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N E W S L E T T Harvard University Department of M usic MUSICnewsletter Vol. 18, No. 2 Summer 2019 Social Engagement Through Music New Course Connects Students, Local Artists of Color Harvard University Department of Music “Social Engage- 3 Oxford Street ment Through Cambridge, MA 02138 Music: Histories, Economies, Com- 617-495-2791 munities” is a new, music.fas.harvard.edu team-based, im- mersive course in which students collaborate with INSIDE and provide pro- fessional support to musicians from Boston’s immi- 3 Grammy Awards grant communi- 4 Faculty News ties.The course 5 Alumni News also provides an intellectual frame- Betty Melaku performs with students from Music 24. 6 Around Campus work for under- 7 Perle Noire Meditations standing the historical circumstances, economic artist how to build a kickstarter page, oth- and political realities, and community needs of ers searched out performing and teaching 8 Graduate Student News these artists. venues, drafted letters, and helped write 9 Reconstructing the Soundtrack The course is the first of its kind, a col- grants. All the teams produced materials laboration with the Massachusetts Cultural that their artists can use for promotion in to Haitian Independence Council (Maggie Holzberg, MCC folklor- the future. 10 Library News: Joyce Mekeel ist, helped recommend the artists through “At our last class, some students com- 11 Undergraduate News MCC’s 2018 Traditional Arts Apprenticeship mented on how close they got to the mu- Program), the Bok Center Learning Lab, the sician,” says Uy. “They’re struggling with 12 Music from Earth Mindich Program in Engaged Scholarship, the what to do next; they want to do more. Music Department’s faculty—Carol Oja, Kay One, for example, will be exchanging Kaufman Shelemay, and Michael Uy—graduate English lessons for lessons on the erhu.” students Matthew Leslie Santana and Caitlin “The studentswere amazing,” Matt Schmid, and the four brilliant musicians who Leslie Santana agrees. “I was surprised at have made Boston their home. how happy they were to do extra work. We Fourteen Harvard undergraduates spent asked a lot of them, but they were willing the spring semester working with Bethlehem to do more; they wanted to help. And al- (Betty) Melaku (Ethiopia), Sixto (Tito) Ayala though we can’t fix the bigger issue of ‘this (Puerto Rico), Lin Zhantao (China), and Shyam course ends,’ these students did the best Nepali (Nepal). Each artist was assigned a team they could to find ways to support their Department Chair of three or four students and a faculty advisor. artist long-term. They were immediately Suzannah Clark Student teams executed ethnographic thinking of sustainability.” Director of Administration interviews, assessed the needs of the artist, Websites, for example, were built on Nancy Shafman and collaborated with them to come up with free platforms, and where there was a lan- Newsletter Editor concrete methods of support. One team cre- guage or technology issue, social media ac- Lesley Bannatyne ated business cards, another helped teach their cess was given to the artist’s adult children [email protected] continued, p. 2 so that updates would be easier. Zhanto Lin is an erhu player and Tai Chi The technical pieces of the course—video teacher. He was an erhu professor at Guangxi and photo shoots—were bolstered by the Arts Institution before moving to Boston in Bok Center Learning Lab and coordinated by 1999. He has performed at the Museum of Schmid. “Students learned to record and edit Fine Arts and Lincoln Center among other video of their artist teaching, shoot and produce institutions, and teaches the erhu at the good head shots, and conduct ethnographic Huaxin School of Arts and the Dana Hall interviews, all skills that are useful going for- School of Music. He is the founder of the ward,” she says. Boston Youth Erhu Ensemble. “I would say that our students may have benefited more from this collaboration than the musicians,” says Uy. “This was a great cohort. They put their hearts and souls into this class and they wanted to do more, learn more, engage more, which speaks to their level of commit- Sixto (Tito) Ayala is a percussionist and ment.” dancer from the famous Ayala Family in Puerto Andrew Perez is one of those students. Rico, known for their musicianship and preser- “I had the privilege to work with Tito Ayala, vation of traditional Afro-Puerto Rican bomba a percussionist from Puerto Rico,” says Perez. music. During his 52-year tenure as a percus- “Our team worked tirelessly to make a digital sionist, Tito has played with renowned artists presence for our artist and bolster his market- across the Caribbean and in the once-famous ing toolkit. This was the first class that gave me Latin clubs in New York City. He’s been living skills which directly translate to my future job. in Boston for the past 34 years. This summer I will be working at a record label back home in Los Angeles, and my responsi- Hailing from the centuries-old Gandharba bilities entail doing exactly what we did for musical tradition of Nepal, Shyam Nepali Tito—helping artists establish their presence has been performing around the world for 30 and strategize their careers. Prior to this class, I years. Born into a family of legendary Sarangi would have felt extremely unprepared to throw players, Shyam is a teacher and mentor to new my hat in the ring for a job like that, but this gerenerations of players. He works with Proj- class gave me the confidence and passion to say, ect Sarangi in Nepal, the Imagine Rainbow ‘I want to do that.’ Project (Switzerland/Nepal), and founded “Most importantly, Tito reminded me of the Himalayan Heritage Cultural Academy in my family back in Los Angeles, and he helped Boston. Shyam has received awards from the me reground myself as to why I am at Harvard. government of Nepal, the Commonwealth of While he was amazed and excited to be at Har- Massachusetts, and was appointed honorary vard, I felt the same honor working with him. consulate of Italy by the Italian Embassy in His presence reminded me of the world that Kathmandu. exists outside these walls and how the privileges Betheleham (Betty) Melaku is an Ethio- we, as students, are afforded at this university pian-American who emigrated from Ethiopia can be used to help the greater community.” with her family in 1997 and toured the United States performing her music. Taught to play the krar by her father, musician Melaku Gelaw, Betty also studied maseqo, Students and artists at a concert of the artists’ music in Holden piano, and violin at the Yared School of Chapel in March. Music in Ethiopia. Betty combines West- ern and popular influ- ences with traditional Ethiopian sounds to create her music, and hopes to share her tra- dition with students in the Boston area. 2 Du Yun Nominated for Grammy in Best Contemporary McLoskey’s Zealot Canticles Receives Grammy for Best Classical Composition Choral Performance Lansing McLoskey’s (PhD 2002) composition Zealot Can- ticles received a 2019 Grammy for Best Choral Performance. The Grammy statue went to the artists of the choral group, The Crossing. Commissioned by The Barlow Endowment for Music Composition, the oratorio is 20 movements and 80 minutes long, scored for SATB choir, soprano, mezzo, and baritone soloists, clarinet, and string quartet. The libretto (composed/ constructed by McLoskey) is comprised of writings by Wole Soyinka, Nobel Prize-winning playwright, poet, author, and humanitarian, who spent years imprisoned in Nigeria for speaking out against genocide and human rights violations. Soyinka published a set of poems titled “Twelve Canticles for the Zealot” in 2002; seven of these poems form the core of the libretto of Zealot Canticles. In his program notes for the piece, McLoskey writes: “I was composing this piece during what was the most distressing U.S. presidential campaign in modern history, when Du Yun with members of the Red Hot Chili Peppers. Photo: zimbio.com every day we were faced with words of divisiveness, demean- ing, mocking, and degrading “the other,’ and images of our Du Yun (PhD 2006) is a composer, multi-instrumentalist, perfor- fellow citizens, red-faced with both rage and glee, shouting mance artist, curator and activist for new music. In 2017, she won for the removal—even killing—of those of a different faith the Pulitzer Prize in Music for her opera, Angel’s Bone. She was nomi- or ethnicity, while waving racist banners. And just as I was nated for a Grammy in Best Contemporary Classical Composition about to start composing the final movement, the election took for “Air Glow” this past February. Her outfit was one of the most place. Hate crimes in our own country immediately surged in photographed at the Grammys. the aftermath. I was shaken to the core. The words of Wole On her Facebook page, Du Yun wrote, “…the pompom cloth Soyinka were not just generalizations or universal in nature, was handmade by Maureen Clay, an artist who is part of the Creative but specifically about us. Right here, right now.” Growth Art Center in Oakland. They serve artists with developmen- Lansing McLoskey is a professor at the University of tal, mental and physical disabilities. The mask was as a nod to fending Miami Frost School of Music. off the pollution that many Chinese wear. “I believe the look of a person and the look of a stage could be a statement, just like I care about how my operas, some of my multimedia works look on stage, from every hat down to every button. So I worked with the brilliant Kate Fry, the costume designer for Angel’s Bone for the entire look, who also handmade the crazy mask and the hair stick.
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