Alternative Strings and the New Golden Age of String Playing

Alternative Strings
Julie Lyonn Lieberman’s Alternative Strings by Amadeus Press (2004)

For some time ASTA (American String Teacher’s Association) has been focusing on training string music teachers to develop Alternative String programs.  Last year I had decided that I need to formally join the organization (which I haven’t done yet but still intend on doing) so that I can be better informed about the programs, literature and techniques being created by those involved in the organization.

ASTA apparently has an “Alternative Styles Award competition” which I learned about after reading Rory Williams “Report from an ASTA Roundtable: ASTA roundtable finds alternative-styles education moving a step ahead—slowly” in the Strings magazine from the conference in Georgia in 2009.  Here’s what sparked my interest in the organization:

Vighnesh Viswanathan, 14, milled about the exhibit hall with his father and sister at the 2009 American String Teachers Association National Conference in Atlanta, Georgia. What set him apart from the several hundred teachers, dealers, and performers that visited that day in mid-March was not just his age, but his name badge, which proudly proclaimed “winner.”

“It’s for the Alternative Styles Awards competition,” he said, smiling from ear to ear.

One of 12 string players chosen out of 35 applicants, Viswanathan, of Westford, Massachusetts, won the Junior Division of the “Recognition of Established Traditions” category. His specialty: Carnatic (Indian) violin.

“He studies classical music, too,” his father says.

Viswanathan is part of a growing number of bilingual string players—those who can play both classical and alternative styles—who are seeking a well-rounded education. But nearly a decade after ASTA first embraced alternative styles as a viable pedagogy, the question remains whether teachers and institutions—from the elementary to the graduate level—can accommodate these students.

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Music of the Whole World: The ABCs of Intercultural Music

Member of the Vancouver Inter-Cultural Orchestra during a performance

So tonight, the Vancouver Inter-Cultural Orchestra is having their “Music of the Whole World: The ABCs of Intercultural Music” event that I mentioned in a previous post.

The performances details:

Thursday March 3, 2011 at 7 pm
Vancouver Public Library Central Branch
350 Georgia St.
Alice MacKay Hall (Lower Level)
FREE Admission

But what really sold me to this group–other than the fact they are doing what I would love to be doing with an ensemble, is this:

For the third presentation in the 2010-2011 edition of our educational series Music of the Whole World, the VICO is proud to feature the future of intercultural music, in the making: student composers from Seycove Secondary School in North Vancouver will present new pieces they have written for tar, oud and santur, performed by VICO musicians. This event is part of VICO in the Schools, an innovative workshop program through which VICO musicians and instructors introduce students to a selection of non-Western instruments and impart techniques for composing intercultural music.

This is something I can stand behind and fully support.  The type of outreach, especially for such an “unorthodox” ensemble that I would think should be part and parcel of any performing groups’ activities.  If anyone reading is on the left coast and near the border of Canada  I would highly recommend this concert just out of principle!

Eric Edberg has an insightful blog post about Education and Outreach and I think this description of Adrian Ellis’ (Executive Director of Jazz at Lincoln Center) talk at an event he attended last month says it all:

He elaborated on a variety of topics, outreach being perhaps the most critical.  With much of country “two to three generations beyond routine arts education,” the task falls to arts organizations.  Jazz at Lincoln Center, he said, is “basically an education machine with programming.”

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