NEC Prep gave me my first orchestral experiences when I was an 11 year old oboist in the Youth Repertory Orchestra (YRO). We played Schubert’s Unfinished Symphony. I was so enthralled by all the moving parts in the orchestra! Even back then I was drawn to how everything was put together… not just my own part. Sure I wanted to sound as good as possible (like everyone else), but I was even more entranced by looking at why composers made their musical choices and how that created an entirely new world. Furthermore, I was fascinated at how the conductor chose to interpret and implement those details in a way that allowed the music to speak to everyone.

I began playing in the Youth Philharmonic Orchestra (YPO), the top of NEC’s Prep orchestras. And that forever changed me. What made my time there so powerful was not only the incredible music we put together (Hindemith Symphonic Metamorphoses, Berlioz Symphony Fantastique, Rachmaninov Piano Concerto #2, Shostakovich Symphony #5), but where we took that music. I was privileged to tour Cuba, Mexico, and Venezuela. In the final leg of our tour, we connected with the Simon Bolivar Youth Orchestra and learned firsthand the powerful and universal effects of music. I have always said music has saved my life and I’m sure many of my colleagues and friends can remark similarly. In Caracas, where there are 60 homicides a weekend alone, music programs such as El Sistema, have literally saved thousands of children’s lives by keeping them away from gangs, dangerous drugs, and violence. I realized it’s not just about great music and great performance, but educating people and helping those in need… to inspire others to grow… to unite people from all over the world as best as we can.

One rehearsal during my 2nd year in YPO, the conductor randomly called on me to come and conduct the slow brass chorale section in Bartok’s Concerto for Orchestra. I stood in front of the orchestra and had a life-altering experience. I was amazed by everything and I was fortunate to show another part of my musical persona… a side that no one really knew. I am forever grateful for this experience. It assured and confirmed that, even though I wasn’t ready to announce it publicly, I really wanted to be a conductor.

The summers of my freshman and junior undergraduate years at New England Conservatory I worked for the Festival Youth Orchestra as an oboe teacher, woodwind coach, and assistant conductor. Although the program was in its startup years, I saw it as a vital music festival because so many of the area’s music happenings were 2 hours west in Tanglewood. There isn’t anything like FYO in Boston during the summer.

Having moved to Chicago this past August, I became the Director of Conservatory Orchestras at the Merit School of Music, a staff conductor at Roosevelt Chicago College of the Performing Arts, and Director of an El Sistema-inspired orchestra called the YOURS Project for the People’s Music School. As co-director of Holographic, I continue to explore new music for orchestra. No matter the age and level of the orchestra, all of my past experiences join me whenever (and wherever) I take the podium… and I use them every day as the basis for my teaching.

My all-encompassing view of education and performance is largely due to all my time at NEC. When asked if I wanted to return and lead the Festival Youth Orchestra for their 3-week program, I jumped at the opportunity because I believe in the program so much. I’m honored to be chosen for this position so I can give back to a wonderful organization that has played a huge role in who I am today as an artist and person. My name is Ben Bolter. I’m a Boston-born Chicago-based conductor who will be the Music Director for this summer’s Festival Youth Orchestra at New England Conservatory.

“Whitney would be proud,” Bill Hanney, owner of North Shore Music Theatre, said during the judges’ commentary after the performance at the March 1 competition.

Dunwell, who sings in a wedding band, said her competition strategy was simply to perform one of her favorite songs.

“It was really easy to come up with a song,” she said. “I just really hoped that [the emotion] would come across, and I’m so glad it did.”

Fourteen singers performed at the competition, which was hosted by the Beverly Rotary Club and sponsored by North Shore Music Theatre. The event drew about 340 people to the ­Danversport Yacht Club in Danvers.

Joining Hanney and ­Kulhawik, president of the ­Boston Theater Critics Association, at the judges’ table was longtime radio and television personality Dana Hersey.

For $75 a person, North Shore Star attendees enjoyed dinner, an auction, and the singing competition. This year, the club raised $28,400 that will benefit North Shore charities.

Michael Harrington, chairman of the event and a Beverly Rotary Club member, said each year’s competition raises about $35,000.

“Our goal is to raise about $100,000 a year for charity, and we’re always trying to think of fun, creative ways to do it,” he said.

Auditions were held in January for the show. From about 70 hopeful performers, the highest turnout at an audition, North Shore Music Theatre representatives selected the singers to compete in the finals for the $1,000 cash prize and a crystal trophy.

Harrington, a former member of the North Shore Music Theatre board of directors, said compiling the list of 14 finalists was a challenge.

“We’re looking for star power,’’ he said, someone who gets on stage “and they kind of sizzle.”

He said audition judges sought diversity among the singers, as well as in their music styles.

Christina Jedra for The Boston Globe

This winner, Sheree Dunwell, with last year’s victor, Fred VanNess, after the contest at the Danversport Yacht Club.

Performers covered songs by Guns ’N Roses, Jason Mraz, Katy Perry, Martina McBride, Amy Winehouse, and from “Les Misérables.’’

And the contestants tried various methods to stand out before the judges.

Kayla Brennan coordinated her outfit, a white sequined evening gown, with a lyric in “If I Die Young” that refers to wearing white. Taylor Callahan confidently approached the judges’ table during her performance of “Sweet Child O’ Mine.”

And Amy-Jayne McCabe headed into the audience, dancing with no less than three male audience members during the instrumental breaks of her ­energetic performance of the Dixie Chicks’ “Sin Wagon.”

Despite the contestants’ best efforts, there could only be one winner. Kulhawik, an Emmy-winning arts critic, said Dunwell’s ­fusion of opera training and soul music made an impression on her.

“You wouldn’t think that those things have a lot in common, but in fact they do,” she said. “She held the audience.”

Dunwell said that she is thrilled with her win and that she will probably assign a portion of the cash prize to her ­Boston Marathon charity contribution.

“I am shocked, excited, really happy, but mostly shocked,” she said.

Sheree Dunwell is a student of NEC School of Continuing Education’s Barbara Winchester.

Article Source:

http://www.bostonglobe.com/metro/regionals/north/2013/03/10/north-shore-star-hopefuls-give-their-all-singing-competition/z4PS54qTcKjXNLcDJjEVeN/story.html

NEC’s School of Continuing Education Certificate graduate “Pui” wins 2012 Top Award for The Voice Thailand. Congrats Pui!

Venkatesh Balasubramanian’s Professional Studies Certificate in Composition final recital.  Just one of his many original works performed on the evening of February 2nd, 2013.

The Composer in NEC’s School of Continuing Education Professional Studies Certificate program, Venkatesh Balasubramanian.

A few of the many NEC College students performing on the evening’s certificate recital.

Venkatesh and all of the NEC players.  Congrats to all!

Jazz faculty Gary Fieldman (drums) coaches his School of Continuing Education ensemble in their final recital in NEC’s Pierce Hall.

NEC’s School of Continuing Education Certificate student Migle Zaliukaite gives her final voice recital in fulfillment of the Certificate of Merit.

Jazz faculty Gary Fieldman (drums) coaches his School of Continuing Education ensemble in their final recital in NEC’s Pierce Hall.

Amy Knight (center), Stefan Riley (right), Xixi Zhou, piano (not pictured) perform along with Migle Zaliukaite on her final voice certificate recital.

Amy Knight (center), Stefan Riley (right), and Xixi Zhou (piano) perform Soave sia il vento from Cosi fan Tutte along with Migle Zaliukaite (left) on her final voice certificate recital in NEC’s Pierce Hall.

Migle Zaliukaite and Stefan Riley perform Il core vi dono from Cosi fan Tutte

Post performance.  From left: Xixi Zhou, Migle Zaliukaite, Stefan Riley and Amy Knight

Here is a clip from one of NEC’s School of Continuing Education Certificate graduates Duangpon Pongphasuk a.k.a. “Pui” participating in Thailand’s version of The Voice. She is currently in the top 10! Congratulations Pui!

Educational Use
Listening Examples: One of my professors in college, who shall remain nameless, would always speak over the recording in a passionate yet overemphasized desire to connect with his class. Because my classmates and I were listening to him instead of the recording, we often missed the reason he was playing that example in the first place. This was infuriating! And now it is no-longer an issue, thanks to SoundCloud. By using the comments tool to incorporate the listening-log directly into the track, this allows the students to focus on the listening itself, instead of the timer or a sheet of paper. SoundCloud lets students simultaneously hear and see in one location! Corresponding Buzzword: Learning Styles.

Assessment of Theoretical Knowledge: Because comments linked to the waveform last 4 seconds, the ability to do a harmonic analysis is lost. The comments box is simply too slow to provide an accurate analysis of each chord. (If SoundCloud continues to develop different types of comments, or ways to manipulate them, the ability to comment on chord structures would allow the students to hear and see the functions of chords in the context of the piece. This idea could still be utilized in a composition where harmonic structures last for several measures, such as Rock or Pop music.) However, instructors and students can still comment on Form.  Outlining Beethoven’s Fur Elise in its 7-part Rondo form is an easy example. In order to use this as a method of assessment, each student would have to upload the song to his/her account. Once the student has completed the formal analysis by embedding comments in the track, the “secret link” can be emailed to the instructor. Or, if you’re technologically savvy, feel free to take advantage of SoundCloud’s “Drop Box” feature. Corresponding Buzzword: SMART Goals.

I’ve got more, but you’re going to have to wait until Part 3…

I went into the field of arts administration because of my passion for orchestral music and everything that it embodies for audiences and players alike – the power of collaboration, living

Trailblazing musician and producer Beck recently announced that his next musical release will come not in the form of a recording but as sheet music, leaving it up to the music’s owner to perform the songs. According to the artist, the new work (Beck Hansen’s Song Reader), will consist of 20 songs presented in twenty individual booklets of sheet music inspired by the design of old-time “home-play” style packages, stored in a “lavishly produced hardcover carrying case.”

Discover more about the release, planned in collaboration with the influential publishing house McSweeney’s, at www.beck.com.

Enter SoundCloud.  This website will change the way you, and your students, listen to music.

SoundCloud is Social Networking through music and an amazing platform for sharing original compositions. It is similar to Twitter in that users can “follow” people posting music and comments. But SoundCloud has developed one feature that is unique to its site: they call it “timed comments.” I call it “overdue.” This feature sets SoundCloud apart from all other web-based audio/visual sites and, consequently, is the very thing that adapts this program for educational use.

The Quick Overview
SoundCloud’s interface is extremely user friendly. The website walks you through the initial steps of creating an account, uploading files, and titling them appropriately. Once a file is uploaded, the sharing options allow the track to be restricted from public viewing. This feature is crucial to the legalities of educational applications specifically dealing with copyright law. As a rule of thumb, anything used for educational purposes through SoundCloud that may have copyrights should be marked as “private.” However, even if a track is labeled “private,” it can still be shared with certain people of your choosing.  This can be done by emailing that track’s “secret link,” or allowing certain Usernames visibility to this track on the SoundCloud site. Once the track has been saved with these preferences, those with access to the track can begin to comment. These comments can be utilized in several ways, all of which will greatly enhance your teaching.

Timed Comments
To post a time-stamped comment, move your cursor over the blue bar located beneath the waveform. A little bubble appears and tells you where you are within the track. Find the spot where you would like to post a comment, click, and a textbox appears. Enter your text, click the “post” button, and your post is now linked to that specific moment within the track and is viewable by all who play it. The posts are visible for about 4 seconds which allows posts to be timed appropriately. The textbox feature allows others to reply to someone else’s comment, essentially creating a dialogue or conversation regarding any/all things music. As a bonus, the text box automatically converts typed web addresses into hyperlinks.

In the upcoming weeks, I’ll outline the different ways you can impliment SoundCloud and generate instant results. Stay tuned!