cure for children’s cancer.

17 year-old violinist and Jack Kent Cooke Young Artist Yurie Mitsuhashi (Show #205) explored the relationship between music and dance with second through sixth grade students at two elementary schools in her hometown of Fort Lee, NJ this spring.

Yurie performing on "From the Top" in Waco, TX

She shared a wide range of music, portraying dances from many different cultures and time periods, and allowed plenty of time for the students’ insightful questions and comments. Her goal was to share with the students how music can tell a story and how they can enjoy listening even more when they explore those stories and use their imagination. Yurie shares more about the event:

“There’s nothing more pleasing for children to see than a musician with a grin a mile wide. It shows them that they’re in for something fun and interesting rather than boring and bland.”

See below to watch video recordings from Yurie’s program.

We asked Yurie a few questions about her project:

FTT: What was the experience like for you?

Yurie: The whole project, from start to finish, was a fun one. I definitely felt good after every applause, and felt even better when children asked curious questions and asked for hugs after the concert.

FTT: What was it like working with children that age? Were there any favorite moments?

Yurie: I had two different kinds of audiences in the two elementary schools. In one of them, my audience ranged from grades 4-6. In the other, my audience ranged from grades 2-4.

I really appreciated my young, but very well behaved, audience, and was often very amused by the questions they asked in the end. Perhaps one of best questions was: “How did you start playing the violin?” When I answered that my mother was actually the one who made all the decisions and that I hated being forced to play the violin, they gasped in disbelief; I was very amused.

Another memorable experience came after I played a Brahms Hungarian Dance and explained the Czardas. A girl raised her hand and exclaimed that she went to Hungarian school and knew the Czardas dance. Then, this girl actually stood up and demonstrated the Czardas for the entire audience. I had personally never seen the Czardas before, so this was a very interesting moment for me.

FTT: What did you learn from this experience?

Yurie: I love to work with children. They ask the most interesting questions, and they are very honest (they tell you when they don’t like something, but also really cheer when they really love something).

FTT: Do you think this type of experience can help your development as a musician? How?

Yurie: I discovered that it is perfectly okay to change your image while on stage depending on who you are performing for. In fact, doing so will make you connect with your audience better, and vice versa. This way, I feel that they can enjoy a performance better than when they see a distant figure on stage whom they’d never dream of talking to.

FTT: What advice would you give other musicians interested in doing a similar project?

Yurie: I would recommend keeping organized, opting for an interactive project, knowing your audience beforehand (so you can alter your project plans as needed to interact better), and putting a smile on your face. There’s nothing more pleasing for children to see than a musician with a grin a mile wide. It shows them that they’re in for something fun and interesting rather than boring and bland.

Yurie shared an excerpt from the script she wrote for the program:

“First up is the zapateado. The Zapateado is a dance of Mexican origin. As some of you might have noticed, the zapateado dance borrows its name from from “zapatos”: spanish for “shoes”. Why shoes? Because the dance itself is based upon percussive steps created by tapping your feet on the ground- it’s similar to tap dancing. You will hear this “shoe tapping” throughout the piece, but especially in the beginning, where I have [Demonstrate here]. Now, I hope you will imagine a dancer tapping his or her shoes while I play the Zapateado by Pablo Sarasate.”

Whether it be performing a benefit concert for charity or simply encouraging others to attend a live performance, the future of music depends on the contribution of those who possess the knowledge and the means. As performers and fans of music, we must adapt a selfless approach to preserve an art form that stands as a vital part of our culture. The following stories are inspiring examples of steps being taken by others doing just that:

Bringing Music to Light: Aside from social networks and online encyclopedias, perhaps the most innovative paradigms for seeking information online are what have been coined as online “think tanks”. One such example is Big Think, a site that draws on the knowledge and opinions of experts via interview to explore their specific fields of study. Recently, the website premiered it’s youngest scholar, Hilda Huang, who just so happens to be a pianist and FTT alum, having made her Carnegie Hall debut on the PBS series “From the Top at Carnegie Hall.” Her presence on this site attests not only to her extraordinary talent, but also to the growing importance of music in our society. To watch Hilda discuss the genius of Bach and her love of music, click here.

Hilda with the Cincinnati Pops, taping the From the Top at the Pops CD (Photo: Mark Lyons)

A Silver Lining: While the majority of stories from Iraq are grim, one story brings hope. Guitarist Nashat Majeed has taken brave steps in the name of music, and teaches lessons twice weekly for Iraqi children 11 to 15 years-old. Under the previous regime, music had been forbidden due to its connection with “Western” ideals. Today that ban has been lifted, but Nashat still faces the dangers of militant violence and sectarian activism. Yet Nashat still continues to teach, as he believes in “ the language of music rather than the language of war.” To read more about Nashat’s story, click here.

Two of Nashat's Students Practicing (courtesy CNN Video)

The Artists of Tomorrow: Since 2006, Fidelity Investments has become a major proponent in arts education through its organization Fidelity FutureStage: a competition designed to promote aspiring instrumentalists and vocalists who would otherwise lack the means. Over two thousand public high schools and middle schools were welcomed to compete from participating cities, and the winners were announced this past May. These students were then given performance opportunities, from performing with the renowned orchestras of Boston, Chicago, and Houston, to playing at the Opening Gala of the LA Hollywood Bowl, to being a party of a fully stage Broadway production in New York. To read more about the program and its students, click here.

Jamie Foxx with FutureStage Students receiving brand new instruments (AP Photo/Chris Pizzello)

Sean with the Students of Hilo Union Elementary

After appearing on From the Top, 16 year-old slack-key guitarist and Jack Kent Cooke Young Artist Sean Robbins of Pahoa, HI organized a series of interactive performances at the Hilo Union Elementary School. He gave three 45-minute performances for fourth graders at the school, with about twenty students per group. Sean hoped to inspire these children to take a greater interest in music by demonstrating a variety of styles, and sharing the fun and valuable experiences he has had as a musician.

He shares more:

“I would like to communicate that there are younger people playing Hawaiian music and you can take it somewhere and make a career out of it.”

We asked Sean to tell us more about his project:

FTT: How did you come up with your project idea?

Sean: I chose this activity because I like to work with kids. I know that at this age they are easily inspired.

FTT: What was the experience like for you? Was there a favorite moment?

Sean: This was an extremely rewarding project and I am very glad that I did it. My goal was to inspire the kids to play music, and to show them that it is a viable career.

Afterwards one of the classes decided that they wanted to shake my hand, so I had to shake 20 hands that turned into 60 since they all wanted to go again and again. After the hand shaking, we said goodbye and went to the other two classes, who were just as excited.

FTT: What do you think the audience took away from the event?

Sean: The kids were very interested in what I had to say and they sat quietly for the whole 45 minutes until I asked if they had any questions. I was also very impressed with their questions.

FTT: What did you learn from this experience? Do you think this type of experience can help your development as a musician?

Sean: This experience definitely helped my development as a musician. You have to be able to think quickly to answer any questions that the kids may ask and improvise on what pieces you are going to play to accommodate the audience. I also learned a lot about organizing an arts leadership project, and I found out that I really enjoy interacting with kids.

FTT: What advice would you give other musicians interested in doing a similar project?

Sean: I’d recommend a project like this to anyone who enjoys being around kids and wants to perpetuate music at a young age. If I were to give them advice it would be to start organizing your project right away so that you aren’t rushed towards the end, and to practice speaking in front of an audience. Most of all to be ready for any questions the kids might ask.

I was quite surprised to see that almost half the kids in the class played some sort of instrument. When I told them I started playing music when I was two years older than them, they were very optimistic in terms of becoming musicians. I hope that the kids left with some inspiration to continue playing (or to start).

Several students wrote letters to Sean thanking him for his visit. Two of those letters are included below:

This week in Links we Like, we take a glimpse at the abundance of summer’s classical music events occurring across the globe. From a listing of North American summer music festival concerts, to the establishment of a society for music education in Nepal, to a group of nuns from Avignon signing a record deal with one of London’s finest labels, this summer presents a plethora of opportunities for those invested in classical music.

The Summer Hot List: Looking to attend a classical performance this summer, but not sure where to start? Look no further, for the New York Times has compiled a list of summer festival concerts for 25 different states. The list includes program details, visiting artists, and contact/website information for each festival. Click here to find a performance near you.

The Koussevitzky Music Shed at Tanglewood (courtesy Stu Rosner via New York Times)

A New Hope for Teaching in Nepal: Robert Moore, a recent graduate of Baylor University and Fulbright scholarship recipient, has played a major role in establishing a music education network for Nepali teachers and musicians: the Nepal Music Educator’s Society. Robert spent 10 months in Kathmandu (the nation’s capital) establishing music curriculum standards, learning traditional Nepali music, and becoming ingratiated with the existing music community to promote further growth and development. He says on the importance of music education: “…music teaches culture. I also think important values, like leadership and dedication, are taught through music” (via NewsWise). Robert kept a travel blog during his visit, posting updates and photos from his experiences and travels. To learn more about Robert’s visit to Nepal and the society, click here.

Robert Moore and the Madal: Nepal's traditional folk drum

Gregorian Chant the New “Pop”: It seems the prayers of the Benedictine Nuns from the Abbaye de Notre Dame de l’Annonciation have been answered. They just signed a contract with the London-based Decca Records, the same label to sign such artists as U2, Lady Gaga, and Eminem. The group of singing nuns practice 6th century-style Gregorian chant, and lead reclusive lives behind the abbey’s closed doors. They beat over 70 other convents competing for the record deal in the United States, Africa, and Europe, and the album Voice: Chant From Avignon is to be released this November. Read more about the record deal and nuns here.

(courtesy of news.myjoyonline.com)

Bella with Fellow Performers at the El Dorado Retirement Center

We love when From the Top performers take Arts Leadership to the next level – 14 year-old violist Isabella Markham, a Jack Kent Cook Young Artist, has done just that by organizing a small concert series for a retirement center with the help of her brother and seven friends.  She titled the performance “Bella Palooza” and it took place on March 7, 2010 at the El Dorado; an independent retirement home located in Richardson, TX. The program included works for cello, violin, viola, and piano. Bella chose this project to provide seniors a fun break from their daily routine. Through the performance, Bella hoped to show that musicians her age still care for elderly people, and that music is a universal form of communication. A talented artist as well as a musician, Bella also created beautiful, hand-drawn flyers to promote the event.

Bella's Concert Program Art

Bella on "From the Top"

“I strongly believe that our culture tends to forget about the elderly and aging. A lot of these people are lonely and they don’t get enough love. Everyone needs someone to look forward to, and I think music makes a person’s heart happy.”

-Bella Markham

The El Dorado Dining Hall

We asked Bella a few questions about the performance and the overall experience:

Bella with pianist Evan Ritter

From the Top: How did you come up with your project idea?

Bella: I chose this activity because I wanted the old folks to have something exciting and new to look forward to in their daily schedule. It seems that they are forgotten sometimes, so I wanted to share the gift of music with them.

From the Top: What was the experience like for you? Did you have a favorite moment?

Bella: The experience was so inspiring and enriching! I would definitely love to do something like this again. Although it was a little bit stressful in having the complete responsibility to coordinate the entire event, it was all worth it in the end.

My favorite moment was after the performance. I went around to each table to talk to the old folks and asked them what they thought about the performance. Their faces beamed with joy and they even wanted me to come back and perform again! I loved seeing them so happy.

From the Top: What do you think the audience took away from the event?

Bella: I think the audience took away the joy and love for music. They truly enjoyed seeing us young performers perform for them. I would never be able to describe how happy they were, they were so overwhelmed with joy.

From the Top: What did you learn from this experience?

Bella: I learned that no matter who you are or what you do, music can connect and communicate to anyone! In my opinion, music truly is a wonder to the universe.

From the Top: Do you think this type of experience can help your development as a musician? How?

Bella: Definitely, yes. This is an extremely humbling experience and reminds me all the time of how fortunate and blessed I am. I think this is why I gravitate towards this particular group of people. I know that my presence and sharing of music genuinely touches their hearts as well as mine. Also, I know that I’m making a difference.

From the Top: What advice would you give other musicians interested in doing a similar project?

Bella: Definitely choose a softer selection of pieces to perform. The old folks seem to enjoy the softer pieces a lot. Also, prepare to talk and introduce yourself to them, this seems to make the performance more intimate and enjoyable. It’s also good to go around and talk with them after the performance; they love to talk with you about what a joy it was to have you perform.

Earlier this year, 13-year-old John Ringor (Show #202 and #206 ) and 17-year-old Joshua Jones (TV Episode 201, Show #171 and  #206), both Chicago percussionists and Jack Kent Cooke Young Artist Award recipients, gave a performance and demonstration for children and their families at the Chicago Symphony Center. They were joined by eight of their colleagues from the Percussion Scholarship Group (PSG), a program affiliated with the Chicago Symphony Orchestra (an ensemble of which appeared on From the Top’s Show #206), that provides free lessons and percussion instruments to students from the Chicago area – an inspiring example of arts leadership itself!

John, Josh, and members of the Percussion Scholarship Group at the Chicago Symphony Center

Their concert was part of the CSO’s Caminos a la Musica: a program that provides lower-income families the opportunity to see and experience classical music in a professional setting.

(We) chose to perform for kids because they are the people of the future; they will be the ones to shape the future of music. These people need to realize just how important music is so that they can help promote and support it.” – John

“(We) wanted to spread knowledge about percussion and the PSG, and also I wanted to incorporate members of the group in this performance. Kind of like a family affair.” -Josh

We asked John and Josh to share more about their project:

John, Josh, and the PSG performing at the Chicago Symphony Center

FTT: What was the experience like for you? Did you have a favorite moment?

Josh: I had fun performing for the children, and their reaction was priceless. As loud as we were, I was expecting them to cover their ears, but the adults were the only ones with their ears covered.

John: Perhaps my favorite moment of the whole performance was seeing how happy all the kids were. The looks on their faces when we started things off with a bang and when I was doing all sorts of stick tricks in a solo were so gratifying. They looked like they really enjoyed our performance and had fun and a genuine interest in our music. That feeling of appreciation I got from them was the best part of this whole experience.

FTT: What do you think the audience took away from the event?

John: I think that they developed a new interest and appreciation for percussion and music that is not normally heard on the radio or is mainstream. They really seemed interested in the instruments and music we played so I think that one day they too will want to play an instrument.

Josh: Probably the point that was received by the audience was that percussion is a fun instrument to play, and it takes hard work to achieve a high level on any instrument that they may decide to take up, or anything they decide to do in life.

FTT: What did you learn from the experience?

Josh: I experienced how the sound was much bigger in a smaller room, so we had to play softer in order to not over power and frighten the children. It was kind of funny actually.

John: I learned that organizing such an event is no easy task. At times it was difficult getting everyone together and having rehearsals, but we eventually worked things out. Mostly I learned to just have fun. When I have fun then everyone else senses that and tries to have fun as well. By enjoying myself and keeping a positive attitude the performance was wonderful and the kids had a great time.

FTT: Do you think this type of experience can help your development as a musician? How?

John: It’s taught me the value of planning, organization, teamwork, and showmanship. I learned that just like in an orchestra or in an ensemble, teamwork and communication was essential both for playing musically together as well as running the show.

Josh: Instead of regurgitating music that we memorize, connecting with the audience can ease some of the nerves we may have as musicians when we perform and it tells us even more what the audience wants out of a concert.

FTT: What advice would you give other musicians interested in doing a similar project?

Josh: Don’t be afraid to try new things as you go. Always have a set goal, but if there is room for improvisation, take full advantage of it.

John: Just have fun with it. If the audience sees you having fun then they will too and that’s the secret to success.

After every radio taping, the performers come together for the Arts Leadership Orientation to explore how they can use their talent and passion to make a difference in their communities and the world.

The performers on the St. Paul show named themselves the “Louisasota Zirths” – a play on the two states represented (10 performers from MN, 1 from LA) and the names of two inspiring teachers. They decided to choreograph their group photo and video around the piano, which was only fitting since it was a piano-themed show. Check out On the Road with Joanne Robinson for more info about the show.

The St. Paul Performers

Check out their group video:

Here are some of their thoughts about arts leadership, captured during a group writing exercise:

Arts Leadership is…

“Recognizing that music is a web that connects people together no matter how far apart they are. We may not be able to communicate our feelings through words, but two people from completely different parts of the world could walk away from a concert feeling the same way about it. I guess instead of saying music doesn’t have a language barrier, it would be better to say that it bridges the language barriers.“

“I have organized concerts to raise money for building schools in Afghanistan. I have done this for six years and with the money raised, a school actually has been built in one of the most dangerous provinces of Afghanistan. So now the girls can feel safer and appreciated.”

“Our trio put (a benefit concert) together for Haiti – it was really fun, plus it felt great to contribute to people’s lives in such a big way.”

“Reaching out to kids who don’t have the same opportunities that we do and trying to do what we can to make those opportunities accessible to others. You can learn a lot about yourself through teaching and get better and better at working with kids.”

“Becoming involved in the community and inspiring people to appreciate the arts.”

“Taking a stand- supporting your ideas and dreams with action!”

The performers also created individual leadership maps, charting their past experiences, future dreams and the leadership qualities most important to them.

Be sure to tune in when their show airs the week of October 4th to hear more from these inspiring arts leaders!

We have been avidly following the progress of Musical Diplomacy, the brainchild of From the Top’s Margaret Stewart Lindsay Arts Leadership Grant recipients Brian Kaufman and Michael Reichman. After an entire year of planning and organizing, their dream of using music to bring together leading policymakers, teachers, musicians, and concerned citizens was finally realized at the Fenway Center Auditorium on May 14. The event demonstrated both musical excellence and creative design, and was very well-received. We sat down with the two after the performance to reflect on the memories and values gleaned from their yearlong journey.

Brian after conducting Bernstein's "Symphonic Dances from West Side Story" (photo courtesy of Jesse Weiner)

From the Top: What have you learned during the course of developing Musical Diplomacy?

Brian: We learned a tremendous amount. We learned about what we’re capable of as artists, as individuals, what we have the ability to do if we put our mind to it. We learned a lot about how to put something together, how to organize things, and how to get a community excited about something. The whole thing was challenging—there was no part of it that was a walk in the park! There was constant negotiating, adjusting, and modifying original plans. To do something like this, you have to be really flexible.

Michael: What we learned is that if you have an idea and a passion, and hope to see it through, you can make it happen. There is no end to the possibilities of what you can do. No one had done what we did before at the conservatory, but that didn’t mean we couldn’t take something to the next level. For any artist out there, don’t let the world stop you from doing something that really interests you. It sounds so corny, but if you dream big, there is no end to the possibilities. This doesn’t mean that we’re going to be performing in front of three million people at Woodstock, but it does mean that this distant dream of a year ago has now become a reality, and we couldn’t be more thrilled about that. Anybody could do this.

Michael after conducting Jason Belcher's "Concerto for Improvisers and Orchestra" (photo courtesy of Jesse Weiner)

From the Top: So this being your second year of Musical Diplomacy, what new ideas emerged?

Michael: Last year what was novel about what we did was that we had a concert plus a discussion. We did that again this year, but it was also with additional effects, such as the audio clips, lighting changes, and seating changes – all things that enhanced the overall aesthetic of the concert and the musical experience. It’s about how you can change the expectations of what classical music can do, and how the music can be effective in ways that people never had thought of before. Your expectations of what classical music is can be quite broad and can be a lot of different things. It’s not just about sitting and listening; it’s about where it takes you from there.

Brian: In a standard classical concert, when the music starts the magic starts but when it stops it ends. Daniel (Daniel Bernard Roumain, or DBR) was open to any ideas that we had, but the audio clips were one that he liked that we could actually do. The lighting changes we did really made an impact as well. We went from all the lights up with the Bernstein to all the lights off for Caroline Park’s piece, a much smaller piece. This was very effective for people since it was such a big difference in aesthetic between the two pieces, and the lighting matched that difference.

Michael: The things that happened that we didn’t expect or anticipate, and ended up planning only a few days before, were a lot of these new aesthetic ideas that Daniel had suggested: an unorthodox concert dress, or in his words “dress like you are going to be on MTV,” and having some sort of creative transition between pieces so that the audience is constantly being engaged and stimulated in some way. The idea is that the concert experience should completely seamless.

(photo courtesy of Jesse Weiner)

From the Top: How has this project related to your experience and education at NEC?

Michael: We served as conductors and music directors for this project, so we did everything from the musical preparation of score study to the logistical preparation of recruiting ensemble personnel, securing rehearsal locations, etc. That is all very much a part of what we did at the conservatory, outside this project. We’re using all those skills. NEC has begun a crusade to start an “entrepreneurial musicianship” program, and the NEC President is very gung ho about this idea of educating NEC musicians to be entrepreneurs. That goes along with not just being good artists, but knowing how to “think outside the box” on ways you can contribute to the community, wherever that community is. That just so happens to be what we’re already doing! So that ties into our education in that respect.

Brian: There was an incredible overall sense of accomplishment with everything we did. Michael and I talked about how this concert was, in many ways, a synthesis of the learning that we have done over our whole education, not just our two years at NEC. All of the organizational things: raising money, getting Daniel involved with the project, having Gunther Schuller on the panel discussion, having From the Top become a part of the project, getting 85 students to freely volunteer their time, having interest from the faculty at New England Conservatory, having the entire Conservatory come together between marketing and faculty and staff, all of these were really helpful and positive things.

(photo courtesy of Jesse Weiner)

From the Top: How did you feel about the post-concert panel discussion?

Michael: It didn’t go quite as we had previously expected, and of course that had to do with a lot of last-minute replacements on the panel that happened the week of. You can formulate panel questions you would like the discussion to revolve around, but panelists feel things in the moment. Both Daniel and Donnie Perkins prefaced their speeches by saying, “I was going to talk about this, but having had this experience I feel compelled to say these things.” The format was having each panelist speak for about 8 – 10 minutes each, and then open it up for questions. I think one thing that we might want to consider doing differently for a similar formula in an event like this is to maybe have very specific questions asked by the moderator to specific panelists. That way, it becomes immediately more like a dialogue rather than a series of speeches. The momentum and the energy would be a little bit more kinetic and gets the audience a more engaged. It would also hopefully leave room for the audience to ask more questions, since we only had time for 2 questions from the audience.

Brian: This whole idea of music in and of itself, this idea that it transcends words and represents an idea that we cannot with words, is really powerful. I think it can be a powerful thing to react to that and discuss it: what did we get from that? How does it shape our thoughts? The idea of discussion is important, and the interaction between people is really important. As we move forward to do this in the future, we can begin thinking about how we can guide that discussion and make it as fruitful as possible.

Michael: The important thing for us to keep in mind is that we’re not political activists with an agenda or an idea to get across. For us, it was about guiding the discussion in a direction that made sure we were talking about where we are in our country culturally now that we have a non-white president. It was interesting that the conversation went in many different directions from that. Perhaps changing the format will make sure that not only is the interaction a little more lively between the panelists and the audience, but that the questions and issues that we intended to have raised in the event are, and that less gets left untouched.

Daniel Bernard Roumain conducting his piece, "Symphony for the Dancefloor" (photo courtesy of Jesse Weiner)

From the Top: There was a powerful moment in the discussion when an audience member challenged the panel on the issue of affirmative action. How do you think that affected what followed?

Michael: I think Daniel’s response to the question was an appropriate response, and that he responded to it as a musician and not as somebody who has his own political opinions or social opinions. It’s important that when you are trying to do an event like this to keep in perspective your perspective: I am reflecting and raising these issues as an artist. We are talking about America and the effects of racial integration culturally. We are asking “where are we in this country culturally?” We’re keeping in perspective how we’re asking the questions and who is asking the questions. I think it was good Daniel answered the question as a musician.

Brian: He didn’t just dismiss the guy for his anger, either. He really identified with his viewpoint by saying: “I understand where you are coming from, I don’t agree with you. Here are some things that I think differently, but I do understand where you’re coming from. There are parts of my experience that I cannot connect with where your experiences are, because I’ve had different experiences.” At the same time he was saying he didn’t agree, he was giving the guy’s argument value and understanding, which was really powerful. He wasn’t knocking the guy for his anger or his view, he was saying your voice is just as important a voice as any other voice, and it deserves to be heard just as much as any of the rest of us, as any of the five of us sitting up here right now (the panel).

DBR (photo courtesy of Jesse Weiner)

From the Top: What do you see in the future of this project?

Brian: Personally, I see someone giving us a $200 million grant to continue doing this. I don’t know if it’s going to happen, but I have my fingers crossed!

Michael: I think we have tapped somewhat of a niche market. Nobody is exactly doing what we’re doing in this way. We would want to continue doing projects like this—not necessarily in a concert plus discussion format, but projects that take music and set it in an illuminating context. In other words, taking art and getting people to think about it in a different way and continuing to produce events that do that.

Brian: We’ve both found that we have an interest and a passion for this kind of thing. We’re looking to keep that as a central part of what we do after NEC. In more detail, we’re looking to set up an organization that would put on these kinds of events, potentially a nonprofit.

Michael: It is definitely something we want to move forward with, and to keep thinking of new ways to be creative and enhance that concert experience, whether that be from the audience member’s perspective or from the performer’s perspective. Diplomacy through concert plus discussion only has to be one medium for that. It can take a lot of different forms, a lot of different concerts, and lot of different styles with the importance being that it’s wonderful music getting people engaged and enhancing the way they see and experience music.

Panelists Robert Gittens, Donnie Perkins, William Lowe, and DBR (photo courtesy of Jesse Weiner)

From the Top: Do you ever see it expanding beyond music and incorporating other arts?

Brian: Absolutely! I think collaboration is at the core of what we are doing. There are so many artists that are already part of this idea and that are doing things relevant to what we are thinking, and they would probably be really interested in being a part of this. The Internet is another way to make this available to everyone right away.

From the Top: Based on how this most recent experience went, what is the ideal picture you could paint for Musical Diplomacy?

Michael: Our name right now is Musical Diplomacy, and the key word to that is “music”. It’s all about making sure that the music gets you thinking or affects the way that you experience “fill in the blank.” It’s about how we can get music to get people thinking about the world around them differently. That’s the big mission, that’s what musical diplomacy is all about. The best success for us would be hearing: “Bernstein, that’s such a great piece and I’ve loved it all my life, but I never thought of it that way. Any time I listen to that music I am now going to think about it differently. And the next time I hear Barack Obama speak or Jesse Jackson or anybody in that sort of activism, I’m going to think about it differently because the music affected the way that I see this issue and how the issue either transcends or doesn’t.”

Brian: We are really interested in expanding on this idea of music as a platform for addressing social issues. It’s a really compelling idea that could make a huge difference and a huge impact for a lot communities and a lot of people. Aside from the concert and discussion, the question is that within this context of Musical Diplomacy how can we connect people to these ideas? What educational components can we bring in? How can we engage people in high school or middle school with this idea? How can we engage other communities? How can we bring this idea outside of Boston and into other parts of the country?

Panelist Gunther Schuller (photo courtesy of Jesse Weiner)

From the Top: What advice would you give to younger musicians who are interested in getting involved in their communities and are inspired to do something similar?

Brian: Try to identify the components of what you’re trying to do. Once you do that, get advice from people who are good at those individual components. We’ve been very lucky. Even though we’re receiving credit for putting this concert together, we had a tremendous amount of help. The good news is that there are a lot of people out there who want to help you. You’re not alone in this. Whether it’s your teachers or other people in your community, I guarantee there are people out there who will help you with whatever you want to do. One example at NEC: we had to raise money for our project, and we were applying for grants. We were directed towards the grant writer for NEC and met with him. We explained what we were doing, showed him drafts of our grant proposals, and he gave us feedback. Asking advice from someone is almost the best form of flattery you can give them. Don’t feel like you can’t ask. Always, always ask! Most people would love to sit down and help you in any way they can.

Michael: I think that’s the biggest thing: ask for advice. You don’t even have to have a completely concrete idea. If you’re really passionate about something and you have an idea, talk to your teachers and your mentors. Tell them about your idea and ask whom else you could approach to get advice. Take those names and then ask them for advice. It continues from there.  You’ll start developing really good rapports and relationships and a support system. That’s all you need. As we were developing our network at NEC, Tanya Maggi, the Director of the Community Performances Partnerships Program at NEC, came across From the Top’s Margaret Stewart Lindsay Arts Leadership Grant. All because we asked somebody for advice!

(photo courtesy of Jesse Weiner)

From the Top: What does it mean to be an artist in today’s world?

Brian: Especially in classical music, there aren’t that many jobs out there. Being a 21st century musician is about being resourceful and using all of your skills, and not necessarily just musical skills. That could mean teaching, performing, or putting your own projects together. For us, being relevant and part of a community is really important, and it’s part of being a 21st century musician. To go along with that, you have to have a broad view of what being “successful” is. Don’t limit your idea of success to being a violin player in an orchestra, and that’s it. You’ll miss out on a lot if you do.

Michael: I went to a conducting workshop, and one of the speakers during a career seminar said, “there are no such things as jobs, only opportunities.” As a young artist or musician, that (along with asking for advice) is a powerful idea that you can take away. It’s all about forging your own career. You can create anything you want, and if you have a passion for it, you can find a group of people that will help you. That’s almost as important as honing your craft at a conservatory. Look at your education as training for the various opportunities with which you’re going to create for yourself. With this attitude, artists (any student, really, in any field of education) would look at their careers differently, and, I think, for the better. Everybody has something to contribute to society; it’s just a matter of figuring that out. If you see your education as a way to create your own opportunities and not just apply for a job, it will have a monumental impact on your outlook.

Brian: You can also think about it as being a contribution with your art. That changes the way you approach what you do. Art isn’t about you; it’s about contributing something.

(photo courtesy of Jesse Weiner)

This is the final installment of our Musical Diplomacy series on The Green Room. We will keep you posted on future developments and proposals with the project!

This week in Links we Like, we observe the role that classical music can play in diplomacy and making a difference. Whether it be defending the importance of music education or supporting a political movement, music serves as a powerful catalyst for uniting people and ideas behind a cause.

Also, as a little side note, today is Mahler’s 150th anniversary! Click here to enjoy an excerpt from his 7th Symphony with the Lucerne Festival and Claudio Abbado.

The Cost of Freedom: The Israel Philharmonic Orchestra, with former New York Philharmonic director Zubin Mehta, gave a performance at the end of June advocating the release of Israel Defense Forces soldier Gilad Shalit. The concert observed the fourth anniversary of Shalit’s capture by the Hamas, and was accompanied by a 12-day march of thousands of protestors demanding for his release. The concert program consisted of works by Mozart, Albinoni, Verdi, and Beethoven as well as two popular Israeli songs with singer Shlomo Artzi. To read more about the performance, click here.

Zubin Mehta with the Israel Philharmonic (courtesy of operachic.typepad.com)

Collaboration for Education: The “Queen of Soul” herself, Aretha Franklin, and former Secretary of State Condoleezza Rice will stage a joint benefit performance at the Mann Center for the Performing Arts on July 27, 2010. The program’s selections will range from Mozart to “R-E-S-P-E-C-T,” and will be accompanied by the Philadelphia Orchestra with Rossen Milanov. Proceeds from the performance will go towards educational incentives and programs for the inner city youth of Philadelphia. Click here to read more about the concert.

(photo courtesy of www.guardian.co.uk)

The Show Must Go On: Amid the hardships of orchestras nationwide in a hard-pressed economy, one orchestra makes a comeback. The North Carolina Symphony met its goal of $8 million; the amount needed to stay afloat at the end of their fiscal year. A myriad of support from over 4,000 donors as well as a benefit concert helped bring the orchestra back to its feet. To read more about the NC Symphony and its road to recovery, click here.

North Carolina Symphony Director Grant Llewellyn (photo courtesy of news.ncdcr.gov)

Arts Leadership is an important part of From the Top’s experience for young musicians. We encourage all our performers to give back to their communities through their music. Sahun “Sam” Hong who performed on Show #206 in Dallas, Texas, has been doing Arts Leadership outreach continually since his show taped in November, 2009.  He’s setting a great example! On June 22, 2010 Sam will play a recital in Longhorn Auditorium at Trinity Terrace for all of the residents.

Here’s a quick photo recap of his work since November:

On December 1, 2009, Sam performed for all of the fifth grade students at Tanglewood Elementary School in Fort Worth.

Sam performing between showings of the award-winning documentary of the 2009 Cliburn Competition, "A Surprise in Texas

Sam and Van Cliburn at "A Surprise in Texas" showing

Sam performing at Trinity Terrace Retirement Home in Fort Worth. He visits the residents once a week to play solo piano, accompany them singing, and do some magic tricks. This is on the second floor for residents who are unable to get out.

Sam performs for elementary students at The Cambridge School in San Diego on June 3, 2010.

We have been following Margaret Stewart Lindsay Arts Leadership Award recipients Michael Reichman and Brian Kaufman for quite some time now on their emerging concert series, Musical Diplomacy. Their most recent event was this May at the Fenway Center, and was titled A Concert and Discussion on Race and Culture in the Age of Obama. Our blog has included a feature on the program (as written by Brian and Michael), an interview with the two, and a feature on composer Daniel Bernard Roumain, whose participation in the event provided both musical and inspirational energy. His composition, Symphony for the Dance Floor, was the electric finale of the May 14th performance.

We would now like to take this opportunity to introduce to another composer who was involved with Musical Diplomacy: Jason Belcher. Jason recently received his Bachelor’s of Music from New England Conservatory (NEC) in Contemporary Improvisation and Jazz Studies, and will be returning in the Fall to purse his Masters in Composition. We sat down with Jason to discuss his involvement with the event and his perspective on diplomacy in music:

When/how did you first learn about Musical Diplomacy (MD)?

I first learned about MD soon after Derek David and Albert Oppenheimer were finishing their pieces for the first MD event last year. I hadn’t known Brian and Michael too well then, but loved that they put the event together. It was a presentation built around current events, new music, and bringing a lot of minds together, and that’s a great thing.

Why did you want to be involved? How does this project connect to your own mission as an artist?

When they asked me to write a piece last year (around this time), I knew that I wanted to contribute to their next production right away. I knew that I could also get folks from the Jazz and Contemporary Improvisation departments involved (which fit the subject perfectly).

My mission was (and is) to bring together people from all kinds of musical paths and backgrounds to contribute to a greater whole. I feel that this is relative to American history, our advancements as a country, and also the advancements of NEC as a musical institution. I feel like there’s a lot of research going on here in terms of the way various people (students, faculty, and staff alike) are working, and the ways that we can work together. Just when I feel I’ve figured something out, a new bunch of people come along, give me a new set of tools, and the things we come up with are always rising to a new level.

How did your piece connect to the overall mission of Musical Diplomacy? What was your hope for the evening in terms of what the audience took away from the experience?

Race and Culture in the Age of Obama: One of the first things I did when I knew I’d be writing this piece was to go on the web, and look up interviews with our President. One of them was a short clip called “Jazz in the White House.” We see Obama say something like “We are going to have Science in the White House…Jazz in the White House.”

In the video the music that those kids are shown playing is closely related to other urban styles of music. It was a great example of an integration of people and cultures, and I knew I had to do something to contribute to M.D that dealt with music in that way.

Do you think the event as a whole was successful?

Yes. The musical program covered so many bases all relating to the subject. I really loved the program, and am happy to have had a premiere alongside Caroline and Daniel.

Brian and Michael also found a way to acknowledge the theatrical side of things by linking performances with recordings that we had made of ourselves, or others. I wasn’t too sure about that at first (I hate hearing my own recorded voice) but it really worked.

courtesy of Jesse Weiner

What are your thoughts on the discussion/panel component, including the pre-concert discussion at NEC – how did this contribute to the experience for you as a participant? For the audience?

The panelists at the concert, and their stories were wonderful. However, I preferred last year’s panel discussion over this one for a couple reasons. Last year, there was some opposition and differing views from within the panel. Everyone on this year’s panel had different experiences, but they all seemed to agree with each other. Also, there was much more conversation between the panelists last year. I was not terribly disappointed, but those are some things that I thought the panel could have been further strengthened by.

I enjoyed the diversity of the panel at NEC, and the wide range of sub-topics they covered when dealing with race. Here is another example of inter-departmental work that is fantastic, and needs to continue in other ways.

Did this inspire you to think about your work or role as an artist differently or inspire any new ideas?

It was incredible to hear my work being played by a large group of people. I personally don’t like a lot of political things associated with orchestras – it’s kind of like sports teams with coaches (or in this case, conductors) and players that are over-payed, and talked about way too much. However, I think that this is a vehicle that I can work with a little better in the future, by developing an individual way of writing for the orchestra, as many others have. If you look at every century, the orchestra has changed, and I don’t think that the 21st is an exception. The American Composer’s Orchestra, their commissions, and ideas were an inspiration to me while I was writing this work.

As far as the event itself goes, the diversity of the music, everyone involved in the production, and everyone in the audience made me very excited. It makes me proud to be where I am. It says “Look at all we have to work with here.”

I understand that you’ve started a community music series, can you tell us more about that? (what, why, who, how)

Here at NEC, we have a variety of programs that are known for being some of the best in the country. However, what you don’t hear is that those programs can (and sometimes do) collaborate. We’re all in the same boat, but largely in different quarters as far as the administration is concerned.
Because of the logistics involved, it’s hard for the school to organize inter-departmental forums and activities, but I wanted to find students, faculty, and alums who are interested doing cross-departmental work. I did a lot of talking to different people, had a few open reading sessions (of work suited to any musician/instrument etc.), and now there’s a core of about 30-40 people who have been involved in an off-campus series.

Next year, I’d like to begin working with students from other schools, and produce an interdisciplinary series. In the next few weeks, I’m planning to meet with students from Longy, Mass Art, Harvard, and Tufts. I’ve had a lot of help from other students in getting ideas and organizing for the series, and we’ve agreed that this is the next best step.

courtesy of Jesse Weiner

This article is a continuation of our Musical Diplomacy series. Stay tuned for our final interview with Michael and Brian to see their perspective on the event’s success!

From the Top’s Arts Leadership Program is all about young artists using their talent and passion to make a difference in the world.  Every show is new and different, bringing together a diverse group of musicians with a wide range of experiences – that’s what makes it so exciting!  The Arts Leadership Orientation, held the morning after every radio taping, is an opportunity to share and explore those experiences, share From the Tops’s mission of service, and build a community of inspiring arts leaders.

After taping an amazing show at the Gettysburg Festival in Gettysburg, PA, all seven performers and our education team gathered in a beautiful, sun-filled conference room on the Gettysburg College campus to reflect on their experience and explore ways to give back through music.

The performers chose one of the unique outdoor sculptures scattered across the beautiful campus for their group photo.

The Gettysburg Show Performers

The group participated in an exercise called “chalk talk”  (basically a group conversation done in writing) to explore what Arts Leadership means to them, and boiled it down to these key ideas:

Arts Leadership is…

• Sharing the importance of the arts, even when others criticize you
• Sharing your love for what you do
• Bringing your community closer together
• Being a role model

At the end of the session, the group was charged with making a 30 second video that captured their experience on From the Top, they named themselves the “Razzle Dazzle Kings”. Here’s their message below:

“Sharing your love for what you do, is the goal of the Razzle Dazzle Crew.”

And if you like that, stay tuned for the debut of the first-ever From the Top rap, courtesy of the Emerald String Quartet members. Be sure to tune in when their show airs, the week of September 20th.

We just got a neat update from composer Daniel Bernard Roumain (aka DBR).  A few weeks ago we featured a blog he wrote on Musical Diplomacy and Good, Long Hugs.  These days he’s been collaborating with the Boston Pops to work with young musicians in Boston area schools.  Check out this video for an overview of his educational philosophy (and some really cool uses of the violin).

The sky’s the limit when it comes to the Andover-Lawrence Strings Program of the Philips Academy. They just had their final student performance of the 2009/2010 school year, wrapping up yet another successful season for the 14-year old educational program. We last reported on their progress back in April following a collaborative performance with their program and FTT alumni. Having recently been awarded From the Top’s Margaret Stewart Lindsey Arts Leadership Award, they are already making plans for the 2010/2011 school year.

Through the From the Top grant, they plan to purchase new materials to broaden their music theory curriculum and will be adding an adult mentor to help train student teachers for the program. These changes would not have been possible were it not for student coordinator Jacob Shack’s decision to apply for the grant, which you can read about here. Jacob graduated from the Academy this past May and plans to attend Harvard in the fall. As such, the program will now be under the guidance of new student coordinator and upcoming senior Madeleine Tucker. We asked Maddie to introduce herself on our blog and share her thoughts about the program:

Hi! This is Madeleine (Maddie) Tucker, and I am a rising senior at Phillips Academy, Andover. Next year, I will be taking over Jacob’s position as coordinator of the Andover-Lawrence String Program. As a cellist myself, the group of young cello students in the ALS program is very special to me. Although the group consists of a mere number of approximately eight students, over 25 career possibilities are represented. They range from singer to artist to comic writer to rapper, clown, dancer, and even includes a potential professional video gamer. This combination of so many different types of people working together might seem unlikely; I certainly thought it was, until we began having occasional group cello classes. Imagine a classical music lesson with eight diametrically opposing viewpoints…One week, for example, previous From the Top cellist Bobby Chen and I tuned down the G and C strings of their cellos and taught them the beginning of the third movement of Kodaly’s Cello Sonata. The kids only achieved learning the first few measures, but the experience was exciting all the same.

Maddie with cello student Paoli and FTT alum, Bobby Chen

Though it is sad that the year is over, the good news is that nearly all of the students will return next year. I will miss them over the summer, but the teachers and students truly deserve a break; both have been working hard!

Just last week, Andover-Lawrence Strings had its final concert of the year. Gathered together in the large Chapel, parents, siblings, friends, and teachers listened as each student walked up onto the stage to perform one or more(!) pieces on their chosen instrument. By the end of the concert, we had applauded four versions of “Twinkle Twinkle Little Star”, six arrangements of “Marry Had a Little Lamb”, two “Heart and Soul” piano duets, one Harry Potter theme song entitled “Lumos”, and a variety of other songs. It was a great way to end the year.

The 2010/2011 Andover-Lawrence Strings Program season promises to be filled with optimism and dedication. They have truly set the mold for establishing arts leadership within student communities. For more information on the Philips Academy and its success with the Andover-Lawrence Strings Program, visit their website. We will continue to follow their program and will report back on their progress in the fall.