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Mitrovica Rock School: The Art of Listening and Responding

Wendy Hassler-Forest, Strategic Development Manager, Musicians Without Borders

06-02-2021

Mitrovica, a miner’s town in Northern Kosovo, has been called Europe’s most divided city. Since the end of the Kosovo War in 1999, the river that runs through the city has become a de facto border between the minority Serb community in the North and the majority Albanian community in the South.

Looking beyond Music: Empowering Students to Ignite Change at Project 440

Elena LeVan, Administrative Assistant, Project 440

06-02-2021

The first note an audience hears at any symphonic concert comes in at 440 Hz—the pitch A. Typically, the oboe plays this first pitch, followed by the rest of the orchestra as the tuning routine begins. Whether performing Bach concerto or Vivaldi suite, they will perform in tune, thanks to that first tuning pitch.

Venezuelan Musicians in Crisis Recreate Musical Identity across the World

Rachel O’Connor, DMA Candidate, The Peabody Institute; Hornist, American Youth Symphony

06-02-2021

Across the world, members of the music for social change movement hold a special connection to Venezuela, and many feel great concern for the astoundingly difficult circumstances its people have faced in recent years. The ongoing crisis remains massively under-reported in the media and under-funded by the global community. Brookings Institution calls this “the largest and most under-funded refugee crisis in modern history”; Venezuela is on track to overtake Syria as the country with the most displaced people, with 5.4 million and counting. Meanwhile, the international community has committed significantly less funding to Venezuelans. Four years into the Syrian crisis, $7.4 billion in international aid ($1,500 per refugee) had been amassed, while at a similar point in Venezuela’s crisis, only $580 million has been spent ($125 per person).

The Grand Canyon Music Festival’s Native American Composer Apprentice Project

Clare Hoffman, Founder and Artistic Director, Grand Canyon Music Festival

06-01-2021

In 1983, just a few years out of music conservatory, my husband Robert Bonfiglio and I embarked on a vacation to the American Southwest. We started our trip at the Grand Canyon, with our instruments in our backpacks, a rim-to-rim-to-rim four-day hike through the canyon. The first evening, with my aching feet soaking in the cold waters of the Colorado River, I took out my flute and played. The following morning, we packed up and headed up the floor of the canyon to Cottonwood campground, where I found a washed-out tree trunk to rest under and again played my flute. A park ranger followed the sound of the flute and, when he found us, invited us to the ranger’s hut that evening to play a concert.

Tracking SEL Growth in Students with the Light My Music Fire Workshops

Christina Placilla, Director of Education, The Harmony Program, and Dan Trahey, Founder and Creative Director, The Collective Conservatory; Creator and Director, Tuned In, The Peabody Institute at the Johns Hopkins University; and Artistic Liaison, OrchKids, Baltimore Symphony Orchestra

06-01-2021

Earlier this year, Dan Trahey and Pete Tashjian of The Collective Conservatory were invited by the Harmony Program to facilitate an eight-week Saturday-morning creativity workshop with students from multiple Harmony Program sites across New York City. The partnership was a natural fit. The Collective Conservatory’s work is rooted in creating environments that allow for personal expression, group problem-solving, self-esteem building through promoting individual assets, self-awareness, and increased musical skill sets. The Harmony Program, which provides after-school music education programs in underserved NYC communities, has long prioritized the development of Social-Emotional Learning (SEL) skills. As a natural extension of The Collective Conservatory’s programming, the workshop emphasized SEL to create a framework and pathway to concretely study creativity.

 

A Tale of Two Cities: Istanbul and Leipzig

Hazal Kol, Programme Coordinator of Barış İçin Müzik Foundation

05-05-2021

It may not seem geographically possible, but there is an invisible bridge between Istanbul and Leipzig: the bridge that connects the children of Barış İçin Müzik (Music for Peace) and the children of Kinderchor der Oper Leipzig (Children’s Choir of Oper Leipzig). Their friendship dates back to 2014, when Oper Leipzig, with the support of Turkey’s ENKA Foundation, came to Istanbul and visited the youth orchestra program Barış İçin Müzik. This visit led to two joint camp experiences, one in Leipzig (2016) and one in Istanbul (2020), with the total participation of over 150 children. The message created by the children was strong and clear: Peace.

Orchestras of the Venezuelan Diaspora

The Ensemble Editors

05-05-2021

According to the United Nations High Commissioner for Refugees (UNHCR), there are 5.4 million Venezuelan refugees and migrants worldwide—one of the largest displacement crises in the world. Many among these are former students, teachers, and leaders of El Sistema, Venezuela’s national youth orchestra program, founded by Maestro José Antonio Abreu in 1975; this growing diaspora has been shaping and enriching cultures in host countries. Displaced Venezuelans continue to make beautiful music, and not just as teachers and solo performers. Across the world, Venezuelan-founded orchestras continue to pop up, no less technically brilliant than those that made El Sistema a globally adapted model. One article in the magazine Guataca, which promotes Venezuelan music and musical initiatives around the world, reminds us of that continuing legacy.

Global Teaching Artistry Models: Ideas for Reflection

Nancy J. Uscher, Ph.D., Dean, College of Fine Arts and Professor of Music, University of Nevada, Las Vegas

05-05-2021

Artists’ careers will likely undergo considerable transformation over the next decades, as those trained in arts disciplines increasingly invent their own pathways for the future. As the arts expand their mission to include delivering social impact, not only will artists flourish in new contexts, but also, society may well be repositioned to build richer perspectives around the value of the arts and artists in the world.

Midcasting* Toward Just Futures: Creative Youth Development’s Waymaking to Systems Change through and beyond the COVID-19 Pandemic

Arielle Julia Brown on behalf of The Lewis Prize for Music Knowledge Generation Team

05-04-2021

Since the onset of the COVID-19 pandemic in early 2020, creative youth development (CYD) organizations have been expanding their work to provide greater support to students, families, and communities impacted by the pandemic. To strengthen this response from the field, The Lewis Prize for Music offered a COVID-19 Response grant to 32 organizations of varying size and geographic locations. Totaling 1.25 million dollars, the fund supported organizations that were leading direct response efforts in their communities. These efforts offered mental health support, food access, housing security, civic engagement support, and academic support, among other things, alongside digital adaptation of regular program activities. Additionally, many CYD organizations supported youth engagement in various forms of movement-building, including, but not limited to, the Black Lives Matter movement and work against voter suppression.

Rebuilding Your Program? You May Need Different Tools

Ben Gudbrandson, Artistic Director, Kalamazoo Kids In Tune, in collaboration with Donielle Hetrick, Afterschool Program Manager, Kalamazoo Symphony Orchestra

05-04-2021

My Papa grew up on the oil fields of Northern Michigan in the 1940s. He learned quickly the importance of working smarter, not harder; when anybody was faced with a challenge he would say, “Get a bigger hammer, son.” For a long time, I didn’t understand what it meant. But this year, the Kalamazoo Kids In Tune staff and I have leaned into this idea more than ever.

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