Language, as one of the most essential means of inter-cultural mechanism, now seem to be understood only as a communications tool that is interchangeable. English for example, in the realm of popular music around the world, is often used as an amplifier of its artistic value, without really understanding the context beyond the language itself. Some are even using it solely for the sake of global appreciation. Now the question is, does it really work? Is language interchangeable?

Here is an excerpt from an article entitled “Lost in Translation” by Lera Boroditsky, a professor of psychology at Stanford University and editor in chief of Frontiers in Cultural Psychology, published by The Wall Street Journal in 2010.

The successfully music education program for disadvantaged youths has intersect with the Venezuelan governmental agenda; and the old controversy begins: Should music and politics remain separate?

El Sistema, photo courtesy www.auditoriumcasatenovo.com

After more than 30 years since José Antonio Abreu (a musician, economist, and former cabinet minister) initiated a music education program intended for the disadvantaged children across Venezuela, El Sistema has now grown up and become the talk of the town among the classical music enthusiasts.

Through its (classical) training system for young musicians, El Sistema has effectively brought hundreds of thousands of children off the street, gather them into musical ensembles, and earn their self-respect within the society. It also gave Gustavo Dudamel, the 31 years old conductor who derived also from the program, to the world of classical music, as he is now hold a position of music director for the Los Angeles Philharmonic.

The near future is in the hands of the young. And for that reason, then we should be asking a very fundamental question by now: Are we ready for it?

Evelyn and the Grouchketeers, photo courtesy of Evelyn Glennie

Good education, as one of the pillars of life sustainability, certainly had a significant impact in the process of both emotional and intellectual development of one child. And the good thing is, music education hold a major role in it. How? Dame Evelyn Glennie, a world renowned percussionist who also had her years of experience within the field, shared her valuable opinions in her blog.

“…recent research carried out at York University in Toronto in which it is found that 'the verbal intelligence of four to six-years-olds rises after just one month of musical training'. I have always believed musical education encourages cross disciplinary benefits and this confirms my lifetime thoughts.

“When the electronic composer Morton Subotnick released ‘Silver Apples of the Moon,’ he seemed to be exploring a limitless world.”

-The New York Times

“Subotnick created a rich and, most important, musical blend of sonic attitudes, densities and textures.”

-Los Angeles Times

FEATURING MORTON SUBOTNICK

The Los Angeles new music high-fliers meet up with the godfather of techno Morton Subotnick for a live revisit to the electronic music pioneer’s iconic works, rendered with new technology. From the landmark Silver Apples of the Moon (1966) to A Sky of Cloudless Sulphur (1977), Subotnick worked with Buchla synthesizers and tape recorders to create new electronic works meant for the home environment—and later adapted his music for live performance. Now equipped with Ableton Live on his Mac and the new Buchla 200e, he performs with the E.A.R. Unit—collaborators since 1980—and draws on elements of Silver Apples and Sky in an evening of “spontaneous performance and decision-making.”

Buy Tickets now!

www.redcat.org

www.earunit.org

"Kodo drummers", photo courtesy of www.artandculturemaven.com

Music in the urban areas today, (read: the so called "modern times") are being tossed around in the midst of technological advancement, democratization, commercialization, “artists” population growth, and future challenges brought about by those myriad of situations that occur at this time. Indeed, on the one hand, dozens of “new” musical genre or style were emerged during these difficult times, which we could easily find and learn through various mass media, records stores, and among the chatter around us. Not only that, "collaboration" between fields such as music and technology, music and spirituality, music and visual, etc., are increasingly touted by many as the future way of looking at music. And with the widespread of both formal and non-formal music education institutions in urban areas throughout the world, it seems that those predictions may come to reality.

This may seem encouraging, the fact that people around the world still persist to play, appreciate, and develop music. But on the other hand, many questions will arise. Is music still viewed and understood as a manifestation of the essence of human life itself? Is music still created from the self-reliance system of human life inherent in their own context? And is it able to function and act as a guardian towards the harmony within man and nature? We sure do hope so.

Among those questions that seemed to not go to meet its midpoint, a small community on the island of Sado, Japan, seems to have found the answer since more than a decade ago. It is called “Kodo”, a new form of Japanese performing arts based upon their own philosophy of life, has successfully resonated and inspired the world.