Presentations for Musical Enrichment

Enriching presentations offered throughout the Institute on various topics related to all musicians 

Noa Kageyama

Elite athletes have known for decades that physical preparation alone is not enough to perform optimally under pressure. After all, why is it that we can nail even the most difficult passages in the practice room, but performances are so hit or miss?
Performing doesn’t have be such a random or nerve-wracking experience. And increasingly, musicians too are engaging in more mental skills training – ways of practicing and preparing which can lead to more consistent, inspired, and engaged performances.
In this session, we’ll explore the two causes of “choking” under pressure, and three ways to prevent this from happening – a sound-based technique, a rhythm-based technique, and an improvisation-based technique.

Mike Block:
Introduction to Improvisation

Would you like to be able to express yourself spontaneously?  This 60-Minute Workshop will empower you to improvise confidently and expressively by providing methods of practicing that can transform your relationship with your instrument, and help you discover your personal voice.

Caroline Myss: 
Insight into This Time of Transformation

It’s obvious we have entered a time of transformation. The truth is we have been preparing for some type of life-changing event for some time. We have sensed that we were headed toward something that had the force to redirect the future of humanity. Would it be war? Climate change? Global famine? Finally our opponent has revealed itself – a virus that is rapidly spreading around the world. For the first time in our history, we face the challenge of healing together. And in order to succeed at this, we must cooperate in ways we have never before considered. Every person must now transform their lifestyle and ideas about what they had planned for their future. What is the creative potential in a transformation? And how does a person access that? The nature of transformation and questions such as these will be the main focus of my presentation.

Jenny Kallick:
Reclaiming the Empty Space

In 1968, Peter Brook, director and founder of the Royal Shakespeare Company, published his ground-breaking monograph, The Empty Space. Observe, the author suggested, how any empty space becomes a stage through the power of an artist’s imagination and the presence of an observer. Although currently, we cannot physically inhabit our usual rehearsal spaces and concert halls, we can travel there in our imaginations. Given these restrictions, the opportunity presents itself to reflect on new approaches to our craft, and to ponder “unlearning” those habits that we may wish to discard.
In a three-part session, we will aim to grow as embodied musicians, exploring the freedom to infuse our playing with presence, physicality, and purpose. Works of Schubert and Schumann will animate three areas of discussion:
1) Unpack the score—how to map action and emotion;
2) Getting the score into our body—ways to engage movement and physicality;
3) Page-to-Stage—paths to engage in a relationship with the audience.

Atar Arad:
From our private studio to the concert hall

Understanding stage fright and discussing possible ways to counter it by practicing and working with both left and right sides of our brain.

Kim Kashkashian:
Coordination: A method leading to finding flow and power in your body and in your music

Through forty years of working with young musicians, Karen Tuttle’s “Coordination” method has proven to be the most direct way to find flow and power: in technique and in music making.

The main principles of “Coordination” in String Playing:

  1. Body resonance has a strong effect on sonority.
  2. Body resonance relies on an elastic musculature.
  3. An elastic musculature relies on balance and geometric integrity.
  4. Remaining in balance while in motion relies on constant release of tension in the muscles and joints.
  5. Release of tension relies on recognition of a receptive, relaxed condition.
  6. Release in the body, on the string and in the fingerboard is multi-dimensional and occurs in the vertical, diagonal and horizontal directions.
  7. The entire bio-mechanism is both grounded (rooted) and soaring, creating the power of polarity.

Miriam Fried:
The relationship between musical motion and physical movement

Rebecca Penneys:
Principles of Health & Efficiency in Practice & Performance

Gary Hoffman:
A path of a performer/teacher

A conversation on the path of a performer/teacher with Gary Hoffman and Uri Vardi plus Q&A

Alban Gerhardt:
Open Discussion

An open discussion with Alban Gerhardt and Uri Vardi plus Q&A

Ayano Ninomiya:
The Decisive Moment

The mental and physical preparation for and action of a performance, through various lenses.

Deborah Barrett Price:
Chamber music pedagogy for young players

Founder and Artistic Director of the award-winning Chamber Music Connection, Deborah Barrett Price will share successful pedagogical tools for coaching ensembles from their first experience to the professional experience. This presentation will take you through Debbie’s journey of starting students from the earliest levels with pedagogical principles and goals to preparing them for high-level performances on various stages including the Lincoln Center, prestigious chamber music competitions, on tour in Europe, and at home in Worthington, Ohio where Chamber Music Connection is based.

Jeremy Denk: