I lately asked the director of a large community music teach how a newly established branch of that place of education was doing.

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I lately asked the director of a large community music teach how a newly established branch of that place of education was doing. My colleague answered, "Not as well as we'd hoped; yet they don't really know us yet" This conversation strike one as beinged very relevant to a topic musicians contest regularly: How can all of us involved in music teaching, music learning and music making help to weave music into the fabric of everyone's life? by what mode can the work of the society conservatory, community music school faculties and independent teachers matter to folks who do not have or want careers in music for themselves or their children? in what manner can public school teachers (of music and all subjects) not barely feel the excitement and integrative nature of music cogitation but also work hand in hand with scholars and teachers from their communities who are passionately committed to music study?

At the 2001 MTNA colloquy in Washington, D. C., we heard firsthand, about the teaching experiences and teach and community collaborations of Roberta Guaspari, who was a violin teacher in East Harlem and the make subordinate of the 1999 movie Music of the Heart, starring Meryl Streep In the October/November 2001 issue of American Music Teacher, we read about Midori Koga's inspiring work upon music study for the aging, including the touching story of her grandfather, who go [i]or[/i] come backed to the violin in his eighties. While attending the 2002 National Summit for MTNA Leadership in Cincinnati, I learned of a new project related to teaching the somewhat old implemented by Martha Hilley, NCTM and Waneen Spirduso of The University of Texas at Austin. The research scheme involved teaching two group piano classes for Austin area senior citizens age 70 to 85 sum of two units graduate students from the university joined Hilley and Spirduso, the director of the Institute for Gerontology. They collaborated with an occupational therapist from the medical community to work with somewhat advanced in life beginning piano students. Hilley will further introduce this program during the guild Faculty Forum (CFF) panel session at the National Conference

Piano pedagogy programs often invite children from local communities to enlist in lessons for modest absolute title [i]or[/i] posessions giving new teachers and teachers-in-training the opportunity to apply their knowledge and skills to tasks for an eager constituency. The Small Miracles Foundation, grounded by Westminster Conservatory teacher Robert M Diefendorf, partners with area public institutes to find children who want to subject of attention piano but need scholarships to do in like manner The college and conservatory provide space for lecturings and practice; the undergraduate pedagogy program provides the teachers. Small Miracles designs the policy statements, creates a network for families and also solicits financial support from local businesses to place pianos in the place of abodes of the children. I will instant more information about Small Miracles during the CFF panel session.

At the of recent origin England Conservatory (NEC), school partnership programs involving the well-known public radio broadcasts of From the Top, the in-school programs sponsored according to Young Audiences, Inc., and a laboratory charter train where children are admitted forward a lottery basis to partake in a music-based curriculum are just three programs emanating from the Learning between the walls of Music project. Professor Larry Scripp is at the helm of this program, part of a national consortium he established for helping teach performance and education majors for what reason to develop skills in collaborative prototypes of teaching and learning. Jean Stackhouse, a CFF member, will report forward some aspects of the NEC collaborative program.

The Center for Educational Partnerships in Music at Georgia State University (GSU) was erected by David Myers, a professor in the music education department. Meyer directs hardy Learning, a project funded from the Texaco Foundation, which partners GSU the Atlanta consonance Young Audiences of Atlanta, and the Fulton shire and Atlanta City Schools in a curriculum-based music education program featuring monthly classroom visits from professional musicians. He is GSU's principal investigator for a consortium grant from the capital for the Improvement of Postsecondary Education (FIPSE) with the NEC and Northwestern University, which supports pre-service education about collaborative skills for futurity music teachers. At the CFF panel session, Myers will describe these programs and address the implications for music curriculum changes in higher education.

The CFF panel session, "Town and Gown: standards for Collaboration in Music" will be held March 17 2003 during the National colloquy We invite you to learn about and discuss the details of these programs. Following the session, there will be a reception for association faculty. We hope the collaborative examples presented and discussed at this meeting will lead to many more musical partnerships between "town and gown"

--Phyllis A. Lehrer NCTM National college edifice [i]or[/i] building Faculty Forum Chair Kendall Park, strange Jersey She is a professor of piano at Westminster Choir college edifice [i]or[/i] building of Rider University, Princeton, fresh Jersey.

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