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The Sociolinguistics of Greek Teenage Language Practices on Facebook

February 2, 2016
By 19604

Christopher Lees, a Sylff fellow at the National and Kapodistrian University of Athens, spent time at the University of Hamburg, Germany carrying out analysis and refining his research on youth language on social networking sites. In this article, he describes his findings on digital literacy practices among Greek teenagers using Facebook, and describes how they use linguistic creativity to achieve their communicative goals.

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Background

The way teenagers speak and interact has long been a matter of interest in sociolinguistics, while often being a matter of concern and even controversy in academic circles and among the general public. There can be no doubt that teenagers seem to have their own codes of communication, which are markedly different from those of their elders. This has given rise to many questions both within and outside academia. What is it, for instance, that makes teenagers use different varieties of language? How do we classify these varieties and can we claim, as many do, that these “alternative” uses of language pose a threat to the future of the languages we speak? A new element to this debate in recent years is the question of how teenagers communicate on social networking sites such as Facebook. This has brought a whole new set of questions related to an oral-like style of writing, inconsistent grammar and punctuation, and frequent mixtures of various different, particularly in countries whose languages are regarded as “less widely spoken.”

My field of sociolinguistics aims to provide answers to these questions. For example, it is widely accepted that one of the reasons why teenagers exhibit such unique linguistic practices is because they mix in narrower circles than was the case in previous generations, largely due to the fast-paced development of technology (Kakridi-Ferrari 2005: 195). Since the Second World War, technology has replaced many previous professions, rendering many skills obsolete. This has created a need for young people to be educated for longer than was previously the norm in order for them to keep pace with the new demands created by new technology. This has forged a closer bond between teenagers and other young people who spend more time with each other and have developed a new type of “youth culture” as a result of this new social dynamic. This culture has brought with it new ways of communicating that differ from the varieties of language used by these people’s parents and previous generations and reflect the shifting social reality of which young people are a part.

Social networking sites and Facebook in particular have provided young people with an entirely new “meeting place” where they can chat with their friends, exchange ideas, play games, and share and comment on videos and images. Such a platform is in itself an entirely new social reality for teenagers that has facilitated the development of new language practices. The study of the language practices seen on social networking sites is one of the latest areas of interest to linguists involved what is known as Computer Mediated Communication. This is the area that my research focuses on.

The Research

Following the traditions of sociolinguistics and computer-mediated communication, my PhD research focuses on the language practices of Greek teenagers on Facebook. A total of 15 secondary school pupils are participating in my PhD research, 10 of them enrolled at the Model Experimental School of the University of Thessaloniki and the remaining five at the Model Experimental Secondary School of the University of Macedonia in the area of Neapoli. The two schools are located in different areas of the Greek city of Thessaloniki. The latter is located in a socially underprivileged area of the city, whereas the former is in the center and enjoys a reputation as a school of academic excellence, not least due to its affiliation with the Aristotle University of Thessaloniki. The rationale behind this selection was the hope that the linguistic data derived from the pupils might reveal differences that could be attributed to the different social backgrounds of the pupils. Consent was obtained from parents and guardians, as well as from the pupils themselves. In addition, pseudonyms have been used whenever reference is made to the data, so as to protect the identity of the participants, in line with research ethics (D’Arcy & Young 2012: 540-541).

Sunset over the Alster, Hamburg.

Sunset over the Alster, Hamburg.

After receiving my SRA scholarship, I travelled to the University of Hamburg in Germany to refine and discuss the categories to be included in my analysis. In total, I spent two and a half weeks at the Department of German Philology, where I was able to discuss my research with experts in my field and use their resources to develop a concrete qualitative and quantitative approach to analyzing the data collected from the pupils. I was also able to see at first hand how research has been conducted for similar projects in German using the model of online ethnography (Androutsopoulos 2008). Online ethnography refers to observing the linguistic practices of specific communities of Internet users, together with real contact with the users themselves by means of interviews, discussions, etc. The advantage of this approach is that the researcher is able to cross-check and verify his or her interpretations against the explanations and opinions of the producers of the language practices under study. This blended approach can therefore help produce a more reliable data analysis.

In comparison with German, Greek is one of the less widely spoken languages of the EU. One of the consequences of this is that its speakers are exposed to a much greater variety of languages—particularly English through the mainstream media—than speakers of more widely spoken languages like English and French. Three main tendencies observed in Greek teenagers’ linguistic practices on Facebook form the core of my research. These are as follows:

1. Features of digital orality in teenagers’ “written” linguistic practices on Facebook
2. Use of alternate script choices
3. Use of English

In general terms, the term digital orality refers to “oral-like” features employed by users of digital media while communicating in writing (Soffer 2010: 388). The features of digital orality studied in my PhD research are diminutives and augmentatives, as well as oral discourse markers. Such features, in particular, are highly common in the language practices of Greek teenagers on Facebook and fulfill specific pragmatic functions for the users and their fellow participants, as can be seen in Examples 1 and 2 below:

1. Σε ευχαριστώ Άννα, θεάρα μου [se efcharisto Anna mu, theara mu]
Thank you Anna, my [big] goddess
2. εε κι εμείς φοβόμασταν να πάμε στο δωμάτιο και να φανταστείς ήταν πρωί [ee ki emis fovomastan na pame so domatio ke na fantastis itan proi]
errr we were afraid to go to the room, too and that was in the morning, if you can believe it

In Example 1, the use of the augmentative –ara attached to the word theara, characterising the user’s friend as exhibiting “goddess” functions as a way of showing admiration and enthusiasm for the referent (see Daltas 1985). Conversely, in Example 2, the use of the oral discourse marker ee, which resembles but does not have the exact same functions as English er, acts as a way of framing the message that follows, while signifying a relevant part of the conversation, which could be an answer to a previous comment made by another Facebook user. The use of diminutives, augmentatives and oral discourse markers belongs almost entirely to the linguistic repertoire of female pupils. This is believed by the pupils to be due to the fact that, particularly in the case of diminutives and augmentatives, these elements are used to express affection and tenderness.

As far as Greek is concerned, script choice in Computer Mediated Communication has been a subject of debate ever since people started using computers to communicate with each other. Greek users would use Latin transliteration to represent Greek characters, initially due to the fact that Greek characters were not available. However, after this problem was resolved with the invention of the so-called UNICODE system, computer users, and most notably young computer users, continued using the Latin script. In my research I investigate the current situation in the language used by Greek teenagers in my data. In addition, I noted an interesting new trend for English and other languages that use the Latin script to be written in the Greek alphabet (Spilioti 2013), such as in Example 3 below:

3. oφκορσ ι λοβ γιου μαι ντιαρ [ofkors i lov yiou my diar]
Of course I love you, my dear

From my data, this use of Latin script to write Greek is practiced by boys significantly more than by girls. This is recognised by pupils as indicative of boys’ more relaxed attitude to language use and a way for them to avoid the hassle involved in changing keyboard settings between one alphabet and the other.

Finally, my research looks into how English is used by Greek teenagers in their communication with friends on Facebook. Rather than simply communicating in the English they learn at school, Greek teenagers use various features of English, including vernacular ones, often mixed in with Greek, producing an entertaining multilingual puzzle. Such practices are referred to in the literature as polylingual languaging (Jørgensen 2008). According to this model of analysis, what is important in this type of communication is not linguistic accuracy and proficiency but the way in which users exploit features of various languages to accomplish their own communicative needs. For example, the phrase, “are you working me?” in Example 4 below is not a phrase used in Standard English but a direct translation of the Greek phrase, με δουλεύεις [me dulevis], which means ”Are you kidding me?”

4. Δεν σου αρέσει ο Spiderman τώρα? Are you working me? [Den su aresi o Spiderman tora? Are you working me?]
You don’t like Spiderman now? Are you kidding me?

The Facebook user who produced the comment in Example 4 knows that the phrase in question is not an idiom in Standard English, but has used it for the benefit of his Greek-speaking friends, who, because of their knowledge of Greek, are able to understand the humor behind the “Englishification” of a well-used Greek phrase. No significant difference was noted related to gender use of this kind of English; it seems that both sexes use the English language in much the same way and for the same communicative purposes.

Conclusions and Hoped-for Influence on Wider Society

A transliterated, as opposed to translated, sign reading “no entrance.”

A transliterated, as opposed to translated, sign reading “no entrance.”

I hope that this short article has provided a useful overview of my PhD research and given some insight into the ways that Greek teenagers communicate through Facebook. As the examples show, Greek teenagers make use of all the cultural and linguistic resources at their disposal to produce highly creative language practices, which do not reflect any difference in social background between the pupils at the two schools. It seems that Greek secondary school teenagers in Thessaloniki use much the same types of language practices, although some differences can be discerned depending on gender. For example, as we have seen, the use of diminutives, augmentatives and oral discourse markers appears to make up a more significant part of the language repertoire of girls, whereas boys use the Latin script to write Greek significantly more than girls do.

My hope is that this research will help to construct an argument that will enable society to appreciate the creative and intricate ways in which Greek teenagers use language to play, joke, and achieve their communicative goals in the specific context of Facebook. People often view teenage linguistic practices as a degenerative and “cheap” variety of Greek, but far from posing a threat to the integrity of the Greek language, these highly imaginative and creative practices in fact make a positive contribution to enriching linguistic creativity.

In other words, it should not be assumed that teenagers’ use of language is in any way inferior to that of previous generations, or that they do not know how to use language “appropriately,” simply because they combine English with their Greek, use the Latin script, and use features of orality in their written language practices On the contrary, my ethnographic data shows that Greek teenagers are well aware that their use of language on Facebook is for Facebook only and not suitable for academic writing or formal correspondence. I hope that my research will help to dispel the myths and foreground teenagers’ language practices on Facebook as examples of linguistic ingenuity and creativity, and contribute to a better perception of the roles played by language in society.

References

Androutsopoulos, J. (2008) Discourse-centred online ethnography. In Androutsopoulos, Jannis & Michael Beißwenger (eds.) Data and Methods in Computer-Mediated Discourse Analysis. Special Issue, Language@Internet 5 (2008). http://www.languageatinternet.de

Daltas, P. (1985) Some patterns of variability in the use of diminutive and augmentative suffixes in Spoken Modern Greek Kini (MGK). Γλωσσολογία/Glossologia 4, 63-88

D’Arcy, Α. & Young, Τ.Μ. (2012). “Ethics and social media: Implications for sociolinguistics in the networked public. Journal of Sociolinguistics 16/4, 2012. 532-546

Jørgensen N. (2008). “Polylingual languaging around and among children and adolescents. International Journal of Multilingualism 5:3. 161-176

Kakridi-Ferrari, Maria. 2005. Glossa kai koinoniko perivallon: Zitimata koinonioglossologias (A Meros) [Language and Social Environment: Issues in Sociolinguistics: Part 1]. Contribution 64: Parousia Journal. Athens

Soffer, O (2010) “‘Silent Orality’: Toward a Conceptulization of the Digital Oral Features in CMC and SMS Texts” In Communication Theory 20. 387-404. International Communication Association

Spilioti, T. (2013) “Greek-Alphabet English: vernacular transliterations of English in social media.” In Proceedings of the 46th Annual Meeting of the British Association for Applied Linguistics, 5-7 September 2013, pp. 435-447. Heriot-Watt University, Edinburgh

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[Report] An Initiative to Nurture Young Musicians in Lithuania

January 25, 2016
By null

A national music festival to promote the training of young Lithuanian musicians was organized by Dalia Dedinskaite and Gleb Pysniak, Sylff fellows who attended the University of Music and Performing Arts Vienna. Called Ars Lituanica, the forum was held between December 3 and 7, 2014, at Balys Dvarionis Music School in the Lithuanian capital of Vilnius as a Sylff Leadership Initiatives (SLI) project.

* * *

Young Lithuanian musicians have considerable trouble acquiring high-quality music instruments that will allow them to adequately improve their skills. Violinist Dalia Dedinskaite and cellist Gleb Pysniak were no exceptions, who faced this difficulty when they moved from their native Lithuania to Vienna to receive professional music training. Prices for fine European instruments start at around 10,000 euros for violins 18,000 euros for cellos. These are far too high for many Lithuanians, whose average monthly salary is just 531 euros, according to official government statistics.

Dedinskaite and Pysniak were able to overcome this challenge thanks to their professors’ support and their own determined efforts, but the experience left a deep impression, making them realize the acute need to help young musicians in their own country. It was through this experience that the idea for Ars Lituanica—a national forum and competition for violinists and cellists—was conceived. The idea eventually came to life through their strong initiative, passion for music, and love for their country.

Dedinskaite, left, and Pysniak

Dedinskaite, left, and Pysniak

They first succeeded in gaining the cooperation of famous and acknowledged craftsmen of stringed instruments—Wolfram Ries of Germany and Valdas Stravinskas of Lithuania—who agreed to lend their instruments as competition prizes and for exhibition during the forum. They also secured the patronage of President Dalia Grybauskaitė of Lithuania, who sent a message of encouragement to forum participants. They also gained the support of the Lithuanian Council for Culture, the Ministry of Culture of the Republic of Lithuania, and a number of private businesses. Thanks to these efforts, the forum attracted many outstanding young Lithuanian musicians and the interest of a broad segment of the general public.

The main aim of the forum was to draw the attention of young musicians—along with their teachers and parents—to the importance of musical instruments in the development of their skills and to give the best young Lithuanian musicians the opportunity to use world-class stringed instruments and to perform at concerts in Lithuania.

National Competition

The highlight of the four-day forum was a national violin and cello competition, in which the winners were given the privilege of using top-quality violins and cellos for one year. In the first round, held on December 4 and 5, 18 musicians competed in two age categories, and in the final round on December 7, eight finalists competed for a chance to use the four valuable instruments.

In the 14–17 age group, the winners were awarded the use of a violin and cello made by Lithuanian luthier Valdas Stravinskas. The violin is valued at approximately 5,800 euros and the cello at 10,000 euros. The winners in the 18–22 age group were given the opportunity to use a violin and cello made by German luthier Wolfram Ries, valued at 12,000 euros and 22,000 euros, respectively.

The winning contestants also performed at the Kaledinis Vilnius (Christmas in Vilnius) festival at the Vytautas Kasiulis Art Museum.

A Festive Atmosphere

An exhibition of the first modern string instruments in Lithuania was held as a side event, which was full of visitors over all four days. Luthiers were also on hand to speak with students, teachers, and professional musicians; make small adjustments and new bridges for violins and cellos; and rehair bows.

On December 6 luthiers held a workshop on the history of string instruments, answering questions and giving tips on the proper care of their instruments as well as on how musicians can improve their sound and comfort during performances.

Also on December 6 Dedinskaite and Pysniak joined violin virtuoso and professor Christian Altenburger to give masterclasses to competition participants and other young Lithuanian musicians.

The forum concluded on December 7 with a concert by the competition winners and an awards ceremony.

Major Impact

Ars Lituanica was a tremendous success. The event attracted great media attention, with over 30 articles appearing in major Lithuanian newspapers. Fellows Dalia Dedinskaite and Gleb Pysniak were interviewed by Lithuanian National Radio, and Lithuanian National Television aired footage of the Kaledinis Vilnius festival concert by the prize winners on the main evening news.

“During the Forum, a very cozy, fancy, festive atmosphere could be felt,” commented Pysniak in an article published by 15min.lt, a popular web-based newspaper in Lithuania. “It is a great pleasure to help young talents to pursue greatness in music by improving their performance technique and playing characteristics. And it is good to know that there are so many gifted and promising musicians in Lithuania.”

In the same article Dedinskaite said she was very happy that renowned violin virtuoso and educator Christian Altenburger visited Lithuania and gave his first concert in the country.

“Young musicians were able to not only learn from Mr. Altenburger’s experience but listen to his music as well,” she noted. “The most important thing is that this project was a success and that four young, talented artists were granted the chance to use top-class instruments. I hope that this event will become an annual tradition.”

Going Forward

Dedinskaite, second from right, and Pysniak, third from right, with the prize winners and juries at the ceremony.

Dedinskaite, second from right, and Pysniak, third from right, with the prize winners and juries at the ceremony.

Pysniak and Dedinskaite are themselves outstanding performers, but they were not satisfied with striving only for personal success. Displaying strong leadership, they sought to make a contribution to raising standards of musical performance in their country in a creative and imaginative manner. Their passion and enthusiasm persuaded government organizations and private businesses to offer their support, significantly enhancing the impact of the event. The Tokyo Foundation hopes that their SLI project will inspire and encourage other fellows with similar aspirations to launch a project aimed at bringing positive changes to society.

We hope that the young musicians who participated in the forum will become leaders of the classical music scene, emerging as role models for the next generation of young artists in Lithuania and around the world.

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Dylan Corlay Wins Top Prize at Jorma Panula Conducting Competition

January 18, 2016

Dylan Corlay

Dylan Corlay

Sylff fellow Dylan Corlay, a graduate of the Conservatoire National Supérieur de Musique et de Danse de Paris and a participant in the 2012 Together in Tohoku project was named the first prize winner at the 6th Jorma Panula Conducting Competition 2015, held at the Vaasa City Hall in Finland on November 13, 2015.

The event is one of the most prestigious contests for next-generation conductors in Europe. Jorma Panula, the competition’s artistic director and chairman of the jury, is a legendary conducting teacher who is considered the “maestro of maestros.” He has been training young conductors for nearly four decades, and many of today’s most illustrious conductors have studied with him. The competition gives young European conductors an excellent opportunity to gain valuable experience, promote their own work, increase their visibility as a conductor, and open new doors.

Corlay was also selected as the favorite orchestra conductor in the competition.

The 31-year-old French Sylff fellow is currently assistant conductor of the prestigious contemporary music ensemble, Ensemble Intercontemporain, and conducts student orchestras at the Conservatoire de Tours.

He volunteered his time to participate in the Together in Tohoku project in August 2012 as a French bassoon musician, during which he also led “sound painting” workshops for middle and high school musicians in tsunami-hit areas of northern Japan.

November 13 was, coincidentally, also the day of the Paris terrorist attacks. The great news of Corlay’s achievement is a ray of light on this otherwise sad and dark day. Our warmest congratulations to Dylan!

Visit Corlay’s website at: http://www.dylancorlay.com/

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Sylff News 2015

December 22, 2015

Wishing You Peace and Joy in the New Year!

(Back row, from left) Tomoko Yamada, Takashi Suzuki (Director), Kaoru Matsushita (Director), Akiko Inagaki; (middle row) Yoko Kaburagi, Sanae Oda (Executive Director), Masahiro Akiyama (President), Akiko Imai (Executive Director), Yukiko Otani;(seated) Keita Sugai, Aya Oyamada, Yumi Arai, Mari Suzuki (Director), Mana Sakamoto

(Back row, from left) Tomoko Yamada, Takashi Suzuki (Director), Kaoru Matsushita (Director), Akiko Inagaki; (middle row) Yoko Kaburagi, Sanae Oda (Executive Director), Masahiro Akiyama (President), Akiko Imai (Executive Director), Yukiko Otani;(seated) Keita Sugai, Aya Oyamada, Yumi Arai, Mari Suzuki (Director), Mana Sakamoto

 


NEW SYLFF FELLOWSHIP PROGRAM

We are pleased to announce that this past October, fellowships were given to five students at the University of Coimbra (Portugal), the under the new Sylff Fellowship Program. The program is being offered jointly by The Nippon Foundation and Tokyo Foundation to all schools in the Sylff program...(more...)

SYLFF SUPPORT PROGRAMS

Three fellows were selected as Sylff Leadership Initiatives recipients in 2015 so far, and their reports can be read here. In addition, 28 Sylff Research Abroad grants were awarded. The reports of SRA awardees on the Sylff website are classified by fiscal year-round number. We look forward to receiving many more applications in 2016.

SYLFF WORLDWIDE

We're very happy to share news of outstanding achievements by Sylff fellows around the world, including:

February 24
Conductor Holly Mathieson, a Sylff fellow from New Zealand, organized a concert on March 18, 2015, in Berlin, Germany, to launch Horizont Musik-Kollektiv, an organization to celebrate the works...(more...)

June 1
At the Institute of Political Education in Italy, Sylff fellowships are granted through the “Idea-Action Research Program” to encourage research projects in the social sciences and...(more...)

September 5
Marisa Hamamoto, a 2007 Sylff fellowship recipient at Keio University, has launched Infinite Flow, America’s first professional wheelchair ballroom dance company. It is a 501(c)3 nonprofit organization that...(more...)

SYLFF@TOKYO

We welcomed many current and graduated fellows, and the comittee chairman to the Tokyo Foundation in 2015.

January 29
Violinist Johannes Fleischmann, a 2013 Sylff fellowship recipient at the University of Music and Performing Arts, Vienna, made a tour of venues around Japan in October 2014,including a special lunchtime...(more...)

February 24, September 8
Lindsey Lim, who received a Sylff fellowship in 2014 at Columbia University, visited the Tokyo Foundation in January 6 and June 4, 2015, to give presentations...(more for article on Feb. 24...) (more for article on Sep. 8...)

May 25
Numtip Smerchuar, a 2006 Sylff fellowship recipient at Chiang Mai University, visited the Tokyo Foundation on May 11, 2015. While working as a lecturer in the School of Political and Social Science...(more...)

June 26
Professor Ulrike Schaede, chairperson of the Sylff program at the School of Global Policy and Strategy (formerly the School of International Relations and Pacific Studies), University of California,...(more...)

December 18
On December 4, 2015, Ngo Hong Anh Thu, a 2014 Sylff fellowship recipient at Vietnam National University, Hanoi, visited the Tokyo Foundation and gave a presentation on her doctoral research....(more...)

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[Report] Sylff Chamber Music Seminar at the Juilliard School
(January 4-13, 2015)

December 21, 2015
By null

Since 2006, the Sylff Chamber Music Seminar has been held jointly by the Juilliard School in New York, the University of Music and Performing Arts, Vienna and the Paris Conservatoire. A special support program for the three institutions is funded by the Tokyo Foundation, enabling approximately 14 fellows to gather at one of the host institutions each year, rehearsing and receiving coaching together before performing a final concert for a local audience and members of the host institution. The goal of the seminar is to foster long-term professional relationships among fellows and institutions and to expose them to different performing and teaching styles as well as to develop young leaders and artist-citizens of the 21st century.
Tokyo Foundation Program Officer Tomoko Yamada provides a report of the ninth seminar, held in New York in January 2015.

* * *

All participating Sylff fellows and Tokyo Foundation members.

All participating Sylff fellows and Tokyo Foundation members.

From January 4 to 13, 2015, the Juilliard School hosted eight Sylff musicians from the University of Music and Performing Arts, Vienna, and the Paris Conservatoire. These musicians joined four professors and five Juilliard Sylff fellows for a week of chamber music, culminating in a vibrant concert at the renowned Paul Hall in Lincoln Center, the artistic epicenter of Manhattan. The musicians, originally from France, Austria, Australia, China, and Lithuania, performed works by Vissarion Shebalin, John Harbison, and Brahms.

A Tough Beginning

Things got off to a less-than-ideal start when the musicians from Paris arrived a day late and without their luggage after their plane was cancelled. New York City at minus 10 degrees Celsius is not the place to be when you have no clothes except what you are wearing. Even more worrisome for the musicians, this delay meant the potentially devastating loss of a whole day of rehearsal time—no small matter when the schedule allowed only a week or so from the first meeting to final performance.

The musicians ended up going straight from the airport into lessons and rehearsals. One of the fellows recalled: “Not having a break and seeing the rooms the moment we arrived from a two days long and complicated flight and having a lesson so early in the week. . . It would have been nice to practice a little more with all five (group of five among the three institutions who were brought together for the first time to play the Harbison Quintet) of us together before meeting the professor. But he was okay, comprehensive and helped us a lot with our practice (maybe it’s a cultural difference. . . ) The role of the teacher is more like a coach in the USA, helping the student to find a way to be independent. In Paris the teacher is waiting for a result, a concert version, more or less.”

This exposure to cultural differences is one of the strengths of the seminar. Guest fellows are exposed to different styles of teaching and practice that open their eyes to new perspectives. Generally speaking, the European master-teacher sees the student as an apprentice, who needs detailed instructions leading to an expected outcome. The American teacher tends to be more flexible, offering a blend of concrete guidance and greater openness to alternative approaches. Many European teachers believe it is their job to steer the student to the perfect performance. American teachers want their students to find their own voice, allow their soul to find expression in the music, even if the result is quite different from how the teacher would play it.

The Coaching Sessions

A coaching session for the Harbison quintet.

A coaching session for the Harbison quintet.

I enjoyed a rare opportunity to observe the coaching sessions. I was struck by the energy and passion of the coaches. The fellows were obviously taken in as they were scribbling away frantically on their scores, determined not to miss a word from the coaches.

Rehearsals were generally run by the host fellows from Juilliard, who had the delicate task of balancing the rigorous rehearsals with varying needs of guest fellows. Some were suffering from jetlag, while others were anxious to get a taste of the city. Yet others needed to grab some clothes at H&M because their luggage still hadn’t turned up. The host fellows tried to strike a balance between organizing intense rehearsals and making sure that their guests got some free time. I knew from the previous two seminars that each of the three institutions has its own styles of practice and rehearsal. The American approach seems to give the students a large degree of freedom to determine what they need to rehearse and when.

Pre-college Students

Giving advice to the pre-college students.

Giving advice to the pre-college students.

Amid the tightly knit coaching, rehearsal and practice, Bärli Nugent, who is assistant dean and director of chamber music at Juilliard and works as the orchestrator of the Sylff Chamber Music Seminar, managed to squeeze in a session on Saturday afternoon with a group of Juilliard pre-college students and the wind instrument fellows. “Juilliard pre-college students” are teenagers ranging from 10 to 18 who have a serious interest in music-playing and take pre-college classes at Juilliard in preparation for a possible music career. This was a magnificent idea. Fellows got a chance to share their experience and expertise as musicians with younger people. The pre-college teenagers started by performing one movement of the Harbison wind quintet, followed by the Sylff fellows playing the same piece. This was followed by a lecture by a fellow on French bassoon, which is rarely played outside France. Finally, there was an informal discussion among the fellows and pre-college students.

One could see that this was a mind-boggling experience for the pre-college students. I could observe their seriousness in the way they listened intently to the fellows’ performance, silently taking notes on the scores on their lap. During the informal discussion, one of the fellows, a flutist, demonstrated one of his favorite practicing techniques. He played an Irish folksong, beating the rhythm with his foot, and explained that this helps the body to relax and play better. One of the pre-college students, a young Asian girl who had been watching intensely, seemed astonished by this revelation. She had always concentrated on practicing the perfect technique for classical flute, and this more relaxed approach seemed to open her eyes to a new perspective.

The session with pre-college students was also valuable for the fellows, one of whom described it as a highlight of the entire seminar. “The best moment was when we met the pre-college students, listened to them, and played for them, and especially the talk we had together about what music means for us, our futures, our passion” That was the most powerful aspect of the entire seminar for him. As well as learning many new things during the seminar, the fellows also had a valuable opportunity to teach something to local young musicians who may follow in their footsteps. It was a chance for all the fellows to reexamine their own passion for music.

Finding the Music

Sylff fellows including Meta Weiss, standing center, with Shebalin’s grandchildren.

Sylff fellows including Meta Weiss, standing center, with Shebalin’s grandchildren.

As the days went by, the music gradually moved closer to perfection. I realized that the fellows were not simply learning and practicing the music. Rather, they were interpreting the score and finding the music by fusing the differing musical opinions among them. This was particularly true for Shebalin’s String Quartet No. 9. This piece was proposed by Juilliard’s Sylff fellow, Meta Weiss, whose doctoral research had focused on how Soviet politics and the composer’s medical condition manifested itself in his music. Weiss's research in Moscow was funded in part by the Sylff Research Abroad program. Thus, for the first time, research and performance were brought together with Sylff support. Doing this was not easy, however. The score that Weiss had brought back from Moscow was incomplete and there was little additional information available on the music. Weiss worked together with Susanne Schäffer (Vienna) and Clare Semes (Juilliard) on violins and Marina Capstick (Paris) on viola to interpret the score and completed the music for the performance.

Clare Semes reflected: “Learning the music of Shebalin was a very powerful experience. My colleagues and I had the privilege of learning, with great help from Weiss, the ninth quartet of this little-known composer. The journey from the first rehearsal to the final performance was very impactful because I was able to discover the music of Shebalin with new and old friends from Juilliard, Vienna, and Paris.”

The Concert

(From left to right) Clare Semes, Suzanne Schäffer, Marina Capstick, and Meta Weiss performing the Shebalin quartet.

(From left to right) Clare Semes, Suzanne Schäffer, Marina Capstick, and Meta Weiss performing the Shebalin quartet.

The concert began with the Shebalin quartet. Before the performance, Weiss provided the audience with some background on the remarkable story of the piece. Shebalin’s grandchildren were present in the audience as the piece received its American premiere.

(From left to right) Samuel Bricault, Julia DeRosa, David Raschella, Lomic Lamouroux, and Georgina Oakes performing the Harbison quintet.

(From left to right) Samuel Bricault, Julia DeRosa, David Raschella, Lomic Lamouroux, and Georgina Oakes performing the Harbison quintet.

This poignant performance was followed by John Harbison’s quintet for winds. Harbison is a contemporary New York composer who remains little known outside the United States. Most of the fellows had never played his music before. The effort they made to grapple with this unfamiliar music was well rewarded in a performance that was intense and at times playful.

The concert reached its grand finale with Brahms’ majestic Piano Quartet in G Minor, a performance that was greeted with roaring applause from the audience.

(From left to right)Yun Wei, Marc Desjardins, Gleb Pysniak, and Ying Xiong performing the Brahms quartet.

(From left to right)Yun Wei, Marc Desjardins, Gleb Pysniak, and Ying Xiong performing the Brahms piano quartet.

This comment by a fellow who has participated in seminars at all three host institutions sums up the program best:

“Chamber music is a beautiful musical form. It not only allows each musical personality to shine individually but also makes possible a wonderful blending and shaping of colors though a variety of instrumental combinations. These seminars have given me an opportunity to understand my own musical voice by not just exposing me but immersing me in new musical cultures. Each immersion gave me the possibility to reflect upon my own approach to music. To identify similarities and differences, to gather new ideas and tools.

“But, most importantly, coming away from these seminars over the past three years, I can feel that they have mapped my development from being a student seeking a teacher’s guiding path into an artist with my own personality, voice and integrity.”

In Closing

Every great program owes its success to the people working behind the scene to make it happen. I would like to end this report by expressing my sincere thanks to Bärli Nugent of Juilliard, Gretchen Amussen (director of external affairs and international relations, Paris Conservatoire) and Dorothea Riedel (project manager, University of Music and Performing Arts, Vienna) whose efforts have helped this program to flourish.