Of all the affiliates of the Philharmonic’s Very Young Composers worldwide, the Koreans are outstanding and special:  The Korean VYC, or Gomah Jakoka, has a national presence (as does Finland).  Korea’s program is roughly three times the size of our home operations here in New York, and serves a comparable number of students, employing many more Teaching Artists, and has about three times the size of our NY budget. There are VYC programs in ten Korean cities:  Besides Seoul, there are programs in Uijeongbu, Seongdong, Yeonsu, Hanam, Gunpo, Yongjin, Sori, Gimhae (Busan) and Tongyeong.   
 

Our relationship dates back to 2009 when we established ties with the Dream Orchestra (associated with El Sistema Korea).  Since then, we have exchanged frequent visits, conference calls and hundreds, perhaps thousands, of musical manuscripts and performances of children’s music.  Our exchanges are primarily with KACES (the Korean Arts and Cultural Education Services) but have also included the Contemporary Gugak Orchestra and numerous regional orchestras, schools and ensembles.  Virtually all the expenses of our visits and exchanges thus far have been borne by the Koreans themselves.
We were also involved in an exchange of Musical Postcards particularly on the subject of the Ferryboat disaster of 2014, including a performance of Korean and American children’s works on the main stage of Geffen Hall.
One of the first Korean Bridge students, Taehyun Won, was featured on a live simulcast during the VYC 20th anniversary concert during the NYPhil Biennial of 2016.  (He is now a TA Intern!)
 

The Koreans were also the first among us to use VYC composing techniques with orphans, special needs children and families suffering PTSD, including families who had lost a child in the Ferryboat Disaster mentioned above.
 
In spite of the persistence of a rather rigid traditional social structure, there is a growing feeling among more progressive educators who wish their children to grow up with the ability to problem-solve and to think for themselves; in short, to be ready to take leadership of their lives.  We feel that this is a major reason that Korean educators have shown a marked interest in the VYC.  They fully grasp that, although the VYC is labor-intensive compared to other educational programs, its example and influence spread far beyond its numerical boundaries. And the fact that they still wish to exchange information and techniques with us and look to us for partnership in this program, makes us feel proud not only to be part of the NYPhilharmonic team, but proud to be an American.

It was in this cultural climate that Angélica and I boarded a plane for Seoul on September 10th of this year. 

For this visit, I particularly wanted to work with the Korean Teaching Artists who are involved with more advanced kids – that is, the ‘Composers Bridge,’ serving kids 10-14 years of age. I was and am most interested in encouraging them to partner with local and national orchestras, both Western, and traditional (Gugak).  We also wished to open the possibility of exchanging Musical Postcards with the very musically accomplished children of North Korea

Seminar/Workshops at Dobong, Days 1 and 2. 

In order to provide a relaxed and quiet atmosphere for the workshops, our sponsors secured a lovely space at Dobong, a small town near the entrance of Bukhansan National Park, about a 90-minute drive from Seoul. 

A long day of meetings and activities began with several introductory warmups which Angélica and I led, followed by warmups led by the local TA’s.  Not only were we pleased with the Koreans’ take on opening activities, but all together we did the trick of breaking the ice and establishing a fun atmosphere.
 
Angélica and I will provide a detailed summary of the activities under separate cover, but some of the main points discussed were:

A thorough overview of the philosophy and development of the VYC, as requested by the Koreans.  This was a powerpoint assembled by Angélica, Jessica and myself, and which I narrated, mostly, and opened as a discussion.  It is surprising how prominently the Korean VYC figures in our history.
The bulk of the day’s workshops ranged from administrative details to classroom management, from parents to post-grads, from special needs to scribing. 
I was so pleased to hear TA’s taking active leadership, extending ideas, and following through with the process of creation.  Sujeong, Anna, Hara, Thomas, Jung-ji, Sungeun, Yon-su and so many others gave presentations and led activities. 
Particularly interesting was to hear about some classroom rituals to invoke creativity – the ringing of a bell, drawing of a line in the floor (“If you cross this line, you are a composer!”) . . a ‘listening mask’ to encourage focus, the use of sign language to reduce the chatter, using a percussion mallet as an imaginary mike to indicate attention to the speaker . . so many useful ideas.
Ceremony and ritual, the use of choreography, song, and cross-arts . .
Bringing parents in as participants in the first session as being quite successful . .
We also had a presentation on the continuing programs for families – a particularly insightful and successful invention of the Koreans.  One parent’s touching quote:
  “I originally thought of my son as a slow learner and rather dull. But now as a result of the Gomah Jakoka classes and our concert, I see so many beautiful things in him.” 

Even though most kids learn music notation and basic Solfege in public schools, the Koreans love to use graphic notation to free-up the compositional process.  Ofttimes in the process of communicating to performers via a graphic score, a child will hum, sing or act out the squiggles and depictions with the performer(s) adding notational details right in the score. I can’t emphasize enough how effective this can be. 

Angélica split up the participants into small gatherings of 4 or 5 to produce group improvised compositions based on some of the graphic notations.  This was a variation on what we usually do in the U.S, and seemed quite successful.  She also created a variation of Justin Hines’ “Music Machine,” using electronic prompts for kids to create a gesture based upon a sound, then combining sounds and gestures.  Kids love this kind of kinetic activity. 
I was especially pleased to see Sujeong So and Soo-yeon Lim (Thomas) take leadership initiative during the seminar. They have been dedicated to this program since the very beginning of our partnership.  (Later in the day, I very much enjoyed climbing one of the mountains in Bukhansan Park with Thomas - Beautiful Foliage and Rock faces all around!) 


I led several discussions and demos of the “Ear Fantasy” games, enabling kids to attach feelings to particular intervals, triads, and made-up chords.

Jung-ji and Anna presented a delightful ‘rhythm cube’ and a large floor score which I believe will be an enormous help in aiding the reading and performing of rhythms and pitches.     

To end the final day, we had a free-ranging discussion encouraging reactions, questions and problems.  We got a roomful of all three and then some! 
A prominent concern was the role of parents, and we could see that this subject had been approached much more comprehensively than we have dealt with in New York.  However, I did feel I had advice on how to deal with parents who overly-intervene in the child’s work.
We also discussed in depth some techniques of getting overly shy and special needs kids to open up and get their stuff out, in a safe and supportive atmosphere. 
Found-sounds, cellphone voice recordings, storylines, the avoidance of “good” and “bad” judgments of music, TA self-criticism, sound-colors . . all these topics and more were brought forth.
How would these concerns be brought to evidence in the actual classroom?
We were to find out!
 

Hanam is a large town just East of Seoul.  In the morning we observed (and partook in) an elementary VYC class, and in the afternoon, a Bridge class. 
So many impressions! 
(Once again, Grace, our interpreter, has the almost magical ability to listen in one language and simultaneously translate into the other. Amazing!)

First of all, classes are 3 hours each, with a substantial break midway.  About 15 children attend, with a team of 3 TA’s leading.
In the warmups, it was evident that one of the boys was unable to control his actions and his voice.  One of the TA’s, a young man named Han Mook, took him in hand, gently enveloping him from behind, but keeping him available to the circle of other kids. So effective. Angélica and I noticed repeatedly how the TA’s were able to be physically relaxed in touching, leading and even hugging the students. In the U.S. we are far too uptight with regulations about touching students, but that’s a long discussion for another time.

The next order of business were the instrument interviews: Flute, Clarinet, Horn.  To prepare the kids, the TA, Sujeong, asked for examples from their prepared questions. 
Student: “Which instrument has the highest sound?”
TA: “What do you all think?”
Other students, variously disagreeing . .
TA: “So then, let’s see!”
   - This is an excellent example of the Inquiry method of teaching! The TA, instead of asking the question in the first place, then answering “correctly,”
allows the students to form their own questions as well as their own answers. 

TA: Where is our first musician?  Let’s call her. Louder - She can’t hear you!
Let’s make sure she feels welcome!”


Flutist enters, to applause.

She plays “Twinkle . .” with variations and embellishments.  Sweet. 

TA: “What words would you use to describe her sounds?”
Kids: “Fluffy! Squishy! Soft! Squeaky! Hard! Air-pop! Yummy! . .”

TA: “What about THIS sound?”
Kids: “Ooh, scary sound. Like a ghost!”
TA:  “Let’s look around, and see if there’s a ghost . . maybe back over there, behind you!” 
Kids: “I want raindrop sounds.”
(Flutist plays key clicks)
Kids: “Bird sounds!”  “Water sounds!”  “K-pop sounds!”  “Scream sounds!”
TA: “Who has a (graphic) score for her to read?”
Kid: “Here’s mine!  It’s about chasing somebody.”
TA: “What would that sound like?”  (Flutist improvises)

    Through all this, I’m in Heaven. The Flutist, obviously enjoying herself, says hardly a word. This is the classic ‘Instrument Interview,’ where the instrument actually becomes a living personage, the idea worked out originally by Doc Wallace and myself years ago - but these TA’s are doing it SO effectively and joyfully! 

Now for the Clarinettist, who is summoned in a similarly enthusiastic manner: “What does it look like?”  “It looks . . Premium!”
Clarinettist plays,
“What does that sound like?”  “Like an Owl!”
“It sounds like a beautiful typhoon.”
“It’s high, and scary.”
“No, it’s lower than the Flute!”
“It’s a crazy Sponge-Bob!”
“It sounds like a wind-story I heard this morning.”
TA: “What was that like? Go up to the board and draw the story.”
(student draws, Cl plays, student corrects, etc)

“How long can you hold a sound?”  (Cl plays a long, soft note, kids all counting) 

And finally, the French Horn.
Enters, to lots of oohs and ahhs. 
Plays melody from Swan Lake.
“Smooth.”  “Somebody crying.”  “Outer Space.”


Horn player shows right hand in bell.
“Open.”  “Gs – (something?)”  - Grace, trying to translate, doesn’t understand the word – and this is the ONLY word that ever confuses her – “Gestopft!” I tell her.  “Ges – what?”  “It’s just German!”  We laugh. 
Kids: “How does the air go?” 
Ah!  He’s all ready for THIS question:  He has one of the TA’s to pull out a long garden hose, with a mouthpiece on the end!
“This is what the Horn would look like if it were stretched out.”  He asks a student to try to play a note on the hose, using the mouthpiece.  Several can’t, but one student gets it. “Oh!!  That’s how you do it!  Here, let me try again!”  And magically, they seem to learn from each other, each one managing to get at least some kind of sound on the hose.  Again, in America, we’d be too concerned about germs.

Musician pulls out a really, really tiny Horn, and plays it. 
“It sounds like the big Horn, just softer!”
Musician:  “Here – try to play it!” 
Kid: (Actually makes a sound) “Wow! I did it!” “What are these things?”
“Those are Valves.  They change the pitch of the sound.”
(Kid, pressing the valves, seems to learn the idea an about 10 seconds.)
I’m shaking my head in disbelief.

“OK, that’s enough for now. Let’s thank our musicians!”  (Cheers.)

“Time for Break.  Line up next to Han Mook.” 
 - and they are given actual Hot Dogs and juice.  Some snack! And wow, do they deserve it.

After the break, the musicians gather, all three, and play through some chords that Jung-ji has written out:  CMaj, Fmin, G-aug, Unison high, then low. I’ve had some trouble taking this approach to Ear Fantasy, because the different Timbres can be confusing . .but this seems to excite the kids:
 “Sky.”  “Sea.”  “Starting Train.”  “Alarm.” “Angry.” “Thin-clean.”  “Low, muddy.”
In the following group improv session, the kids are encouraged to use these chords.  This does work, though, hmm. It’s a bit too like ‘paint-by-numbers” for my liking.  But there’s no perfect solution for any of this.
The kids come up with a little story or image, put it in a box-template, and the instruments play the results. Marvelous musicians. How is it they are so attuned to this process?
AHA!  They also go to Professional Development (PD) sessions along with the TA’s!  No wonder.  What a fantastic idea.

I’m almost dizzy and exhausted with all the ideas. – and this is only the first-year VYC kids!

After lunch, comes the Bridge class, and the musicians all stay. A long day for them, but they seem animated and totally involved. 
 

This is a class of 12 kids, who seem just as diminutive as the first years.
The difference is the level of knowledge (I hate to say ‘sophisticated’)
Anyway, the Three musicians are called to come on, as before, only that all three come on at the same time. 
They each play something, a fragment, then something together. 
The questions are more toward extended techniques – playing and humming, multiphonics, glissandi, different types of Horns, history, mixtures of sounds and timbres, and even transpositions. 
The difference between trills, tremolos and fluttertongue.  “Sounds like something is stuck in your throat!”

What do we do when kids want to hear “Starwars,” or “Jaws?”  Good lord, you can’t escape these films anywhere.  For later discussion. 

Then the musicians each retreat to a corner of the stage (we are on the main stage at the Hunam Arts Center).  The students split into 3 groups, taking turns interviewing each instrument in considerable depth.  The students have been given rubrics, or ‘Mission Cards” to fill out for each instrument, divided into Features, Feeling of Sound, Special Techniques, and Registers.  Terrific!

Then the similar idea of graphic-score improvs.  The results are wonderful, atmospheric.

After the class, we gather with the TA’s and Ji-yun and Dauer.  We discover that a number of Bridge post-grads are now playing in the Hanam Youth Orchestra.  Cool.  I suggest ‘Summer Commissions’ to keep them going between the yearly classes.
Angélica is amazed that the kids can focus and concentrate for three hours!
She also likes the use of the body for describing sound registers, especially for the younger kids: the Flute – from shoulders up to above the head, the Clarinet from waist to head, the Horn, from chest to knees, etc. 

We discussed a broadening of the listening list of children, not just the European classics, but contemporary music, Korean traditional Gugak, and pop music of various sorts.  It’s their future, and music is too fundamental and direct to be able to dictate ‘recommended’ styles or idioms.

As for the “Jaws- Starwars” phenomenon, let’s recognize the kids’ desires, but get them to think further: “We want to hear what YOU think a shark sounds like!” 

Gunpo, Sunday, Sept 16

An incredible day it’s been, and only matched by the following day in Gunpo. Another town South of Seoul. 

Oh my.  So many ideas discovered there, too!  And not all the same as we encountered in Hanam, either. 

For now, suffice it to say, the instrument interviews (Violin, Cello, Horn) were equally brilliant in their own way, the questions and improvisations equally compelling and thought-provoking, and the group compositions outstanding.

I will just illustrate one example:  One of the stories created by the small groups (this time only 2 per group) was about a boy who had been hit by a car, brought to the hospital, and despite efforts by doctors, dies. 
Besides the unusually serious nature of this story, it was graphically set down in quite a bit of detail. 
When the musicians played all the sounds, there was, yes, a very effective array of effects, but it was still disjunct, not a performance as such.  Even though we were running out of time, I wanted the musicians to tie the sounds together into a coherent whole, without actually changing any basic substance of the score.  I talked about how musicians can actually make a score come alive, even more than a composer imagined.  (This has happened to ME countless times in my own composing career.)
So the musicians discussed several points in the score, always asking the two composers about their intent. 
And sure enough. At the second hearing a small but distinct miracle happened: The story unmistakably came alive. – or rather, the boy’s death in the story became truly imaginable. There was actually a hush in the room for a moment. 
This is music-making.  This is our Art.

The post-class discussion with the students sitting in a circle, ranged far and wide. Anna’s class wrap-up was praised:  “What was the Rose you got from the class today? What was a thorn?”
Angélica was very moved by the reply of one girl sitting next to me:  “I’m so thankful that you brought this program to us.”  Other answers:  “I want to meet the instruments again!”  “Where are you and miss Angélica from?” “You go all over the world!”

“Music Forever!!”

*Posted by Jon Deak(Founder and Artistic Director, VYC)

           
this brief global utopia was going to evaporate. Not so with ITAC4. ITAC4 ended with construction materials and plans to build across the two years to ITAC5 in Seoul, South Korea.
There will be a flag. The collective creative project of making a large ITAC4 flag culminated in its presentation to the delegates in the last session. But the flag will live on. A portion of it will travel to many countries, like the Olympic flame, to gain their passport stamps of new swatches, and will be raised at ITAC5. The flag- hosting countries will also create their own community flags, each patch of personally-significant material added to comprise a big flag of their local teaching artist community. These many large flags will be shipped to Seoul to be assembled at ITAC5, a world flag of teaching artistry.
Perhaps most promising, the ITAC Collaborative is underway. Led by Collaborative Manager Madeleine McGirk, the Collaborative will build a communications network for the global field. It will support two funded projects that connect ITAC4 and ITAC5, and will be presented at ITAC5. As of this writing, 18 teaching artists from eight countries have committed to serve as Catalysts, to
actively build the global field. If you have read this far into a long essay, you are probably realizing that you too are part of this emergent community, and that you want to become a member of the ITAC Collaborative, to stay informed about activities and news. To do so, contact Madeleine at: madeleinemcgirk@hotmail.com.
At ITAC4, Marc Bamuthi Joseph asked, “Where is our public imagination?” You
know the answer. It is rising in you, now. It is conjured in the work you do with participants.  It is in the work of instigators like us around the world who embody and bring forth the possible. Shakespeare describes the artistic power of our workforce—the power to build communities, as well as the power we now gather to build a global workforce of artist-instigators under the name of ITAC:

And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.


*Posted By Eric Booth (Co-Founder of ITAC)