DOCSLIB.ORG

TIME for THREE Nick Kendall, Violin Zachary De Pue, Violin Ranaan Meyer, Double Bass January 30/31, February 1, 2015

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TIME for THREE Nick Kendall, Violin Zachary De Pue, Violin Ranaan Meyer, Double Bass January 30/31, February 1, 2015 TIME FOR THREE Nick Kendall, violin Zachary De Pue, violin Ranaan Meyer, double bass January 30/31, February 1, 2015 Time for Three - Zachary (Zach) De Pue, violin; Nicolas (Nick) Kendall, violin; and Ranaan Meyer, double bass - defies traditional classification. Performing music from Bach and Brahms to their own arrangements of The Beatles, Katy Perry, Kanye West and Justin Timberlake, they have performed everywhere from Carnegie Hall to Jazz clubs, European festivals, NFL games and the Indy 500. Their hit YouTube anti-bullying video Stronger, featured on CNN and the Huffington Post, has inspired students around the globe. Their packed 2012/13 season will include the release of their second album, a return to Carnegie Hall, their first tour of Asia, and the world premiere of a new concerto by William Bolcom, in addition to their continuing residency with the Indianapolis Symphony Orchestra. What started as a trio of musicians who played together for fun while students at Philadelphia’s Curtis Institute for Music evolved into Time for Three, or Tf3 for short -- a charismatic ensemble with a reputation for limitless enthusiasm and no musical boundaries. Violinists Zachary De Pue and Nicolas Kendall first discovered their mutual love of fiddling in the country western and bluegrass styles. Then bassist Ranaan Meyer introduced them to his deep roots in jazz and improvisation. After considerable experimentation, the three officially formed Tf3 and for the first few years enjoyed a close affiliation with, and were presented in performances by Astral Artists. The ensemble gained instant attention in July 2003, during a lightning-induced power failure at Philadelphia’sMann Center for the Performing Arts. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing as members of The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as “Jerusalem’s Ridge,” “Ragtime Annie,” and “The Orange Blossom Special.” The crowd went wild, and as they say, “the rest is history”. To date, the group has performed over a thousand engagements as diverse as its music: from featured guest soloists on the Philadelphia Orchestra’s subscription series to Club Yoshi’s in San Francisco; from residencies at the Kennedy Center to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein Festival in Germany; from NFL games to the Indy 500, and countless private and corporate events including a concert on the aircraft carrier Intrepid in New York in 2012. In January 2010, TF3 released its first commercial CD, Three Fervent Travelers, on the E1 label. It was an instant success, debuting in the top 10 on Billboard, Amazon and iTunes, and remaining in the top 10 on the Billboard Crossover Charts for more than 10 months. This followed the group’s first two self-produced CD’s, Time for Three and We Just Burned This For You!, which sold more than 20,000 copies. Time for Three’s second album will be released under the Universal Record Label in 2014 and will feature their own mash-ups and arrangements of popular contemporary music as well as performances by incredible guest musicians. In 2011, Time for Three raised over $20,000 from its fans in one week through a Kickstarter campaign to finance the production of their first professional music video. The result was Stronger, a powerful anti-bullying YouTube video on TF3’s own arrangement of music by Daft Punk and Kanye West. The video was an instant success, and has established Time for Three as leading musicians in the fight against bullying, partnering with PACER’s National Bullying Prevention Center to bring their message to schools and students across the country through residencies, workshops and the media. The ensemble has embarked on a major commissioning program to expand its unique repertoire for symphony orchestras. The first project was Concerto 4-3, written by Pulitzer-Prize winning composer Jennifer Higdon. The work was premiered in six performances by Tf3 with The Philadelphia Orchestra and Christoph Eschenbach in January 2008 and has been performed dozens of times since to great acclaim; it was released on CD by the Fort Worth Symphony in 2012. 2010 saw the premiere of Travels in Time for Three by Chris Brubeck, co-commissioned by the Boston Pops, the Youngstown Symphony, and 8 other orchestras. The next work in the series was 'Games and Challenges' by William Bolcom, commissioned by the Indianapolis Symphony and premiered in May 2013. In 2009, Time for Three inaugurated an ambitious 3-year residency with the Indianapolis Symphony Orchestra, a groundbreaking project among American orchestras where the artists not only got involved at the community level, but also curated the wildly successful “Happy Hour” series of concerts with the orchestra throughout the season. The project generated tremendous excitement and greatly increased the orchestra’s profile, especially among the younger demographic, and made them household names in Indianapolis. Thrilled with the success of the residency, the Indianapolis Symphony decided in 2012 to extend and greatly expand Time for Three’s contract, with the group now spending 14 weeks per season with the orchestra doing everything from programming, arranging and performing concerts to education, fundraising, PR and community outreach. In 2013 Time for Three's residency with the ISO received an Indiana Innovation Award. In addition to its demanding performing schedule, the trio is committed to reaching younger audiences and has participated in a number of educational residencies and outreach concerts including annual visits to PaulNewman’s Hole In The Wall Gang Camp for children with terminal illnesses; weeklong residencies at the Kennedy Center in Washington DC; Carnegie Hall’s Family Concerts; and countless jam sessions and impromptu music-making with students, anywhere from university classes to pizza parties and coffee houses. “The guys” want to share their infectious love of music with everyone. Time for Three has been seen and heard frequently on various television and radio broadcasts throughout the country, including numerous times on Public Television and NPR, CNN, and was featured in a documentary film about Philadelphia’s Rittenhouse Square directed by Robert Downey, Sr. The group recorded the soundtrack to the History Channel's production, The Spanish-American War. .
Load more

Recommended publications
  • To Read Or Download the Competition Program Guide
    THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory.
    [Show full text]
  • 2020-21 Season Brochure
    2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No.
    [Show full text]
  • Vivaldi Four Seasons with Zachary Depue, Violin Soloist and the Gregory Hancock Dance Theatre Schubert Symphony No
    ARTISTIC DIRECTOR Masterworks 4 Vivaldi Four Seasons with Zachary DePue, Violin Soloist and the Gregory Hancock Dance Theatre Schubert Symphony No. 5 Saturday, March 13 • 7:30pm THIS EVENING’S PERFORMANCE Antonio Vivaldi The Four Seasons for Violin and Orchestra, Op. 8, Nos. 1-4 Concerto No. 1 in E Major, RV 269 “La primavera” (“Spring”) I. Allegro II. Largo e pianissimo III. Allegro Concerto No. 2 in G Minor, RV 315 “L’estate” (“Summer”) I. Allegro ma non molto II. Adagio-Presto III. Presto Concerto No. 3 in F Major, RV 293 “L’autunno” (“Autumn”) I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in F Minor, RV 297 “L’inverno” (Winter”) I. Allegro non molto II. Largo III. Allegro Zachary DePue, violin Special appearance by the Gregory Hancock Dance Theatre Franz Schubert Symphony No. 5 in B-flat major, D. 485 Allegro Andante con moto Menuetto: Allegro molto Allegro vivace THIS EVENING’S MUSICIANS FLUTE VIOLIN II Tamara Thweatt, Interim Principal Nataliya Nizhalova, Principal Pam Close, Assistant Principal OBOE Jonathan Johnson Rebecca McGuire, Principal Kris Zaloudek Sharon McCullough Sandra Neel Candida Wiley BASSOON Kevin Shiue Ryan Caldwell, Principal Kathleen Moniaci VIOLA Rachel Gries, Principal HORN Julie Scull, Assistant Principal Dave Poncar, Principal Daniel Wunderle Ginny Kundrat Melinda Bowman Karen Hutchins HARPSICHORD Thomas Gerber CELLO Anna Thompson-Danilova, Interim Principal VIOLIN I Matthew Trefethen, Acting Assistant Principal Alan Snow, Concertmaster Jan Brill Madeleine Wething Joerg Schreiber Nicholas Drumm Amanda Baer BASS Angela Ruch Rose Meyers, Principal Reinhold Strnat Joseph Everett, Assistant Principal MinJi Kim Ann Manship In Memoriam - Jesse Hawkins 1956-2021 Our performance in Philadelphia, Jesse read quartets regularly with Opera.
    [Show full text]
  • TIME for THREE Today, the Concerts Feature Promising New Talent and Promote the Professional Development of Young Composers and Conductors
    From E.B. White’s Here is New York, 1949 free classical music, a service in harmony with our community nother hot night I stop off at the band concert “Queen Mary” announcing her intentions. She is in the Mall in Central Park. The people not on key; she is a half tone off. The trumpeter seated on the benches fanned out in front in the bandstand never flinches. The horns quarrel of the band shell are attentive, appreciative. savagely, but no one minds having the intimation AIn the trees the night wind sings, bringing leaves of travel injected into the pledge of love. “I leave,” to life, endowing them with speech; the electric sobs Mary. “And I will pledge with mine,” sighs lights illuminate the green branches from the the trumpeter. Along the asphalt paths strollers under side, translating them into a new language. pass to and fro; they behave considerately, On a bench directly in front of me, a boy sits with respecting the musical atmosphere. Popsicles are his arm around his girl; they are proud of each moving well. In the warm grass beyond the fence, other and are swathed in music. The cornetist forms wriggle in the shadows, and the skirts of steps forward for a solo, begins, “Drink to me girls approaching on the Mall are ballooned by only with thine eyes. .” In the wide, warm night the breeze, and their bare shoulders catch the the horn is startlingly pure and magical. Then from lamplight. “Drink to me only with thine eyes.” the North River another horn solo begins–the It is a magical occasion, and it’s all free.
    [Show full text]
  • 2O21-22 Season
    CELEBRATING 2O21-22 SEASON EST. 1996 2021-22 contents 5 Welcome 6 Season Calendar 8 Subscribe 10 Series 22 Performances 86 Performances for Young People 88 How to Order 89 Discounts 91 Helpful Information 92 Beyond the Footlights 94 Support On the cover: Hodgson Concert Hall 2Camerata RCO Painting: J.N. Smith 3 Welcome Back What a time it has been! Our world has experienced unprecedented disruption since we last gathered in the spring of 2020 in our beautiful venues to witness exquisite music, dance, and theatre together. Throughout these many long and painful months of separation and isolation, I have been yearning for the time when we can be together once again. It appears that time is finally now upon us! I am absolutely thrilled to share our plans for celebrating the University of Georgia Performing Arts Center’s historic 25th anniversary season throughout the fall of 2021 and spring of 2022. Our silver anniversary season will feature a variety of acclaimed guest artists—some new to us and some returning favorites—with an equally wide variety of personal life experiences. They will come to us from across the United States and several different countries. Their experiences inform their work, and we will, for a brief moment in time, commune together as the universal languages of music, spoken word, and movement unite us in hope and healing. Not only has the world changed significantly since we first opened our doors 25 years ago, it has changed dramatically in the last year as we have endured the devastating impact of a global pandemic, social injustice, political uncertainty, and any number of other things.
    [Show full text]
  • Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
    CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary
    [Show full text]
  • 2021 Program
    This organization is funded in part by the National Endowment for the Arts and the SC Arts Commission. Thirteen Years of Joye in Aiken In this year of change, when it has sometimes seemed as if nothing might ever be normal again, one thing that has not changed is the importance of the arts in our lives. Especially where sources of hope and inspiration are few, the arts retain their power to energize and refresh us. And so it is with even greater pleasure than usual that we welcome you (digitally, to be sure) to the 13th Annual Joye in Aiken Festival and Outreach Program. Though COVID-19 has forced us to rethink timeframes, formats and venues in the interest of ensuring the safety of our community and our artists, we have embraced those challenges as opportunities. If a single Festival week presented dangers, could we spread the events out to allow for responses to changing conditions? If it wasn’t possible to hold an event indoors, could we hold it outdoors? With those questions and a thousand others answered, we are proud to present to you a Festival that is necessarily different in many respects, but that is no less exciting. And because it’s so central to our mission, we’re especially proud to introduce to you an important new dimension of our Outreach Program. With COVID making it impossible for us to present our usual Kidz Bop and Young People’s Concerts, we turned to our nationally-known artists for help. And their solution was perfect: two engaging series of instructional videos designed specifically for the children of Aiken County by these world-class musicians.
    [Show full text]
  • Concerts for Kids
    Concerts for Kids Study Guide 2014-15 San Francisco Symphony Davies Symphony Hall study guide cover 1415_study guide 1415 9/29/14 11:41 AM Page 2 Children’s Concerts – “Play Me A Story!” Donato Cabrera, conductor January 26, 27, 28, & 30 (10:00am and 11:30am) Rossini/Overture to The Thieving Magpie (excerpt) Prokofiev/Excerpts from Peter and the Wolf Rimsky-Korsakov/Flight of the Bumblebee Respighi/The Hen Bizet/The Doll and The Ball from Children’s Games Ravel/Conversations of Beauty and the Beast from Mother Goose Prokofiev/The Procession to the Zoo from Peter and the Wolf Youth Concerts – “Music Talks!” Edwin Outwater, conductor December 3 (11:30am) December 4 & 5 (10:00am and 11:30am) Mussorgsky/The Hut on Fowl’s Legs from Pictures at an Exhibition Strauss/Till Eulenspiegel’s Merry Pranks (excerpt) Tchaikovsky/Odette and the Prince from Swan Lake Kvistad/Gending Bali for Percussion Grieg/In the Hall of the Mountain King from Peer Gynt Britten/Storm from Peter Grimes Stravinsky/Finale from The Firebird San Francisco Symphony children’s concerts are permanently endowed in honor of Mrs. Walter A. Haas. Additional support is provided by the Mimi and Peter Haas Fund, the James C. Hormel & Michael P. NguyenConcerts for Kids Endowment Fund, Tony Trousset & Erin Kelley, and Mrs. Milton Wilson, together with a gift from Mrs. Reuben W. Hills. We are also grateful to the many individual donors who help make this program possible. San Francisco Symphony music education programs receive generous support from the Hewlett Foundation Fund for Education, the William Randolph Hearst Endowment Fund, the Agnes Albert Youth Music Education Fund, the William and Gretchen Kimball Education Fund, the Sandy and Paul Otellini Education Endowment Fund, The Steinberg Family Education Endowed Fund, the Jon and Linda Gruber Education Fund, the Hurlbut-Johnson Fund, and the Howard Skinner Fund.
    [Show full text]
  • The Glimmerglass Festival
    A 2017 Guide FEATURE ARTICLE Training Opera’s Next Generation A Tale of Two Festivals April 2017 Festivals Editor’s Note In our largest and most varied Guide to Summer Festivals yet, we focus on a common thread: training the next generation of performers and the artistic personnel who support them. At many festivals, young artists receive private lessons, coaching sessions, master classes, or all of the above during the day. By night they are either performing, observing the seasoned pros who train them by day, or a combination of the two. But honing or developing the skills of tomorrow’s generation of musicians is only part of the equation. It’s summertime, after all, and while the living may not exactly be “easy,” it’s certainly a lot more relaxed than during the season or school year. Consider the difference between waiting in the green-room line post-concert A 2017 Guide to shake the maestro’s hand vs. running into him in the festival cafeteria line, or at the local pub after the concert, or on a morning jog. Such is the kind of cross-fertilization for which festivals are known, and one of the reasons they are such ideal settings for rising artists. Sometimes the trainees are fully integrated into the schedule, such as at the Santa Fe Opera, where young artists are featured, often in leading roles. Sometimes they work independently of the main event, such as at Tanglewood, where the Tanglewood Music Center Orchestra, for instance, is comprised entirely of TMC Fellows and plays its own concerts, alongside the center-stage Boston Symphony Orchestra (whose members form much of the faculty).
    [Show full text]
  • The BPO PLAYS ON... Photo: Connor Schloop Photo
    Buffalo Philharmonic Orchestra 2020 Report to the Community The BPO PLAYS ON... photo: Connor Schloop photo: JoAnn Falletta, Music Director Dear Friends of the BPO, In spite of the fact that the world changed so dramatically in March that we could not even finish our 2019-20 season, we want to take a moment to reflect herein on some of the great moments before the pandemic hit, as well as our artistic response to it. As you know from previous reports, we have three goals we strive to meet each and every year: Grow Our Audience Diverse repertoire and collaborations fueled interest and led to a new all- time record for subscription sales; our entry into the presentation of movies with live orchestra opened new doors for younger audiences; our education program continued to flourish. Develop the Artistry The BPO attracted a number of talented musicians to important positions: Nikki Chooi as concertmaster, Filipe Pereira as bass trombone, Anna Shemetyeva as associate principal viola, Madeline Olson as principal harp, and violinist Xiaofan Liu; guest artists such as James Ehnes, Leonard Slatkin, and Noah Bendix-Balgley inspired intense levels of performance. Operate with Excellence The budget will once again be balanced for the 11th consecutive year; the board established a Cash Reserve Fund to augment further an improving balance sheet; the endowment managed to hold its own through turbulent markets at the $45 million level. After the season was canceled due to the pandemic, the BPO did not slow down: Our musicians and education department produced more than 50 instructional instrument demonstrations for schools to use to recruit new music students! We partnered with others to showcase BPO musicians in unique cultural settings such as Graycliff and more recently, the Darwin Martin House.
    [Show full text]
  • Insidethemusic
    Inside theMusic The Philadelphia Orchestra 2010-11 School Concert Curriculum Guide Heroes and Music Challenge yourself. Change the world. Inspire others. Dear Teachers: Welcome to The Philadelphia Orchestra’s 2010-11 School Concert Curriculum Guide, Inside the Music, which supports this season’s School Concert program, Heroes and Music. We are thrilled to take you on a musical journey through orchestral masterpieces that will encourage you and your students to “Challenge yourself, change the world, and inspire others.” Engagement with music challenges students to achieve their full intellectual and social potential, and it empowers them to become lifelong learners deeply invested in supporting the arts in their communities. The Philadelphia Orchestra, considered one of the best orchestras in the world, reaches over 20,000 elementary, middle, and high school students and teachers annually through School Concerts, Teacher Workshops, Student Open Rehearsals, Docent Program, the School Partnership Program, Musicians in the Schools, and newly- developed distance learning programs. We are strongly committed to supporting both discipline-centered and arts-integrated learning in our local schools and we celebrate the dedicated teachers who shape our children’s futures. A team of committed and talented teachers, school administrators, teaching artists, and Philadelphia Orchestra education staff members designed this material to encourage the use of orchestral music in your existing classroom curriculum. This guide is intended to serve you and your students in the music or general classroom, in suburban or urban settings, and in public, private, home school, or parochial systems. It provides valuable background information and cultural context for the pieces, composers, and performers on stage; lessons and activities for the classroom; specific correlations with national and Pennsylvania state standards; and additional resources for teachers.
    [Show full text]
  • A Guide to Music Schools
    September 2014 A Guide to MUSIC SCHOOLS Community Engagement 5 Cool Case Studies Editor’s Note Is summer really over? Are schools really open again? For many aspiring arts professionals, September marks the launch of what will hopefully be a long and fruitful career path. For those still unsure of where they’ll land in September 2015, we have compiled a guide of 51 music schools and conservatories, selected from the 1,278 listed in the Musical America Directory—which, by the way, we have opened up for the entire month, free to read by subscribers and non-subscribers alike. In this Special Report, we divide the music schools and conservatories into two parts. For those in Part I, you’ll find detailed information on degrees offered, available areas of study, numbers of students and teachers, career and post- graduate assistance, and links to social media and financial information. We also asked each institution to describe its A GUIDE TO most “distinguishing characteristics.” We relied entirely on the schools to tell their own stories. Which brings me to Part II, where we provide just the facts, ma’am, as they are in our database. And since music educators are now acutely aware that students need far more music training to make it in the real Music Schools world, that talent and technique are only half the battle, we asked contributor Wynne Delacoma to take a look at Universal Music U @ Frost, set to open in 2015. While courses in business, marketing, even public speaking are offered at many music schools, this program is the first that actually brings an ongoing business (well actually, its artists) into the classroom.
    [Show full text]