Featured

An artist’s creative process is one of the most intriguing aspects of a composition—a giant basket of sights, sounds, ideas, and sensations that bring inspiration. But how do artists select and interpret these elements? And if they really are so personal to us, what happens when we share the contents of those baskets with others?

At El Sistema Greece, the B-Me: Blending Melodies – Bridging Cultural Identities project has given us a window into that process.

As Music Director, I was most impressed by the way students from each section were able to take turns teaching, conducting, and helping the group perfect the repertoire prior to the Christmas concert. For more than a month, older students worked patiently with younger, newer students, imparting their experience and knowledge. This says a great deal about the transformational effects of the Sistema model in the places where it grows.

Authentic assessments are projects that engage students in their own learning journeys and can be implemented by all ages and classes in the program throughout the academic school year. At the Harmony Project Phoenix, these authentic assessments focus particularly on Autonomy, Creativity, and Empathy. For example, in the Empathy assessment, students lead the project, with teachers serving as facilitators.

I had to come to terms with the idea that some stories would have to be taken at face value, and then figure out how to present them so that readers would understand they were based on what I was told, not on what I could actually verify. Although many stats didn’t exist, just being at a rehearsal on a given Sunday could make even the biggest cynics question their critiques.

Chile is a unique country. Its territories are incredibly diverse, from the driest desert (Atacama) to the mountainous, brisk lands at the continent’s southernmost point (Magallanes, Aysén). This adds a layer of complication to our work at Fundación de Orquestas Juveniles e Infantiles de Chile (FOJI), where we strive to make it possible for musicians in every region to participate in ensemble music performance—even if it requires multi-day trips by sea, land, and air.

At first, the participation of the refugee community was meager, because the idea of a festival in a refugee camp was almost inconceivable. After the first one, however, the community got a sense of what a festival is like and what possibilities and opportunities might come from it. News of the festival started spreading all over Malawi and abroad.

What if there were an option for students—even those who could not afford additional years of school—to continue their “social development through music” journey? As it happens, there is one: United World Colleges (UWC), a consortium of higher education institutions that prioritizes—as does our field—peace, collaboration, and mutual understanding.

In Edinburgh’s iconic Usher Hall, the Love Music Community Choir is knocking down walls. Cofounded in 2006 by professional composer and educator Stephen Deazley, Scotland’s ambitious community singing program is now some 330 members strong—the nation’s largest community choir.

In 2021, I started doing online research about great violinists, recorder players, and orchestras. On Facebook, I came across a gentleman named Roberto Zambrano, a great musician and educator and a good person. I said to myself: “I have just found someone with whom to share my ideas.”

Action research is widely used in professional research, but unlike most academic research methodology, action research doesn’t stand back and wait for non-practitioners to deliver findings. Action research is led by the people inside the work, with ongoing hypotheses, experiments, and discoveries leading to improved practice along the way.