YSM interns serve as Morse Academy Teaching Artists

Jesús Cortés-Sanchez, left, and Jocelyn Hernandez

Talking about Jesús Cortés-Sanchez and Jocelyn Hernandez, in the context of YSM’s Music in Schools Initiative, Associate Dean Michael Yaffe said, “They represent the reason we’re doing this.” While Cortés-Sanchez and Hernandez worked as interns in previous years, this was the first summer that they served, alongside YSM students, as Teaching Artists during the month-long Morse Summer Music Academy. They also helped Yaffe’s team in June during the School’s sixth Symposium on Music in Schools, whose focus was on “how to ensure that every child in every city in America has access to an active music life,” as Yaffe has described it.

Cortés-Sanchez and Hernandez, who are studying music education at the University of Connecticut and Western Connecticut State University, respectively (he’s a senior and she’s a junior; each is a clarinetist), are “going to be great role models for the next generation,” Yaffe said. Cortés-Sanchez and Hernandez have spent half their lives in and around the Music in Schools Initiative, starting as participants when they were middle-schoolers at John C. Daniels School of International Communication. Their participation continued through their high-school years at New Haven’s Cooperative Arts and Humanities High School. Today, they are New Haven Promise scholars and served their internships at YSM through that program.

Reflecting on what music afforded him early in his life, Cortés-Sanchez said, “It kept me busy, and as simple as that sounds, it did a lot for me. The easy thing to do would be to be in the streets.” Instead, he said, “I was focused.” Working with young people this summer during Morse Academy, he said, “I saw my reflection in a couple of students.” He also saw in them the difficulties that many families face getting students to and from Morse Academy activities, as his parents experienced when he participated in the summer program.

Hernandez, too, recognized the hardships that young people and their families endure in our community and elsewhere. This summer, she worked with an Iraqi student who was a bit culturally out of step with his peers. “As a teacher,” Hernandez said, “I will not always have kids who will know what it’s like to live here.

“Be friends with him,” she told other Morse Academy students. “Don’t make him feel like an outsider.”

Several years ago, when Hernandez lost her drive to study and play music and entertained the idea of becoming a lawyer, her music teachers helped her find the musical inspiration she’d lost. It was at that point that she decided to pursue a degree and a career in music education. “It’s about inspiring kids to be the best that they can be,” she said. “Music is a universal language, and that’s what I want to help teach.”

Cortés-Sanchez decided during his senior year of high school to become a music educator — to influence young people’s lives the way his teaches had an impact on his.

“Music is the way that these two young people found themselves, found their voices,” Yaffe said.

MUSIC IN SCHOOLS INITIATIVE
2017 SYMPOSIUM ON MUSIC IN SCHOOLS

Published August 31, 2017
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Vijay Gupta ’07MM, on music as a vehicle for social justice

Vijay Gupta

Violinist and YSM alum Vijay Gupta ’07MM is a member of the Los Angeles Philharmonic and the founder and artistic director of Street Symphony, an organization that “serves to foster a dialogue which tells the unheard stories of the most marginalized communities in Los Angeles through the power of musical expression,” according to language on its website. We spoke with Vijay about the artist’s role in society.

Q: What experiences at Yale and the Yale School of Music, and in New Haven, inform the work you’re doing now with Street Symphony and in terms of how the arts can be a vehicle for social justice in a larger sense?

A: Well, it was two classes in particular. One was my Hearing class with Joan Panetti, which totally transformed the way that I teach and perform and collaborate. I was actually Dr. Panetti’s TA for my second whole year at YSM, so that was really, really special for me. And it’s kind of amazing, I kind of feel Dr. Panetti coming up in my voice and in my steps when I teach, so that’s very cool. The second class was a survey of late Beethoven by Markus Rathey, and he went through, I think, from Op. 90 until the end of Beethoven. And just being able to present in his class, and being able to look at the composers for who they were as people and not just as these marble busts of dead white guys, really, really changed the way that I approach playing. And it’s a direct correlation to the way that I lead programs when I play Beethoven or Schumann in a county jail, because our audiences are not interested in how well we play, they’re interested in the stories. They’re, in a sense, interested in the humanity of the composers. So those are two things that I got from those two classes. And of course I have to give credit to my amazing teacher, who was Ani Kavafian. She was just so wonderful and kind and got me to think about different aspects of my playing that I hadn’t even thought about before, but she also cared about me as a person, which was kind of new for me having come from the conservatory system. Oftentimes in those situations my personhood didn’t count as much as how well I played my etudes. But I played a lot of Baroque violin at school with ISM; I was playing with Robert Mealy and that was an extension of what I was getting from Markus Rathey’s class and from Joan Panetti’s class. It was a very natural extension of what was going on in the life of these composers as they were composing. And one direct example of how that’s showed up for me in my organization is in our Messiah project. We do a yearly sing-along of Handel’s Messiah in Skid Row at a homeless shelter. And we’ve actually now started placing formerly homeless Desert Storm combat veterans as our soloists, and we give them lessons all year long. And when you look at the situation in which Handel performed his Messiah, it wasn’t in a concert hall, it was in an orphan’s hospital, and the first concert released 142 men from debtor’s prison. So if we’re really doing authentic performance practice, if we’re really going to put our mouth where our money is with regard to what these composers were actually dreaming and thinking as they composed, then we also have to have the same kind of social understanding of what kind of music our community needs. It became very clear to me at school that these composers were writing for their communities. I’m sorry to go on a little bit here, but Bach’s passions would have been called engagement sing-along concerts today, because everybody in the audience knew those chorales and they stood up and sang them. So what’s our modern day Messiah? That’s the kind of question that I’m asking in my head right now as I lead my life and do my stuff.

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Published August 29, 2017
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Fall 2017 Admissions Visits

YSM is coming to you! We encourage you to visit with us and learn more about YSM at an admissions event this fall.

As of September 19, 2017

New England Conservatory

College Fair
Saturday, September 16, 2017
New England Conservatory
Burnes Hall
2–4 pm
Boston, MA

Peabody Conservatory

College Fair
Sunday, September 24, 2017
Peabody Conservatory
George Peabody Library
3–5 pm
Baltimore, MD

Eastman School of Music

Upstate New York Music College Fair
Thursday, September 28, 2017
Eastman School of Music
26 Gibbs Street
5–7 pm
Rochester, NY

Oberlin Conservatory

College Fair
Monday, October 9, 2017
Oberlin Conservatory
Carnegie Building, Root Room
4:30–6:30 pm
Oberlin, OH

Juilliard Pre-College

College Forum
Saturday, October 14, 2017
5-7pm
New York, NY

Houston Youth Symphony

Sunday, October 15, 2017
Houston, TX

High School for the Performing and Visual Arts

Monday, October 16, 2017
Houston, TX

Rice University

NACAC Performing and Visual Arts College Fair
Tuesday, October 17, 2017
6:30–8:30 pm
Houston, TX

Irving Convention Center, Dallas, TX

NACAC Performing and Visual Arts College Fair
Wednesday, October 18, 2017
6:30–8:30 pm
Dallas, TX

Published August 16, 2017
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YSM announces revamped B.A/M.M. degree program

High-school students can now apply to the Yale School of Music’s bachelor of arts/master of music program. Previously open only to Yale College students making plans for graduate school, the revamped degree path allows high-school students to plan simultaneously for college and graduate school. The program is designed for outstanding instrumentalists who are also interested in pursuing a liberal-arts education.

As had been and remains the case, Yale College students can apply to the program during their junior year. Now, high-school students everywhere can apply to attend college and graduate school at Yale. That is, admission to the five-year program is through acceptance into both Yale College and the School of Music, either after the third year of the College’s bachelor of arts program or before matriculation into Yale College.

The program, in its expanded form, offers undergraduates the opportunity to spread master’s-degree course requirements and study with YSM faculty over the course of five years. Similarly, Yale College students who begin the program in their senior year can complete some requirements toward their master’s degrees before graduating and enrolling at the School of Music.

The revamped B.A./M.M. program should be particularly appealing to pre-college students who might otherwise have trouble deciding whether to go the conservatory or university route. YSM’s B.A./M.M. degree offers students the opportunity to pursue both degrees at the highest levels of education, and at the only music school in the Ivy League.

Among those who’ve taken advantage of the program are Philadelphia Orchestra assistant conductor Kensho Watanabe ’09BS ’10MM, who studied biology at Yale College and violin at YSM, and Charlotte Symphony Orchestra principal flutist Victor Wang ’14BS ’15MM, who also studied biology at Yale College and received his master’s degree from YSM.

MORE INFORMATION
APPLY TO YALE COLLEGE
APPLY TO THE YALE SCHOOL OF MUSIC

Published August 15, 2017
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Paolo Bortolameolli named assistant conductor at LA Phil

Paolo Bortolameolli

Conductor Paolo Bortolameolli ’13MM has been appointed an assistant conductor to Music and Artistic Director Gustavo Dudamel at the Los Angeles Philharmonic for the upcoming season. Bortolameolli previously served as a Dudamel Fellow, an initiative, Dudamel said in a press release, that “continues the LA Phil’s commitment to supporting and training the next generation of exceptional conductors.”

While at YSM, Bortolameolli was an assistant conductor of the Yale Philharmonia. He has served as a cover conductor for Marin Alsop at the Baltimore Symphony Orchestra and led the New Haven Chamber Orchestra during his final year at Yale.

A native of Chile, Bortolameolli has worked with the top ensembles in that country including Orquesta Filarmónica de Santiago, Orquesta Sinfónica de Chile, Orquesta de la Universidad de Concepción, Orquesta USACH, Orquesta de Cámara de Chile, and Orquesta Sinfónica Nacional Juvenil.

PRESS RELEASE
PAOLO BORTOLAMEOLLI

Published August 1, 2017
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Alumna Olivia Malin ’07MM, on choosing a career as a music educator

Olivia Malin works with students at KAPPA International High School

Trumpeter Olivia Malin ’07MM, who studied with Allan Dean and worked in the Music in Schools Initiative during her time at YSM, is entering her 11th year as a public-school music educator and teaches at KAPPA International High School in the Bronx, New York. Malin spoke with us recently about being inspired, as a student, to pursue a career in education despite the pressure she felt to focus on performance.

Q: You were a Teaching Artist in YSM’s Music in Schools Initiative. How did that program prepare you for what you’re doing now at KAPPA International High School?
A: While I was a student at YSM, I was also working in the Music in Schools Initiative. At first I stayed firmly in my comfort zone, teaching elementary/middle school brass group lessons. Midyear, I was branching out to woodwinds and percussion, and in the spring, I was running full band rehearsals when the band director wanted to do isolated lessons himself. I also began working with first- to third-graders learning piano and guitar. My second year in the program, I was placed at a high school where I got the opportunity to teach higher-level lessons and music, and to assist teaching AP music theory. The varied placement over those two years gave me a significant taste of what teaching K-12 would be like, with significant hours teaching piano, guitar, band, and general music classes. Even more important, the program was the first exposure that opened my eyes to what urban schools need, and what they don’t need, from me. At KAPPA, I now teach rock band, guitar, IB music, band, beginner band, and chorus – and I have also taught piano and general music – so the majority of classes I helped with at YSM are in fact what I teach full-time now.

Q: Did you know or think, upon enrolling at Yale, that you’d become a music teacher?
A: I have always taught private trumpet lessons, but no, I never thought I would be a full-time music teacher. We all know the stigma that exists about music teaching, and I admit I used to believe that only those performers who weren’t very good would end up as educators. It’s an easy thing to believe, since once a person becomes a teacher, it’s pretty difficult to maintain a high level of performance on their instrument, and most people don’t see the “performance level” of teaching. It’s hidden in the classroom – your audience is 30 students who don’t always applaud. One of the most difficult barriers I broke through was deciding that public-school teaching would be a higher calling than performing. There is so much outside pressure in the performance world not to become a teacher, and that pressure shows up constantly in little ways from friends, teachers, family, and the general public.

[Prof. Dean, Malin said, “is a wonderful teacher who taught me well and supported me through this decision to switch to teaching, something I think not all professors would be able to do.”] 

Q: What informed your decision to transition from focusing on performance to focusing on education?
A: What I started noticing was that my levels of happiness and self-worth after teaching at Lincoln-Bassett School or Wilbur Cross High School were significantly higher than those after an orchestral rehearsal or concert. I also noticed that I looked forward to being around the students – learning from them and laughing with them as much as teaching them content – much more than I expected. Their energy in the band room was so fresh and vibrant that I wanted more and more hours teaching in the program, and I spent extra time there after my paid time expired. The real moment, however, was when Associate Dean Michael Yaffe approached me sitting in (operations manager) Tara Deming’s office one day. He started talking about me to other people in the office, about what great teaching looked like and that he saw amazing potential in me when he saw how I lit up around students. In that short conversation, I saw something in myself that had until that point been a hobby, something I was good at and made a little money at, but which had never been a true option. Hearing him say those things out loud suddenly gave the green light to a career I hadn’t realized was a possibility – and a highly respectable possibility validated by the associate dean.

Q: What would you tell incoming YSM students who’re starting to think about what their careers might look like after school?
A: Be open to absolutely anything, say yes to everything, and be professional constantly. The music scene for you can be a combination of so many fulfilling things that it makes no sense to pigeonhole yourself early on. Don’t rule anything out simply because of generalizations – they may not apply to you! I am going into my 11th year of public school teaching. I am a proud high-school teacher in the Bronx and a trumpet player in a salsa band in Manhattan – and I wouldn’t change anything about my life.

Published August 1, 2017
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