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The Long-Term Impact of What We Do: A 12-Year Perspective

Abigail Dance, Teacher Musician, In Harmony Lambeth

07-07-2021

Over the years, there have been many memorable and defining moments for me at IHL. The ten-year-old student I chanced upon playing his violin on the street, not busking for money, but playing for the community “to make them feel happy on their way to school”; two young students who took their instruments to church the Sunday after their second viola lesson, to share with their congregation the four notes they had learned; the trip to Canada with our senior students, where we joined with other Sistema organizations for a huge orchestral celebration in our shared language of music; and many more.

Although our program is defined by the powerful togetherness and shared narrative of our orchestral family, I would like to share the stories of two talented and hardworking young artists who had their first taste of music-making through IHL nearly 12 years ago—Simi and Elijah.

Iberacademy: Human Development Based on Musical Excellence

Irene Littfack, Journalist, Iberacademy

07-07-2021

More than a decade ago, Colombian orchestra conductor Alejandro Posada founded the Iberoamerican Philharmonic Academy—Iberacademy—in Medellín with one purpose in mind: to provide young Latin American talent with opportunities for human development through musical education of excellence.

For Young Music Organizations, Community Work Matters More

Laura Patterson, Executive Director, Make Music NOLA

07-06-2021

The first concert that Make Music NOLA ever played was the opening of a community garden. Back then, the organization was still named the Youth Orchestra of the Lower 9th Ward—a group of young musicians with less than a year on their instruments, putting on an unpolished performance of “Saints Go Marching In” for the community. The experience was critical for these students; performing alongside Irma Thomas, the Soul Queen of New Orleans, they felt a lasting current of community support and encouragement. Most of those students continued to play their instruments for years, and many went on to learn a brass instrument and join the marching band at Martin Luther King Elementary.

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.

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.

 

New Tool for Music Educators: The Comprehensive String Pedagogy & Curriculum

05-19-2021

The new Comprehensive String Pedagogy & Curriculum (CSPC) has been written by Richard Young of the Vermeer Quartet as an in-depth tool for Sistema-inspired youth orchestra teachers, conductors, and administrators. A longtime admirer of José Antonio Abreu, Young has taught extensively throughout Latin America, Europe, and the U.S.

IIEP-UNESCO Builds a Policy Toolbox for Educational Planning

04-21-2021

UNESCO’s International Institute for Educational Planning (IIEP) has created a free, comprehensive “Policy Toolbox,” 500 policy options for educational management and planning based on your country’s needs.

Nordicity Publishes Evaluation of England’s In Harmony Program

03-17-2021

Arts Council England commissioned Nordicity, in association with World Pencil, to undertake an evaluation of the In Harmony program.

Austin Soundwaves Launches Aging-Cohort Program with National Guild Funding

03-02-2021

Austin Soundwaves (Austin, TX) has been awarded a grant from the National Guild for Community Arts Education to fund their aging-cohort pilot program Mariachi ParaTodos (Mariachi for All).

Arts and Disabilities: Service-Learning in Trinidad and Tobago

Caitlyn Kamminga, Associate Professor Music (double bass), University of Trinidad and Tobago, Academy for the Performing Arts; Global Leaders Program alumna

02-03-2021

The first service-learning course I taught at the University of Trinidad and Tobago (UTT) Academy for the Performing Arts (APA) was a Residency in Community Arts. I chose to partner with the Consortium of Disabilities Organization (CODO) to offer my students a mentored residency working with students with disabilities. As I don’t have a background in special education, I decided to collaborate with a colleague from the University of the West Indies, music therapist Jean Raabe, to run an intensive workshop before the semester and join me in mentoring students on the project.

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