#freemusiclessons

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Get MOTIVATED! Learn to play an instrument! Locate schools, stores, private instructors & organizations offering FREE MUSIC LESSONS: visit www.TeachMusicWeek.org But hurry, Teach Music Week ends Sunday, March 24th #MusicEducation #MusicLessons #FreeMusicLessons #TeachMusicWeek https://www.instagram.com/p/BvT4JPtgB0X/?utm_source=ig_tumblr_share&igshid=1dkjbhpidh4zu

To kick of "Teach Music Week", Keep Music Alive's Vincent James & Joann Pierdomenico, along with fellow volunteers Seán Capuano and Temple University's UNICEF x Temple club member Will McDonell, had the opportunity to visit St. Malachy School in Philadelphia Monday where we held an "musical instrument petting zoo" & mini lessons for the school's Kindergarten through 2nd Grade after school programs. We all had a great time with the kids at the 4 stations: Ukuleles (Sean), Keyboards (Will), Guitars (electric & acoustic - Vincent) and Percussion (Joann). The kiddos had a fantastic time learning & playing all the different instruments. Thank You to St. Malachy School for having us come out and share our love of music with the children, UNICEF x Temple for all the volunteer work you do, CBS 3 Kyw-Tv for the great piece you did on the event (see video below), Jared Loss of Rockdale Music for loaning us some of the percussion instruments and to our friend Brad Segall for coming out to support us & sharing Teach Music Week with the media in Philadelphia, which lead to KYW, CBS & Fox News to come out and do a piece on our event. VIDEO link below: #TeachMusicWeek #InstrumentPettingZoo #MusicalInstrumentPettingZoo #MusicLessons #FreeMusicLessons #KeepMusicAlive . https://philadelphia.cbslocal.com/video/4049590-students-at-st-malachy-school-treated-to-instrument-petting-zoo/ https://www.instagram.com/p/BvPxUbEJVn_/?utm_source=ig_tumblr_share&igshid=19vq1v4dmvonc

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The improvisational flights of jazz greats like Louis Armstrong and John Coltrane are so transporting that they can seem almost otherworldly — especially when the listener is aware that these musicians weren’t following any score, but were making up their riffs in the moment. New research on what happens in the brain when we improvise, however, is showing that it is very much an earthbound activity, grounded in the same neural processes at play in every one of us when we engage in spontaneous self-expression, like a conversation with a friend. “Creativity is far from a magical event of unexpected random inspiration,” wrote researchers Charles Limb and Mónica López-González in an article published in the journal Cerebrum last month. “Instead, it is a mental occurrence that results from the application of ordinary cognitive processes.” Many students and employees are discovering this for themselves as the techniques of musical and dramatic improvisation move into educational and workplace settings, where they’re used to boost the creativity of people who’ve never picked up a saxophone in their lives. Limb, an associate professor otolaryngology at the Johns Hopkins School of Medicine who is also on the faculty of the university’s Peabody Conservatory of Music, conducted one of the earliest brain-scan studies of musical improvisation in 2008. In that study, published in the journal PLoS ONE, Limb and his co-author Allen Braun persuaded six professional jazz pianists to play on a specially designed keyboard while lying inside a functional magnetic resonance imaging (fMRI) machine. The musicians played a tune they had memorized and then a tune they invented on the spot. With the shift to improvisation, the researchers noted the appearance of a distinctive pattern of brain activity. The dorsolateral prefrontal cortex, a region associated with careful planning and self-censorship, became dormant, while parts of the brain connected to the senses — hearing, seeing, feeling — became especially lively. Most interesting, a brain area called the medial prefrontal cortex, linked to autobiographical storytelling, also showed increased activity. Inhibitions released and senses primed, these musicians were engaged in an act of self-expression, using the music to communicate something deep about themselves. We don’t have to be professional pianists to reap the benefits of improvisation, as a study published in the journal Psychology of Music in 2008 shows. In this experiment, 6-year-olds were divided into two groups: one group received music lessons enriched with improvisatory activities involving their voices, their bodies and musical instruments, while the other attended classes that were “didactic and teacher-centered.” A measure of creative thinking in music was administered to both groups before and after the six-month series of lessons. The results: children who’d engaged in improvisation showed significant increases in the creativity of their thinking and the originality of their music, while pupils who attended the conventional classes did not. Improvisation can also bring fresh thinking into the workplace. The Second City, the famous improv-comedy troupe in Chicago, now has a corporate arm devoted to improving business communication skills through the same techniques its actors use to make people laugh. “Business isn’t neatly scripted,” notes Tom Yorton, chief executive officer of the Second City Communications. “It’s an unpredictable and unwieldy act of improvisation.” The organization’s trainers lead groups of coworkers, or “ensembles,” through exercises designed to break down inhibitions, heighten attention and ease self-expression — valuable aims, research suggests, for anyone who wants to come up with a riff the world hasn’t heard before. -Anne Murphy Paul http://ideas.time.com/2012/03/21/learning-creativity-from-the-jazz-greats/?xid=gonewsedit

Ornette Coleman (alto saxophone), David Izenzon (bass), Charles Moffatt (drums) Complete freedom. Ornette’s music is full of diverse colours and tones with a sustained intensity. There’s aways swing and blues in ever piece even though it has a uniquely free and open approach. The musicians use a melodic statement as the initial inspiration of each piece and create within that moment. The jazz musician can immediately respond and incorporate other ideas from the musicians he/she performs with sometimes you hear players who are so rigid and slave to the form that they don’t get past it. “I won’t be able to tell you what it is until it happens” Stefon Harris said in a TedTalk describing the collective approach to spontaneous jazz composition. Ornette Coleman’s approach has always been to put creative people together and trust in their musicality to freely contribute to the interpretation of his compositions. His sound has changed and progressed over the past forty years; I recently saw his double bass quartet at Massey Hall and his alto sounded more like the timbre of a french horn than the brightness and playful tone from a record like, Change Of The Century. Coleman has dedicated his life to music. He has seen suffering and has struggled to keep his creativity funded almost his entire career but he has never submitted his talent to slaving for the corporate benefit. I highly doubt Coleman’s music ever made best seller lists or made it to the top 40s charts but his contribution to music will undoubtably continue to stimulate creativity, question passivity and heal our minds. Aaron Leaney www.aaronleaney.com