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What impact does music have on a child’s developing brain? Research reveals links between music and cognitive skills BY PAUL SINKEWICZ
The power of music to nurture the soul has always been known. Its power to shape the mind is something we are only really beginning to understand. Tap a beat on a baby’s back, sway with your child to a simple tune or expose toddlers to rhythms and rhymes, and you are forging connections in their brain. Help that child continue on a musical journey as they grow, and they will thrive in other areas of their development — areas like perception, language, creativity and memory. Dr. Sean Hutchins is Director of Research at the Royal Conservatory of Music (RCM) and is delving into the mysteries of music and the mind. A musician himself, Hutchins is an accomplished neuroscientist fascinated with the effects that music can have on development. “There’s always been quite a bit of hype around music and the mind,” says Hutchins.
“Over the past 20 years or so there have been numerous studies and claims about this type of thing… and what we want to do here is make sure that everything we are talking about with music and the mind is really grounded in solid scientific evidence.” The RCM has had a research centre since 2014, which works closely with the Marilyn Thomson Early Childhood Education Centre, Glenn Gould School, Royal Conservatory School, and other Royal Conservatory initiatives to better understand the effect that music can have on the brain. “We’ve been running fullscale research studies involving hundreds of children now, to try and get to the heart of this,” said Hutchins. “We’ve also been running other studies using the adult students at the Glen Gould School to assess what the outcomes of music education can be.” One of the most important things that this research has found is that simply listening to music isn’t really enough, according to Hutchins. “The benefits that we’re seeing from music come from practice and come from actually learning and training on music. When you are practising music you are engaging a whole host of skills that you’re not fully engaging just by
perceiving music. These are things like recognizing and being able to perform very subtle timing differences, for example, which are skills that are useful in music, but are also useful in language. Musicians also need to practise attention and memory skills, and these are things that are applicable to other walks of life.” RCM recently hosted a conference which brought together some of the leading researchers in the field of music and cognition. Dr. Ben Zendel outlined his work studying how music in youth can affect perceptual abilities as people age. He found that older musicians could do better at things like speech and noise tests and that musicians who were 70 performed at the same level as non-musicians who were about 50. Dr. Virginia Penhune is researching the effects early childhood music training can have on development and looks at neurological differences between musicians and non-musicians. Her work shows effects in areas such as motor co-ordination and language skills. “Our own work here has been looking at the development of language skills for very young children who are taking music lessons. This
Neuroscientist Dr. Sean Hutchins, Director of Research at the Royal Conservatory of Music, says that playing music helps to shape and forge connections in a child’s developing brain. GET T Y IM AGES
involves our Smart Start program which is music lessons for children between the ages of 0 and 6,” says Hutchins. “And we’re measuring both their linguistic and musical development as they progress through our program and our research has been seeing benefits to things like vocabulary size, to things like pre-reading abilities, as well as associated musical benefits. “We see quite a bit of evidence that musicians perform better at a whole host of cognitive and perceptual and linguistic tasks than non-mu-
sicians, and there have been a number of studies linking these directly to music training.” His research also seems to indicate the earlier the better when it comes to taking up music. “So far we haven’t found a lower limit for beginning. All the evidence that we have shows that the earlier a child starts their musical training, the more benefit we can see. So that’s age-appropriate musical lessons, even for our youngest students.” Hutchins hopes his research will help parents and
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educators gain an appreciation for the importance of music in a well-rounded education, as well as assist parents to find ways to encourage their children to stay involved in music. He suggests that parents let the child explore types of music they might be more interested in. It’s also important for the child, the teacher and parents to establish a good working relationship. “Music can be a very personal type of experience, and part of what makes music effective is the fact that it is generally fun,” says Hutchins.
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Benefits of dance education last a lifetime
BY DARLENE POLACHIC
Donna Fehr established Pure Energy Dance Company 41 years ago. Her aim was to have a dance studio built on strong family values, one that would be warm and welcoming and where each student was taught with respect and care. Today “Miss Donna”, as she is known to her staff and students, still teaches classes and even dances in annual dance recitals. Her daughters, Coralee McNarland and Karrie-Ann Puderak, have joined her in the business located on Fairlight Drive. The studio teaches over 100 classes a week to 450 students. Pure Energy Company teaches a full range of dance disciplines including ‘pointe’ or ballet, tap, jazz, musical theatre and hip hop, as well as acrobatic dance (gymnastics for dancers) and aerial silk and aerial trapeze. Fehr is a staunch believer in the lifelong benefits of dancing. “It keeps a person mentally and physically fit,” she says, “and studies have
shown that dancing can delay the onset of dementia because it requires you to use different parts of your brain at the same time.” For children, the benefits are much more far-reaching. “Dance fosters self-expression and develops selfconfidence, resilience and perseverance,” says Coralee McNarland. “It teaches management of emotions in a productive way. As well, students learn how to respond to constructive criticism. These are valuable life skills. And when a child participates in dance group, they learn to cooperate, to encourage one another and develop strong relationships.” Karrie-Ann Puderak says dance gives children a strong sense of belonging. “Parents love knowing their children are safe, active, and gainfully occupied. Kids in dance feel the studio is a place where they belong. Their best friends are probably there.” As for the physical benefits, dance develops body awareness, good coordina-
Dance fosters self-expression and develops self-confidence, resilience and perseverance, say Coralee McNorland and Kerri-Ann Puderak with Pure Energy Dance Company. SUPPLIED PHOTO
tion, and awareness of how the body moves in a given space. Fine and gross motor skills are more advanced in dancers, and the importance of things like good nutrition and good bedtime routines are stressed. Thirty years ago, Madame Juliette Perrey-Perez established Juliette’s Dance Centre on Second Avenue across
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from Earl’s. Today, Lisa Williams and Melissa Sabin own the business, but until this year, Madame Juliette has remained active in the role of artistic director. Williams and Sabin see dance as providing valuable structure for children of all ages. “There’s a discipline to the art that is very beneficial,” Williams says. “Memory work is involved, and that’s key for children. Behaviour-wise, there is protocol to follow, and we try to build a team approach.” Also, she says, the syllabus is in French, another benefit for students. Is there an optimum age for starting dance? Juliette’s Dance Centre starts three year-olds in ballet and jazz. Age four and up add hip hop, lyrical contemporary dance, tap and the acro-dance program. Students 12 and up can take the studio’s modern program as well.
Pure Energy Company starts dancers as young as 16 months. The little ones learn about waiting their turn, listening to instruction and following directions, McNarland says. “We offer a four-day dance camp where new students can try out all the different dances we teach. By the end of the week, it will be pretty evident which type of dance is most suited to the student. It hinges on their degree of passion. They need to be enjoying it. That’s a big deal for kids.” And as for future opportunities for dancers, Lisa Williams from Juliette’s Dance Centre says the choices are vast today. “With social networking, dancers can start very young participating in professional auditions if they’re interested in a professional dance career. Colleges of performing arts across Canada always
have auditions open. And then there are the opportunities to dance with professional companies who come to town like Royal Winnipeg Ballet and National Ballet of Canada. Moscow also comes through often. Twenty-seven of our kids performed with them this past winter.” McNarland says various shows on television have put dance in the spotlight. As a result, there are many more stage opportunities, as well as involvement like university-level dance programs, commercial dancing, even entertaining on cruise ships. She says, “Several of our students have roles in upcoming movies and on television. And even if they don’t opt for a dance career, the work ethic students learn is huge. Take a 17-year-old doing eight or nine hours of dance per week, remembering the choreography, and you’ll see positive results academically, as well.”
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Yamaha Piano Centre keeps tempo with changing times BY RYAN HALL
The piano has been called the king of instruments for its deep tone, wide range of notes, and limitless potential. These attributes allow it to convey a variety of emotions, from the soft and subtle, to the majestic and powerful. For over 37 years, Roger and Marie Jolly at Yamaha Piano Centre have been providing quality service and instruments to Saskatoon piano aficionados and newcomers alike. Since they first opened their shop in 1980, at 1011 Broadway Avenue, the Jolly’s have witnessed a variety of changes to the local music scene. Two of the biggest are the decreasing number of stores, and the shift in demand from organs to pianos. At the start, they were one of nine in the city, yet of those original shops only theirs survived. “We’ve seen every one of them come and go – the casualties of changing times,” says Roger Jolly. One such evolution has been the move away from organs in favour of pianos, a preference that continues to this day. “When we first started, organs were very much in fashion; they were everywhere and organ clubs were extremely popular,” said Marie Jolly. “Over time, that has shifted, and today pianos are what everyone wants.” However, even within pianos themselves, there have been many changes. For example, 30 years ago, the demand for upright pianos was high, yet today the pendulum has swung towards grand pianos. To Roger, that can partly be explained by economic factors, as “in the 1980s, the cost of a grand piano was perhaps 30 to 40 per cent of a family’s yearly income. Today, due to multi-income households, it might only be 15 per cent which makes them more affordable and attractive.” Also popular are pianos that incorporate modern technology, such as player pianos which are capable
of recording and playing back in real time. Some models even include live streaming which allows a performance to take place in one location while students listen or view it in another. This has become increasingly popular with professional musicians, who can take part in master classes held around the world, without ever leaving their own front room. Along with these changes, there have been some constants, such as the customers’ desire to receive a top quality product that they can rely on. This is one of the chief reasons Yamaha Piano Centre has been able to outlast other providers, as they believe in knowing their products, offering good advice, and then standing behind them. For customers, this means when they buy a piano, they are getting more than just an instrument. They get the combined experience, knowledge, and support that comes from over 37 years in the business. This is especially helpful for first time shoppers who are looking to buy a piano. “In those cases, one of the questions we often get is ‘should we buy new or used?’,” says Roger. “My response is always the same: quality is what matters. Getting a deal on a used piano that requires $2,000 worth of work isn’t good value, no matter how low the original price.” With that in mind, every piano sold by Yamaha Piano Center, whether new or refurbished, has been fully checked, approved and comes with a warranty. This means that customers can be confident that they will go home with a high-quality instrument. For those who already own a piano, Yamaha Piano Centre provides a wide range of services. Every piano needs regular care and attention, as key compression causes the cushions to harden, and the piano begins to play louder. While individuals have their own preferences, a professional setting can help soften the tone and bring out the full depth of the instru-
ment. “While technique and repertoire vary between musicians,” says Roger, “nearly every pianist I’ve talked to has come to appreciate a softer tone.” With a lifetime of experience in the piano industry, the Jolly’s are also active in the music community. Yamaha Piano Centre provides care and maintenance to instruments at a variety of venues around Saskatoon, including the pianos showcased at TCU Place, the Bassment, and Jazzfest. Additionally, for those interested in learning to play the piano, adult lessons are run twice yearly out of the Yamaha Piano Centre, providing an opportunity for new students to learn the basics. For more information about Yamaha Piano Centre, their products, or their services, visit the store located at 1011 Broadway Avenue or visit www. yamahapianocentre.ca.
Roger and Marie Jolly have kept pace with the changing music scene since opening the Yamaha Piano Centre in 1980. While exploring the latest trends and technologies at the Piano Centre on Broadway Avenue, customers benefit from the knowledge and expertise that comes with the Jolly’s 37 years of experience in the industry. JEFF LYONS
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In the spotlight: Soprano Whitney Mather
BY JENNIFER JACOBYSMITH
This past April, Saskatoon-born soprano Whitney Mather debuted with Toronto’s Opera Atelier in the role of Cupidon in their production of Medea. The small role was a big step for Mather. As one of the youngest in the cast, Mather says she found herself both in awe of the talented people she was working with and an affirming sense that she was right where she
belonged. “[I thought] I’m going to be so much further behind them in terms of my development, but in that first rehearsal (I thought), ‘I can do this. I am at this level,’” says Mather. The entire experience was a confidence booster for the young singer – even how she got the part was unusual. Mather responded to an open audition for the on-stage chorus for Opera Atelier’s spring 2016 production of Mozart’s Lucio Silla. During
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her audition Marshall Pynkoski, coartistic director of the company, took the time to coach her through her piece. “Which is kind of cool and not very common for an audition setting,” noted Mather. She left the audition feeling really good about it. However, after all her friends were getting their calls with offers to be part of the chorus, Mather didn’t get one. Instead, she got an email offer for the role of Cupidon in Medea. “Obviously, they had a lot of people audition and to be asked to sing a role out of a general call is pretty cool,” Mather says. Her other credits include Marie in La fille du régiment (Vera Causa Opera), Chorus in Messiah (Against the Grain Theatre), Queen of the Night and First Lady in The Magic Flute (Indian River Festival, Stratford
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Whitney Mather grew up in Saskatoon and now lives in Toronto where she is finishing her Masters Degree at the University of Toronto in Voice Performance. WHIT NEY TAYL OR / EN VO GUE PHOTO GRA PHY
Summer Music Festival), Bacchis in La Belle Hélène (The Glenn Gould School), and Lady with a Hand Mirror in Postcard from Morocco (The Glenn Gould School). Mather has also performed concerts with the Regina Symphony Orchestra Chamber Players and the Saskatoon Symphony Orchestra. Mather also appeared in productions by the Saskatoon Opera: Dortchen Wilde in Brothers Grimm in 2014 and Rosina in The Barber of Sevelle in 2016. Mather grew up in Saskatoon. After graduating from Western Christian High School in Regina, she attended the University of Saskatchewan, graduating with a Bachelor’s of Music degree in Vocal Performance with great distinction in 2013. She then went on to study at the Glenn Gould School of Music in Toronto. Mather completed an Artist Diploma in 2015, an experience she described as “amazing.” “It created a lot of opportunity for me to meet people – other performers and the faculty members – and
create those connections to work in the city,” says Mather. “And they definitely paid off.” Glenn Gould School employs many up-and-coming opera directors to guide the school productions. Mather has continued to work with some of those directors. As for what’s next, Mather says she’s focused on finishing the last year of her Masters at the University of Toronto. “And with that comes lots of performing and learning which is amazing,” adds Mather. She has a Christmas chorus booked with Jurgen Petrenko, but says, “The thing that I’ve found is that gigs come up on short notice all the time. They tend to just happen.” Mather hopes she can work with Opera Atelier again. “They’re a wonderful company and I know that they work with people over and over again. I hope that means that it will turn into something in the future. I would love to work with them again. They are an amazing, amazing production staff and artistic team.”
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Registered Music Teachers uphold high standard of music education
er
The Saskatoon Registered Music Teachers’ Association (SRMTA) is an organization of professional, dedicated, energetic and qualified teachers within your community. RMTA members teach a variety of instruments and related theoretical subjects, from beginner to the most advanced levels. Each Registered Music Teacher (RMT) holds at least one degree or diploma from a University, Conservatory or recognized school of music. RMT members are also committed to continuous professional development. The As-
ere she ce Perfor-
sociation’s objectives include promoting progressive ideas in music education, encouraging professionalism in the art of teaching and stimulating a high standard of music and culture. The student of a Registered Music Teacher benefits from a variety of performing opportunities, workshops and recitals with visiting artists, and opportunities for awards and scholarship support. The Association’s 2017 – 2018 season features many fabulous events planned for RMTs, students and the
community. The Saskatoon Branch is very proud to present the Young Artist Concert in October. On March 18, students and exam medalists will be showcased at the RMT Spring Recital. While not hosting this year, the Saskatoon Branch always has a strong representation at the Provincial Registered Music Teachers’ Association Convention, to be held in Yorkton in October. There are also many other student performances throughout the year. In November, there are numerous events planned as part of Canada Music Week.
In May of 2018, RMT members will play a huge role in supporting many students entered in the Saskatoon Music Festival and other competitions. For monthly meetings, workshops focussed on professional development are offered to Registered Music Teachers. The Association offers a network of highly qualified instructors providing expertise in a wide variety of musical performance and instruction. It is a very exciting schedule designed to provide educational and performance opportunities for both teach-
Students of a Registered Music Teacher benefit from a variety of performing opportunities, workshops, recitals and scholarship support. GET TY IMAGES
ers and students! To find a teacher in your area, or to learn more about
Registered Music Teachers, visit www.srmtasaskatoon. com.
THIS STORY WAS PROVIDED BY THE SASKATOON REGISTERED MUSIC TEACHERS’ ASSOCIATION.
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MusiCounts puts instruments in hands of children BY PAUL SINKEWICZ
Kristy Fletcher knows where the magic is. It’s in the hearts and minds of children when they get a chance to express themselves. All they need are the tools and a little support. That’s where MusiCounts comes in. It puts those tools into the hands of children in the form of instruments, and offers support to teach-
ers and students of music, in the form of awards and scholarships. Fletcher is guiding the program through its 20th year of supporting musical magic. In 1997, the Canadian Academy of Recording Arts and Sciences saw a huge windfall through the sale of a box set of music from its annual Juno Awards. “Our board of directors decided they wanted to funnel these pro-
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ceeds into a music program that would benefit kids, understanding that the benefits of a music education have been so established and documented that they knew they wanted the area of focus to be,” said Fletcher. “As a result, our Band Aid program was developed, and that’s how we provide musical instruments to schools in need.” Schools across the country have the chance to apply for funding each year to fill a need in their music programs. “We always like to say in a perfect world, if schools and community programs were funded appropriately, MusiCounts wouldn’t need to exist,” said Fletcher. “But we know that’s not our current state, and that the reality is that music education, sadly, is in danger in a number of communities and schools across our country. And, as a result, the current generation of students are missing out on this profound value of learning and creating music.” What MusiCounts does is try to fill in the gaps when cutbacks impact music programs. Since 1997, it has supported over 850 schools and community programs in 115 communities, and has donated just over $10 million in musical instruments and equipment. It has also given out 370 scholarships and has recognized 12 special teachers. In March, the Clavet school and l’Ecole canadienne francaise in Saskatoon were among 88 schools awarded $720,000 for new instruments or equipment. “The need really varies from school to school. We have an adjudication process so schools apply to receive instruments and through that application process we get a very good understanding of their current musical instrument list and what they need.” Some of the applications are spe-
For 20 years, MusiCounts has been providing musical instruments to schools in need through its Band Aid program. SUPPLIED PHOTO
cific to the skills of teachers and program history of the schools. So a teacher with a penchant for teaching percussion will apply for funding for more drums, she said. And individual schools also know in which direction they want their musical program to go. “We’re noticing now that teachers are starting to incorporate more technology into their music programs, so that can often be an area of need for them. We will do musical instruments and equipment,” said Fletcher. “There are a lot of schools now that want to do a rock band program, because they feel that’s a stronger way to engage, and keep kids engaged, by performing music that is more relevant in the kids’ eyes.” The money comes from a number of fund-raising programs MusiCounts runs throughout the year, including its leadership circle of individual donors, support from broadcasters across the country, and corporate partners. “We also execute an incredible program with TD called the MusiCounts TD Community Music Program which provides musical instruments and equipment to community centres, after-school programs and other community non-profit organizations.” The Teacher of the Year Award is sponsored and presented by well-
known musicians each year. Past supports include Michael Buble, Celine Dion and Blue Rodeo. “The hardest job for us is choosing just one because there are so many exceptional music teachers across the country, and the applications are so compelling and the stories are so inspiring,” said Fletcher. The winning teacher is awarded $10,000, and their school music program is also awarded $10,000, so it’s a real game-changer for a lot of lives, and an incredible testament to the impact a teacher can have. The Band Aid submission process starts on Sept. 6 this year. “We encourage all schools in need of instruments or musical equipment to apply, and all of that information can be found on our website (musicounts.ca) and the same information can be found for our teacher of the year applications, and that will typically open in November,” said Fletcher. She wants to increase awareness of the MusiCounts programs so support can grow and more schools can be served. “Our mission is to ensure that all kids in Canada have access to a music program. It’s a job that we’re passionate about. Right now we can fill one out of every three or four applications, and we would love to see that grow.”
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Moving in style BY JEANNIE ARMSTRONG
It’s never been easier for dancers to express their individual style and creative spirit, says Jillian Novakovski-Vetter, owner of Dance Street Dancewear in Saskatoon. When Novakovski-Vetter was a dance student in the 1990s, the choice of dancewear wasn’t nearly as varied as it is today. “When I was little, I had the same bodysuit in six different colours. Today at Dance Street, we have over 200 styles of body suits,” says Novakovski-Vetter. For over two decades, Dance Street has brought the latest styles in dancewear, shoes and accessories to Saskatoon. Joanne Novakovski founded the business in 1994, inspired by her experiences as a dance mom to Jillian and her sister Karlee. By 2009, a second Dance Street location opened in downtown Saskatoon, to provide convenient service to customers in all areas of the city. Jillian took over ownership and management of the store in 2012, after Joanne lost her battle with cancer. “Dancewear has definitely come a very long way,” says Novakovski-Vetter, citing an explosion of new colours and technologically advanced fabrications. “Everyone likes to be unique. You don’t want to go into a class where everybody is wearing the same thing, especially at auditions and dance camps, where students want to stand out.” Among the leading brands in dance fashion featured at Dance Street are Bloch, Mirella, Capezio, So’ Dança and the leading Canadian supplier, Mondor. Trends in mainstream fashion often cross over into dancewear,
says Novakovski-Vetter. For example, among the big trends for this year are the use of mesh and lace, fabrics that have dominated fashion runways in recent seasons. “A lot of the major dancewear brands are hiring designers now. As well, famous ballerinas, including Misty Copland and Isabella Ciaravola, are designing their own dancewear lines, either for major companies or on their own,” she says. “With social media, and TV shows like So You Think You Can Dance, it’s so easy to follow your favourite dancer and copy what they’re wearing. Many of our customers will see something that other dancers are wearing and come into the store, asking us to bring it in. We place special orders for people all the time.” Not only should dancewear be stylish, it needs to be functional. “It has to work with them. It has to breathe. It has to stretch. It has to fit. There’s a lot to a bodysuit that most people don’t consider,” says Novakovski-Vetter. “When a dancer feels good, it reflects in their dancing.” Technology has greatly enhanced the selection of fabrics used in dancewear. “ They ’re breathable, wickable and stay in place. The new trend towards mesh and lace is also a benefit to dancers because it’s more open, more breathable.” Even dance shoes are evolving, thanks to the introduction of stretch fabrications. “The technology has become more advanced. For ballet slippers and jazz shoes, the cool new thing is stretch canvas. It hugs your foot so nicely; you can see every articulation of the dancer’s foot,” she explains. “There is also stretch now in pointe shoes. That’s the new big
cipal dancers on Instagram and Facebook,” she says. “As well, I talk to the teachers from the major dance studios several times a year to see what they need and what they like. It’s important to have good relationships with them and make sure we’re carrying what they like. That has a huge impact on what we have in our store.”
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Dance Street also features attire for gymnasts and figure skaters, in addition to a full line of theatrical make-up and accessories. Before another season of dance classes begin, check out the newest trends in dancewear, shoes and accessories at Dance Street, with locations at 1020 Louise Avenue, just off 8th Street, and downtown at 16 – 23rd Street East.
Saskatoon Registered Music Teachers’ Association
There’s a new trend in dancewear towards mesh and lace, says Jillian Novakovski-Vetter, owner of Dance Street Dancewear. JEFF LYO NS
thing. The shoe hugs the foot perfectly; there’s no bagginess. A lot of brands are bringing that in.” The proper fit is essential, especially when it comes to dance shoes. “Our staff receive extensive training so they know how to fit every shoe properly, and what makes our shoes better. It can be dangerous to dance in ill-fitting shoes, especially pointe shoes. We pride ourselves on our customer service.” To stay on top of the constantly evolving dancewear trends, Novakovski-Vetter attends two major industry shows a year. “It’s where you see all the new and great things. I also follow all of the prin-
Our teachers are experienced, professional, and dedicated! Each of us holds at least one degree or diploma from a University, Conservatory, or recognized School of Music.
Please check out our website for a teacher in your area.
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FALL MUSIC DANCE Festivals foster musical and personal growth
Reflecting back on the 2017 Saskatoon Music Festival, hearts, souls and minds are still filled with the wonderful sounds and energy flowing from beginning and masterful performances on piano, strings, brass, percussion, woodwinds, guitar, and of voice, musical theatre, bands, and choirs. As festival adjudicator Dianne Gryba writes, “Focus, concentration and creativity are tested. The audience and the adjudicator respond; the circle of communication is complete. The music delivers its message, poses its questions, and elicits its feeling.” Congratulations to all performers for filling us with the beauty of learning and performing music. Our wonderful support from individuals, businesses, our university, several churches, our public school board, and organizations makes the festival not only possible but of high quality. There were 3,679 participants competing in 1296 classes in our Saskatoon Music Festival and 162 scholarships and awards were given out totalling $20,530. Our annual Kinsmen Competition involves performers chosen by the adjudicators who have not already won in their category in previous Kinsmen Competitions. All these performers receive scholarships. The Kinsmen Competition 2017 strings winner, Brandon Johnson, writes in our latest newsletter, “Music can be equated to an individual sport such as marathon running or sprint kayaking, in that your main opponent is yourself. The festival has taught me that when you fail to meet your own goals, all that is needed is more determination and diligence. It was through these experiences that my
level of artistry and ability grew the most.” Our newsletters chronicle the journey before, through, and after our local Saskatoon Music Festival. They can be found at www.saskatoonmusicfestival.com. Many of our performers contribute articles and there are common themes that run throughout. Performing at a festival drives learning and heightens musical skills from the experience itself, from adjudicator feedback, and from listening to peers perform. Long-lasting friendships are often formed. Musical lessons learned translate into life lessons. Sophie McBean who was chosen to represent our province in the piano competition at the National Music Festival in Ottawa in August writes in our latest newsletter: “In addition to playing a role in my musical development, my experiences in festival have shaped me into who I am today. The festival has taught me valuable skills: the capacity for perseverance; the courage to come to terms with nervousness and perform; the ability to accept loss. Furthermore, these skills I’ve learned are surprisingly basic—as they’ve translated into so many other areas of my life, it seems the festival has taught me skills that are at the foundation of everything I do. On top of all this, the music festival has been where I have made some of my dearest lifelong relationships.” Sophie has indeed generalized the skills learned through her music experiences. She was recently accepted into the UofS College of Medicine. Join us as a sponsor, volunteer, audience member, and/or performer.
THIS STORY WAS PROVIDED BY JANE L. SMITH, PUBLICITY CHAIR, SASKATOON MUSIC FESTIVAL.
e c n a D n I 1st shion Fa We have you covered from your first class to your last performance and every step along the way
•Tap • Jazz • Ballet • Lyrical • Modern • Acro • Theater • Gymnastics • Skate • Ballroom
DANCE STREET 2 Locations!
1020 Louise Avenue
16 23rd Street East
Ph: 955-2808
Ph: 955-5277
8th & Louise
23rd & Wall
www.dancestreetfashions.com
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