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collegiate menc

Certainly, this effect is present at an even greater degree through international travel. The first concert my ensemble performed in China in 2005 was a great eye-opener. The Chinese audience did not view the concert as a presentation that was to be removed from their experience as they sat silently in their chairs. They and their culture viewed it as an event with which they could interact. As we sang the audi- ence participated in a very unique way by listening and commenting to those around them about the music. They did it when their own choirs performed as well. At first it was very disconcerting to me and my students, but as we continued the tour and began to see that they did not see this as a disrespectful act culturally, but rather as an exciting opportunity to respond to the musical expression, we came to enjoy the process. It opened our eyes to a subtle cultural distinctive and allowed us to ex- perience new appreciation for culturally based assumptions.

Sharing Musical Tradition and Performance

The experience is compounded when performing music from a cultural tradition for those who live within that tradition. The UW-Eau Claire Women’s Concert Chorale experienced this in March 2009 during a trip to South Africa. The appre- ciation expressed toward us by all of our audiences when performing their music was humbling and inspiring. We learned firsthand how deeply these people valued their own musical traditions due to the roles that it played in their history. They were very enthusiastic to share more of their traditions with us as we interacted. One of the most rewarding musical/cul- tural experiences of my life took place at Witwaterstrand University in Johannes- burg when at the end of the concert our choir combined with two South African choirs in an impromptu performance of the traditional “Siyahamba” followed by a teaching of another South African anthem. As a result of this experience my students gained a rich cultural connection, learned to value another musical expression at a different level, and were fundamentally changed in the ways that they viewed music.

Wisconsin School Musician

See this performance on the web by going to http://www.youtube.com/ watch?v=QNH1xmrXR2g or conveniently through the online version of Wisconsin

School Musician.

In Conclusion

The benefits of music education reach far beyond the notes and understanding of

written musical expressions. The benefits are truly found in the understandings gained through the expression of human experiences and the tremendous versatility available for expression through sound. An exploration of culture is essential to develop the true value – whether in the classroom, at a local venue or around the world.

rieckaj@uwec.edu

Wisconsin Foundation for School Music

2010 Board of Trustees

www.wsmamusic.org/foundation

President

Richard Mannisto, Director of Mission Advancement, Wisconsin Lutheran High School, Milwaukee

Treasurer

James Schutz, Financial Advisor, Statehouse Investments, Madison

Board Members

Robert Berndt, Superintendent, Beecher-Dunbar-Pembine Schools

Elizabeth Burmaster, President, Nicolet College, Rhinelander

Gregg Butler, Administrator, Eau Claire County Off Campus High School

Jim Byrd, President, Midwest Asset Management, Inc., Madison

Roy Elkins, CEO/Founder, Broadjam.com, Madison

Gordon Hanson, Retired, TEACH Wisconsin Initiative, Sun Prairie

Sarah Jerome, Superintendent, Arlington Heights School District

Gerald Kember, Superintendent, La Crosse School District

Rhea Myers, Attorney, Wheeler Van Sickle and Anderson, Madison

R. Scott Pierce, District Administrator, Central High School District of Westosha

Advisory Council

Linda Bergren, Financial Advisor, Raymond James, Madison

Roger White, White House of Music, Inc., Waukesha

Richard W. Wolf, Emeritus Professor of Music, University of Wisconsin, Madison

Staff

mgeorge@wsmamusic.org

Andrea Mauch, Director of Development

maucha@wsmamusic.org

kemberj@wsmamusic.org

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