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The Ensemble seeks to connect and inform all people who are committed to ensemble music education for youth empowerment and social change.
 
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Jeunesses Musicales International: The Story Behind the Movement

Matt Clark, Programs and Marketing Director, JM International

10-07-2026

Almost a hundred years ago, as construction began on the majestic Palais des Beaux-Arts in Brussels, Belgium, Director Marcel Cuvelier walked through the construction site with a dream. “I always thought of giving concerts for young people,” he later wrote. “When I walked like an insect in that huge frame that would become a concert hall, meeting rooms, offices, halls…I thought about an audience that is demanding, worthy of respect, living: young. I could already hear the shouts and the applause.” 

EDITORIAL
When an Instrument Case Means ‘Don’t Shoot’: Symbolic Recognition in Medellín

Nathaly Ossa Alzate, strategic arts management and social impact consultant

10-07-2026

In Nancy Fraser’s framework, social justice requires both redistribution (economic resources) and recognition (cultural and symbolic status). Symbolic recognition is the validation of one’s identity, dignity, and self-worth within a broader socio-cultural context. And in 1990s Medellín—our time—young people faced material deprivation and severe symbolic misrecognition, viewed solely through the lens of urban violence, stigma, and invisibility. 

In-House Instrument Repair

10-07-2026

When the team at Community MusicWorks built the program’s new home, they brought their longtime luthier into their building.

Two Resources from Carnegie Hall

10-07-2026

Celebrating 15 years of the program, “Exploring Identity” is one of three recently released playlists featuring performances from Carnegie Hall’s Musical Connections program at Sing Sing Correctional Facility.

Global Focus on Youth Creativity

10-07-2026

The Global Extended Learning and Youth Development Association (GELYDA) has produced a special double issue of their magazine Extensions, themed entirely around Creative Youth Development (CYD).

EDITORIAL
A Question We Could Not Answer

Faly Ranaivoson, Founder, Choir Orchestra Loharano (COL)

09-02-2026

One of our longest-standing members asked a question at a meeting this year that I still cannot answer well. He had rehearsed four or five pieces for our concert last December. On the afternoon itself, he participated in playing only one of them. He wanted to know how that had come about. He put his question to everyone in the room.

Participate in the Next SIMM Research Seminar (Applications Due Soon)

09-02-2026

SIMM (Social Impact of Making Music) is calling for applications to participate in the 14th SIMM research seminar, happening February 24–26, 2027 at Vienna’s mdw-University of Music.

GUEST PERSPECTIVE
Why Willing Volunteers Still Don’t Show Up: How youth music programs can turn goodwill into support

Kathleen Staten, Founder, Your MBA Friend Consulting

09-02-2026

Last month, my daughter’s choir director needed parents to take tickets to the year-end concert. I had been a choir singer and director myself, so I know the invisible work it takes to put students on a stage. When the request came, I wanted to be the kind of parent who showed up.

Then, my week got overwhelming. By the time the concert arrived, I was no longer deciding between helping and not helping. I was deciding which responsibility would boil over first if I took my attention off it.

Music Education as an Economic Force

09-02-2026

When we think about the income generated by the music industry, we don’t usually think of music education as a major contributor.

Every Lullaby Begins with a New Encounter

Fenia Biniari, Communications Manager, El Sistema Greece and Project Manager, ESG Lullaby Project, and Michalis Kalkanis and Christos Kalkanis, Seeds (composer duo)

09-02-2026

The first chapter of a Lullaby Project song is usually written in a room where strangers have just met. Professional composers sit beside a mother who has never written music before. A child wanders around the room, curious but unsure. Participants may speak through an interpreter. Others may communicate more through gestures than words. At first, there are introductions, hesitant smiles, and long pauses. There is no score, no lyrics, no expectation of what the music should become. 

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