This week's focus revolves around money and how it can make our local economies go round and round. The following articles could be applied to anything. Sharlene Gee, one of our stellar volunteers, is to thank for coming across these gems. Enjoy.
And in related news, last Tuesday marked the first congressional hearing on federal arts funding in a dozen years. YEAH!! Took them long enough! Artists and arts advocates got to explain why the National Endowment for the Arts funding should be returned to its 1994 level of $176 million, up from this year's $124 million. Thanks to Mat for passing that on.
LEAKY BUCKET
Written by Bernie Ward and Julie Lewis, "Plugging the Leaks - Making the most of every pound (dollar) that enters your local economy" explains in an easy to understand way how keeping your money in your community makes a huge impact. From QUADRE's perspective, this means encouraging our audience members to dine locally and forging relationships with local vendors whether it be a printer, music store, or restaurant. It also means educating our clients like schools, corporations, and performing arts venues the local economic benefit of employing a music group based in Mountain View. This same strategy applies to each community that each of the artists and board members live in - Saratoga, Foster City, Chicago, Sioux Falls, etc. To read the book, click here: Plugging the Leaks.(pp. 9, 15-16, 22)
MULTIPLIER EFFECT
The second book speaks to how far money can go when spent in the local economy. I'd tell you more, but the link for the text is down right now. Hopefully, by the time you read this, it will work. Go here for more information: Multiplier Effect.(pp. 12-18)
Tuesday, March 27, 2007
Tuesday, March 13, 2007
BEING AN ARTIST: Teaching & Managing (2 of 2)
This week's topics deal with two things that make up a big part of my life as an artist. This is the second in a two part blog about my role in the cogs of classical music and how it is similar to many of my colleagues here in San Francisco and throughout the country.
TEACHING
As with many of my artistic colleagues, teaching is as much a part of our lives as breathing. It offers us a chance to pass on what we know to a new generation and help others realize their dreams as creators of art. Nothing is more fantastic that helping a student "get it" and seeing the realization in their faces when "they've done it." I consider myself a teaching artist - an individual that uses their art to create context for what they teach. So I, like many of my peers, really enjoy relating music to math, civics, history, the language arts, and science. I also think that art can be a particularly potent glue for bringing so many subjects, attitudes and opinions to the table at once. Expression helps foster common ground. I also feel passionately that my role as a teacher is to teach students how to be their own teachers with an emphasis on critique, aesthetics, history and performance technique.
Beyond my philosophies on teaching, I work with the Community School of Music and Arts in Mountain View, CA. It is a powerhouse of a community school with its own 12 million dollar building and over 100 faculty on staff. I teach roughly 7 hours a week throughout the year. My subjects include private instruction in horn, baritone, and composition and group classes in theory, composition, digital arts, and chamber music. (Not at all the same time every week mind you. It varies over the course of the year.) I also have a modest private studio in Mountain View near the QUADRE office. In addition to these two avenues, I am also fortunate to work with local band programs and adjudicate for the California Music Educators Association's festivals.
Probably the most rewarding thing about teaching is that it has helped me become a better artist. I learn a great deal from how my students see the world. And from a practical perspective, I've found it to be a very flexible source of income which helps when scheduling tours, recording projects, and the like.
MANAGING
In order to do the teaching, composing, and performing of an artist, one has to be organized. This is where that last part comes to play - managing. Some of my peers I'm sure would refer to this as administrative stuff. I think we need to call it like it is though, managing ones career. Most artists are on their own so they have to act as their own agents for their art. If one is lucky enough to find someone who is equally passionate about their art and willing to put in the work to help them succeed, that is wonderful. However, I think that when you're starting out or doing something eclectic, learning the ins and outs of managing is vital for success.
And when I say success I'm not just talking about dollars and cents although that is nice too. I'm taking about the self-doubt that creeps into the minds of almost all artists about whether they're doing the right thing. Receiving reactions for the efforts that are put forth is so vital for the soul if not the pocketbook. It also helps the artist continue to move along their chosen path. Now, notice I said reactions and recognition. Positive and negative feedback can both be equally effective for the artist. They both offer perspectives that can help shape the artist's body of work.
In a nutshell, I think successful managing follows some basic rules.
1. Seek out opportunities; don't wait for the phone to ring.
2. Always communicate with vendors, clients, & donors in a timely fashion.
3. Follow-up with everyone.
4. Be honest with yourself about what you can and can not do.
5. Create an organizational system that works for you.
6. Be consistent - spend time every day/week on your career.
7. Market yourself concisely and professionally: website, fliers, & phone messages.
8. Sell yourself for what you're worth. (You have a lifetime of experience that is worth a lot!)
TEACHING
As with many of my artistic colleagues, teaching is as much a part of our lives as breathing. It offers us a chance to pass on what we know to a new generation and help others realize their dreams as creators of art. Nothing is more fantastic that helping a student "get it" and seeing the realization in their faces when "they've done it." I consider myself a teaching artist - an individual that uses their art to create context for what they teach. So I, like many of my peers, really enjoy relating music to math, civics, history, the language arts, and science. I also think that art can be a particularly potent glue for bringing so many subjects, attitudes and opinions to the table at once. Expression helps foster common ground. I also feel passionately that my role as a teacher is to teach students how to be their own teachers with an emphasis on critique, aesthetics, history and performance technique.
Beyond my philosophies on teaching, I work with the Community School of Music and Arts in Mountain View, CA. It is a powerhouse of a community school with its own 12 million dollar building and over 100 faculty on staff. I teach roughly 7 hours a week throughout the year. My subjects include private instruction in horn, baritone, and composition and group classes in theory, composition, digital arts, and chamber music. (Not at all the same time every week mind you. It varies over the course of the year.) I also have a modest private studio in Mountain View near the QUADRE office. In addition to these two avenues, I am also fortunate to work with local band programs and adjudicate for the California Music Educators Association's festivals.
Probably the most rewarding thing about teaching is that it has helped me become a better artist. I learn a great deal from how my students see the world. And from a practical perspective, I've found it to be a very flexible source of income which helps when scheduling tours, recording projects, and the like.
MANAGING
In order to do the teaching, composing, and performing of an artist, one has to be organized. This is where that last part comes to play - managing. Some of my peers I'm sure would refer to this as administrative stuff. I think we need to call it like it is though, managing ones career. Most artists are on their own so they have to act as their own agents for their art. If one is lucky enough to find someone who is equally passionate about their art and willing to put in the work to help them succeed, that is wonderful. However, I think that when you're starting out or doing something eclectic, learning the ins and outs of managing is vital for success.
And when I say success I'm not just talking about dollars and cents although that is nice too. I'm taking about the self-doubt that creeps into the minds of almost all artists about whether they're doing the right thing. Receiving reactions for the efforts that are put forth is so vital for the soul if not the pocketbook. It also helps the artist continue to move along their chosen path. Now, notice I said reactions and recognition. Positive and negative feedback can both be equally effective for the artist. They both offer perspectives that can help shape the artist's body of work.
In a nutshell, I think successful managing follows some basic rules.
1. Seek out opportunities; don't wait for the phone to ring.
2. Always communicate with vendors, clients, & donors in a timely fashion.
3. Follow-up with everyone.
4. Be honest with yourself about what you can and can not do.
5. Create an organizational system that works for you.
6. Be consistent - spend time every day/week on your career.
7. Market yourself concisely and professionally: website, fliers, & phone messages.
8. Sell yourself for what you're worth. (You have a lifetime of experience that is worth a lot!)
Tuesday, March 6, 2007
Artistic Celebrities & License Plates
March is here and with it some Spring time reflection before our clocks get sprung forward this weekend. Since I can never resist the phrase "one good blog deserves another," I humbly suggest you check Barry Hessenius blog this week. He delves into the issues around our celebrity crazed society and its effect on the arts. Some fabulous guest speakers are involved. Check it out here. Also, license plates are on my mind. My two cents on that is included below as well.
The Artistic Celebrity - An oxymoron?
Barry C. Hessenius was the former director of the California Arts Council and is currently the executive director of San Francisco's LINES Ballet. He leads a blog about concerns that affect the arts hosted by the Western States Arts Federation. His latest blog, as I said above, delves into the issues around our celebrity crazed society and its effect on the arts.
Click here.
California License Plates
Have you gotten your CA Arts Council license plate yet? It is - I feel - one of the easiest ways to contribute to the Arts Council which supports every imaginable artistic endeavor in the golden state. And they look cool too! Here is where you can find more information about the program and how to take part. QUADRE has its own CA Arts council license plate. Do you?
The Artistic Celebrity - An oxymoron?
Barry C. Hessenius was the former director of the California Arts Council and is currently the executive director of San Francisco's LINES Ballet. He leads a blog about concerns that affect the arts hosted by the Western States Arts Federation. His latest blog, as I said above, delves into the issues around our celebrity crazed society and its effect on the arts.
Click here.
California License Plates
Have you gotten your CA Arts Council license plate yet? It is - I feel - one of the easiest ways to contribute to the Arts Council which supports every imaginable artistic endeavor in the golden state. And they look cool too! Here is where you can find more information about the program and how to take part. QUADRE has its own CA Arts council license plate. Do you?
Tuesday, February 20, 2007
Classical Music Thinking
On February 9th and 10th, I had the distinct pleasure of participating in a Classical Music Think Tank sponsored by the Association of Performing Arts Presenters. It was held in Detroit at the downtown Marriott. While I was there I also got the opportunity to hear uplifting performances by the Mosaic Singers and Sphinx organization.
THINKING
Imagine 35 people music professionals from around the country getting together for 2 days to discuss where classical music is headed. Imagine that these people come from large and small organizations and serve as musicians, arts administrators, managers, composers, teaching artists, professors, managers, presenters, record producers and in some cases - all of the above. Now, try to imagine all of these people that span several generations being able to agree on where we're headed let alone what we should do to create opportunities for the future.
Fortunately, this group-for which I had the pleasure of taking part-had the guidance of Sandra Gibson, president and CEO of the Association of Performing Arts Presenters as well as think tank facilitator Richard Kessler who serves as executive director for The Center for Arts Education based in New York, NY. Each of them, in their own way, helped to create an atmosphere where issues were discussed between all of us. In particular, the think tank focused on the present and future climate of: demographics in the United States, the ecology of the "classical" music industry, and the motivations of listeners to be engaged.
After much "thinking", the discussion seemed to become distilled around four major topics: new avenues of participation, new language/lexicon for the industry, teaching & learning, and field capacity to respond and build. Each of these four topics was further explored along the lines of technology, the concept of evolution/revolution, research & development, and passive:active thinking.
I left the think tank 2007 much as I did after the one in San Francisco in 2005, invigorated. I see a gorgeous world of possibility that still is largely untapped. I also see a world where the philosophy that defines our art is very different for a great many people. In fact, how each of the 35 participants viewed their particular slice of the world, seemed to greatly affect their interpretation of risk, programming, and language. Malcolm Gladwell, the author of Blink would have had a field day with us. We all took part in the ancient silent and not-so-silent ritual of exploring that 'today is just not like yesterday' and 'what will tomorrow bring.' I attribute this to human nature along with the fact that each of us is working incredibly hard at what we do. Nevertheless, we all know tomorrow comes and everything works out one way or another in the end. The boundaries of our industry are continuing to evolve and in many ways, this forum served as a chance for us to help figure out the new borders that will invariably change in the next blink of an eye.
For more thoughts on the think tank, catch Jim Hirsch's blog here. He was another one of the participants at the Think Tank and currently serves as the executive director for the Chicago Sinfonietta.
READY, SET, GO!
Like the 2005 think tank, I left with some concrete suggestions for the future while in Detroit. (Where I might add, everyone in that city was absolutely wonderful.) In regards to the following list, certain people should be credited. However, to be fair I will list all these suggestions anonymously since I can't remember exactly who said what. My apologies to the authors for my sieve of a brain. In no particular order:
1. Invest in Research and Development
2. Take Risks with your programming, organization's model, and goals
3. Partner/Collaborate with organizations in mutually beneficial ways
4. Collaboration is communication, creativity, vulnerability, & reciprocity
5. Create ways to enable your art to be active and passive for your listeners
6. Get feedback about your ecology outside of your "world"
7. Go Grassroots (volunteers, listening groups, street marketing teams, etc.)
8. In the role of advocacy, affect change bottom up and top down
9. Shatter notions of exclusivity through marketing and artistic engagement
10. Create avenues for investment & involvement across racial, gender, ethnic, cultural and interdisciplinary boundaries. At the same time, assess where and how these boundaries came to be.
THINKING
Imagine 35 people music professionals from around the country getting together for 2 days to discuss where classical music is headed. Imagine that these people come from large and small organizations and serve as musicians, arts administrators, managers, composers, teaching artists, professors, managers, presenters, record producers and in some cases - all of the above. Now, try to imagine all of these people that span several generations being able to agree on where we're headed let alone what we should do to create opportunities for the future.
Fortunately, this group-for which I had the pleasure of taking part-had the guidance of Sandra Gibson, president and CEO of the Association of Performing Arts Presenters as well as think tank facilitator Richard Kessler who serves as executive director for The Center for Arts Education based in New York, NY. Each of them, in their own way, helped to create an atmosphere where issues were discussed between all of us. In particular, the think tank focused on the present and future climate of: demographics in the United States, the ecology of the "classical" music industry, and the motivations of listeners to be engaged.
After much "thinking", the discussion seemed to become distilled around four major topics: new avenues of participation, new language/lexicon for the industry, teaching & learning, and field capacity to respond and build. Each of these four topics was further explored along the lines of technology, the concept of evolution/revolution, research & development, and passive:active thinking.
I left the think tank 2007 much as I did after the one in San Francisco in 2005, invigorated. I see a gorgeous world of possibility that still is largely untapped. I also see a world where the philosophy that defines our art is very different for a great many people. In fact, how each of the 35 participants viewed their particular slice of the world, seemed to greatly affect their interpretation of risk, programming, and language. Malcolm Gladwell, the author of Blink would have had a field day with us. We all took part in the ancient silent and not-so-silent ritual of exploring that 'today is just not like yesterday' and 'what will tomorrow bring.' I attribute this to human nature along with the fact that each of us is working incredibly hard at what we do. Nevertheless, we all know tomorrow comes and everything works out one way or another in the end. The boundaries of our industry are continuing to evolve and in many ways, this forum served as a chance for us to help figure out the new borders that will invariably change in the next blink of an eye.
For more thoughts on the think tank, catch Jim Hirsch's blog here. He was another one of the participants at the Think Tank and currently serves as the executive director for the Chicago Sinfonietta.
READY, SET, GO!
Like the 2005 think tank, I left with some concrete suggestions for the future while in Detroit. (Where I might add, everyone in that city was absolutely wonderful.) In regards to the following list, certain people should be credited. However, to be fair I will list all these suggestions anonymously since I can't remember exactly who said what. My apologies to the authors for my sieve of a brain. In no particular order:
1. Invest in Research and Development
2. Take Risks with your programming, organization's model, and goals
3. Partner/Collaborate with organizations in mutually beneficial ways
4. Collaboration is communication, creativity, vulnerability, & reciprocity
5. Create ways to enable your art to be active and passive for your listeners
6. Get feedback about your ecology outside of your "world"
7. Go Grassroots (volunteers, listening groups, street marketing teams, etc.)
8. In the role of advocacy, affect change bottom up and top down
9. Shatter notions of exclusivity through marketing and artistic engagement
10. Create avenues for investment & involvement across racial, gender, ethnic, cultural and interdisciplinary boundaries. At the same time, assess where and how these boundaries came to be.
Tuesday, February 13, 2007
BEING AN ARTIST: Composing & Performing (1 of 2)
This week's topics deal with two things that make up a big part of my life as an artist. This is the first in a two part blog about my role in the cogs of classical music and how it is similar to many of my colleagues here in San Francisco and throughout the country.
PERFORMING
Of all the things I do as a musician, I have probably spent the most time in my life preparing for and doing concert performances. They are the reason I love what I do. They serve to remind me of my role in the grand scheme of things. Performing on stage, in a club, at a coffee house, etc. is an other-worldy experience. You literally transform into another person. All of the time spent practicing and honing your skills on your instrument are realized and you become completely focused in a cycle of creation. On a practical level, it is a natural high to play and hear applause upon your conclusion. And as a student, concerts served as little goals to go after to better oneself. Once you were done with one, there was always another around the corner.
I think the most exciting aspect of performing for me is that I never know what will happen. Silence serves as a blank canvas and the music that I create will never sound exactly the same ever again. The colors, textures, and subject of each painting will also be different for everyone listening to the music. As a performer I get the wonderful honor of creating that soundworld for the audience and interpreting music out of silence.
COMPOSITION
While my performing may serve as the vehicle for expressing moods and feelings in real time, my role as a composer is one where I attempt to capture my soul in a bottle. The sounds swirling in my head are given a home and my deepest and darkest reflections are brought to life. It is the opportunity where my musical training is brought to bear and society's thoughts and directions get a place to call home.
Composing is liberating. You get the chance to create a work of art that will influence those around you. They may be asked to think. They may be expected to laugh or cry. The composer has the responsibility for seeing the world around them - real or imaginary - and giving others (performers and listeners) the opportunity to experience that world. I find composing the most difficult and natural at the same time. Given the confines of Western classical notation (which is where my training lies) capturing ones soul can be a challenge to realize on paper. Nevertheless, when the act is done, the whole episode inspires and uplifts me in a way that nothing else can.
PERFORMING
Of all the things I do as a musician, I have probably spent the most time in my life preparing for and doing concert performances. They are the reason I love what I do. They serve to remind me of my role in the grand scheme of things. Performing on stage, in a club, at a coffee house, etc. is an other-worldy experience. You literally transform into another person. All of the time spent practicing and honing your skills on your instrument are realized and you become completely focused in a cycle of creation. On a practical level, it is a natural high to play and hear applause upon your conclusion. And as a student, concerts served as little goals to go after to better oneself. Once you were done with one, there was always another around the corner.
I think the most exciting aspect of performing for me is that I never know what will happen. Silence serves as a blank canvas and the music that I create will never sound exactly the same ever again. The colors, textures, and subject of each painting will also be different for everyone listening to the music. As a performer I get the wonderful honor of creating that soundworld for the audience and interpreting music out of silence.
COMPOSITION
While my performing may serve as the vehicle for expressing moods and feelings in real time, my role as a composer is one where I attempt to capture my soul in a bottle. The sounds swirling in my head are given a home and my deepest and darkest reflections are brought to life. It is the opportunity where my musical training is brought to bear and society's thoughts and directions get a place to call home.
Composing is liberating. You get the chance to create a work of art that will influence those around you. They may be asked to think. They may be expected to laugh or cry. The composer has the responsibility for seeing the world around them - real or imaginary - and giving others (performers and listeners) the opportunity to experience that world. I find composing the most difficult and natural at the same time. Given the confines of Western classical notation (which is where my training lies) capturing ones soul can be a challenge to realize on paper. Nevertheless, when the act is done, the whole episode inspires and uplifts me in a way that nothing else can.
Tuesday, February 6, 2007
California Arts Council Conference
This week I turn TuesdayAt2 over to two of my colleagues: Mathew Croft, associate artist with QUADRE who you all know and love :) and Barry Hessenius, former director of the California Arts Council. They both were at the California Arts Council conference last Tuesday in Sacramento and provide thoughts and a wrap-up on the experience.
CAC Conference Wrap-Up
Barry Hessenius has a blog hosted by WESTAF - the Western States Arts Federation. He has been doing it since April 2005. Click here to read a run-down on what happened at the conference from his perspective.
CAC Conference Reactions/Thoughts
By Mathew Croft
Attending this event was an amazing and eye-opening experience for me. We can't just be in our own little world, making our music, and expect to succeed. We [the arts industry] are a business, and we need to work like a more effective business, getting involved in the political arena, if only on a local level, will be worth the efforts, both long and short term. We also need to seek opportunities to collaborate with other artists of every discipline, to reach more people, not to "prove" to anyone that we are relevant, but to BE more relevant to more people.
A message that seemed rather strong to me was when we were asked how many of us knew our senator and representative on a first-name-basis. I certainly hadn't ever thought of this, but we all know (if we think about it for a second), that people support those that they know and trust. If our politicians don't know and trust us, how are we going to have their support? It's how to get things done.
Arts Council Roundtable notes
The CAC Has 3 Main Missions:
1) Advocacy
2) Public Awareness (Publicity)
3) Programming
The most clear and comprehensive area that they presented to us was in the Public Awareness area. They are trying to educate legislators, on a state level, but with California's term limits they are constantly working with new legislators. They encouraged us all to get involved with our local government leaders, who are usually the pool of future state legislators, to let them know what we are doing, how we benefit the people that they represent, not only for the good it does on the local level, but also pre-exposure to the benefits of the arts if they move on to state level politics.
**Dana Gioia Quotes - more on Dana in Barry's report
"We have an obligation to enter the public conversation about what we are doing."
"Politicians are just doing their jobs-making life better for their constituents. It's our job to create win-win arguments to politicians on how we enrich the lives of all people."
"We need to be positive, not negative; inclusive, not selective, and democratic, not polarizing."
CAC Conference Wrap-Up
Barry Hessenius has a blog hosted by WESTAF - the Western States Arts Federation. He has been doing it since April 2005. Click here to read a run-down on what happened at the conference from his perspective.
CAC Conference Reactions/Thoughts
By Mathew Croft
Attending this event was an amazing and eye-opening experience for me. We can't just be in our own little world, making our music, and expect to succeed. We [the arts industry] are a business, and we need to work like a more effective business, getting involved in the political arena, if only on a local level, will be worth the efforts, both long and short term. We also need to seek opportunities to collaborate with other artists of every discipline, to reach more people, not to "prove" to anyone that we are relevant, but to BE more relevant to more people.
A message that seemed rather strong to me was when we were asked how many of us knew our senator and representative on a first-name-basis. I certainly hadn't ever thought of this, but we all know (if we think about it for a second), that people support those that they know and trust. If our politicians don't know and trust us, how are we going to have their support? It's how to get things done.
Arts Council Roundtable notes
The CAC Has 3 Main Missions:
1) Advocacy
2) Public Awareness (Publicity)
3) Programming
The most clear and comprehensive area that they presented to us was in the Public Awareness area. They are trying to educate legislators, on a state level, but with California's term limits they are constantly working with new legislators. They encouraged us all to get involved with our local government leaders, who are usually the pool of future state legislators, to let them know what we are doing, how we benefit the people that they represent, not only for the good it does on the local level, but also pre-exposure to the benefits of the arts if they move on to state level politics.
**Dana Gioia Quotes - more on Dana in Barry's report
"We have an obligation to enter the public conversation about what we are doing."
"Politicians are just doing their jobs-making life better for their constituents. It's our job to create win-win arguments to politicians on how we enrich the lives of all people."
"We need to be positive, not negative; inclusive, not selective, and democratic, not polarizing."
Tuesday, January 30, 2007
Fanfares & Commissions
FANFARE MAGAZINE
This bimonthly periodical focuses on reviews of classical and new music repertoire. The latest issue is Volume 30, #3 so I'm guessing the magazine has been going strong for over 30 years which is truly impressive in this day and age. For more information about their most recent tome (the current issue is 352 pages long), click here.
THE COMMISSION PROJECT
While I was at Eastman last week, I ended up doing a fair amount of waiting. It was no one's fault. It happens when you go to a foreign place for one reason alone. Everyone else is having to worry about food on the table, getting from point A to B, taking care of family and friends, etc. I just had to worry about the seminars and masterclasses I was teaching. No big deal.
Anyway, in my waiting state I read a good deal. One of the magazines I picked up was the arts and cultural council magazine for the Greater Rochester area called the metropolitan. I read about a program called The Commission Project. They specialize in placing composers in public school classrooms for workshops and composer-in-residence programs. This concept is not new, but it has served as a wonderful vehicle for incredible artists like Ron Carter, Wynton Marsalis, Max Roach, and Libby Larsen a point of entry to students living in over thirty-five cities including Chicago, Birmingham, New York, and Vancouver. Check out their web site for more information.
This bimonthly periodical focuses on reviews of classical and new music repertoire. The latest issue is Volume 30, #3 so I'm guessing the magazine has been going strong for over 30 years which is truly impressive in this day and age. For more information about their most recent tome (the current issue is 352 pages long), click here.
THE COMMISSION PROJECT
While I was at Eastman last week, I ended up doing a fair amount of waiting. It was no one's fault. It happens when you go to a foreign place for one reason alone. Everyone else is having to worry about food on the table, getting from point A to B, taking care of family and friends, etc. I just had to worry about the seminars and masterclasses I was teaching. No big deal.
Anyway, in my waiting state I read a good deal. One of the magazines I picked up was the arts and cultural council magazine for the Greater Rochester area called the metropolitan. I read about a program called The Commission Project. They specialize in placing composers in public school classrooms for workshops and composer-in-residence programs. This concept is not new, but it has served as a wonderful vehicle for incredible artists like Ron Carter, Wynton Marsalis, Max Roach, and Libby Larsen a point of entry to students living in over thirty-five cities including Chicago, Birmingham, New York, and Vancouver. Check out their web site for more information.
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