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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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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University of Miami professor calls for commitment to social justice

Carol Abril. Photo by Matt Fried

Carlos Abril, professor and director of undergraduate music education at the University of Miami’s Frost School of Music, was one of 43 participants at YSM’s sixth Symposium on Music in Schools, which focused on “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe has said.

Among the participants were public-school and university teachers and administrators, foundation leaders, music-education scholars, and public-policy experts who worked, Yaffe said, to “help us craft and complete a declaration about why music has the potential to change children’s lives and have an impact on issues of exclusion.” The purpose of the document, in Yaffe’s words, is to “encourage the creation of ecosystems” that support the goal of guaranteeing children in city schools the same opportunities their suburban counterparts enjoy.

“We’ve been having the conversation” about the value of music education for decades, Abril said, offering that the declaration that’s crafted needs to have an impact that previous efforts have not.

“I think we need to send a strong message speaking to the importance of training, mentoring, and showing that it’s more than just lip service, more than just a pet project.” Those working in music education, he said, need to be “committed to social justice in our work.”

And while he was “really impressed” with the Symposium participants, saying their collective expertise “lends a lot of credibility to the initial perspective,” Abril warned against magical thinking.

“It’s naïve to suggest that music is the answer to all our ills,” he said.

Published July 18, 2017
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Head of music-ed in Philadelphia’s schools is circumspect about work

Frank Machos. Photo by Matt Fried

Frank Machos, director of music education in the School District of Philadelphia, was a participant at YSM’s sixth Symposium on Music in Schools, which focused on “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe has said.

The conversation about music education in America’s cities, Machos said, is part of a larger conversation about inequities across the public-education system. Like all of those who participated in the Symposium in mid-June, Machos is interested in constructing a new narrative about music education in city schools, and he was impressed with the company he was in.

“Most of the people in this building,” he said, in YSM’s Adams Center for Musical Arts, “are thought leaders, or at least disrupters in their field of expertise.”

Reflecting on the work that he and other public-school educators do, Machos said, “It’s important that we all understand the consequences of what we’re doing every day.”

Published July 18, 2017
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Policy expert points out that inequities in music education reflect society at large

Mike Blakeslee. Photo by Matt Fried

Mike Blakeslee, the executive director and CEO of the National Association for Music Education, was recently a participant at YSM’s sixth Symposium on Music in Schools, which focused on “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe has said.

Among those invited to participate were public-school and university teachers and administrators, foundation leaders, music-education scholars, and public-policy experts who worked, Yaffe said, to “help us craft and complete a declaration about why music has the potential to change children’s lives and have an impact on issues of exclusion.” The purpose of the document, a draft of which was sent to participants ahead of the Symposium, is to “encourage the creation of ecosystems” that support the goal of guaranteeing children in city schools the same opportunities their suburban counterparts enjoy.

In America’s cities, Blakeslee pointed out, “we have these stark contrasts in terms of haves and have nots. If we don’t have a commitment to equity for all of our children, then we’re not going to have equity in music education, either. We’ve constructed a system where the self-interest of many constituencies is not social justice. You can tell the story,” but “the real question for me is, what are we going to do to make [change] really happen?”

Published July 17, 2017
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Symposium participant Tarik Ward calls music “the cultural equalizer”

Tarik Ward. Photo by Matt Fried

Tarik Ward, the director of music programs at ELMA Philanthropy Services, was one of 43 participants at YSM’s sixth Symposium on Music in Schools, the focus of which was “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe has said. The work that was done at the Symposium will be part of a declaration that Yaffe said would “encourage the creation of ecosystems” that support the goal of guaranteeing children in city schools the same opportunities their suburban counterparts enjoy.

Ward talked about the “story of inequity,” saying, “If you tell me your zip code, I can tell you your life story.” To Ward, the Symposium and the declaration represent “an exercise in storytelling” about systemic inequity, and a chance to address “what we have to do” to bring about change. Music, Ward said, “is the cultural equalizer, the thing that everyone can do.”

 

Published July 17, 2017
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Symposium participant Lara Davis talks intersectionality

Lara Davis. Photo by Matt Fried

Lara Davis, the arts education manager at Seattle’s Office of Arts & Culture, was one of 43 participants at YSM’s sixth Symposium on Music in Schools, the focus of which was “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe said. The work that was done at the Symposium, in mid-June, will inform a declaration that Yaffe has said would “encourage the creation of ecosystems” that support the goal of guaranteeing children in city schools the same opportunities their suburban counterparts enjoy.

During the Symposium, Davis said the conversation about music education in city schools is part of a larger discussion about “the inequities that are running rampant across public education in this country,” and that the gathering at Yale “is a step in the process.”

“This space could be one where we, as a small segment of the sector, can begin to articulate where we exist in the power structure,” she said. “We have to have an intersectional lens as we approach this” and ask, “How does that inform the ways we talk about music?”

 

Published July 17, 2017
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Yale Hosts Sixth Symposium on Music in Schools

Rubén Rodríguez, left, and Michael Yaffe during the 2017 Symposium on Music in Schools. Photo by Matt Fried

On June 15-17, the Yale School of Music hosted its sixth biennial Symposium on Music in Schools, an event at which 43 participants discussed “how to ensure that every child in every city in America has access to an active music life,” YSM Associate Dean Michael Yaffe said. That topic is one that Yaffe and Rubén Rodríguez, the lead teacher in YSM’s Music in Schools Initiative, have been thinking about for more than a year.

Among those invited to participate were public-school and university teachers and administrators, foundation leaders, music-education scholars, and public-policy experts who worked, Yaffe said, to “help us craft and complete a declaration about why music has the potential to change children’s lives and have an impact on issues of exclusion.” The purpose of the document, a draft of which was sent to participants ahead of the Symposium, is to “encourage the creation of ecosystems” that support the goal of guaranteeing children in city schools the same opportunities their suburban counterparts enjoy. The “gap” in quality public-school music education in the United States, Yaffe said, “is usually represented by city schools that don’t have full-time certified music teachers” or music-specific activities.

Symposium participant Tarik Ward, the director of music programs at ELMA Philanthropy Services, talked about the “story of inequity,” saying, “If you tell me your zip code, I can tell you your life story.” To Ward, the Symposium and the declaration that’s being crafted represent “an exercise in storytelling” about systemic inequity, and a chance to address “what we have to do” to bring about change. Music, Ward said, “is the cultural equalizer, the thing that everyone can do.”

Lara Davis, the arts education manager at Seattle’s Office of Arts & Culture, said the conversation about music education in city schools is part of a larger discussion about “the inequities that are running rampant across public education in this country,” and that the gathering at Yale “is a step in the process.”

Lara Davis, the arts education manager at Seattle’s Office of Arts and Culture, addresses a working group during the 2017 Symposium on Music in Schools. Photo by Matt Fried

“We have to have an intersectional lens as we approach this,” and ask, “How does that inform the ways we talk about music?” Davis said.

Mike Blakeslee, the executive director and CEO of the National Association for Music Education, said, “We’ve constructed a system where the self-interest of many constituencies is not social justice. You can tell the story,” he said, but “the real question for me is, what are we going to do to make [change] really happen?”

In the coming months, Yaffe and Rodríguez, with YSM staff and input from Symposium participants, will finalize the declaration, launch a website, and identify organizations that will help disseminate the information. “We learned so much from this group of experts,” Yaffe said. In essence, the 2017 Symposium on Music in Schools was the opening salvo in what will be an ongoing effort to address the inequity that plagues America. And while the Symposium itself was an important step toward bringing about real change, what follows, in terms of the resulting document, will be even more critical.

In addition to brainstorming and sharing ideas and perspectives during the three-day event, participants also honored their peers. As has been tradition since the first Symposium on Music in Schools in 2007, the 2017 iteration included the presentation of Distinguished Music Educator Awards to 10 public-school music teachers, all of whom work in city schools.

The impetus for the efforts undertaken at the Symposium was the work of YSM’s Music in Schools Initiative, which was created in 2007 with an endowment from the Yale College Class of 1957.

Rodríguez looks forward to a paradigm shift in terms of how we think about music in schools. “We are declaring that we are all equal and we all deserve the same opportunities and freedoms and services and access to the same spaces and opportunities to thrive,” he said.

Related:
MUSIC IN SCHOOLS INITIATIVE
2017 SYMPOSIUM ON MUSIC IN SCHOOLS
YALE HONORS DISTINGUISHED MUSIC EDUCATORS

Published June 21, 2017
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Stephanie Tubiolo awarded Music in Schools Initiative Fellowship

Stephanie Tubiolo | Photo by Kyle Picha

Stephanie Tubiolo | Photo by Kyle Picha

Stephanie Tubiolo ’14BA ’16MM has been named the first Postgraduate Teaching Artist Fellow at the Yale School of Music’s Music in Schools Initiative. The position was created through an endowment from Mr. and Mrs. Lester Morse ’51BA, whose generosity helped establish the Morse Summer Music Academy, which is part of the Initiative. Tubiolo, who studied choral conducting with Marguerite Brooks, Jeffrey Douma, and David Hill at Yale, will teach and serve as an administrator, working directly with the Initiative’s lead teacher, Rubén Rodríguez. Tubiolo worked as a teaching artist for the Music in Schools Initiative throughout her undergraduate and graduate studies and helped launch the Morse Chorale, the Academy’s first choral program.

“What I hope to bring to the program, particularly to the choral division, is a standard of vocal excellence and musical intelligence that brings these students to the level of a collegiate choir,” Tubiolo said. “By the time our singers graduate, I want to expose them to all choral genres, not just the standard school-choir repertoire. … Though students might feel alienated from the classical genre when they are first exposed to it, we find that they quickly embrace it and grow to love it. My goal is expand their choral horizons and to be certain that any singer who graduates from one of our choirs feels empowered to be a leader in their college choir and beyond.”

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Published July 26, 2016
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[ students & alumni ]

Rubén Rodríguez and Dantes Rameau discuss music in the community

Rubén Rodriguez with student of the Music in Schools Initiative

Rubén Rodríguez with Music in Schools students

As part of the International Festival of Arts & Ideas, a day-long symposium “Listen. Engage. Act.” will takes place at the Yale School of Music on Friday, June 17.

Featuring a day of presentations and discussions, the symposium will explore the role of the arts in the community, asking the question “how will you change your city?,” and continuing conversations started at the British Council’s “Culture and Conflict Summit” in 2014 as well as the Association of Performing Arts Presenters’ forum “What is the Role of the Arts Presenter in a Community in Crisis?” earlier this year. MORE

Published June 10, 2016
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