April 19, 2007
You CAN Make a Difference
I often use this space to provide advocacy advice and suggest strategies for use in saving, maintaining, and expanding programs for everyone to consider. Not today.
Instead, I want to share with you an actual exchange with a band director whose program was in an immediate crisis.
Panic Button
I was recently on vacation with my family in Washington D.C. I spend so much time there on business that I rarely get to actually take in and enjoy the wonderful historic and cultural offerings this magnificent city has to offer. When I travel I carry my Treo 650 Smartphone so I can stay on top of any issue that may need a quick response.
One item linked to my email address is a “Panic Button” on our Web site that was created for someone to press if they were facing an immediate crisis and needed an immediate response. This is part of our deep commitment to help individual music supporters be as effective as possible when a music program is at risk.
After a fantastic day touring the capital, visiting where money is made, walking the Smithsonian Gardens, visiting the Washington Monument, the World War II and Lincoln Memorials, we headed back to our hotel near the White House to rest before dinner.
Checking my email the following appeared (Note: The name has been changed for privacy purposes):
From: Suzanne Bennett
Date: Thu, 5 Apr 2007 16:06:56 -0400
To: crisis@musicforall.org
Conversation: WE NEED HELP NOW!
Subject: WE NEED HELP NOW!
Something that I have been fearful of for some time was confirmed to me today in an administrative meeting with my superintendent and the 2 elementary school principals.
They will be recommending at Monday nights Board meeting to not fill the elementary instrumental position in our school. Their plan is to replace the position instead with an after school position/s.
They have been most careful in their semantics. Their position is that they are NOT cutting a program just delivering it in a different way.
Their major reason is they don’t feel that students should be missing other classes for band.
So now instead of an elementary instrumental music teacher, we will have a collection of "qualified" teachers that will come to after school on a weekly basis at the elementary schools to provide lessons.
I would greatly appreciate anyone who can tell me where this happens and the level of success of it. Specifics about why it doesn't work or what would need to be done to make it work are most desired.
If you are aware of how elementary lessons are taught in any of your schools I would appreciate that info so I can use it Monday. When I told them that every other school that I am aware of has elementary band pull out lessons, they appeared dumbfounded. They wanted to know how this worked. It would also be helpful to know how many music teachers your district employees and their teaching responsibilities.
Any sources and/or sites that you could recommend I consult would be greatly appreciated since Monday night I will have an opportunity to address the board before their decision.
Thank you,
Suzanne Bennett
Band Director
Wow! It is early Thursday evening, before the Easter holiday weekend and she has to have a plan in place to defend her program by Monday! Unfortunately, this is an all too common scenario for many music and arts educators. So, what can we do with such short notice?
How to proceed?
Let’s deconstruct the problem. What issues are illuminated in this email and what do they really mean?
First - Why are they proposing making the program an “after-school program?”
They don’t feel that students should be missing other classes for band.
Ahhhh… they do not like the pullout program for lessons. What they (the administrators) mean by this statement is they are concerned the pullout program will have an adverse impact on the school’s test scores. (Note to self – send information on how pullout programs have no impact on academic performance of participating students.)
Second - What does this mean for student participation? Will this make the program available to more students… or less? Let’s see: program part of the regular curriculum available to all. After-school, available to some. This is an equity issue!
Third – What will happen to the program?
They “are NOT cutting a program, just delivering it in a different way.”
Semantic gymnastics… a friend of mine from Texas once told me, “You can put lipstick on a pig, put her in a pretty dress and call her Irene, but when you kiss her a pig is still a pig.” It does not matter the semantic lengths administrators go to when dressing up their policies. A cut is still a cut.
Lastly – How does this compare to how other schools deliver instrumental music?
This one is easy. Instrumental programs moved to after-school usually show a significant reduction in student participation. This is why programs that are part of the curriculum are more prevalent and preferable. Again, this is an equity issue.
OK – time to craft a response. My actual email is below – bad grammar and all as typed on my thumbpad!
From: bob@musicforall.org
Subj: Re: WE NEED HELP NOW!
Date: Thu Apr 5, 2007 5:27 pm
Size: 3K
To: "Suzanne Bennett"
Hi Suzanne...
I am traveling right now but wanted to respond. If you email me your phone number I can call you on Saturday to go over in detail. What state are you in?
The big issue is the fact that this school will be moving in a direction CONTRARY to most other schools. They ARE cutting the academic course since this is now after-school. This also means there is no credit for the course. In addition... highly qualified teachers, based on NCLB, means certified teachers. Not sure any certified teacher would agree to participate this charade.
Most importantly... This is now an access and equity issue. The only students who can be in the ensemble are those who will have a ride, do not have other after school commitments, etc. If a student does not have a ride or has other commitments - tough luck. This kind of program will create a cultural caste system of haves and have-nots.
There is also plenty of research that shows pullout programs DO NOT detract from other subjects... and that students that perform in instrumental ensembles out perform their peers that are not. I will send these to you.
If the goal is to improve school performance then all research points to the fact that they should be INCREASING the instrumental program... Not reducing it.
The reality is this is a program CUT. They can call it anything they want... But a cut is still a cut.
Bob Morrison
(sent from a wireless device)
Form a Plan
Over the weekend I spoke with a couple other people from the area including the local school music dealer. After gathering information from a variety of sources (Music for All, the local music products retailer, the state music educators association) Suzanne developed a simple and straightforward plan… something anyone can do:
1. Arm Yourself with Facts – Acquire all the information, data and testimonials to refute the very reasons the district is considering a program reduction or cut. Then provide information regarding the positive benefits of the music program to contrast any statements that may attempt to undermine the value of the program.
2. Present Your Case in an Unemotional Way – The “Joe Friday” approach of “Just the Facts” is the best way to layout your position. Overly emotional or hysterical presentations only work to harden the position of your opponent. (For those who do not know who Joe Friday is Google “Dragnet.”)
3. Look for Hidden Agendas – sometimes the stated reason for doing something is not the real reason. Is this being done because the really need to save money but do not want to say so? By refuting their stated position with facts will leave the school board with two choices: 1) Respond to the facts and make the proper decision or, 2) ignore the facts and do what they want. If they ignore the facts then there is a bigger underlying issue. Ignoring the facts will also empower advocates to show how the actions are not being considered based on research, facts, and the best interest of… the students! The media always has a field day with an elected body that ignores the facts!
4. Message is Important… So is the Messenger(s) – Find the best possible people to make the case and who will be listened to by the board and who’s opinions the board will value Parents, business leaders, concerned citizens all make good presenters when they are empowered with factual information. In this case, a letter from a band director from another community was read to the full board, a lawyer, parents, and an elementary student all participated!
At the Monday evening meeting of the school board more than 200 people turned out and an effective fact-based presentation was made showing how the plan for an after-school program would undermine the entire program, demonstrated how research has shown pullout programs do not negatively impact school performance, showed how most other schools in the surrounding area have the music program as part of the school day and highlighted all the great accomplishments of this music program and students.
The outcome? The superintendent was directed by the board to verify that the facts as presented were true (and they were). Once the information was verified - the program was saved.
My point in all of this is that you are all Suzanne. She took action to save her program by gathering information and facts and presenting them in a professional non-confrontational way through effective surrogates.
The big thing that separates Suzanne from most people is she took action. And in doing so She made a difference – and you can too.
(A message from Suzanne: Do not be afraid to promote your program. She said that in hindsight she should have done a much better job promoting the program. Her concern had been that she did not want to be seen “bragging,” but now fully understands the importance of keeping the accomplishments of her students and program in front of the entire community. Want to learn more? Send me an email and we will connect you with Suzanne!)
Posted by musicforall at 4:56 PM | Comments (3)
March 22, 2007
Don't Be Silent!
This has been a very busy two months. I have had the distinct pleasure of traveling around the country from coast to coast, visiting with educators and parents, politicians, and policy makers – Senators and Governors, education leaders of all stripes, students and a few activist musicians along the way.
Two events during my recent travels have had an impact on my thinking. I recently had the honor to present the Keynote Address at the largest single gathering of music educators in the world, the 2007 Texas Music Educators Association Convention. This was followed shortly by my participation at the 2007 Arts Advocacy Day in Washington D.C. where I witnessed something remarkable.
In Texas, Sir Ken Robinson and I created a two-session double-header tag-team (I am running out of hyphenated metaphors) focusing on creativity and the change to our global economy and the connection to music and arts education every day in our classrooms. At the end of Sir Ken’s session we had the opportunity to hear the Texas Commissioner of Education, Dr. Shirley J. Neeley, speak about her vision for education in Texas as well as the challenges and opportunities for music and arts educators to advance the arts in our schools. She herself is an arts education advocate. She went on about the challenges of standardized testing but maintained a steadfast commitment to ensuring the state requirements would be enforced – requirements that include instruction in music and all of the arts.
She ended her remarks with this on emphatic, repeated statement:
Don’t Be Silent
Don’t Be Silent
Don’t Be Silent!
She knows what sometimes many of us forget: Out of Sight – Out of Mind. Or to modify this appropriately: Out of Hearing – Out of Mind.
The second event I participated in had a profound impact on me. It was at this year’s Arts Advocacy Day events in Washington D.C. Arts Advocacy is hosted each year by Americans for the Arts and sponsored by Music for All (along with 92 other national groups!) Each year hundreds of people converge on our nation’s capital to advocate for funding and policies impacting our cultural agencies and arts education.
To kick off Arts Advocacy Day a Congressional Arts Breakfast is organized to galvanize the “troops” gathered for the day’s activities tromping around Capital Hill for meetings with congressional leaders. This year’s breakfast featured a keynote address by none other than the great champion of music and arts education, Wynton Marsalis.
For twenty minutes, without a prepared text and no note cards, Wynton went on to deliver what I believe may become the most important speech in the last 100 years on the importance of music and art in our culture and the shaping of our democracy.
In a speech I have dubbed “Here Comes Homer,” Wynton applied the virtuosity usually reserved for his music to his words.
After leading the audience back and forth through an arch of history invoking the great artists Homer, Michaelangelo, August Wilson, William Butler Yates, Louis Armstrong and the caveman Wynton stated:
“Great art has the opportunity to speak across epics to the grandeur of a people. That is the value of the arts. Primarily as a tool of communication the arts are tools for survival.”He then went on to say:
“We all are speaking in one language (the arts). And the value of knowing that language is that you gain the confidence that comes with understanding that you’re indeed a part of one long great progression. It is not about your race of people. It is not about your individual identity. It’s about the tremendous upward sweep in human consciousness that has been going steadily since we emerged on this planet.”Wynton also discussed the arts’ role in shaping the civil rights movement, democracy, the Constitution as a cultural document, and made the case for the inclusion of the arts in the education of our young people. He then urged everyone to go forth to spread the word. I have brought together these two seemingly unrelated moments to help enlighten the importance of our work in advancing a free and civil society, in advancing our democracy, and the importance of raising our voice.
Shaping the World
Music and arts education plays an important role in shaping our culture, in shaping our country, in shaping our democracy and ultimately in shaping our world. Each interaction between a teacher and a student is an important part of what Wynton described as that “one long great progression” of humanity.
The work you do shapes the world we live in - making our efforts to ensure every child has the opportunity to be involved with music and the arts now more important than ever.
Advancing music and arts education at this moment in our history requires that everyone speak out. Everyone must be engaged. Everyone must add his or her voices to the chorus in every community, state and collectively across this nation.
I have repeated, in this space and elsewhere, that advocacy is not something that you do… it must be become a part of who you are. So, it is critical you look at your yearend activities and consider how advocacy may be imbedded in your work.
What Can You Do?
• Look for “Teachable Moments” - Include a list of “Did You Know” facts in your concert programs. Things like SAT scores, famous quotes, research outcomes, little tidbits that subtly, yet effectively, reinforce the importance of the work you do.
• Reach Out to Others - Ask a local business leader to be the Master of Ceremonies for your concert and provide him or her with talking points about the importance of music and any specific facts of interest regarding your own program. In Texas the compared the SAT scores of the all state honors groups with the averages for all Texas students and the nation. The All-state students were “off the charts.” What about your students? This could be a powerful fact to share with the community!
• Empower Your Parents – Make sure you turn the passion of your parent support groups into effective action. This is only accomplished through organization, preparation, and consistency of message. Be sure they are fully aware of what is happening in your school with the schedule, budget, or any other item that may help, or hurt, your program. To help you get the Community Action Kit just released by NAMM to help (more about this at musicforall.org).
• Do a Good Job, then tell someone - Write a year end press release for your local newspaper showcasing the achievements of your program. It is important that you share with everyone including your parents, administrators and the press the accomplishments of the program during the year.
• Be Seen - Schedule a small ensemble to appear at the year-end board meeting. Be sure you have representatives attending EVERY board meeting. Sometimes being seen, consistently throughout the year, can have a great influence on a school boards support of your program.
• Give Thanks! - Send a “Thank You” note to the school board and administrators. Have your parents do the same thing. Not only is this a nice gesture… but also it will help remind these key decision makers of the support your program has in a very positive, non-confrontational way.
• In trouble? CALL US! - We will connect you to people and resources that may help you in the face of challenges!
Regardless of what you choose to do just remember one thing: Don’t Be Silent.
Posted by musicforall at 4:25 PM | Comments (0)
January 28, 2007
A Music and Arts Education Advocate Runs for President
This morning, former Arkansas Governor Mike Huckabee announced his plans to run for President of the United States. You will know from reading this blog that Governor Huckabee has been an unwavering supporter of music and arts education and has used his position of power and influence to help educate others on the critical role music and arts education plays in the development of our children.
He has pledged to continue to keep this issue in the public eye and bring it into the campaign debate - just as he did today on Meet the Press:
GOV. HUCKABEE: This is from Memphis, by the way, yeah.
MR. RUSSERT: Now, I believe that song is “Born To Be Wild.” Is that your inner self?
GOV. HUCKABEE: It probably would be born to be mild would be a better one for me. I love music. One of the things that I’m very passionate about is music and art and education because it was life-changing for me. I think in a creative economy we’ve got to have a whole group of kids coming up and a generation whose left and right brains are stimulated. It’s something I pushed for as a governor in Arkansas where we are one of the few states that required both music and art education. I’m a musician, I’m passionate about it, but I think this, this country has made a huge mistake in cutting music and art out of school budgets. And it’s something we’ve got to address because the future economy is dependent upon a creative generation.
MR. RUSSERT: Governor Mike Huckabee, he’s announced for president. Thank you for sharing your views, and we’ll be following your campaign.
MTP Transcript for Jan. 28, 2007 -
Meet the Press, online at MSNBC - MSNBC.com
Regardless of ones politics... whether as an individual you support him or not... the arts education community will be well served by having such a candidate in the fray to bring our powerful message to the national spotlight.
From today's announcement!
WASHINGTON, D.C. -- Former Arkansas Governor Mike Huckabee announced Sunday on NBC's 'Meet the Press' morning show with host Tim Russert that he will explore a presidential bid for 2008.Huckabee, who left office Jan. 9, said,"People want an authentic conservative who has a proven record of results.”
“I’m taking the next step in becoming a candidate for President of United States,“ Huckabee, a Republican, said. “By filing papers with the Federal Election Commission, I will establish my official exploratory committee.”
The formation of an exploratory committee allows Huckabee to raise and spend money for a presidential run.
“I've concluded that I should take this necessary and vital step to bring a new kind of optimistic leadership to the public square,” Huckabee said, noting that he has received "strong, prayerful support" from his family, close friends and supporters in many states.
Last year, Huckabee campaigned in nearly 30 states on behalf of Republican candidates, state parties and conservative groups.
Huckabee became Arkansas' 44th governor in July 1996 when his predecessor resigned. He was one of the youngest governors in the country at the time. Huckabee first was elected lieutenant governor in a 1993 special election and was elected to a full four-year term in 1994. He was only the fourth Republican to be elected to statewide office since Reconstruction.
Huckabee was elected to a full four-year term as governor in 1998, attracting the largest percentage of the vote ever received by a Republican gubernatorial nominee in Arkansas, and was re-elected to another four-year term in November 2002. He was the third longest serving governor in the history of Arkansas, having served ten and a half years.
Huckabee is nationally recognized for his leadership capabilities and many accomplishments as governor. 'Governing' magazine named him as one of its Public Officials of the Year in 2005, Time magazine honored him as one of the 'Five Best Governors' in America, and he received the distinguished Impact Award from the American Association of Retired Persons.
Huckabee served as chairman of the National Governors Association and chairman of the Education Commission of the States. During his tenure as governor, Huckabee made great strides in improving education, increasing access to health care, updating technology in state government and revamping the state’s roadways.
Huckabee, a fiscal conservative, pushed through the Arkansas Legislature the first major, broad-based tax cuts in state history. He led efforts to establish a Property Taxpayers' Bill of Rights and created a welfare reform program that reduced welfare rolls in the state by almost 50 percent.
The governor is a noted speaker and author. He has given speeches on politics and public policy to groups across the country and around the world.
Born and raised in Hope, AR, Huckabee, 51, and his wife, Janet, live in North Little Rock. They have three grown children, John Mark, David and Sarah.
Official announcement activities are scheduled to begin on Tuesday, Jan. 30, with a two-day tour in Iowa. (This will be the Governor's ninth trip to the Hawkeye State.)
Posted by musicforall at 8:25 PM
January 11, 2007
From Hope to Higher Ground
No advocate has had a greater impact on advancing music and arts education over the past decade than Arkansas Governor Mike Huckabee. No one. He has used his leadership posts as Governor, his chairmanship of both the Education Commission of the States and the National Governors Association as his own “bully pulpit” to promote the value and importance of music and arts for our children. He has used his pen to craft education legislation to provide the force of law to protect our programs. He walks the walk and talks the talk. His efforts have really brought our cause from hope to higher ground.
Governor Huckabee has finished his term as Governor of Arkansas and is turning the page on a new chapter in his life as an author, public speaker, and who knows what else.
Now he has written a book! FROM HOPE TO HIGHER GROUND: 12 STOPs to Restoring America’s Greatness.
He has been kind enough to share with all of us an excerpt from his book that focuses on his passion for our cause and the deep personal meaning music has in his life.
I think you will enjoy it!
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Stop Cheating Our Children: Move the Potential
Ninety percent of CEOs surveyed said that attracting and retaining talented people is their top priority and their greatest challenge. Job seekers need to have more than an education—they need critical thinking and the ability to come up with creative solutions. The development of such skills is connected to a glaring error being committed by many practitioners of public policy in education.
We will never move the potential of our students to its full capacity if we cheat them out of a complete education, which includes art and music. The economy of the future is likely to be based on different models than past ones like physical strength and a strong back. It won’t even be based on mere intellectual capacity. The key is creative capacity. Richard Florida’s landmark book The Rise of the Creative Class creates a portrait of the American workforce as one in which creativity rules not only the marketplace of jobs but also has a dramatic impact on where people choose to live.
Unlike my baby boomer generation, the Gen X generation is not driven as much by money and materialism and individuals often make career decisions based on opportunities for personal lifestyle choices such as availability of local theater, art, music, or recreation. People choose careers and communities with a focus on quality of life as much as quantity of salary.
From an educational standpoint, numerous studies have shown a direct correlation between music education and math scores. This makes perfect sense in that the study of music helps develop both the left and right sides of the brain and improves spatial reasoning and the capacity to think in the abstract. In other words, the basic fundamental values one employs to learn music can be applied to learning any other discipline.
A person learns how to learn, and that skill is transferable in learning foreign languages, algebra, or history. The younger the age at which one is exposed to and learns music, the more impact the study of music will have on his or her academic capacity and achievement.
Music is a part of who we are from our very creation. It is in our God-given nature to be musically inclined. The first rhythm we are exposed to is the heartbeat in our mother’s womb. From almost the moment we are born and throughout infancy we are exposed to parents and caregivers who instinctively sing to us and communicate their affection and information such as the alphabet through music. Children are soothed by music, and the familiar refrains of a lullaby are as comforting to a child as food.
Sadly, as the child grows older, decisions are made for him or her by school budget officers who often determine that a music program is too expensive. I argue that it is too expensive to the future of the child to not have music! Although there are clear academic benefits, we need to be cautious in assuming that the purpose of music and arts curriculum is as some associated or secondary value in other academic disciplines. There is value in music and the arts on their own merits, and not everything we study has to have a finite result of some type of productivity to have intrinsic value and worth.
One of the pieces of legislation of which I am most proud requires every student in Arkansas schools to receive established time in both music and the arts taught by a certified teacher. I still remember the battle not only over the subject matter but the necessity of having music and art taught by competent teachers who are actually trained and fully certified in their fields. I was stunned when a legislator arguing against the need for certified teachers in these fields said, “Anybody can teach music; all you have to do is play a recording.” I replied, “That attitude is exactly why we need the certified teachers!”
Because of tight budgeting, some school districts make the tragic mistake of believing that music and arts programs are simply too expensive. I would argue that music and art are not expendable, they are not extracurricular, and they are not extraneous. They are essential!
Despite the determination of some to exclude a music and arts curriculum on the basis of it not being a vital part of a student’s preparation, some 1.7 million people called themselves artists in 1990 as opposed to 400,000 in 1950. The growing number of people who consider them- selves artists is an affirmation that even when some supposed educational experts put it on the chopping block, there is still a yearning deep within the hearts and souls of human beings to express themselves and to carry the message of a culture from one generation to the next through the vital, necessary, and treasured forms of art and music.
I would contend that the attempt to cut the arts in a school system is about the dumbest move a school board or superintendent could make. Political officials might be interested to know that nine of ten parents oppose cuts in an arts program. Not only is it right — but it is politically smart to insist on continuing, if not expanding, music and arts programs for every student in America!
We must ensure that “no child is left behind.” But many children will be left behind if the only talents we touch are those of the mathematicians or the athletes. The talents of the actor, the musician, the singer, the painter, or the dancer are as important as the talent of the young aspiring scientist. Beyond the intrinsic value of music and art is the tremendous inspiration and motivation they provide to many students.
The arts have value in teaching patience, perseverance, and the power of practice toward personal performance. One learns that for every minute on stage, there are hours and hours behind the scenes in rehearsal. The power of cooperation and teamwork also is a benefit to music and the arts, and students learn that without the set designers, stagehands, sound and lighting technicians, and makeup artists, the actors would have a dark, empty, lifeless stage and the curtain would never open. Both direct and indirect benefits make the arts a necessity for a total education.
In 1966 an eleven-year-old kid begged his parents for an electric guitar for Christmas. The eleven-year-old was absorbed in the music of the era — the Beatles and other rock bands — and wanted to play the electric guitar. He promised to faithfully practice and learn to play if he were to get the guitar for Christmas. The cost of an electric guitar, even one purchased through the J. C. Penney catalog, was well beyond the budget of a family struggling to make the rent payment by the first of each month. Somehow those parents made sacrifices and arrangements to make monthly payments over a year for the guitar and a small amplifier, which cost a total of $99.
The boy practiced for hours on end, often playing until his fingers were near bleeding. Like many other kids of his generation, he formed a rock band while still in junior high school and continued to play throughout his student days in various venues ranging from high school dances to small shows in school auditoriums.
As you read this you probably think that this is the story of a young, aspiring guitarist who would go on to a lucrative career as a famous musician and entertainer, but it didn’t work out quite that way. He never made it as a professional rock and roll musician, but while turning to other endeavors he never quite got music out of his system either. He is now past the age of fifty, but he claims to enjoy it more than ever. He plays in a rock band made up of people who all have other day jobs but now play for the fun of it. His band opened for Willie Nelson in a soldout nine-thousand-seat arena, as well as the Charlie Daniels Band, Grand Funk Railroad, Dionne Warwick, 38 Special, and Percy Sledge. He has played in venues ranging from presidential inauguration parties to the famous Red Rocks Amphitheatre in Denver, and a concert at the foot of the Brooklyn Bridge in New York.
By the way, that eleven-year-old kid who begged for the guitar is the author of this book who still loves music and whose band Capitol Offense has helped keep him sane through many challenges of raising a family and swimming in political waters!
Every student should have the opportunity to explore their creative abilities, whether it’s by joining a band, acting in a play, or singing in a church choir. While most people cannot play tackle football at my age, there is never an age in which we will outgrow the ability to appreciate as well as to participate in music and the arts. They are truly endeavors that can be enjoyed for a lifetime.
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My special thanks to Governor Huckabee for sharing this with us. Terri Hardy and the Governor’s staff for helping pull this together, and the fine folks at Hachette Book Group for being so responsive.
From the book FROM HOPE TO HIGHER GROUND: 12 STOPs to Restoring America’s Greatness by Mike Huckabee. Copyright © 2007 by Mike Huckabee. Reprinted by permission of Warner Books, Inc, New York, NY. All rights reserved.
Posted by musicforall at 4:27 PM | Comments (0)
September 9, 2006
The Music in Us All
The calendar has turned to a new school year. All of us have dreams, hopes, and expectations for our programs. All of us look to provide inspiration to our students in the coming year. With that in mind I am offering the following as inspiration to each of you.
On Saturday October 7 at 7 PM (eastern time), HBO will premiere the documentary The Music in Me. This is the first in a series of specials that will premiere over the next twelve months. Don’t miss it! That’s my point. Don’t miss this show. If you want to know why… read on.
Leslie Stifelman, the executive producer of The Music in Me and the musical director for Chicago on Broadway recently invited me to a screening of this show. From the very start I was captivated. There were times I caught myself with my mouth wide open. It was without question the most inspiring program (television, film or radio) focusing on music and kids that I have ever seen (and I have seen most of them). It was so moving that I immediately called my good friend and partner in advocacy NAMM’s Mary Luehrsen insisting that she see the show. Her response was the same as mine.
I share these reactions with you because I know that no matter how eloquent I attempt to be with the next few paragraphs I will not do this show proper justice. Here goes:
The premise is simple: HBO asked young musicians from all corners of the US to send in videotapes of the music they play. The joyful result is the HBO half-hour special The Music In Me, a documentary which profiles six young musicians, aged 7 to 11, each from a different musical and cultural tradition. What all six of these children share is talent, and a love of music that gives shape and meaning to their lives.
What struck me most was the diversity of musical styles, social circumstances and cultural influences. The children featured in this program come from all over America and include a 7-year-old African-American zydeco accordion player, a 10-year-old Puerto-Rican jazz flutist, and an accomplished 11-year-old classical cellist – amongst many others. These uplifting stories of young musicians compel us to reflect on the power of music in all our lives and reinforce for me the work we all do everyday to educate, enlighten and inspire young people through music.
With their virtuosic and distinctive performances of both classics and lesser-known tunes representing many genres of music from classical to jazz to a variety of root music, the featured young musicians open their hearts and share their passion for living musical lives. During this show you will meet:
• Nathan, age 11, from Hillsborough, CA: a classical cellist who describes the concepts and emotions that inform his artistic interpretation of “The Swan” by Camille Saint-Saens. His performance even made a cynical old drummer (me) cry!• Elena, age 10, from Berkeley, CA: an accomplished flutist with a penchant for Latin Jazz that connects her to a unique Latin community.
• Guyland, age 7, from Frilot Cove, LA: a zydeco accordion player who carries on the tradition of indigenous music passed down to him in his dreams by his great grandpapa
• Una, age 11, from Portland, OR: a singer-songwriter and rock guitarist who believes music has the power to influence people, performing her own composition entitled “Global Warming”
• Tyler, age 10, from Virginia Beach, VA: a trumpet player who performs the patriotic tunes of George M. Cohan with his younger siblings (age 8 and 5) by day … By night, Tyler jams on the street with a sophisticated jazz combo and blows the crowd away
• Qaasim, age 9, from Brooklyn, NY: a percussionist whose favorite drum is the djembe, but who can actually make music with anything, and creates a symphony of percussive sounds on the streets of New York City
Interspersed between the featured artists are glimpses of other children whose home video clips capture their eclectic and engaging musical personalities. These include:
• TJ, age 11, from Omaha, NE, who loves his music so much that he wakes up early just so he can touch his guitar• Aaron, age 10, from Scarsdale, NY, whose favorite kind of music, without a doubt, is klezmer music.
• Thalen, age 9, from Kaneohe, HI, a ukulele whiz
• John, age 12, from Carrollton, TX, who plays chromatic harmonica with the family trio
• Sydney, age 10, from Chicago, IL, whose favorite music is pop and whose favorite sounds are the minor chords
• Brock, age 8, from Pearl City, HI, who bangs on a taiko drum (it’s bigger than him)
• Macyn, age 10, from Waterford, WI, who presents a classic blues tune on her banjo from the middle of her family’s soybean fields
The Music In Me is a compelling mix of featured performances and home video clips. It is stunning for the way it opens our eyes to the surprising range of musical styles that children study and embrace across the country. The program provides a fresh look at the many ways music can have a vital, profound impact on young lives, and reminds us that every child is on a journey towards finding his or her own musical pathway.
The lesson for me was less of a lesson and more of a reminder. Our children have music in them. It is bursting to find its way out. It also provides us all with a gentle nudge of the breadth of music making kids across this nation are involved with. This is something the music education community has already begun to reflect on with the diversification of course offerings for students. The Music in Me makes the clear case that this is a pathway we should all embrace.
Executive Producer Leslie Stifelman, HBO, NAMM the International Music Products Association and Music for All have joined forces so we may use this documentary as an opportunity to raise awareness about the true power of music in the lives of our children.. By the time you read this we will already have materials available for you to use in your classroom and community because of the generous support of NAMM. Go to: http://music-for-all.org/musicinme.html or NAMM.com to learn more. To help keep music education strong in your community, go to http://www.supportmusic.com
As always, I encourage you to take advantage of this opportunity so we can showcase and unleash the music in us all!
Credits: The Music In Me is produced by Diane Kolyer, whose HBO credits include the Emmy Award-winning Happy To Be Nappy and Other Stories of Me, the Emmy-nominated Rosie O’Donnell’s Kids are Punny and the interstitial series My Favorite Book. The show’s executive producer Leslie Stifelman is currently Music Director for the Tony and Grammy award winning Broadway hit musical CHICAGO. She is also the creative force behind Symfunny Toons inc., a company dedicated to the development of television and interactive products for children to learn about music. The show’s co-producer is Beth Aala, whose HBO credits include I Have Tourette’s But Tourette’s Doesn’t Have Me. Feature segments presented in The Music In Me are directed by Mark Benjamin, Ellen Goosenberg Kent, Diane Koyler, Mark Mannucci, and Amy Schatz. Supervising producer, Dolores Morris; executive producer, Sheila Nevins.
Posted by musicforall at 8:20 PM | Comments (0)
June 15, 2006
The Four C’s of advancing Music Education
Every now and again someone has the crazy idea that I may have something of value to say and asks me to be a part of a panel discussion. As patient readers of this column, you know that I always have plenty to say – whether or not it is of any value is another mater!
My latest victim was the National Music Council who asked me (along with several more insightful individuals) to share a panel discussion on the role of the broader music community/industry in supporting music education and to discuss what, if anything, this group could collectively do to help advance our cause.
Richard Bell, CEO of Young Audiences and one of the really bright thinkers in the area of arts education, was one of the other panelists. Responding to a question from the moderator, Richard went on one of the more interesting riffs I have heard recently regarding what the community needs to do to support music and arts education. He calls these goals “The Four C’s.” I found the Four C’s to be so fascinating that thought I would slightly modify and share them with you:
The Four C’s
1. Count and Compare –Counting Counts. Readers of this column know what a fanatic I have become about the need for, and use of, data regarding music and arts education. Richard makes the point that we need to count everything… from the mundane to the meaningful. “Mundane” would include things like the number of students enrolled in our programs, what percentage of the school population participates, and what our program offerings are. Mundane does not mean “unimportant” – these things are very important and the truth is, we do not document these fundamental statistics enough. “Meaningful” refers to such figures as, the average of our students’ performance on standardized tests vs. non-arts students. How about attendance, class rank, college bound seniors? This information provides some additional context to the importance and value of our programs. But, counting alone only gives us a snapshot of a point in time. The real value comes when we compare what we count over time so we can learn how trends may be developing. Do we have more students in our program or less? Are certain programs growing while others may be shrinking or is everything growing relative to the student population? Counting does count. The magic occurs when we count and compare!
2. Connect – We need to connect what we do with the broader community. Sitting in our music rooms isolated from other teachers, administrators, and parents doesn’t get it done anymore. Get out of the classroom and into the community – engage and be engaging. Look for opportunities to connect what you do in your programs with other aspects of the school – other subjects or activities. Better yet, find ways to connect to other aspects of the community. Historically, music educators have enjoyed the sense of mystery that surrounds what we do. This comes from having our own classroom or wing set off away from the rest of the school. If we want music to be treated like a “core subject” we have to act as if it is one – that means reaching out and connecting with others and being accountable for what we do. By connecting with others you also create opportunities to share the important role of your program with others who may not be as well informed. In essence, you are creating additional “advocacy moments” to help promote and share the great work that you do.
3. Close the Gap – Richard was referring to closing the gap between Classical and Popular Music. There should not be this “genre divide” in the music and artistic communities. Hip Hop, Jazz, Pop, Classical and any genre-bending combinations are all musical art forms. This does not mean you have to like them all, but we must appreciate the fact that the act of creating music is an artistic endeavor. We should not be so snobbish in our outlook toward music we may not be particularly attracted to. Now let’s apply this concept to music education. We have this same problem. I call them “Genre Snobs.” Band vs. Choral. Orchestra vs. Band, and Everyone vs. General Music. A battle where one views themselves superior to the other. At the end of the day we are all after the same goal: educating children. The vehicle we choose to use is music. Each way is just a different approach toward the same end. The music education community needs to work together for our common purpose to ensure that an education that includes music is the right of all students. Arguing with one another based on our different programs or feeling superior between segments within music education only provides those who wish to cut back or eliminate our programs more ammunition and a wedge to use against us. It is the old divide and conquer routine. Focusing on those things that divide us will take us down. Working together and focusing on those elements that unite us will help build our community.
4. Create and be Creative – Teachers need to be creators, students need to be creative. Most music educators I know are also excellent musicians. Most thought of themselves as performing artists long before the pathway to teaching became clear. Artists do not, and should not, stop being artists when the become teachers. Being continually dedicated to creating and learning in our own art form only benefits the students whom we serve. Practicing our craft at the highest level demonstrates the importance of our work. For our students, creating music has to be a priority of any program, regardless of what type of program or grade level. It is through the active creation of music that provides all the many benefits documented by research over the past decade. Active engagement, not passive, is the key to unleashing the creativity in our students and ourselves.
Which brings us to my final point. The reason I enjoy participating in these panels and presentations is not because of what I may have to share. The reason I enjoy these events is because, as this column clearly points out, I am bound to learn something new or insightful from the other people I meet in the process. It is something we all should try to do in any interaction we have. For me, it makes me a better person. For you, I suspect it will make you a better teacher, not of music, but of our next generation.
Thanks for the inspiring insight Richard!
Posted by musicforall at 3:40 PM | Comments (0)
March 30, 2006
STATE MUST RESTORE LONG-NEGLECTED FUNDING
The San Jose Mercury News weighs in on the arts education funding debate in Calfironia:
Arts programs due for cash infusion
Mercury News EditorialThis weekend and next, Willow Glen High School will perform the musical ``Once on This Island'' with a new partner, Children's Musical Theater San Jose. Willow Glen is providing the actors and volunteers, and Children's Musical Theater is providing the expertise and equipment.
It's a creative solution to stretch the meager resources that public schools have today for the arts. Most, especially middle and elementary schools, have been barely able to keep arts programs alive. That's why it's critical that the Legislature approve $100 million for K-8 arts education that Gov. Schwarzenegger has proposed in his budget.
It may seem like a lot of money, but it breaks down to only $20 per student -- or $14,000 for an elementary school of 700 kids and $24,000 for a middle school with 1,200 students. It's not even enough to hire a full-time arts teacher, but it's a start.
Requiring money to be spent on the arts would run counter to the trend over the past few years of giving school districts more say over spending. Flexibility is important, but so is at least minimal spending for the arts and physical education, for which Schwarzenegger is earmarking $85 million. Both are essential for students' intellectual, creative and physical development.
The arts especially have been hit hard, as districts have shifted resources to boost students' performance on standardized tests. Some schools facing state sanctions have dropped most electives to make room for remedial math and English.
The California State University system requires a year of arts courses for admission, so high schools have had to preserve some programs. But many students are arriving in ninth grade with no background in music or dance and a meager exposure to the visual arts. As is so often the case in California, schools in poor areas are worse off. Parents there, unlike in wealthier areas, can't raise extra money to hire a band instructor or drama teacher.
It will take years to rebuild programs, including training teachers in the arts. The governor's proposal is just a start. But creative schools will find ways to make the most of the money -- like the collaboration at Willow Glen High.
Let's hope the Legislators are listening!
Arts programs due for cash infusion
Posted by musicforall at 8:06 AM
March 24, 2006
"Schwarzenegger's school-arts budget is an opportunity that cannot be squandered"
Today's San Francisco Chronicle weighs in on our side regarding the proposed $100 million reinvestment in arts education for California's public schools.
The paper clearly supports the proposal and offers some excellent suggestions to provide accountability and to ensure the funds will be used to build upon and not replace existing funds.
EDITORIAL - San Francisco Chronicle Friday, March 24, 2006The art of learning
THE STUDY of the arts is not a luxury. It is an essential component of a well-rounded education. Its positive effects on a child's spatial skills have been shown to translate into higher achievement in mathematics and other subjects. The lure of quality arts and music programs can help retain and
motivate students who might otherwise lose interest in school.Regrettably, arts programs have been affected disproportionately by tightening K-12 budgets in recent years. Funding for arts education has been in steady decline since 1970, when California eliminated the arts-course requirements from the elementary teaching credential.
In an effort to reverse that trend, Gov. Arnold Schwarzenegger included $100 million for K-8 art and music education in his proposed 2006-07 budget. Advocates for arts education were especially heartened by the budget's promise that this newfound commitment to the arts "will be built upon" in future budgets.
"We've never had that type of support from a governor," said Laurie T. Schell, director of the Pasadena-based California Alliance for Arts Education.
In our view, the proposal would show an even stronger commitment to arts education -- and have a better chance of enduring -- if it were accompanied by legislation demanding more accountability and clear guidelines on how the money should be spent. Also, under the budget proposal, the grants would be divided evenly around the state, at the rate of $20 a pupil. A more effective use of this money would be to give priority to schools in lower-income areas that do not have arts programs.
Schwarzenegger's school-arts budget is an opportunity that cannot be squandered. This money must be accompanied by strict assurances that it will go to its intended purpose.
To our California readers... if you have not weighed in on this issue... now us the time to be heard! To send a message to your legislators go to the California Arts Action Center
Posted by musicforall at 1:29 PM
March 9, 2006
The School-Real Estate Values Connection
A colleague of mine, John Pietrowski (who runs Playwrights Theatre of New Jersey and is on our project team for the New Jersey Arts Education Census Project, which is really the next generation of work he pioneered in the state) has often commented in our meetings about the connection between real estate values and quality arts education programs in schools. His premise was, and remains, that realtors are naturally inclined to support arts education because they understand what this does for the quality of a school and what quality schools do for the value of homes. They also speak everyday with people who are making choices about where they will live and what issues are important to them in making this important life choice for their family. Apparently, music and arts education comes up frequently.
This whole connection idea made logical sense to me… but I had never heard it come from anyone in the real estate business… until now.
John… you are right!
The following excerpt is from the Ukiah area of California
REAL ESTATE: The school-real estate values connection By Bill BarksdaleIts an interesting, yet logical, phenomenon that a strong local school system increases and supports stronger real estate values. Many homebuyers ask their agent about the quality of the local schools. Even buyers who dont have school-age children want to know about local schools because it may indicate the availability of a competent, disciplined work force and can indicate lower crime statistics if young people are treated with respect by investment in their education.
Arts education, often marginalized and the first to have funds cut, not only provides a productive way for young people to spend their time - but more importantly, it teaches critical thinking skills that are essential in business. The creative process helps people to think outside of the box. This is one the most important skills of any good entrepreneur in creating new businesses and finding solutions to problems.
The better the educational environment of a community, the more likely an employer will choose to locate their business in that community with well paying jobs. Those jobs create opportunity for employees to afford to purchase a home, or improve the home they already own. In addition, people who receive a good education locally are more likely to remain in the community and improve it. As a homeowner, they acquire one of the most important assets possible toward financial security.
Looks like another valuable argument to add to the quiver!
Complete article: The Willits News - Business
Posted by musicforall at 8:01 AM
March 3, 2006
"Class Act" in the News
Here is the first media coverage on the World Premiere of CLASS ACT.
The three documentaries will be making their world premieres.''We're very excited,'' says Class Act director Sara Sackner, who was still putting the finishing touches on the film last week. ``Jay has had such a huge impact on so many Miami people, it's a natural place for us to launch the film.''
Sackner, along with producer Heather Winters (who was the executive producer of Supersize Me) is a former student of Jensen's, as are noteables such as actor Andy Garcia, film director Brett Ratner and Univision Music executive Jose Behar.
Sackner (class of '76) and Winters (class of '80) met at a reunion in Los Angeles in March 2003 and found they both had the idea to make a documentary about their remarkable teacher. They teamed up and soon discovered the story was much bigger than they had first thought, "Arts programs like the one that had such a huge affect on us are being slashed from school budgets all over the country, some schools have none at all. It's really a national story.''
Full Story
Festival program looks like a class act
Our Podcast with the Producers From the Trenches
Posted by musicforall at 8:01 AM
March 1, 2006
A Class Act
Over the past year I have had a chance o get to know Heather Winters and Sara Sackner as they weere working on thier new film Class Act.
I have come to admire thier work, thier research, thier commitment to telling he story of the plight we face in the music and arts education community.
They agreed to sit down with me (well, I assume they were sitting but it was hard to tell since we did this by phone) to do an interview for our podcast.
You should check it out. I would love to know what you think.
And, by the way, Heather and Sara are a real CLass Act themselves. Thier work could have a tremendous impact on all of us!
To download our From the Trenches interview with Producer Heather Winters and Director Sara Sackner episode of (an 8 MB MPEG4 File) click on: http://music-for-all.org/podcasts/trenches03.m4a
To Subscribe to From the Trenches in iTunes or some other program follow your software’s instructions to subscribe to podcasts and use the following link: http://music-for-all.org/trenches.xml
Posted by musicforall at 4:13 PM | Comments (0)
Whay Advocate Now?
I recently wrote an article that was published in the Fractured Atlas Newsletter: The Advocacy Issue. It turnd out pretty wel so I thought I would share a snippet and then provide the link to the full text:
Advocate, noun, from Latin advocatus, advocare - to summon or to call.
(1) one that pleads the cause of another especially before a court.
(2) one that argues for, recommends, or supports a cause or policyYou're busy with your career, pursuing your creative goals and dreams. It takes time, energy, focus, and dedication to hone your skills and artistic endeavors. With everything that it takes to make a living in the arts%u2026why should you be concerned about arts advocacy?
Simple: If we don't, who will?
Posted by musicforall at 2:35 PM
February 2, 2006
Music Teachers on Strike!
It seems things have gotten a little out of control at Midori and Friends, a non-profit music education organization that provides music instruction in several New York City Public Schools.
While not taking sides (other than to say we agree with Midori's comment that this strike is not serving the kids who benefit from this program) it brings up a much more important point... are we doing a disservice to our children by "out sourcing" the music program from the public school to begin with?
I am not sure I know the answer... but I would suspect the schools would be better served by having a program as part of the regular curriculum... after all it is the responsibility of our schools to provide this instruction for our children. has the school system absolved themselves of this responsibility by contracting with an outside group. What happens when a strike like this occurs. What recourse does the school have? What does the teachers union (AFT) think about the musicians union (AFM) organizing teaching artists? Are we now looking at Music Education as a program that needs to be externally funded by private donors? What does this say about music education as being part of the basic curriculum? Is this model economically viable for the long term?
Midori and Friends have done some great work over the years this. But this strike now brings forward a whole host of issues that are bigger than Midori and Friends and the teaching artists who are on strike against them.
From the New York Times via the Strike Website:
Music teachers who carry out the work of the foundation established by the violinist Midori went on strike on Thursday, denouncing what they said were a lack of raises, unfair pay and attempts to limit pensions. The foundation countered that the teachers were making unreasonable demands on an organization created to do good.Several dozen musicians, mostly freelancers who teach in New York City schools on behalf of the foundation, Midori & Friends, have laid down their bows and horns after a strike deadline passed on Wednesday night, said Brenda Vincent, a violin teacher.
"We can't make enough of a living to survive," she said. "We need to be able to eat and pay our bills."
...
The musicians, represented by Local 802 of the American Federation of Musicians, said they had been without a contract for six months. They said the foundation had refused to raise starting salaries, which have remained at $40 an hour for the last seven years. Veterans make only a few dollars more an hour. In addition, the union said, the foundation is seeking to delay paying into a pension fund until after a teacher's first year.
Ms. Vincent said that while the hourly wage might seem large, teachers were sometimes given only two classes a day at a school and might have to travel hours to get to the jobs. For many, the teaching is just one piece of the puzzle they put together to make a livelihood. Ms. Vincent, for example, said she earned $12,000 a year from the teaching, supplemented by freelance jobs.
The foundation's chairman, Alan Fischer, said that new teachers were offered a 7.5 percent increase but that the union demanded 25 percent at the last minute. He said that it was reasonable to withhold pension payments during a one-year probationary period and that pay was comparable with that of other organizations of the same size.
"We want to serve the kids," Mr. Fischer said. "We want to do right by the teachers. We're a do-good organization."
Midori issued a statement saying she was "surprised and disappointed" by the position taken by the union. In a telephone interview, she said she had not been involved in the negotiations but that "it has always been the intention to really behave fairly." She added, "I'm actually quite disappointed, in fact, that right now our children are not receiving musical instruction."
Midori and Friends Music Teachers On Strike!: Striking Teaching Artists in the New York Times
Posted by musicforall at 10:26 AM | TrackBack
November 18, 2005
Cuts in Arts Education Risk Leaving Children Behind
For those of you who have followed this blog or my other writings you are well aware of my take on NCLB. The goals and ideals of the law are certainly noble. It is the implementation of the law or misinterpretation of the law that peeves me. It is amazing that so many schools would actually implement an education law without fully understanding the spirit as well as the letter of the law. But, they have... and it has hurt arts programs tremendously.
AEP has released a new report, Third Space: When Learning Matters, which will add another tool to our efforts to make the case for arts education in an NCLB world.
(AXcess News) Washington - Schools that have cut arts education to focus on preparing students for standardized tests might want to reconsider, according to a study released Tuesday.Published by the Arts Education Partnership, "Third Space: When Learning Matters" recounts and analyzes three years researchers studied 10 arts-centric public schools in underprivileged areas. Basing their evaluation on factors more intuitive and less calculable than standardized testing, the study's authors argue that arts education is a panacea for the ills caused by a numbing emphasis on reading and math.
"The presence of the arts in these schools is the reason they've been transformed," AEP director Richard Deasy said.
For years, scientists have correlated art immersion with improved cognitive development; that is among the study's supporting tenets. But "Third Space" also suggests that the arts, when integrated into core curricula, improve student social development, teacher effectiveness and satisfaction, school atmosphere and community involvement.
Now I know this seems like we are stating the obvious... but this is the kind of report we need to help us continue to make the case for arts education in an NCLB world. We may not like it... but it is the reality of the world in which we live.
Read the article... then head to the AEP website to get the report.
AXcessNews.com - Cuts in Arts Education Risk Leaving Children Behind
Posted by musicforall at 9:20 AM | Comments (0) | TrackBack
November 9, 2005
Jon Corzine from Band President to Governor of New Jersey
A couple of different thought strands come together for me with yesterday’s election of Jon Corzine to be Governor of New Jersey.
First, Arkansas Governor Mike Huckabee has been outspoken in his comments that “ a seat in the state house is worth 100 people on the steps.” The idea here is that we need to elect music and arts education friendly people to office to help advance the goals of the arts education community.
Secondly, I am reminded of the comment President Clinton made, in speeches and his biography, he would not have been President if it were not for his school music program.
Governor-Elect Corzine (I LOVE typing that) spoke of his limited artistic ability but great support for the arts during the campaign. His perceived limit on talent did not keep him from studying the piano or playing the clarinet. Interestingly enough, he was elected president of the band in high school… much like president Clinton was a leader in his.
My point to all of this is we have been fortunate to have some great political leaders emerge for the arts and arts education. This has been more as a result of luck than by planning. I would forward the argument that we should increase our odds for success by identifying other elected officials or potential candidates to take up our issues or run for office.
We need more music and arts education supporters with “a seat in the state house” to make the long term changes we need to expand access to music and arts education programs for our children. If this is going to happen... we need to make it happen.
Posted by musicforall at 10:02 AM | Comments (0) | TrackBack
November 4, 2005
Corzine VS Forrester: The Arts
OK. I am going to be a HOMER again. From our Friends at ArtPRIDE New Jersey we have the combined responses to an arts questionnaire posed to our two candidates; Jon Corzine and Doug Forrester. Enjoy!
1. Do you support state funding for the arts administered by the NJ State Council on the Arts through the dedicated revenues source provided by the hotel/motel occupancy fee (a minimum of $22.78 million)?Jon Corzine: Yes. I support the continued implementation of the 2003 hotel/motel occupancy dedication as a practical way to ensure continuous funding for the arts, cultural and historical trusts.
Doug Forrester: Yes. The primary reason the hotel/motel tax was enacted in the first place was to provide a significant percentage of the revenues to arts and history, which constitute an important part of the State’s tourism industry. I support maintaining the “floor” that was established in the legislation, and working toward enhancing economic growth so that we reach the $100 million mark that will in turn result in automatic increases in the amount dedicated to the arts and history.
2. Do you support full funding of the NJ Cultural Trust? (state commitment is $10 million/year which has been met only twice since the Trust was legislated in 2000).Jon Corzine: I will review all state spending if I am elected Governor, including the failure to fully fund the New Jersey Cultural Trust. If state funding is not available, I am committed to working with advocates of the arts to provide leadership in efforts to supplement funding through economic development, historic preservation and other related public and private sources of capital. I believe that artistic and cultural endeavors require both public and private resources. I am proud of my role in supporting the arts, including serving on the boards of both the New Jersey Performing Arts Center (NJPAC), and the Kennedy Center in Washington, D.C.
Doug Forrester: Yes. As you are no doubt aware, the Cultural Trust is an excellent example of an innovative public/private partnership that provides a stable and permanent source of funding for the arts and history. It supports areas not covered by arts agencies such as capital improvements, debt reduction, endowments, and financial stabilization.
Unfortunately for the arts and history community, the Trust is yet another example of the lack of accountability shown by the current administration and legislative majorities in Trenton. The private sector has met its goals by giving more than $40 million to endowments of arts and history organizations or directly to the Trust. However, the State Government has failed to meet its annual commitment of $10 million.
No doubt this breach of promise has had a chilling effect upon donations from the private sector. As Governor, my administration will work to ensure that this program is put back on track.
3. Would you help promote the arts through intra-governmental agency cooperation (arts and tourism, arts education, travel related signage, arts and aging/health related issues, etc.)?Jon Corzine: Yes. New Jersey has tremendous arts “assets,” such as the Newark PAC to the State Theater and so many other wonderful arts and cultural institutions that the government should promote and invest in. I am a strong believer in an “invest, grow and prosper” philosophy and the arts play a critical role in the state’s tourism industry.
Doug Forrester: Yes. My tourism promotion program includes greater investment in travel-related signage that could benefit the cultural attractions that form a vital portion of New Jersey’s tourism industry.
I would also note that the arts can be promoted through the overall tone of an administration. My friend and mentor, Governor Kean, infused appreciation of the arts throughout his administration, and I would seek to do the same.
4. Do you believe that every student should have arts education as part of a basic education, and do you support the implementation of the visual and performing arts education standards for New Jersey schools?Jon Corzine: Yes. I believe every child benefits from arts education. I think the arts are something that bridge the differences in our society. Arts create a place where people can touch each other's lives across racial, gender, political, all kinds of lines. It enlightens our lives. It's an extraordinary, positive ingredient. While I ended up as a CEO of a major investment company, I started as the 21st clarinet in my school’s band. I know this is a critical issue right now as the No Child Left Behind Act standards are being implemented and I will work with art advocates to ensure that the state’s current arts content standards are implemented.
Doug Forrester: Yes. To the extent that the Core Curriculum Standards are insufficient in this regard, I would consider amending them to provide for enhanced visual and performing arts education.
Interestingly, we know that not everyone learns in the same way, and that education in the arts often can serve to reinforce other aspects of the curriculum. A Stanford University and Carnegie Foundation for the Advancement of Teaching monograph reported that young people who participate in the arts for at least nine hours each week for one year are:
4 times more likely to be recognized for academic achievement;
3 times more likely to be elected to class office at their school;
4 times more likely to participate in a math or science fair;
3 times more likely to win an award for school attendance; and
4 times more likely to win an award for an essay or a poem.These are compelling statistics. However, beyond the data, I have seen first-hand the value of an education in the arts with my own son, who is currently studying music in college.
5. Are you familiar with ArtsPlan NJ as a statewide blueprint to create a better New Jersey for and through the arts?Jon Corzine: Yes. I support the vision and goals of “ArtsPlan NJ” to make New Jersey a “State of the Arts.”
As a business leader and policy maker, I know the economic impact of cultural institutions on the revitalization of communities. In New Brunswick, for example, the vitality of the theaters and museums has directly contributed to the success of restaurants, coffee shops and other “local supporting” industries and businesses. In locales around the state that have embraced this type of development a common denominator is the strength of the cultural community which celebrates differences and respects similarities.
Doug Forrester: Yes. I received the document at my campaign office. I support the plan and am impressed by the wide array of New Jersey citizens who gave their time and effort to develop it. I congratulate everyone involved with this valuable and thorough undertaking.
6. Please take this opportunity to provide additional comments on how you view the arts and culture as public policy issues.Jon Corzine: My record in the U.S. Senate speaks for my commitment to the arts and culture. In an effort to support cultural and artistic community programs, I voted three times to protect Community Development Block Grants. These vital grants support New Jersey’s major cultural projects in cities, including public art, children’s museums and youth-based after school programs.
Public media outlets have a multi-dimensional purpose, including serving as a platform for arts awareness, education and appreciation as well as a direct source of news and informational programming. When conservatives tried to silence PBS through massive proposed budget cuts, I fought to restore funding and called for the removal of the ideological and partisan leadership.
I support promoting artistic expression and appreciation. One of the best ways to accomplish this is to support deductions of artistic contributions to arts organizations and nonprofit institutions for tax purposes. I cosponsored and voted for legislation that would allow artists to deduct artistic contributions to non-profit institutions.
Doug Forrester: Promotion of the arts and history are critical to life in New Jersey. As I mentioned above, the arts are a critical component in the education of our children. Furthermore, the arts provide tangible economic benefits. The arts can help to revitalize urban areas by attracting patrons to shops and restaurants. Support of the arts and history can also make our urban areas more vital places in non-working hours.
New Jersey is replete with examples of the arts being a cornerstone for economic development. The New Jersey Performing Arts Center, the Newark Museum, the Count Basie Theater in Red Bank and the Mid-Atlantic Center for the Arts in Cape May are but a few examples. It is almost impossible to believe, but a mere two decades ago, Lambertville was one of the most economically depressed small cities in the State. With the arts community leading the way, it is now a prosperous and diverse community that is a nationally-recognized tourism destination and the home for a number of renowned artists.
The arts also play a pivotal role in the tourism industry, and offer travel experiences beyond our beautiful beaches and boardwalks. Places like the Tony award-winning McCarter Theater, on whose board I used to sit, bring the very best theater right here to New Jersey, making it accessible to people who cannot or will not travel to New York City due to age, unaffordable prices for tickets, or disability.
The arts are also a critical component in business attraction and retention. We know from the Port Authority study in the 1990’s that arts and culture are an important factor when CEO’s decide where they want to locate, or whether they are going to leave. Throughout my campaign, I have called attention to the unfavorable business climate that is the result of high taxes, runaway wasteful spending and the culture of corruption emanating from Trenton. In order to reverse this disturbing trend, New Jersey will need to marshal every advantage we have to keep good jobs here and attract new businesses. The power of the arts community can aid greatly in this effort.
As my mentor and former boss, Governor Tom Kean, used to say, “We cannot forget the intangibles.” The arts and history are important to preserve and promote because they are important in their own right. They enrich and inform our lives. They can bridge the differences in society that separate us. The arts can even save and give new purpose to lives that have been harmed through tragedy.
Finally, the arts also endow our citizens with civic pride in our wonderful State. I am proud that I live in a place where my neighbors can readily admire a thing of beauty, get greater insight into the world at large, or simply have an evening of happiness and celebration. I am proud that I live in a State where many cultures are on display, and I hope to lead a State where appreciation of the arts will resonate throughout the Nation.
As I said in an earlier post... the level of discussion on some very complex arts issues shows we really are making progress.
For all my New Jersey brethren... PLEASE VOTE ON TUESDAY!
Posted by musicforall at 4:34 PM | Comments (0) | TrackBack
October 27, 2005
Fidelity/McCartney Music Lives - Intentions = Good!
I had a very nice conversation with an executive in the communications office at Fidelity. She was very helpful in both listening to my concerns (one hit wonder?) and then answering some of my skeptical questions. The main points I learned are:
Are the partners in it for the long haul? I will admit this is a tough question for someone to answer. All you can look at is history. Fidelity does have a long history of supporting programs. However, and this is important, this is only the SECOND program they have ever established at the corporate level for charitable purposes. The first is the Fidelity Charitable Gift Fund, which has a well-established history. Also consider Sir Paul has not gone into anything half heartedly… and the fact that this is being set-up as a separate non-profit… these are all strong signs that this is more than just a marketing stunt for the aging baby boomer business.Will Music Lives Be an Independent Non-Profit? According to Fidelity, Music Lives will have a separate independent board of directors made up largely of music educators and experts related to the field. (They said the board would be named shortly.) It will not be a corporately controlled non-profit... but will benefit from the generous in-kind support to cover staffing, administration, as well as the marketing and promotional tie-ins (a $20 million ad campaign and a sold out concert tour doesn’t hurt!) to generate the base revenue of the organization. This is REALLY important. There have been other music ed based non-profits with corporate ties where the corporation's interests actually interfered with the mission of the non-profit. When the business tries to control the non-profit nothing good usually happens. It seems to me the structure Fidelity explained will go a long way to protect the foundation from any corporate interference.
Are they Reinventing the Wheel? According to Fidelity, Music Lives will primarily be a fund to support other programs that are doing great work. They will NOT have programs of their own. This makes some sense since there are plenty of great music education programs and non-profits that could use the support.
How Does Someone Apply? Like many umbrella funds (money generated for re-granting purposes) Music Lives plans on identifying programs for potential support and then inviting organizations to apply. It does not appear there will be an open application process for anyone. This is not an uncommon practice with this type of fund. The question will be “how does one get on their radar screen for consideration?” This I am sure will become clearer as they develop the overall organization model.
Even though the roadway is littered with the wreckage of corporate tie-ins to music education that have gone into the ditch, Fidelity deserves the benefit of the doubt. I do think they probably are sincere about the issue and love the tie-in with a music legend. Their intentions seem to support the broad goals of the music education community.
My only hope is that Fidelity/Sir Paul/Music Lives will work strategically with the rest of the field who have been fighting the good fight to ensure their effort have the greatest impact on the entire field, and that when the allure of the shiny new initiative wears off they are right there in the trenches, standing shoulder to shoulder with the rest of us fighting for this idea of music for all.
Posted by musicforall at 4:15 PM | Comments (3) | TrackBack
October 23, 2005
Arts Education and the NJ Governor's Race
In case you may have missed it... here in New Jersey we will be electing a new governor in 2 weeks. Being a "homer" this is really important. It is hard to give advice to other states and communities if you do not use it yourself. Much of what we do around the country is based on experiences and knowledge developed here in NJ.
When you consider Governor Huckbee's comment that "A seat in the statehouse is better than 100 people on the steps" we wondered what our gubernatorial candidates thought about arts education. The Star Ledger, one of our states leading papers, published lengthy interviews with both candidates. Here are the relevant questions and answers:
Jon Corzine, (D)
Q: Is government support of the arts essential?
A: Yes. I think the arts are some thing that bridge the differences in our society, and we are in New Jersey an extraordinarily diverse society. And we have the ability to pull ourselves together. Conservatives and liberals may very well enjoy the same art. It's a place where people can touch each others lives across racial, gender, political, all kinds of lines. It enlightens our lives. It's an extraordinary, positive ingredient.
Now, saying that government has a role to be involved? Every thing has to be done in a context of prioritization and balance. Do I believe we ought to teach and expose our children to arts? Yes. Do I think society ought to invest? Within our means, yes.
Q: Do you consider yourself artistic?
A: I'm hopeless. I can't carry a tune, can't brush a stroke. I enjoy music, dance and watching people who know what they’re doing.
Q: Did you ever try to play a musical instrument in school?
A: Oh, yeah. I had to take six years of piano lessons, and I can barely do a C scale. I took the clarinet for six years, from 6th grade on. I was the president of the band, and I sat last place among 21 clarinets.
Star Ledger Interview with Jon Corzine
Doug Forrester, (R)
Q: Do you consider government support of the arts a frill?
A: No.
Q: What level would you support it at?
A: At exactly the right level.
Q: Which is?
A: These follow-up questions are killing me.
No, I think the arts are very close to the purpose of life. I believe that it's important. Arts education is very important. I am a big advocate of arts education. And I believe the arts are economically helpful, and I think the best way for the state to be involved in the arts is actually through capital commitments. I am less enthused with support for specific artists, but I would like to relieve art organizations of capital expenditures.
Q: Museums, theatres ...
A: That's right. The bricks and mortar of artistic enterprise is expensive. It's much better for art organizations to raise funds and use their own discretion and wisdom about how to facilitate particular performances and presentations.
Q: Do you consider yourself artistic?
A: I would hope that in retrospect my governance of New Jersey would be considered very creative in a positive way.
I think it is great to have a former high school band president running for office. I think it is even better that both candidates are even discussing their views on arts education.
This is progress.
Posted by musicforall at 10:14 AM | Comments (0) | TrackBack
October 20, 2005
Paul McCartney/Fidelity Partner for Music Education - Another One Hit Wonder?
This week Paul McCartney and Fidelity Investments announced their partnership to support music education called Music Lives:
When 54 million children went back to school across America this fall, it is likely that 27 million of them found they would not receive adequate music instruction in their classrooms(1). Even though experts have shown that music education dramatically improves performance both in and out of the classroom(2), increases SAT scores by 100 points(3) and keeps kids in school(4), budget cuts have been breaking up marching bands and silencing school choruses from Maine to California(5).In a major initiative to combat this alarming trend, Fidelity Investments today joined music icon Paul McCartney to launch a new public charity -- The Music Lives Foundation -- aimed at raising awareness of and critical funding for music education programs in schools.
"As a boy growing up in Liverpool, I was surrounded by music," said Paul McCartney. "That's just the way it was. The problem is that more and more music programs are in danger of being eliminated. That's why I'm proud to join Fidelity in supporting The Music Lives Foundation. After years and years of playing in a band and making a living doing what I love, I can honestly say: Where would I be without music?"
My only problem with all of this is: Will this be another one hit wonder? Remember the Folgers campaign? How about Pepsi Notes? American Express Blue for Music?
Once the hoopla has faded will Fidelity still be there standing with the rest of us to help fight this battle? And just what will they be doing? Donating instruments? Making Grants? How will their efforts differ from the great work of the many organizations that have been involved in this issue for years? Inquiring minds - well, at least one - want to know! Their website and press announcement is unclear.
To be clear - I think it is great that Sir Paul McCartney and Fidelity are adding their voices to those already out there speaking out about music education. Our only hope is these efforts will be long term commitments… not just another flash in the pan one hit wonder like the others that litter the music education landscape.
We have placed call to both Paul McCartney's representatives and Fidelity to help answer these questions. We will share with our readers what we learn!
Full News Release: Paul McCartney and Fidelity Investments Launch ''The Music Lives Foundation''; Music Icon and Investment Leader Team Up To Help Keep Music Education Alive in Schools
Posted by musicforall at 11:09 AM | Comments (0) | TrackBack
October 4, 2005
Dr. Huckabee’s prescription for improving access to music and arts education in our schools
At the Arts Education Partnership Meeting in Charleston, SC this weekend attendees (including myself!) were treated to an extraordinary panel discussion. The moderator was Milt Goldberg who is known for his landmark report “A Nation at Risk.” The panelists, former South Carolina Governor and U.S. Secretary of Education Richard Riley and Arkansas Governor and Chair of both the Education Commission of the States and the National Governors Association Mike Huckabee.
The session was great from the standpoint of having two of today’s great education thinkers sharing the stage and focusing on the importance, role, and need to improve the status of arts education.
While there were some fairly predicable comments about the value of music and arts education there was one mild surprise: Secretary Riley stated he did support No Child Left Behind and the accountability measures but feels that it needs to be fully funded and adjusted to ensure we value all core subject.
Governor Huckabee stated that cutting arts programs under the guise of No Child Left Behind is “Just plain stupid!”
The biggest point from the session was from Governor Huckabee. He provided this prescription for what is ailing the arts education movement: If we want to truly change the landscape we need to “identify, recruit and elect to the state legislature people that support music and arts education.” Simple as that.
He stated: “A seat inside the legislature is better than 100 people on the steps.”
He’s right. Actually it is probably worth more. (Here in New Jersey we actually know how much a seat is worth … but I will save that for another time!)
That’s not to say that is will be easy. But, as the Governor said in Charleston “It’s Laboruos – Not Complicated.”
So therein lies the task. It will take hard work … but it is not complicated. The sooner we start, the sooner we will begin to see improvement. So get out your state legislative maps and lists and begin to build your relationships with the people who are there and identify some people who should be and them help get them elect to office. I have just spread out the New Jersey state electoral map on my floor.
And while we are talking about recruitment… what do you think about recruiting Governor Huckabee for a new seat … a seat in the White House …
Posted by musicforall at 10:56 AM | Comments (2) | TrackBack
September 28, 2005
What a Difference a Year Makes - Music Returns to Fresno!
Last year at this time Fresno Unified School District had eliminated the music program. As the new school year gets into full swing the sound of music has returned to this town. Let's hope this is a trend that catches on in California!
On Wednesday, the Fresno Unified school board will hear how teachers are restoring the music program, including the addition of weekly classroom lessons for first-graders. The district is trying out such general music lessons at 11 schools in hopes of getting trustees to approve more funding next year to expand instruction to other grades.Elementary music was eliminated during budget cuts for the 2004-05 school year and high schools had some music funding trimmed. The district was able to bring back the $3.4 million program this year, after reaching contract agreements with employee unions to cap health care costs.
Kate Wippern, Fresno Unified's music coordinator, said restoration got a slow start. She's still working to find and repair instruments placed in storage so elementary schools can recreate band or orchestra, and she's still working to find enough music teachers because many left during the year hiatus. She said some middle schools don't have enough interested students or room in their class schedules for music to re-establish a band program.
Posted by musicforall at 7:28 PM | Comments (0) | TrackBack
September 25, 2005
I couldn't have said it better!
Just back from a terrific conference on the future of the arts scene here in New Jersey as well as working on our "new model" for arts education advocacy (more on that later.)
At the conference there was an wonderful opening session that I was going to write about to share with all of you. Then, I found how someone had done it better. So, since I could not say it better... I won't.
From Andrew Taylor
Remembering how to tell good storiesThe opening keynote of the New Jersey conference I'm attending was Andy Goodman, a communications consultant to nonprofit organizations with a previous life as a television scriptwriter and radio syndicator. Goodman reminded us of the power and humanity of storytelling when communicating a nonprofit's message, and he showed painfully familiar examples of how far many of us have strayed from the craft (complex powerpoints, numbing statistics and charts, dry detail).
There are lots of helpful thoughts on the subject in Goodman's monthly newsletter, but the heart of his message was this: every organization should strive to discover their core stories, the stories that define them, and ensure that everyone in the organization (staff, board, supporters) know these stories by heart.
The rest of the story at:
The Artful Manager: Andrew Taylor on the business of arts and culture.
Posted by musicforall at 12:34 PM | Comments (1) | TrackBack
August 17, 2005
Look Who's a Music Advocate!
In the town that has been historically the home of American musical instrument production, Elkhart Indiana, you would expect to find lots of people who would advocate for music education. What you would not expect is this:
ELKHART -- What do mentoring and after-school programs, community-based initiative, and extra-curricular activities have in common?
Digger Phelps.
Phelps said these are just a few of the things that can help kids in Elkhart along the right path at a young age.
"It's got to come back to us," Phelps said, "We have the power. We can change anything we have to as people."
He added school budget cuts from the government do not help because kids need creative outlets, such as music and art and after-school programs, some of the first areas schools tend to cut.
Go get em Digger!
eTruth.com -- The Truth Online Edition!
Posted by musicforall at 10:53 AM | Comments (0) | TrackBack
July 15, 2005
Dr. Phil to feature "The Power of Music"
The Dr. Phil Show will feature "The Power of Music" on Monday, July 18th (Check local listings)
We sent them links and created a special page for the show on the Music for All Website. We are not sure what they will include from what we sent in the show. Brian McKnight is the featured artist (arranged by the Grammy Foundation I beleive)
So set your VCR, TIVO or anyother recording device to see "The Power of Music" accoring to Dr. Phil
Posted by musicforall at 10:52 AM | Comments (0)
June 25, 2005
Julian Llyod Webber's Rant on the Decline of Classical Music Education
I enjoy reading Julian Lloyd Webber's columns in the Daily Telegraph. For those who may not know, Llyod Webber has been a champion music education advocate in England (where he partnered with the late Michael Kamen and Evelyn Glennie to bring significant preasure to the UK Government). IN this article he argues for classical music to be taught in the schools and openly wonders what the Korean culture may know that has been lost in the UK
It is no surprise that Julia Hwang - the nine-year-old violin prodigy splashed all over last week's news pages - hails from South Korea, or that both her parents play instruments. To our shame, Western classical music has become part of culture in the Far East in a way that it no longer is in this country.
Julia's father runs an IT business in Seoul but still finds time to play the guitar, and her mother plays the piano "very well". Switch on daytime terrestrial television in South Korea and you are more than likely to see someone - usually a native - playing classical music.
South Korea's president would never echo Tony Blair's only known utterance on classical music - "Every so often, I feel I should graduate to classical music" - because learning an instrument is the norm in South Korea, and their president would have "graduated" by the age of 10.
Full Story Telegraph | Arts | Choice of reason
Posted by musicforall at 11:21 AM | Comments (0)
May 29, 2005
The Footprints and the Giant
Over the past year I have become a fan of Andrew Taylor and his blog The Artful Manager. His postings are a mix of big picture thinking on the arts combined with humor, practical insights and well written commentary.
One of his recent posting is based on a speech to a Rotary Club in Sheboygan, Wisconsin (not exactly preaching to the choir mind you). The speech discusses in concise terms the difference between the footprints (arts outcomes - instrumental value in Gifts of the Muse terms) and the Giant (the intrinsic value of the arts). As any advocate knows, this can be a tough sell. Andrew Taylor shows he is up to the task.
''The Footprints and the Giant.'' The footprints are the impressions left by something very large, but they are not the thing, itself. Economic impact is a footprint. Social connection is a footprint. Education and personal growth are footprints. And a vital civic life is a footprint, as well. They are easier to talk about because they are the things we can see and measure. Our focus on the footprints can blind us to the more important point. The footprints get larger and deeper only if we understand the giant that leaves them.
This article is a must read for any arts advocate.
The Artful Manager: The Footprints and the Giant
Posted by musicforall at 7:51 PM | Comments (0)
May 27, 2005
New Exhibit Shows Clinton's Favorite Music
Less than 6 months after opening of his new Presidential Library, a tribute to the role of music and music education in President Clinton's life goes on exhibition.
If you want to read more about the role of music in his life visit my column "Changing the World One Life at a Time."
LITTLE ROCK - While saxophones became an informal trademark for America's first rock 'n' roll president, memorabilia going on display this weekend at Bill Clinton's library range from an Eritrean lute to a Czech recorder to a larger-than-life painting of bluesman B.B. King.Bono donated the hand-written lyrics to "Hands That Built America," which he sang at the dedication of the Clinton Presidential Library in November. Also featured in a temporary exhibit opening Saturday are video highlights of a teenaged Clinton in the Arkansas All-State Band and samples from his eclectic compact disc collection.
New Exhibit Shows Clinton's Favorite Music - Yahoo! News
Posted by musicforall at 7:58 PM | Comments (0)
May 4, 2005
Parents in California Rally
Well, well, well...
Parents were main organizers of the effort in Sacramento to protest school funding cuts and draw attention to the dire straits of public schools (complete with a high school band that is about to be cut!) on the same day the Governator's approval ratings go through the floor... largely due to his poor handling of schools.
Go parents go!
Malibu, Santa Monica parents rally in Sacramento
Posted by musicforall at 8:08 PM | Comments (0)
Your Reward for Doing a Good Job...
'Teacher of the Year' pink-slipped
South Bend, IN - She was named South Bend's "Teacher of the Year" but come next school year, she could be looking for a new job.Susan Walker was given the award Tuesday night, four days after the school district handed her a pink slip. Walker has taught music in South Bend for the past 16 years.
You just can't make this stuff up! Comment away!
WNDU-TV: Story: 'Teacher of the Year ' pink-slipped - May 04, 2005
Posted by musicforall at 8:05 PM | Comments (0)
April 21, 2005
Sting goes back to his early career... as music teacher!
Surprise visit to U of Ill in Chicago stuns students!
CHICAGO (Reuters) - British singer Sting went back to the classroom this week, assuming the role of a musical mentor for a group of college students.The one-time school teacher surprised students in a music composition class at the University of Illinois at Chicago, barging in with MTV cameras in tow to speak and jam with them on Monday.
The students, who had been told that their regular class was going to be filmed for a promotional video for the university, erupted in cheers as Sting and his band entered through a side door.He started by playing "Message In A Bottle," a hit with the Police, the rock trio that he led to fame during the 1970s and '80s. Sting played an electric bass, accompanied by two acoustic guitars and a shaker.
He later took questions from the audience, discussing unusual time signatures, his music influences and his composition techniques.
"A blank page terrifies me, that's why I tour so much," Sting said of his own songwriting experience. "The more I figure out about music, the more I realize I haven't a clue."
He advised the students not to sweat the details and to keep playing music as a way to nourish the soul.
"We're not building cathedrals of sound here, we're building sheds," he said.
He finished the class inviting the students to join him and his band in an extended jam of his biggest hit, "Every Breath You Take."
"It was amazing," said junior Jenne Lennon after Sting asked her to play a solo on her Native American flute during the jam session. "Opportunities like that come only once in a lifetime, and I'm completely shocked."
The class was filmed for a program called "Stand In," which will air on mtvU next Monday. MTV's 24-hour college network, mtvU is available to about 6.4 million students on 700 campuses nationwide.
Sting is currently touring college campuses and other venues backed by only two guitarists and a drummer, a configuration reminiscent of his days with the Police.
Posted by musicforall at 8:44 PM | Comments (0)
April 20, 2005
"Silent Concert" performed at NYC Department of Education
Let's set the stage:
On the steps of the beautiful Department of Education Building, right next to City Hall, in the biggest city and arguably one of the great cultural centers in world, are a dozen or so elementary and middle school students. They have gathered to perform a concert. They stood on the steps blowing into their