Sigma Alpha Iota

sai-national.org • WINTER 2016 • PAN PIPES 27 powers of music in early childhood, elementary, middle, and high school education. Playing a musical instrument develops the brain in ways that no other subject or activity can. Music is expressive and brings enjoyment. Embrace all kinds of music and let the students choose which kind speaks to them. Jason: As a society we should require the mainstream and online media to showcase classical music, from birth to college put an academic emphasis on music and the arts (not just try to defend the importance of it), find ways to make more concerts free to the public (which means more funding of the arts through donors, grants, or the government), and develop better opportunities for community music making and inexpensive group and private lessons for children. Question 10: Given the present context for classical music (aging population, lack of music education throughout a child's education, new social media, financial problems, etc…) how might those factors be turned around to enhance, enlarge, and enrich classical music in America? Jonas: We must educate audiences through non-traditional performances. Many people are uninformed and, thus, uninterested in attending. It is okay to have performances for the educated few, but if there is a desire to appeal to the masses, performances must be more approachable and even include multiple musical genres. Sonja: We need to reach out to communities to see how they want to interact with live performances and we need to listen to their suggestions. Perform excellently in ways that are familiar and, yet, challenge audiences. Appeal to them, adapt, and still perform excellently. Collaborate with other organizations to create partnerships and festivals of the arts. We are all on the same team, so do not become territorial, elitist, or exclusive. Jason: I believe that our music making needs to be more relevant to the listeners. No matter what the medium, people will oen attend concerts performed by people like themselves. If we can work to diversify the people on the stage, we will likely diversify the people in the seats. And yes, that also means the repertoire will change. Question 11: How important are your spouses, colleagues, and friends (either on Facebook or elsewhere) to nurturing and supporting you in the musical work that you do? Jonas: Others are very important to nurturing and supporting the work I do. Teachers and mentors that have been integral in my development over the years continue to be an encouragement so that I keep my ability level high, marketable, and desirable. Sonja: I think it's been very encouraging to have a spouse, friends, and family who have committed to a life with music. I am also inspired by those in my life who do not make a living in the arts but have a desire to have music a part of their everyday life. I learn equally from all when there is strong devotion to character, equality, and excellence. Jason: Social media is wonderful for a "like" or brief comment. Most of my colleagues don't comment online, but when I see them at a gig they know what has been happening in my professional life. I think what supports and nurtures me is to see my colleagues performing constantly and for them to see me doing the same. Question 12: In the above quotes by Havel, he talks about creating a dissident movement and parallel structures in a society and taking personal responsibility each day for speaking the truth. Do you see your music work as a "dissident movement" or "creating a parallel structure" in the hope that eventually your work along with others in classical music will transform our society into something new, more beautiful, and more meaningful? Jonas: I'm not really sure how to interpret this quote. I don't think music in and of itself has the power to accomplish any of that other than in isolated instances. e communities that are centered in music and the interactions that occur because of the individuals involved can greatly impact society and move people to more meaningful relationships. Music can be a means to accomplish this and is a great way to bring people together in a collaborative and encouraging environment. Sonja: I see my responsibility in daily interactions with colleagues, family, and friends as the way I can affect society. I do not want to compartmentalize it only to music. ere are many ways that society can transform, but the existence of music is essential to that transformation. Jason: In many ways, yes. I believe that performers have a responsibility to comment on society, and to try and present truth. Social justice, human equality, speaking for all society as equals is a vital part of that. ere is a fine line between a soap box and a truth teller. I want to be a truth teller. Question 13: Do you think that your music work and those of your equally committed music colleagues can eventually create a "velvet revolution" (as Havel did) in America where classical music could spontaneously emerge as essential, necessary, and transformative? Jonas: If there is a sincere and appropriate desire to educate and engage audiences, then yes. is may not be possible because of the state of the education system for young people in today's world. Adults also need to be engaged with classical music. e culture of classical music may need to be "toned-down" (not watered-down) in some instances so that it has wider appeal. Sonja: I think that the values of community, diversity, respect, and balance in life are what will be transformative. e work of an orchestra will survive by embracing these values. Jason: I don't think that this can or should be limited to "classical" music. ere is a significant portion of the population of the United States who have never heard live music performed. I believe that if there is one area that can be transformative it is to try and bring high quality live music making to people, especially the disenfranchised: people in prisons, nursing homes, hospitals, mental institutions, and homeless shelters. It is significant, though, that MODERN MUSICIAN SURVEY SURVEY continued on page 28

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