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FROM THE EDITOR September 2019

Tricia Tunstall

09-01-2019

On November 1, 2011, Eric Booth and I published the first issue of The Ensemble newsletter. In my inaugural editorial column, I quoted our Venezuelan friend Rodrigo Guerrero, who had said at the first gathering of U.S. Sistema practitioners: “Look around you. Look to your right. Look to your left. These are the people who are going to help you. Networking is incredibly important.”

Principles of Scale for Growing a Sistema System

Dalouge Smith, CEO of The Lewis Prize for Music

09-01-2019

In the early days of the U.S. El Sistema movement, Maestro Abreu regularly spoke at national conferences. Often during these events, he would state, “El Sistema is not a system.” Yet we all marvelled at the interconnected structure of neighborhood núcleos, regional seminarios, state youth orchestras, and the multiple levels of youth orchestras based at Caracas’s national conservatory.

The YOLA National Festival and Symposium in Los Angeles

Juliana Andreina Perez, Advisor/consultant, El Sistema in Venezuela and the United States

08-02-2019

In July, the Los Angeles Philharmonic sponsored the YOLA National Festival and Symposium, a multi-dimensional gathering for the El Sistema movement in the United States. The Festival was an intensive orchestral training program for students ages 12-18 from across the country; close to 150 young musicians came together for two weeks of immersive rehearsals, sectionals, concerts, and community-building activities. 

An American in Gothenburg

Emily Kubitskey, Teaching Artist/Conductor

08-01-2019

Often, when we think about the word ‘culture,’ we think about the qualities of a community—its shared music, food, or religion. However, the word is derived from the Latin word ‘colere,’ which means to tend or cultivate; so when we take a more active perspective, we can define culture as ‘the medium for growth.’

FROM THE EDITOR August 2019

Tricia Tunstall

08-01-2019

Dr. Bettina Love, the author and cultural philosopher whose riveting keynote speech kicked off last week’s YOLA National Symposium in Los Angeles, teaches her education students at the University of Georgia a course called “Black and Brown Excellence.”

Impressions from the YOLA National Festival

Terrence Thornhill, YOLA National Cello Faculty; Teaching Artist, Paterson Music Project

08-01-2019

The U.S. El Sistema movement came together in Los Angeles last week for the YOLA National Festival and Symposium. Two Festival ensembles of students chosen from Sistema programs across the country spent an intense week rehearsing and performing together, while the Symposium brought program leaders and teaching artists together for dialogue.

Changing Lives; Changing Interlochen

Trey Devey, President, Interlochen Center for the Arts

07-01-2019

I first discovered Interlochen as a young child. The campus is just seven miles from my grandparents’ summer cottage, and my love of classical music was inspired by Interlochen Public Radio.

Fostering Epic Parents

Anne Campbell, Education Director, Catamount Arts/EPIC Music

07-01-2019

EPIC Music, in St. Johnsbury, VT, was one of four El Sistema-inspired organizations recently invited to partner with a team of Duke University undergraduates to explore parent engagement in El Sistema USA member organizations. Parent engagement is an important goal for us; we have talked for more than a year about offering violin workshops for parents, so that they can understand our students’ challenges and learn how to help their children practice at home.

Editorial: July 2019

Tricia Tunstall

07-01-2019

I went last week to Side By Side By El Sistema Swe- den, an intensive international music camp spon- sored by the Gothenburg Symphony Orchestra in partnership with the city and El Sistema Sweden. Let’s start with the statistics.

Ten Years of Learning

Paloma Ramos, Chief Program Officer, Harmony Project, Los Angeles, CA

06-01-2019

After 10 years of programming at Harmony Project’s YOLA EXPO site, what have we learned?

We have learned that 7 years old is generally too young to start the French horn; it’s better to wait until at least 10 years of age. We learned that it’s best to start classes a few weeks after school starts, and end them a few weeks before the school year ends.

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