UMS Teacher Resource Guide - Sphinx Competition Honors Concert

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Honors Concert

Teacher Resource Guide 2009 | 2010

SUPPORTERS Michigan Council for Arts and Cultural Affairs University of Michigan

Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund Bank of Ann Arbor Bustan al-Funun Foundation for Arab Arts The Dan Cameron Family Foundation/Alan and Swanna Saltiel Community Foundation for Southeast Michigan Consulate General of the Netherlands in New York Doris Duke Charitable Foundation Doris Duke Foundation for Islamic Art DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP JazzNet Endowment W.K. Kellogg Foundation Masco Corporation Foundation Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION (of R. and P. Heydon) The Mosaic Foundation [Washington, DC] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund Rick and Sue Snyder Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund

This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched, written, and edited by Mark Johnson.

Special thanks to Andre Dowell, Afa Sadhkly, and Omari Rush for their contributions, feedback, and support in developing this guide .

SPHINX COMPETITION HONORS CONCERT

AARON DWORKIN president and founder

Fri, Feb 5, 12 NOON – 1 PM RACKHAM AUDITORIUM

Teacher Resource Guide

UMS Youth Education Program 2009 | 2010

Table of Contents Attending the Performance *

7 9 10

Attending the Show Accessibility Venue

About Sphinx *

12 14 15

Sphinx Aaron Dworkin Press

Honors Concert

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18 19 20 22 24 26 27

Competition 2009 Semi-finalists 2010 Timeline Judges Judging Sphinx Symphony Repertoire

Music!

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29 30 32 34

Resources *

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37 38 40 41 42

About UMS

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44 45 47

Orchestras: Brief History Orchestras: Elements Classical Music: Timeline Famous Musicians Learning Vocabulary Recommended: Recordings Recommended: Readings Community What is UMS? Youth Education Program How to Contact UMS

Short on time?

If you only have 15 minutes to review this guide, just read the pages with an asterisk next to the page number in the Table of Contents. Those pages will provide the most important information about this performance.

Photos & Illustrations Page Title 3

Sphinx 2008 1st Place Senior Division Laureate Danielle Belen Nesmith.

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School Busses lined up outside Hill Auditorium.

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UMS Transportation Map for Sphinx Competition Honors Concert Youth Performance.

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Rackham Auditorium.

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Patrice Johnson.

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Aaron Dworkin playing in Detroit’s Hart Plaza.

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Sphinx 2009 1st Place Junior Division Laureate Khari Joyner. Photo by Glenn Triest.

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Sphinx Laureate Elena Urioste.

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Sphinx Competition’s 2010 judges.

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Sphinx Competition’s 2010 judges.

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Sphinx 2009 1st Place Senior Division Laureate Tony Rymer. Photo by Glenn Triest.

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Conductor Anthony Elliott.

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Symphony Orchestra Seating Chart.

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Composer Karl Ditters von Dittersdorf.

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Astor Piazolla.

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Harlem Quartet.

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Ann Arbor area students attending UMS Youth Performances.

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Ann Arbor area students attending UMS Youth Performances.

Attending the Performance

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A ttending the show We want your to enjoy you time wit UMS; PLEASE review the important info below about attending the show: Tickets: We do not use paper tickets for Youth Performances. We hold school reservations at the door and seat groups upon arrival.

Arrival Time: Please arrive at the Rackham Auditorium between 11:30 – 11:50am to allow you time to get seated and comfortable before the show starts.

Drop Off: Have buses, vans, or cars drop off students in front of Hill Auditorium on the north side of N university Ave from Fletcher to Thayer. Please walk across the green to Rackham. If there is no space in the drop-off zone, circle the block until space becomes available. Cars may park at curbside metered spots or in the visitor parking lot behind the power center Buses should wait/park at Briarwood Mall.

Door Entry: A UMS Youth Performance staff person will greet your group at your bus as you unload and direct you to the front doors of Rackham Auditorium.

Seating & Ushers: When you arrive at the front doors tell the Head Usher at the door the name of your school group and he/she will have ushers escort you to your block of seats. All UMS Youth Performance ushers wear large, black laminated badges with their names in white letters.

Before the Start: Please allow the usher to seat individuals in your group in the order that they arrive in the theater. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.

During the Performance: If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.

Performance Length: 1 hour (approximately)

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After the Performance: When the performance ends, remain seated. A UMS staff member will come to the stage and release each group individually based on the location of your seats.

Bus Pick Up: When your group is released, please exit the performance hall through the same door you entered. A UMS Youth Performance staff member will be outside to direct you to your bus.

AAPS EDUCATORS: You will likely not get on the bus you arrived on, a UMS staff member or AAPS Transportation staff person will put you on the first available bus.

Other • Lost Students: A small army of volunteers staff the performances and will be ready to help or direct lost and wandering students.

• Lost Items: If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich.edu) to attempt to help recover the item.

• Sending Feedback: We LOVE feedback from students, so after the performance please send us any letters, artwork, or academic papers your students create in response to the performance: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

• No Food: No food or drink is allowed in the theater.

• Patience: Thank you in advance for your patience; in 20 minutes we aim to get 1,100 people from buses into seats and will work as efficiently as possible to make that happen.

Rackham Auditorium Contact Information: Rackham Auditorium 915 E Washington St Ann Arbor, MI 48109 Emergency Contact Phone Number: 734-764-2538 (Call this number to reach a UMS staff person or audience member at the performance)

This map, with driving directions to the Rackham Auditorium, will be mailed to all attending educators 3 weeks before the performance.

Busing Directions Sphinx Competition Honors Concert

Fri, Feb 5, 2010, 12pm-1pm, Rackham Auditorium 1. Drop-Off Zone is IN FRONT OF HILL on the North side of N University Ave from Fletcher to Thayer. Please WALK ACROSS THE GREEN to Rackham and arrive between 11:30am-11:50am.

2. Driving directions to Rackham and Mall Bus Parking no the next page.

3. The best car/van Visitor Parking is in the Palmer St. Parking Structure behind the Power Center: $1.10/hr 4. Need Day-of Help? Call Omari on his cell phone: 734-730-9202.

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Accessibility The following services are available to audience members:

Wheelchair, companion, or other special seating Courtesy wheelchairs Hearing Impaired Support Systems

Parking There is handicapped parking very close to the Rackham on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 parking spots on each level next to each elevator. There are a total of 15 parking spaces in the garage.

Wheelchair Accessibility Rackham Auditorium is wheelchair accessible and has 8 seats for audience members with special needs.

Bathrooms ADA compliant toilets are available on the front west corner (women) and front east corner (men) of the building. Use the ramp located on west end of the building front to access the powered, left most, door.

Entry Except for the left most door, the front doors are not powered, however, there will be an usher at that front door opening it for all patrons.

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Venue RACKHAM AUDITORIUM Rackham Auditorium has been the site of many major occasions in the advancement of knowledge, with numerous notable lectures, academic symposia, and scholarly papers presented in the sixty plus years since its opening. In addition, it is the favorite venue in the area for intimate musical performances, particularly chamber music, small ensembles, and world music.

Horace H. Rackham was a Detroit lawyer who believed strongly in the importance of the study of human history and human thought. When he died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the magnanimous size of the gift is the fact that neither Horace nor this wife Mary ever attended the University of Michigan.

Designed in the classical renaissance style by architect William Kapp of the Detroit firm of Smith, Hinchman & Grylls, the Rackham Building is considered to be one of the historically significant buildings on campus. The interior of Rackham Auditorium is plush, with beautifully upholstered seating and a gold-leafed ceiling.

About Sphinx

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Sphinx is an organization committed to the development and training of young people of minorities in an effort to enrich and diversify classical music. Sphinx currently supports multiple ventures including a summer music school, a touring quartet, orchestras, and, of course, the competition. All of these efforts are maintained through a dedicated staff of musicians (who are mostly U-M graduates) and through passionate professionals in the fields of business.

Sphinx’s Mission: To increase the participation of Blacks and Latinos in music schools, as professional musicians, and as classical music audiences; To administer youth development initiatives in underserved communities through music education; To promote the creation, performance, and preservation of works by Black & Latino composers.

Organizational History Founded in 1996 by then University of Michigan graduate student Aaron Dworkin, the Sphinx Organization has grown from an annual competition for young Black and Latino string players, into a national arts and youth development organization serving over 55,000 students annually.

The Facts!

Combined, Blacks and Latinos represent less than 5% of the musicians in American orchestras.

Since Sphinx was founded in 1996, there has been a 50% increase in the number of black musicians in top-tier American orchestras.

Sphinx

More than a competition...

The Sphinx Organization is a national non-profit organization, founded by MacArthur Fellow Aaron P. Dworkin, committed to building diversity in classical music through year-round programming in arts education, awareness, and presentation. Sphinx has five main programming areas: 1) Sphinx Presents! — Offers professional performance opportunities to Sphinx solo artists and ensembles including an annual concert at Carnegie Hall.

2) Artist Development — Provides professional opportunities for young artists including: • The Sphinx Competition: Features top young, Black and Latino string players from around the country competing for prizes, scholarships, and orchestral engagements • Professional Development Program: Provides solo engagements with major orchestras nationwide for Sphinx Competition Laureates • Borders Recital Series: Sphinx Competition alumni perform recitals in Borders stores • Musical Encounters: Sphinx Laureates perform in schools in underserved communities in conjunction with Professional Development Program • Three scholarship initiatives 3) Sphinx Performance Academy (SPA) at Walnut Hill School — Offers intensive summer training to aspiring Black and Latino musicians ages 12 -17.

4) The Sphinx Legacy Project — Designed to create, promote, disseminate and preserve works by Black and Latino composers. This is accomplished through several initiatives: • Sphinx Commissioning Consortium (an alliance between Sphinx and 12 orchestras which commissions a work by a Black or Latino composer each year) • Sphinx’s independent commissioning efforts; • The Sphinx Library (houses a comprehensive collection of publications, recordings and scores by traditional composers and composers of color) • Classical Connections (an in ]school curriculum providing young people with exposure to Black and Latino composers) 5) Sphinx Preparatory Music Institute (Sphinx Prep) at Wayne State University — provides Detroit area youth with yearlong classes in instrumental performance, music theory, ear training, and music history. Overture Division of Sphinx Prep provides beginning violin lessons and violins free of charge to students in Detroit and Flint, Michigan.

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Sphinx Guide 14

Aaron Dworkin Named a 2005 MacArthur Fellow and Member of the Obama National Arts Policy Committee, Aaron P. Dworkin is the Founder and President of the Sphinx Organization, the leading national arts organization that focuses on youth development and diversity in classical music. An author, social entrepreneur, artist-citizen, and an avid youth education advocate, he has received extensive national recognition for his vast accomplishments. He has been featured in People Magazine, on NBC’s Today Show and Nightly News with Brian Williams, CNN’s Airport NetworkInnovator Series and Anderson Cooper 360°, named one of Newsweek’s 15 People Who Make America Great, NPR’s The Story and Performance Today (over 2 million listenership), in addition to articles in The New York Times, Chicago Tribune, Detroit News, Detroit Free Press, Washington Post, Chronicle of Philanthropy, Emerge and Jet Magazines and many other media outlets. He is the recipient of the National Governors Association 2005 Distinguished Service to State Government Award, Detroit Symphony’s 2007 Lifetime Achievement Award, 2003 Michiganian of the Year, Crain’s 40 Under 40 and Who’s Who Awards, BET’s History Makers in the Making Award, AT&T Excellence in Education Award, University of Michigan’s African-American Alumni Council’s 5 Under 10 Award, "Entrepreneur Of The Year" award by the National Black MBA Association-Detroit Chapter, and Interlochen Arts Academy’s 2003 Path of Inspiration Award.

In his role as a visionary leader, Mr. Dworkin has led two phases of strategic planning with The Sphinx Organization. He also served as the Co-Chair of the Arts and Cultural Education Task Force for the State of Michigan designing the required arts curriculum for Michigan schools and serves as Co-Chair of the Planning Task Force which oversees the strategic merger of ArtServe Michigan (statewide arts advocacy organization) and MACAA (MIich. Assoc. of Community Arts Agencies). In addition, Dworkin serves on other strategic planning committees including the American Symphony Orchestra League.

Mr. Dworkin offers a uniquely strong organizational, fundraising, and administrative background combined with an unwavering passion for music and its role in society. As Founder and President of The Sphinx Organization, he has built an infrastructure and led fundraising efforts totaling over 14 million dollars overseeing a staff and faculty of more than 40.

An accomplished electric and acoustic violinist, Mr. Dworkin received his Bachelor of Music and Master of Music degrees in Violin Performance from the University of Michigan, graduating with high honors. A lifelong musician, he is an accomplished acoustic and electric violinist, a spokenword and visual artist. He has strong interests in politics, world history and issues of economic and social injustice. In addition to various genres of music, he enjoys travel and culinary arts.

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Press

Sphinx has gotten a lot of national attention over the past few years regarding their performances and their ability to educate and influence young people in a musical setting. Below is just a sample of what a typical press clipping looks like for the Sphinx Organization. If you would like peruse through more, feel free to go to their website, www.sphinxmusic.org and take a look.

“Concert Review: Sphinx orchestra and Harlem Quartet make beautiful music at GPAC�

by Jon W. Sparks | Special to The Commercial Appeal | Wednesday, October 8, 2008

A partnership between the Memphis Symphony Orchestra and the Germantown Performing Arts Centre brought forth a thrilling performance by young musicians who are, happily, the future of classical music.

Tuesday's concert at GPAC by the Sphinx Chamber Orchestra and the Harlem Quartet was a gratifying mix of music from Mozart to Marsalis, deftly led by maestro Chelsea Tipton II. The groups are part of the Sphinx Organization, a group formed in 1996 to provide increased diversity in the classical music world. Its educational programs and competitions have been providing Black and Latino musicians opportunities to pursue and excel in their careers.

The payoff Tuesday night was evident from the start: They had us at the National Anthem. Violinists Elena Urioste and Melissa White performed a duet of "The Star Spangled Banner" that was bold, delicate, innovative, vigorous and a complete delight.

By moving right into Mozart's Divertimento in D Major, the orchestra showed its mastery of the traditional, performing with excellent balance and tone.

Urioste did solo work on Piazzolla's Invierno Porteno, a piece inspired by Vivaldi's Winter segment of The Four Seasons. Just a few weeks ago, Nadja Salerno-Sonnenberg performed the piece with the MSO with her trademark edgy, envelope-pushing style. Urioste's approach was more traditional but no less thrilling for its beauty and precision.

In fact, precision is a distinctive characteristic of Sphinx and the Harlem Quartet. The orchestra's take on George Walker's Lyric for Strings was exquisitely done as was the "Fuga" from Villa-Lobos' Bachianas Brasileiras No. 9 for String Orchestra.

The Quartet did a stunning performance of Wynton Marsalis' "Hellbound Highball" from String Quartet No. 1 (At the Octoroon Balls). A richly textured, brilliant composition that in its railroad theme roared past

the Orange Blossom Special, the quartet was expressive and swinging -- and it was evident they were having loads of fun.

The evening's finale was a combined effort in Michael Abels' Delights and Dances for String Quartet and Orchestra. Echoing the Americana themes of Copland, the piece was a collection of blues and bluegrass, hoedowns and Latin rhythms -- in all a jazzily flavored classical piece that showed off the considerable talents of the musicians.

If there was one down side to the evening, it was that so few were in attendance. Not a quarter of the hall was occupied and that was an opportunity missed by lovers of classical and jazz, along with anyone who wants to get a glimpse of tomorrow's stars.

Honors Concert

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Competition 2009 • Selected from a national pool of applicants, 18 semifinalists traveled to Detroit and Ann Arbor for five days of competition: Nine semi-finalists under age 18 competed in the Junior Division and ten semi-finalists ages 18-26 competed in the Senior Division.

• From among the 18 semi-finalists, the top three participants from each division were named Laureates and performed with the Sphinx Symphony Orchestra for first, second, and third places.

• Prizes included over $100,000 in scholarships and cash prizes, as well as solo performances with major orchestras nationwide and a performance on National Public Radio’s From the Top. • 2009 semi-finalists came from 12 states, ranged in age from 14 to 25, included two double bassists, four cellists, four violists, and nine violinists.

• Semi-finals repertoire included works by J.S. Bach, Mozart, Dittersdorf, William Grant Still, Stamitz, L. Brown, and Boccherini.

• Both the Junior Division Honors Concert and the Senior Division Finals Concert featured the Sphinx Symphony Orchestra. The Orchestra included musicians from around the world, including past and present members of the Detroit, Atlanta, New Mexico, Charlotte and Ft. Worth Symphonies. The guest conductor was Detroit native Damon Gupton II. Khari Joyner, 2009 Sphinx Junior Division 1st Place Laureate.

Juan-Salvador Carrasco Cello, Age: 15 Home: Santa Monica CA

Mariana Cottier-Bucco Violin, Age: 16 Home: Norristown PA

Brendon Elliott Violin, Age: 15 Home: Newport News VA

Randall Goosby Violin, Age: 13 Home: Bartlett TN

Annelle Gregory Violin, Age: 14 Home: San Diego CA

Xavier Foley Bass, Age: 15 Home: Marietta GA

Anna Maria Litvinenko Cello, Age: 15 Home: Miami FL

Kenneth Jones-Madrid Violin, Age: 17 Home: Evanston IL

Andrew Gonzalez Viola, Age: 17 Home: Chesapeake VA

Three teens above will compete in the 2010 Sphinx Junior Division Honors Concert.

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Semi-finalists 2010

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Timeline

The Sphinx Competition is held every year in Ann Arbor and Detroit, Michigan. The competition is open to all Junior High, High School, and College-age Black and Latino string players residing in the U.S. The Sphinx Competition offers young Black and Latino classical string players a chance to compete under the guidance of an internationally renowned panel of judges and to perform with established professional musicians in a competition setting. Its primary goals are to encourage, develop, and recognize classical music talent in the Black and Latino communities.

The timeline of the competition is detailed on the following page.

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August October Step 1 Potential competition participants are busy working and practicing to make their CD and prepare an application. All entrants’ applications are due to Sphinx by mid-November.

These CDs include four pieces: two pieces by Bach, a concerto, and a piece of the performer’s choice. The concerto varies by instrument but all stays within the classical period (17501820’s.)

November January Step 2 The competition receives all of the CDs from applicants and begins to remove all identifying aspects from them. Each CD is given a number and given to ascreening committee. The screening committee consist of music professionals from around the state of Michigan, including the Detriot Symphony Orchestra and the University of Michigan.

This committee spend countless hours pouring over the CDs, reviewing their notes, and selecting 18 students (nine from each division) to advance to the semi-final round.

February Step 3 Competition weekend arrives and each of the 18 students travel to Detroit and Ann Arbor, Michigan. Once they arrive each participant will be required to attend several functions including masterclasses, social gatherings, and competition rounds. Judges Once participants have performed they actually have a chance to speak with the judges regarding their performance, receiving written and oral feedback on how to improve and advice on how to make the most of their music career. Sphinx really takes an interest in each student and urges them to attend music festivals by supplying each of the participants with a scholarship to go to one of Sphinx’s artistic partner’s summer festival.

Sphinx Guide

Judges

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Joel Smirinoff, Violin

Paul Katz, Cello

Atar Arad, Viola

Conductor, violinist, and eminent pedagogue Joel Smirnoff joined the Juilliard String Quartet in 1986 and has performed on four continents with the group since that time. Mr. Smirnoff serves on the chamber music and the violin faculties at The Juilliard School and his involvement at The Juilliard School has been complete: he has spoken and performed at many fundraisers, served on the Faculty Council and Doctoral Committee and been involved in many key decisionmaking processes concerning policy and planning. In the summer of 2000, Mr. Smirnoff conducted the San Francisco Symphony in an allTchaikovsky program. He has since conducted the Saint Paul Chamber Orchestra, Louisiana Philharmonic, Phoenix Symphony, Chicago Philharmonic, New World Symphony, and Juilliard Symphony. Mr. Smirnoff also plays jazz and has appeared frequently with Tony Bennett in concert on and on TV. He was born into a New York musical family and is married to concert violinist, Joan Kwuon.

As cellist from 1969-1995 of the internationally acclaimed Cleveland Quartet, Paul Katz played 2,600 concerts in most of the great concert halls and music capitals of the world. The CQ were the first classical artists to appear on the Grammy Awards Telecast, performed at the White House, and were subjects of a major documentary on Arts and Entertainment, “In the MainstreamThe Cleveland Quartet.” Katz was The American String Teacher’s “Artist Teacher of the Year” for 2003, has received numerous awards from leading American cultural institutions, including Chamber Music America’s National Service Award, the highest honor given for a lifetime of distinguished service in the field of chamber music. The Cleveland Quartet made 70 recordings; the have earned many distinctions including the all-time best selling chamber music release of Japan, 11 Grammy nominations, 2 Grammy Awards, and “Best of the Year” awards from Time Magazine and Stereo Review. One of the world’s most prominent cello teachers and mentor of many of the world’s leading young string quartets, he teaches at The New England Conservatory of Music.

Atar Arad was born in Tel Aviv, where he began his early musical education and violin studies. In 1971, drawn by the deep, warm sound of the viola and its broad but unfamiliar repertoire, he decided to devote himself to this instrument and its music. The following year, in his first appearance as a violist, he won the City of London Prize as a laureate of the Carl Flesch Competition for violin and viola and two months was awarded the First Prize at the International Viola Competition in Geneva by a unanimous decision of the jury. In 1980 Arad moved from London to the U.S. in order to become a member of the Cleveland Quartet for the next seven years.

With this great Quartet he toured four continents, collaborating with many leading musicians; recording for labels such as RCA, CBS and Telarc; and appearing in music festivals including Aspen, Berlin, and Edinburgh. During that time he held the position of a Professor of Viola at the Eastman School of Music. He currently teaches at Indiana University, Bloomington, and at the Steans Institute (Ravinia Festival) in Chicago.

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José Serebrier, Conductor/ Composer GRAMMY-winner conductor and composer José Serebrier is one of most recorded classical artists, with over 250 titles. After five years as Stokowski's Associate Conductor in New York, Serebrier accepted an invitation from George Szell to become "Composer-in-Residence" of the Cleveland Orchestra.

Serebrier's first recording with the London Philharmonic Orchestra, won a Grammy nomination, his recording of the Mendelssohn symphonies won the UK Music Retailers Association Award for Best Orchestral Recording, and his series of Shostakovich's Film Suites won the Deutsche Schallplatten Award for Best Orchestral Recording. He has recorded with the London Symphony Orchestra, Oslo Philharmonic, Barcelona Symphony, Czech State Philharmonic Brno, many others. As composer, Serebrier has won most important awards, including two Guggenheims (as the youngest in that Foundation's history, at ages 19 and 20), Rockefeller Foundation grants, and commissions from the National Endowment for the Arts.

Born in Uruguay of Russian and Polish parents, Serebrier has composed more than 100 works and his First Symphony was premiered by Leopold Stokowski (who premiered several of his works) when Serebrier was 17.

Joseph Conyers, Bass

Nokuthula Ngwenyama, Viola

Joseph Conyers is the newest member of the Atlanta Symphony Orchestra double bass section. He won the position after a three and a half year tenure as principal bass of the Grand Rapids Symphony (MI) and four summers as a member of the Santa Fe Opera Orchestra (NM).

Conyers has performed throughout the United States and Europe. He was principal (solo) bass of the Philadelphia Virtuosi Chamber Orchestra with whom he traveled extensively and recorded on the Naxos label. He has also performed with the Sphinx Chamber Orchestra, Boston and Detroit Symphonies, and the Minnesota Orchestra in a number of prestigious venues including Carnegie Hall and the Kennedy Center. Conyers has been a fellowship student and held principal positions at numerous music festivals including the Tanglewood Music Center and the Verbier Music Festival in Switzerland. A recipient of honors including the Inaugural Stanford Allen Award presented to him by the Sphinx Competition in 2008, Conyers attended The Curtis Institute of Music in Philadelphia. Conyers is the cofounder of a nonprofit organization in his hometown of Savannah, GA called MusicAlive! (music-a-live.org).

The organization was created to help broaden the exposure to classical music for school aged children and adults throughout the Coastal Empire.

Nokuthula Ngwenyama came to international attention when she won the Primrose Competition and the Young Concert Artists International Auditions at age 17. Plaudits followed her debut recitals in Washington, D.C. at the Kennedy Center and in New York at the 92nd Street ‘Y’, and in 1997 she received the prestigious Avery Fisher Career Grant. Ms. Ngwenyama has performed throughout the United States and abroad. Domestic appearances include performances with the Atlanta, Baltimore, and Indianapolis Symphonies as well as the National Symphony Orchestra.

She has been heard in recital at Tokyo’s Suntory Hall, the Louvre, the Ford Center in Toronto, and the Maison de Radio France. Summer festival appearances include Green Music, Vail, San Diego’s Mainly Mozart, Chamber Music Northwest, Marlboro Music Festival, and Spoleto USA. Ms. Ngwenyama served as visiting professor at the University of Notre Dame in 2007 and joined the faculty of Indiana University in 2008 as visiting professor and serves as director of the prestigious Primrose International Viola Competition.

Born in California of ZimbabweanJapanese parentage, Ms. Ngwenyama graduated from the Curtis Institute of Music. As a Fulbright scholar she attended the Conservatoire National Superieur de Musique de Paris, and received a Master of Theological Studies degree from Harvard University.

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What do the competition judges listen for?

The judges listen for many objective, technical elements, such as rhythm and melody. They also judge a soloist’s artistry based on what they subjectively like and dislike the musician’s musical interpretation and style. The simplest way for audience members to judge each soloist’s performance is to just think about what they like and don't like about a particular performance, remembering the whole point of each performance is to entertain and engage the audience. What follows is a brief description of some performance elements and judging considerations for audience members: Melody is often the element in music that makes the most direct appeal to the listener. It is usually what listeners remember and can whistle or hum. Specifically, a melody is a coherent succession of pitches; so, when comparing music to writing, words would be musical notes or pitches and a sentence or paragraph would be the melody.

Judging the Soloist: Think of when Beyonce, or Josh Groban, or Faith Hill sings a ballad or a slow song. Do the slow sections “sing” and flow the same way or is it choppy and does it all sound the same volume?

Music is propelled forward by rhythm, the element that organizes movement in time. Rhythm gives music energy, drive, and pulse that allows many musicians to play together and that allows dancers to move “on beat.”

Judging the Soloist: Do the notes sound even in relation to each other such as the rhythm you hear when listening to a poem or limerick...or do the notes sound uneven like someone is stuttering?

Artistry, a fairly ambiguous term, represents the performer’s ability to infuse music with emotion, passion, and personality. Individual artistry is as unique as a person’s fingerprints: life experiences, physique, and feelings all affect a musician’s play an instrument or piece or musically artistically.

Judging the Soloist: Were you drawn into the performance? What emotions did you feel? Did the performer showcase a wide range of emotions, like an actor would? Did the performance sound unique?

Judging

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Sphinx Symphony Orchestra The Sphinx Symphony is the unique all Black and Latino orchestra comprised of top professionals from around the country. This ensemble includes past and current members of the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Met Opera Orchestra, and the Detroit, Atlanta, Baltimore, Milwaukee, Cincinnati, St. Louis, and Puerto Rico Symphonies, as well as faculty members of leading music institutions, including Peabody and New England Conservatories, Harlem School of the Arts, Rutgers University, and the University of Michigan. This ensemble fulfills a unique multi-purpose role: its members serve as mentors to our young musicians both on stage and through providing master classes and lectures, in addition to promoting works by Black and Latino composers during the Sphinx Finals Concert.

Sphinx symphony Conductor: Anthony Elliott The conductor of this year’s Sphinx Symphony is Anthony Elliott.

Maestro Elliott was first encouraged to pursue conducting by the late Karel Ancerl, of the Czech Philharmonic. His conducting studies were under the direction of Vilem Sokol and Derrick Inoyue. He has participated in conducting master classes sponsored by the American Symphony Orchestra League under the direction of Pierre Boulez and Andre Previn. Mr. Elliott was also invited to give a workshop for conductors at the Midwestern Conference of Music Education at the University of Michigan. He also conducted the Plymouth Symphony and the Washington, Texas, North Carolina, Alaska and North Dakota All State Orchestras. His activities as a conductor also include choral works, ballet and collaborations with Pinchas Zukerman, Nathaniel Rosen and Alice Neary. He has worked with the Kent/Blossom Chamber Orchestra and served as Assistant Music Director of the Marrowstone Music Festival and Music Director of the Houston Youth Symphony and Ballet. Mr. Elliott was the Grand Prize winner of the Feuermann International Solo Cello Competition in 1987 and has appeared as a soloist with the New York Philharmonic, the Detroit Symphony Orchestra, the Minnesota Orchestra, the Vancouver Symphony Orchestra, and others. He is a Professor of Music at the University of Michigan and a member of the performing artist faculty at the Aspen Music Festival.

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Repertoire What is the finals repertoire?

Violin - Mozart, Concerto in D major, No. 4, mvt I Viola - Stamitz, Concerto in D Major, Op. 1, mvt I Cello - Boccherini, Concerto in B Flat Major, mvt I Bass - Dittersdorf, Concerto in E Major, mvt III Why did Sphinx pick these pieces?

The repertoire was selected with the idea that all concertos would be comparable across the instrument categories in terms of level of difficulty, style, and format. These works are representative of standard classical era repertoire, and allow the judges to examine each young artist on key criteria of technical proficiency, artistry, and overall presentation.

What is a concerto?

A composition for one or more principal instruments, with orchestral accompaniment, now usually in symphonic form. Concerto's were first created in the Baroque period.

They began as alternating themes played between the soloist (called concertino) and the orchestra (ripieno). There were often multiple soloists in a concerto at the beginning of the form’s development, while the form has gradually evolved into its presnt-day standard of one soloist playing with an orchestra.

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Orchestras began as forms of entertainment for people who were wealthy; they would hire musicians to write and perform music to entertain them and their guests. These arts patrons were very important for the beginning of secular music, because it allowed expanded musicians ability to make money and explore new types of music that weren’t connected to the church. The church had very strict rules about what could be written and performed in a sacred setting.

In the end of the 18th century however, the orchestra began growing and concert halls began expanding in order to fit works for larger orchestras. This included larger woodwind and brass sections, growing the size of the orchestra from around 40 to upwards of 60 to 70. It then grew again in the late 19th century because of composers like Wagner and Mahler who created larger orchestras to fill out their symphonic literature and opera orchestras. Gustav Mahler, for example, once wrote a symphony that merged choirs and orchestra that earned the nickname "Symphony of a Thousand."

The orchestra’s role in the concerto is twofold: it acts as a supporting character, laying the groundwork for the performer to showcase their technical mastery as well as spurring change through harmonic structure.

The orchestra typically begins the concerto with a brief introduction of the theme. The soloist will then take the theme and expand it while the orchestra sets the mood underneath it. This allows the soloist to create and sustain the mood and change it based on their interpretation of the music.

Brief History Orchestras:

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Elements

Orchestras:

Composition of an Orchestra The conductor is the leader of the orchestra. He/she is the one person who shapes the musical ideas of the orchestra, provides support and guidance, decides what to perform, and even keeps time for the musician, all without saying a word while the orchestra is playing.

In terms of instruments, the orchestra is composed of four different string instruments, Violin, Viola, Cello and Bass.

The violin plays the most melodic lines as well as the highest pitches. They are also split into two sections, First Violins and Second Violins. First Violins carry most of the higher pitches and the melody, and Second Violins carry a lot of harmonies that support the first violins. There are normally around thirty to forty violinists between both sections.

Violas are the second instrument and they mainly carry harmonizing lines. They look like violins but are bigger and have a lower sound than a violin. This middle register is often called an alto register, which corresponds to their clef, the alto clef. There are normally around 15 Violas in a modern orchestra.

Cellos are the most versatile instrument in the orchestra. They play melodic lines, harmonizing lines, and sometimes double the basses to provide even more bass support for an orchestra. There are normally ten- fourteen cellists in an orchestra.

Basses are the biggest instrument in the orchestra and also the lowest. They provide the orchestra with a good sturdy pitch foundation as well as a good deep sound to build on. The Basses are the smallest section, normally only having eight to ten players on stage.

Brass, woodwind and percussion inhabit the stage as well as the strings. The brass consists of: French Horns, trumpets, trombones, and a tuba. Woodwinds normally have flutes, oboe, bassoon, and clarinets, but can also have various types of including the contrabassoon, saxophone, and english horn. Percussionists have many types of instruments including but not limited too: kettle drums (timpani,) snare drum, bass drum and a marimba or xylophone.

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Percussion Horns

Trumpets

Bass Clarinet

Clarinets

Bassoons

Piccolo

Flutes

Oboes

Trombone & Tuba

Contrabassoon

English Horn

Harp & Piano Basses

Second Violins Violas

First Violins

Cellos Conductor

Symphony Orchestra Seating Chart

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Timeline

Classical Music:

1685 1750 Baroque Notable Composers - Bach, Handel, Haydn, Scarlatti What does the music sound like?

Baroque music was music created for the aristocratic class and the Church. It was very dense and often described as intellectual in nature. The term Baroque means excessive in nature and while Baroque music has a reputation of a very tame musical idea, this music is different. Music from this era contains a large amount of embellishment that emphasizes the bass notes (for example, moving from one note to another and back at a very fast speed, playing the note above and below in quick succession are types of embellishment).

The Baroque period also brought the creation of the sonata (instrument with piano accompaniment) and the concerto (solo instrument with orchestra accompaniment) forms of music.

1750 1820s Classical Notable Composers - Mozart, Beethoven, Stamitz What does the music sound like?

The Classical era is defined by clarity and structure. It is lighter and much different than the typical piece of the Baroque Period. The classical composers wanted to separate themselves from the Baroque period so they composed much more unembellished pieces. One way they did this was by shortening the themes composed. A typical phrase in classical piece is 8 bars, which consist of a four bar phrase connected to another four bar phrase. A very easy way to think about it would be a question-answer phrase in writing.

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1820s 1900 Romantic Notable Composers - Brahms, Mendelssohn, Wagner, Tchaikovsky What does the music sound like?

The romantic era was marked by a shift from lightness of the classical era into a period of intense introspective feeling. Composers sought to bring out what they were feeling into longer symphonies. They used larger ideas and embellished them, while keeping firmly rooted in the structure of the classical period. Richard Wagner wrote operas that inspired books like the Lord of the Rings and lasted for over 16 hours. Brahms wrote symphonies that expressed emotions that still are among the most powerful of today, especially his fourth symphony.

1900 2010 Modern Notable Composers - Mahler, Stravinsky, Bartok, John Adams, Steve Reich What does the music sound like?

The music of the 20th and 21st centuries is often viewed as strange and hard to listen to because at times it can sound very dissonant and rhythmically irregular.

The style, however, is actually quite varied, containing works with classically beautiful melodies and others with more avant-garde approaches to musicmaking.

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Famous Musicians

Below are Black and Latino musicians who are representations of some of the finest artists in the world.

Astor Piazolla

Regina Carter

One of the greatest and most stylistically recognizable composers of the 20th century, Astor Pantaleón Piazzolla was born on March 11, 1921 in Mar del Plata, Argentina. In 1929, when Astor was 8 years old, his father gave him his first bandoneon (a bandoneon is an accordion like instrument). Building this instrumental foundation, he later spent years of his life playing in tango orchestras and studying counterpoint in order to advance himself musically. In 1953 he presented his composition, “Buenos Aires” (three symphonic pieces) – composed in 1951 – for the Fabien Sevitzky competition. Piazzolla won the first prize and the work was performed with the addition of two bandoneons. It was a fullblown scandal, at the end of the concert there is a generalized fist-fight due to the strong reaction of some members of the audience that consider it an indignity to include bandoneon in the “cult” setting of a symphonic orchestra.

One of the prizes he won at this composition contest was a scholarship from the French government to study in Paris (where he goes in 1954), with Nadia Boulanger, considered the best educator in the world of music at the time. When Piazzolla returned to Argentina (1955) he continued with the strings orchestra, composing, and forming groups: the formation the group , the Octeto Buenos Aires, is seen as the beginning of the contemporary tango age. During this period of composition he wrote works for world-famous musicians, such as Mtslav Rostropovich, and composed some of his most enduring works, such as "El Tango". While greatly active from 1955-1970, in 1973 he suffered a heart attack which forces him to reduce his artistic activities. Towards the end of 1989 he dissolved his group, but continued playing solo with string quartets and symphonic orchestras. After almost 2 years of suffering the consequences of a stroke, Piazzolla died in Buenos Aires on July 4, 1992.

(In the photo on the next page, Piazolla is pictured with a bandoneon)

Regina Carter's career has been a veritable crescendo of success that shows no sign of letting up. She is on a mission: to make a meaningful musical contribution and do it on her own terms. Indeed, she tours with relentless purpose and a seemingly endless supply of energy. Over the past four years, Ms. Carter and her quintet have brought audiences to their feet with exhilarating performances worldwide. In addition to her ongoing concert touring, Ms. Carter performs a program of music for jazz quintet and orchestra. In this capacity she has appeared with the Minnesota Orchestra, Atlanta Symphony, and the Milwaukee Symphony, among others. Regina Carter's triumphs by no means came without paying her dues as a side person and a student.

She has won acclaim for her solos on Wynton Marsalis' Blood On The Fields tour in 1997, and Cassandra Wilson's Travelin' Miles concert, at New York's Lincoln Center in 1998. Carter's early musical experiences in her hometown, Detroit, and the association as a member of the Detroit Civic Symphony Orchestra and the pop, funk group Brainstorm, provided the needed experience to record with artists ranging from pop icons Aretha Franklin and Patti Labelle, to legendary jazz pianist Kenny Barron, and Pulitzer prize-winning Wynton Marsalis. She has also recorded with some of the new divas in the R&B arena, including Mary J. Blige and Lauryn Hill. Her influences have ranged from R&B to East Indian, to classical music. As a college student, Carter took on a double major in Classical music and African American music at both the prestigious New England Conservatory and Oakland University in Rochester, Michigan, where she earned a Bachelor of Arts degree in Performance.

Resources

Arts Resources www.ums.org

The official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about community and family events, and more information about the UMS Youth Education Program.

www.artsedge.kennedy-center.org

The nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant information, etc. Below are three lesson plans on the web site relevant to the music of the Sphinx Competition: http://artsedge.kennedy-center.org/content/3345/ This lesson deals with pitch in string instruments. How size and shape of the materials used affect the sounds made on the instrument. (Grades k-4) http://artsedge.kennedy-center.org/content/3344/ This lesson deals with silence and acoustics. Students will create their own instruments and determine how they are made and what changes the sound using the scientific method.

(Grades K-4) http://artsedge.kennedy-center.org/content/2240/ Students write an essay comparing Bach’s struggle to achieve musical independence and growth with their own experiences. (Grades 5-8)

Sphinx Organization www.SphinxKids.org

Sphinx Kids is an extension of the Sphinx Organization’s Classical Connections program, which brings classical music into underserved schools nationwide. The creation of the site was sponsored by an SBC Excelerator Grant. Sphinx Kids contains interactive games and videos from the Sphinx Classical Connections CD-Rom as well as from the New York Philharmonic’s KidZone website.

www.sphinxmusic.org

The official website of the Sphinx Organization. The site includes information about all of Sphinx’s programs, details about musicians and staff, and multimedia resources.

NOTE: Although UMS previewed each web site, we recommend that teachers check all web sites before introducing them to students, as content may have changed since this guide was published.

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Learning

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Vocabulary Allegro A fast tempo, typically the first or last movement of a sonata or symphony.

Andante A tempo between allegro (fast) and adagio (slow) usually considered “walking” speed.

Articulation Most often in music it refers to how musicians start a note or phrase. Musicians can articulate with the tongue or air, and the Articulation can be heavy or light, long or short.

See Legato, Staccato Chamber music played by an ensemble of usually three to eight players, with one player per part.

Concerto A piece of music during which one player, the “soloist”, sits or stands at the front of the stage, playing the melody, while the rest of the orchestra accompanies him/her.

Conductor The person who directs a musical performance on the stage (usually with a baton) to help the players to play together and at the right time.

Continuo In Baroque music it is the bass part, played by a harpsichord or organ together with a cello, for instance.

Dynamics The loudness or softness of music. Forte means loud, while Piano means soft.

Fugue A music written for three or more musical lines, or voices. Each part or line is similar, but they enter at different times, creating counterpoint and a fugue.

Harmony The playing of two notes at the same time to produce a chord and the use of these chords throughout music to support the melody.

Larghetto A little faster than largo (very slow).

Largo A very slow tempo.

Legato Smooth and connected articulation.

Measure A basic unit of musical time that contains a set number of beats; two, three or four. Just like a one foot can be divided into 12 inches, a piece of music can be divided into measures.

Melody It is the tune or main musical idea in a piece of music.

Moderato A moderate tempo, between Allegro (fast) and Andante (walking speed).

Molto An Italian word used in music meaning “very”.

Molto allgero means very fast.

Movement Large sections of a musical piece. A composer divides a piece into various movements and signals this by a major tempo change or by giving the new section a title.

Opera A drama, or play, that is sung and accompanied by orchestral instruments.

Overture An introductory movement to a musical work that usually sets the tone for the piece.

Phrases A section of a melodic line. In writing, if a melodic line is a paragraph, then a phrase is a sentence.

Pitch The highness or lowness of a sound. The flute has a high pitch, and the tuba has a low pitch.

Rhythm The pattern of movement in time; the grouping of sounds according to length and speed.

The beat of your heart is a type of rhythm. With melody, harmony, and tone, rhythm is one of the four basic elements of music.

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Counterpoint Two, three, four or more melodies played at the same time. This term comes from the Latin contrapunctun meaning “against note.”

Sonata A type of musical work meant to demonstrate the sound and technique of a particular instrument, usually with piano accompaniment.

Staccato A sharp or pointed articulation.

Symphony A piece of music for a large group of instruments, such as an orchestra, usually consisting of four movements. The word “symphony” is also used as a title for an orchestra that plays symphonies, for example, the Detroit Symphony Orchestra or the Sphinx Symphony.

Symphonic A type of music played by an orchestra in which the music is meant to tell a specific story, poem, or program.

Tempo The speed of a musical piece or section.

Tempo can be largo, moderato, andante, allegro, but sometimes composers will use just descriptive words, such as gentle, calm, or excited.

Texture The easiest way to think of a music’s texture is to classify it into one of three categories: monophonic, music having one single melody with no accompaniment; homophonic, music having a single melody with supporting chords; polyphonic, music combining two or more melodies at the same time.

Theme The musical material on which part or all of a work is based and usually the term refers to the easily recognizable melody of a piece.

Timbre Usually thought of as the color or tone color.

Each instrument has a distinctive or characteristic timbre. The timbre of a string instrument such as the violin is much different from the timbre of a brass instrument such as the trumpet.

Waltz A lively ballroom dance in which every measure has three beats.

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Recommended Recordings:

Black Composers Violin Concertos by Black Composers of the 18th and 19th Centuries. Works by Chevalier de MeudeMonpas, Chevalier de Saint-Georges, Joseph White, Samuel Coleridge-Taylor. Rachel Barton, violin; Encore Chamber Orchestra. Cedille Records CDR 90000 035 (1997).

Coleridge Taylor, Samuel. Clarinet Quintet/Petite Suite / Ballade / Spirituals. Harold Wright, clarinet; Virginia Eskin, piano; The Hawthorne String Quartet. Koch International Koch 3-7056 2H1 (1992).

Still, William Grant. Here’s One. Includes six pieces by Still performed by Zina Schiff, violin, and Cameron Grant, piano. Also includes music by Florence Price and others. 4-Tay, Inc. 4-TAY-CD 4005 (1997).

Kaleidoscope: Music by African-American Women.

Includes works for violin and piano by Lettie Beckon Alston, Dorothy Rudd Moore, Irene Britton Smith, and Dolores White. Helen Walker Hill, piano; and Gregory Walker, violin. Leonarda Productions, LE 339 (1995).

Latino Composers Leon, Tania. Pueblo Mulato. CRI 773 (1999).

The Complete Recordings of Joseph Joachim, Pablo de Sarasate, and EugeneYsaÿe. Various Performers. Pearl, #9851 (1993) Piazzolla, Astor. Camerata Bariloche (Chamber Orchestra of Argentina) Tango. Dorian Recordings, DOR-90210 (1994).

Sierra, Roberto. Piezas Características. Various Performers. Composers Recordings Inc., 725 (1997).

Villa-Lobos, Heitor. Bachianas Brasileiras 1, 2, 5, & 9. Victoria de los Angeles, Fernand Benedetti. EMI Classical, CDM5669122 (1998).

White, Jose. Concerto for violin and orchestra.

Columbia, M 33432 (1975).

Recommended Readings:

M is for Music

By Kathleen Krull and Stacy Innerst Published September 2003 Grade Level: PreK-2, 3-5

Music, musicians, instruments, dances, and composers fill this magical musical ABC book.

Round Book: Rounds Kids Love to Sing

By Margaret Read MacDonald and Winifred Jaeger Published August 1999 Grade Level: 3-5, 6-8

This book for all ages is a collection of eighty rounds, lyrics and music, about friendship, nature, giving thanks, music, silliness, and jokes.

New York Times Essential Library: Classical Music: A Critic’s Guide to the 100 Most Important Recordings

By Allan Kozinn Published August 2004 Grade Level: 6-8, 9-12

Classical music fans, especially those interested in collecting special recordings, will find Kozinn’s guide a useful resource. The book gleans 100 recordings from 900 years of music, and as the author states in his preface, there are decades that could have yielded 100 entries. The text provides information about the pieces, composers, performers, performances, and the recording process.

Beethoven’s Hair

By Russell Martin Published October 2001 Grade Level: 9-12

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In Beethoven’s Hair, Russell Martin has created a rich historical treasure hunt, an Indiana Jones-like tale of false leads, amazing breakthroughs, and incredible revelations.

This unique and fascinating book is a moving testament to the power of music, the lure of relics, the heroism of the Resistance movement, and the brilliance of molecular science.

From Spirituals to Symphonies: African-American Women Composers and Their Music.

By Helen Walker-Hill Published April 2007 Grade Level: 9-12

Piano scholar Walker-Hill presents an accessible, thoughtful, and humanist study of African American women composers who, for the most part, have been ignored by historians. Frankly examining race and gender issues and individual challenges, the author, who conducted interviews with many of the composers and their families, also discusses the music of each woman at length in appreciative, nontechnical language. Detailed works lists and an appendix enumerating other black women composers add reference value; opening and concluding overview chapters supply historical context and big picture views.

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Ann Arbor Symphony 527 E. Liberty, Suite 208B Ann Arbor, MI 48104 734-994-4801 www.a2so.com Arts League of Michigan 7700 Second Avenue 6th Floor Detroit, Mi 48202 info@artsleague.com www.artsleague.com Detroit Symphony Orchestra Max M. Fisher Music Center 3711 Woodward Avenue Detroit, Michigan 48201 Box Office Phone: (313) 576-5111 www.detroitsymphony.org

University of Michigan School of Music, Theatre & Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109-2085 (734) 764-0583 - General Information www.music.umich.edu/ University Musical Society University of Michigan Burton Memorial Tower 881 N. University Ann Arbor, MI 48109-1011 (734) 615-0122 umsyouth@umich.edu www.ums.org/education

Shar Music Company 2465 S Industrial Hwy Ann Arbor, MI 48104 (734) 665-7885 Sphinx Organization 400 Renaissance Center, Suite 2550 Detroit, MI 48243 (313) 877-9100 info@sphinxmusic.org www.sphinxmusic.org

Community Shar String Quartet Information Shar Music, based in Ann Arbor, has a program where they send a quartet to your school. They all have degrees in music and can come in and give an overview of music or just perform. They have a wide range of styles to play from so if you have any questions or if you are interested in having this quartet come to your school, please contact Alexandra or Ashley at Alexandrao@sharmusic.com. or Ashelyo@sharmusic.com

About UMS

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UMS is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.

What is UMS? UMS Education & Audience Development Department Mailing Address 100 Burton Memorial Tower 881 North University Ave Ann Arbor, MI 48109-1011 Staff Kenneth C. Fischer, UMS President Claire C. Rice, Interim Director Mary Roeder, Residency Coordinator Omari Rush, Education Manager Interns Emily Barkakati Mark Johnson Neal Kelley Emily Michels Leonard Navarro Bennett Stein

1. QUALITY Every student deserves access to “the best” experiences of world arts and culture • UMS presents the finest international performing and cultural artists.

• Performances are often exclusive to Ann Arbor or touring to a small number of cities.

• UMS Youth Performances aim to present to students the same performance that the public audiences see (no watered-down content).

2. DIVERSITY Highlighting the cultural, artistic, and geographic diversity of the world • Programs represent world cultures and mirror school/community demographics.

• Students see a variety of art forms: classical music, dance, theater, jazz, choral, global arts.

• UMS’s Global Arts program focuses on 4 distinct regions of the world--Africa, the Americas, Asia, and the Arab World--with a yearly festival featuring the arts of one region.

3. ACCESSIBILITY Eliminating participation barriers • UMS subsidizes Youth Performance tickets to $6/student (average subsidy: $25/ticket) • When possible, UMS reimburses bussing costs.

• UMS Youth Education offers personalized customer service to teachers in order to respond to each school’s unique needs.

• UMS actively seeks out schools with economic and geographic challenges to ensure and facilitate participation.

4. ARTS EDUCATION LEADER One of the premier arts education programs in the country • UMS’s peer arts education programs: Carnegie Hall, Lincoln Center, Kennedy Center.

• UMS has the largest youth education program of its type in the four-state region and has consistent school/ teacher participation throughout southeastern Michigan.

• 20,000 students are engaged each season by daytime performances, workshops and in-school visits.

• UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).

5. K-12 SCHOOL PARTNERSHIPS Working directly with schools to align our programs with classroom goals and objectives • 13-year official partnerships with the Ann Arbor Public Schools and the Washtenaw Intermediate School District.

• Superintendent of Ann Arbor Public Schools is an ex officio member of the UMS Board of Directors.

• UMS has significant relationships with Detroit Public Schools’ dance and world language programs and is developing relationships with other regional districts.

• UMS is building partnerships with or offering specialized services to the region’s independent and home schools.

Youth Education

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10 Things to Know About the UMS Youth Education Program

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6. UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage • UMS Youth Education is developing a partnership with the U-M School of Education, which keeps UMS informed of current research in educational theory and practice.

• University professors and staff are active program advisors and workshop presenters.

7. KENNEDY CENTER PARTNERSHIP • UMS Youth Education has been a member of the prestigious Kennedy Center Partners in Education Program since 1997.

• Partners in Education is a national consortium of arts organization and public school partnerships.

• The program networks over 100 national partner teams and helps UMS stay on top of best practices in education and arts nationwide.

8. PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” – AAPS Teacher • UMS Youth Education provides some of the region’s most vital and responsive professional development training.

• Over 300 teachers participate in our educator workshops each season.

• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.

9. TEACHER ADVISORY COMMITTEE Meeting the actual needs of today’s educators in real time • UMS Youth Education works with a 50-teacher committee that guides program decision-making.

• The Committee meets throughout the season in large and small groups regarding issues that affect teachers and their participation: ticket/bussing costs, programming, future goals, etc.

10. IN-SCHOOL VISITS & CURRICULUM DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/teaching artists in classes to help educators teach a particular art form or model new/innovative teaching practices.

• UMS develops nationally-recognized teacher curriculum materials to help teachers incorporate upcoming youth performances immediately in their daily classroom instruction.

UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 | www.ums.org/education

Send Us Your Feedback!

UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS Youth Education Program Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education