JSO NEWS

FEBRUARY 2015

Breaking News on the Classical Scene in Jamaica

History Created!
History was created in Florida and Jamaica on Saturday, January 31st, 2015 when a group of students from Dr. Lisa Walker's studio competed in the Florida Federation of Music Clubs Competition
without being in Florida as is the custom. Instead, the students performed for the judges in Florida
from the comfort of Dr. Walker's studio which was transformed into a satellite centre utilizing Skype
video conferencing technology. Their participation was allowed under a special provision for expatriates with studios overseas. However, it is the first time in the history of the competition that
the provision is used, and so the officials in Florida had to change their normal procedures to facilitate
the students from Jamaica who appeared in front of the judges digitally. The technology was seamless, except for a brief interruption of the signal during one of the performances. However, this was
quickly resolved by the technician on spot.
The judges were very impressed with the performances and praised Dr.
Walker for the 'awesome work' that she is doing in Jamaica. Each of her
students received a superior rating, which is the highest rating available. The
superior rating qualifies them to participate in Junior Convention (the Finals),
which will be held in Jacksonville, Florida in May 2015. FFMC Junior Convention brings together the best young musicians in all the districts of Florida
to compete for an award in their category.

Luke Walker

Isabel Chen

Ellie Hind
Danyella Richards

Laila Chen

Zara Walker
Jada Walker

Jacob Chen

Kennedy Brown

The participants from Jamaica include Ellie Hind, Danyella Richards, Laila Chen and Zara Walker on Violin; Kennedy Brown, Jada Walker,
and Jacob Chen on Viola; and Luke Walker and Isabel Chen on Cello. They competed in the Royal Poinciana North District of Florida,
which covers South Miami, Coral Gables, Boca Raton, West Palm Beach, Fort Lauderdale, Hollywood, among other cities. The move by
Dr. Walker to enter the students in this competition is part of a strategy to ensure her students are fully exposed and prepared for the international market, consistent with her commitment to place Jamaica at the forefront of the classical world.

Emily Reynolds, Hillels 1st Concertmaster

Emily Reynolds

Emily Reynolds holds a special place in the Hillel Orchestra. Not because she is a first violinist with one of the most prestigious
youth orchestras on the island; nor because she is one of the founding members of the orchestra. She has secured
a special place in the orchestra because she is the first person to win Concertmaster of the Prep School Orchestra the first
orchestra to be formed at Hillel under the leadership and direction of Dr. Lisa Walker.
At age 6, Emily knew without a doubt that she wanted to play the violin and begged her mother for a year to be given the opportunity to do so. Finally, her mom gave in to her request and took her to Helen Bromley for instruction at age 7. Emily has
not looked back since and has made significant progress under the guidance of Helen Bromley, who continues to coach her.
She has also successfully completed several levels of the ABRSM exam and is on track to achieve her FRSM in her teens.
Currently a first year student at St. Andrew High School for Girls, Emily is scheduled to advance to the High School Orchestra
at Hillel by next September where she will be coached on more difficult works until she is advanced enough for the PreProfessional Orchestra. Since joining the Prep School Orchestra last Summer, she has been exposed to world-class orchestral
training under the direction and guidance of Dr. Walker and has participated in a number of events, including the orchestras
public recital last December where her solo performance was well received.
Emily brings more than just developing technique to the table. Emily finds it quite natural to use music as a form of communication. One cant help but be moved by her playing. In the words of Dr. Walker, Emily plays with her soul.

Exclusive Interviews with Dr. Lisa Walker

How did you end up in Jamaica?
I accepted an invitation to guest lecture at Northern Caribbean University in Mandeville, Jamaica for the summer of 1993. This experience
served as my introduction to the Jamaican music culture. Upon completion, Dr. Marilyn Anderson expressed an interest in my continuing
the work I had begun in the music department. However, I could not accept as I was completing my final year of Masters work in the USA.
But I did make a commitment to return to Jamaica, which I did in September 1997 to immerse myself in the culture and begin a violin school
and string orchestra. I lived there until I moved to California in 2002 to start my doctoral work.
I finished my doctorate in 2004 and won a Fulbright Professorship to teach and train string faculty at the National University in Honduras....In
2005, my Fulbright ended and I moved to Florida where I was judging violin competitions, giving masterclasses, etc. Then in June 2008, I
received a vision of forming the Jamaica Symphony Orchestra (JSO), which brought me back to Jamaica December, 2008
Why was steelpan added as a 5th section of the JSO?
Due to its rich and unique Caribbean sound, the steel pan has been JSO's percussion instrument of choice from the inception of the orchestra. However, the idea of threading the voices of the steel pan throughout the symphony orchestra, rather than relegating the pan to just the
percussion section of the orchestra, originated from Angela Gay Magnus, Director of Percussion and Steel Pan. The stimulating effect
of Magnus' brainchild was heard from the very first rehearsal and created excitement among the musicians as the future impact on the world
is anticipated. Juilliard School in New York, among other music education organizations, has acknowledged this innovative initiative as a
timely update of the symphonic structure and seek to emulate the same creativity in their curriculum March, 2010
Why do we need a new sound?
Without beginning a history of western music lesson, I will tell you that the time is ripe to
introduce a new symphonic sound. We are
still working with the symphonic structure (and
instruments) of the 18th and 19th centuries in
the 21st century. Just as the symphony orchestra structure of prior centuries changed to
mirror new and representative instruments
and music, so must our symphonies represent
our current musical milieu. The Jamaica
Symphony Orchestra hopes to begin this new
movement by introducing an authentically
Caribbean symphonic sound. The addition of
the steel pans, which originated in Trinidad
and Tobago, as a fifth and equal section of
the orchestra is the first step in achieving this
unique Caribbean symphonic sound.
February, 2010
Dr. Walker being interviewed about the JSO at her home in Parkland, Florida in 2010

What are your current plans?

I intend to settle permanently in Jamaica. . . I knew I was going to be called somewhere after all my sojourns....but didn't know where exactly. . . . I am not disappointed it is Jamaica.... It still stands that the Jamaican youth are THE most talented group I have ever worked with to
date. The Jamaicans, followed by the Russians and Israeli for musicality.....and the Japanese for technique. . . . I am sure I can get an international standard performing group going . . . . BUT, I want the group to have something unique about them when they get there . . . . something to "share" musically once they are respected technically.....It is a big task....but I feel prepared for it. I know the learning/performing/
teaching styles of the most respected in the classical field.....and I feel sure that the natural vitality of the Jamaican youth can not be matched
as a whole. Individually, here and there....but not so wide spread and inborn as I find in Jamaica. October, 2013

Tropical Rhythms: A String Project in Jamaica (Extract) - Part 3

Tropical Rhythms, a String Project in Jamaica, transpired from 1997 to 2001 under the leadership of Dr. Lisa Walker, who later submitted the project as
partial fulfilment of the requirements for her Doctor of Musical Arts degree in California. The following is a continuation of the extract from the project.

During lessons and master classes, I emphasized to the participants, if they didnt feel anything, neither would their audience. One especially useful exercise I initiated included an analysis of another students solo performance by acknowledging those aspects done well and
identifying areas for improvement. An especially delightful facet of this exercise entails having the master class participants guess what the
student performer in question was feeling. The performer was successful if the students listening were able to identify the emotion. It usually took only a few sessions for the student to comprehend that music is not just a bag of notes to be played, but an unseen substance with
life force to be realized . . . .
The students of the project always listened to the work they were to study before learning it. After listening, discussion on character, tempo,
dynamics, phrasing, etc. ensued. In fact, students chose which work they wanted to learn from this listening exercise . . . . In the area of
creativity and intuition, I discovered that many Jamaican students possess a distinctive musicianship that sets them apart from the standard.
Rochelle Haynes, Russell Lee and Kester Reid represent only a few of the many students who displayed an extremely high degree of musicianship for their level.
Rochelle Haynes represents one example of the advanced level of dramatic expression shown by the Jamaican students. Although she had
studied the violin for just a little over a year before making her solo debut, Rochelle demonstrated an unusual level of maturity in her performances. Rochelle consistently exhibited a high degree of concentration, varying the dramatic content as the music dictated. Her obvious
strong involvement with the music and ability to effectively communicate produced commanding and convincing performances.
Rochelle Haynes, 9 yrs.

Russell Lee, 7 yrs.

Kester Reid, 10 yrs.

Russell Lee comes from a particularly musical family. His brother, Simon Lee, was the youngest participant at two years old; his sister, Joelle Lee, was one of six concertmasters of the advanced ensemble; and his mother, Gillian Lee, held leadership positions in the adult orchestra. The creativity Russell added to his music-making can be considered no less than prodigious. In lessons and in concert, I have never heard Russell play a piece the same way twice. The improvisatory nature of his performances was especially appealing to the Jamaican
audience. After only eight months of study, he received a standing ovation after performing the third movement of Seitzs Concerto No. 2.
There is an abstract, yet distinct difference between emotions contrived and emotions truly felt in music expression. Ivan Galamian describes the perfect performance as one in which the artist is moved by the music he plays, and abandons himself to the inspiration of the
moment. Elegance in expression with genuine affections gave Kester Reids performances an unquestionable air of authenticity. With the
addition of his sincerity and commitment, Kester Reid was recognized as one of the many highlights of the string project . . . .
An especially gifted and precocious child asked during one of her lessons why she should continue to practice. After I finished explaining the
developmental and aesthetic benefits of learning a musical instrument, she wrinkled her nose and replied, Oh, is that all? In an effort to
find out what appeals to Jamaican youth, I asked what kinds of things she did enjoy. Without hesitation she rejoined, Money !
Continued in the next JSO News