By Amy Trottier, social media coordinator

Disclaimer: My daughter is a FSPA string student, and as a parent, I am overjoyed at the progress she has made with her bass violin in just over a year. However, I think I can be objective when I say that I was truly amazed at the caliber of the performance that my daughter’s String Workshop produced at this year’s Summer Fun with Strings concert. In just ten days, this group of intermediate violin, viola, cello and bass players put together a three song repertoire that concluded with the Lady Gaga hit “Bad Romance.” I decided to find out what teaching method was behind such an enthusiastic and well performed concert, and for that, I contacted FSPA Strings, Harp and Guitar Department Chair Alesia Byrd.

“The Beyond Boundaries teaching method is an inner directed approach to learning, so we ask lots of questions to engage the students in the learning process. Instead of just telling them, we get them to think of ways to perform or understand a concept by making them part of this process,” says Byrd.

The Super Strings program utilizes the Beyond Boundaries Teaching Approach which is the backbone of the teaching method for all student instruction at the Flint School of Performing Arts. This method provides students with a safe, caring, discovery-based environment. Optimal learning can be achieved through: Autonomy – “I am the origin of decisions that affect me;” Relatedness – “I am part of a community. What I do affects others;” Competence – “I relish a challenge as long as I see potential for success.” The student is the central figure in their learning experience, the teacher is the “guide from the side,” explains Byrd. FSPA instructors encourage students to set individual goals and be responsible for achieving them.

The Super Strings music workbook ‘String Explorer – A Journey into the Wonders of String Playing,’ by Andrew Dabczynski, Richard Meyer and Bob Phillips, has a colorful, adventurous ‘Indiana Jones’ theme. Cleverly named explorers Roslyn Le Bow and Arco Dakota present students with challenges and explain the history behind the methods and music. For instance, did you know that the method of notes on a staff was developed by Italian monk Guido d’ Arezzo in 1000 AD? Well I didn’t, until it was pointed out by Arco Dakota in Unit 5 of ‘String Explorer.’

“The general progression for an FSPA string student is either starting out with Summer Fun with Strings or in our Super Strings Beginning Strings classes for one year, then in the second year, students begin Intermezzo Strings classes,” says Byrd. “In the beginning class the student learns how to hold the instrument and play songs by rote in the first half of the year and then in the second half, they are introduced to note reading.” This method allows the student to become comfortable with holding the instrument and posture before tackling note reading.

“Intermezzo Strings classes continue to work on reading skills so that by the third year the goal is to have the student ready to audition for String Orchestra and begin private lessons,” explains Byrd. After the third year of instruction, students can audition for the Flint Youth Philharmonia Orchestra which has traveled to Toronto, Chicago, Cleveland and Indianapolis to perform, compete and sight-see. After the Philharmonia, students have the opportunity to audition for the Flint Youth Symphony Orchestra, a full orchestra and member of the League of American Orchestras, under the direction of Davin Pierson Torre, director of Flint School of Performing Arts. In its 65 year history, the FYSO has performed in England, France and Ireland, to name only a few. Additionally, the FYSO performs a full concert at The Whiting each year. “String students participating in orchestra provides skills of learning like how to work together as a strong team, leadership skills, aural listening skills and introduction to various styles of music,” adds Byrd.

“An advanced string student can be additionally challenged by having the opportunity to audition for the Honors Chamber Music Groups. These string quartets have opportunities to work with a coach and give yearly recitals and performances in the community as well as having the chance to work with master artists,” says Byrd. “Of course, all FSPA string students have the opportunity to attend master classes given by master teachers and FSO soloists,” adds Byrd.

Byrd certainly has the pedigree for a successful musical career; her father was William C. Byrd, Flint Symphony Orchestra Conductor from 1966 until his untimely death in 1974. Her mother is FSO First Violinist and Associate Concertmaster Mary Margaret St. John. As the Principal 2^nd Violin for the FSO, Byrd is delighted to work so closely with her mother. Byrd has been on the FSPA faculty since she was a student at MSU in 1982, “I guess that makes it about 29 years,” laughs Byrd, “it doesn’t seem that long ago! I guess time flies when you love what you do!”

Byrd has reason to be proud, some of her students have gone on to pursue musical careers, “One former student is teaching and performing in a professional orchestra in upstate New York, another is a student at Cleveland Conservatory, another is playing in the Midland Symphony and the Saginaw Symphony, another performs on an electric violin, traveling and performing all over the country and another former student is a cellist teaching and performing in the Chicago area, and that is just to name a few!” Byrd exclaims.

Byrd is assisted by fellow strings colleagues Kelly Splear, Beginning and Intermezzo Strings Instructor; Matthew Nix, Beginning Strings Instructor, and Nick Toben, Beginning Cello/Bass class instructor. The entire FSPA faculty is highly qualified, degreed professionals who have performance experience.

I now understand why my daughter’s string workshop was so impressive; it is the result of a tried and true teaching method in combination with outstanding instruction by professional musicians. The FSPA puts the student at the center of their learning experience and asks them to challenge themselves in order to achieve their ‘Personal Best.’

If you are interested in finding out more about the Strings program at FSPA, or to enroll in classes, call 810.238.1350 ext. 3 and download the FSPA class schedule here.

Fenton High School Senior Bora Agabigum's musical composition Devotion has been played internationally and will be performed again in the U.S. on Tuesday, May 11 at 7:00pm at the Flint Youth Symphony Orchestra Pops Concert at Fenton High School.

The FYSO cellist was approached last year by fellow FYSO members to write a piece of music to celebrate Davin Pierson Torre's 20th anniversary as conductor of the Flint Youth Symphony Orchestra. "Originally, I intended to incorporate different pieces of music as small themes within the work, and these themes would be taken from Mrs. Torre's favorite music. Then, I decided that in order to make it more meaningful to her, I would write a completely original work dedicated to her devotion to conducting."

Bora says he "...played around on the piano to get the perfect idea down, and after I was finished with the framework, I orchestrated the piece." He explains that Devotion is about how each individual has a passion and devotion to that passion. "It reflects how devotion to whatever it is we care about perseveres, even when life gets difficult or even when we encounter conflict. The theme is one continuous melody that changes over the course of the work and this illustrates how our devotion is continuous." Bora says Devotion was inspired by the works of composers Aaron Copland and Jean Sibelius.

Devotion premiered at the FYSO Bon Voyage Concert in March. When the FYSO toured Ireland this past April, they played Devotion 3 times, once at the Lord Mayor's Mansion in Dublin, which Bora says was "A tremendous honor!"

Bora began composing music at age 7. His composition Night at the Black Sea won first place nationally at the Junior Composers Competition Contest in 2001. Other compositions, such as Dreamsequence Variations quartet, have received several awards including the Michigan Honors Competition Contest. In 2007, during the Flint Youth Symphony's 60th anniversary, the third movement of his Semblance Symphony was premiered.

Although Bora loves playing and composing music, he plans to study Biomedical Engineering at the University of Michigan in the fall.

I’ve wanted to participate in the Flint School of Performing Arts Concerto Competition ever since my older sister Elizabeth won the competition in 2005. I remember being in seventh grade, sitting in the auditorium watching her play with the orchestra and thinking, “Wow, that looks like fun!”

Of course, as I learned when I began preparing my first concerto last summer, there’s quite a bit of hard work involved too.

After looking through several options in May 2009, my teacher and I decided I would learn the first movement of Camille Saint-Saens’ Fifth Concerto for piano and orchestra http://en.wikipedia.org/wiki/Piano_Concerto_No._5_(Saint-Sa%C3%ABns). Pianist Lilya Zilberstein http://en.wikipedia.org/wiki/Lilya_Zilberstein  had recently performed this work in its entirety with the Flint Symphony Orchestra, and we were both impressed by the haunting lyrical quality of the music, as well as by its fresh novelty – for some reason, this is a concerto with which very few Americans are familiar. (It was nicknamed the “Egyptian” concerto, partly because Saint-Saens wrote it while on vacation in Egypt and partly because of its exotic Middle-Eastern textures.)

 I loved the piece at once, but found it a challenge to bring out the artistic flavor of the music while still doing justice to the technically difficult runs and trills. To perfect the piece, I made major changes to my practice schedule, working two hours a day on the music for much of the summer. (This was a big step up for me in terms of commitment.) Memorizing the movement was also challenging, because the solo pieces I had learned in the past only required me to know my part, but for this competition I had to know the orchestral interludes as well, so that I would be able to take my cues without referring to sheet music. My teacher, Ida Leshchinskaya, http://www.thefim.org/organ-piano-and-harpsichord-department  was tireless in her help and encouragement, and really brought me up to where I am now.

 I was very honored to receive first place in the Flint School of Performing Arts Concerto Competition on October 19^th, 2009. I’m looking forward to playing Saint-Saens’ Fifth Concerto with the Flint Youth Symphony Orchestra on December 12^th at 7 pm at Davison High School http://www.facebook.com/pages/Flint-Institute-of-Music/66709320132?v=app_2344061033#/event.php?eid=193779896682&index=1 I hope you’ll come and listen!

 Forrest Brazeal is a home schooled high-school senior from Clarkston, MI. When not practicing the piano, he spends a great deal of his spare time in his basement sound studio, writing and recording music of his own. (You can check out some of his work at his website.) He plans to pursue sound engineering at an area college in the fall of 2010.

This week, former FSPA dance student, Sarah Pelc blogs about her experiences as a student.

Growing up in Flint, dancing at FSPA was always a part of my life. Little did I know how much of an effect my dance training at FSPA would have on me later in life. First and foremost, the faculty of the dance department taught me the proper form and technique for both ballet and modern dance. From my experiences, I have learned that ballet is the foundation for many forms of dance. The strong emphasis on ballet at FSPA prepared me for a career in dance, even though I have become a contemporary dancer.

My favorite part of dancing at FSPA was performing. Through the annual Nutcracker production, along with the Flint Youth Ballet’s Festival of Dance, I was able to strengthen and build my technique and artistry as a dancer. If there is one thing I’ve learned in my short time in the professional dance world, it is that a dancer can have the most beautiful technique in the world, but it is the passion and emotion the dancer exudes that is the most enjoyable part to watch. The variety of styles and repertoire performed at FSPA helped to build artistry that I can carry with me across all forms of dance.

Another one of the highlights of the dance program at FSPA was working with guest artists. During the Nutcracker, watching the professionals from Dance Theater of Harlem perform the roles of Sugar Plum, Cavalier, Nutcracker Prince, and Clara provided inspiration and motivation to us younger dancers. It gave us something to aspire to, and it reminded us that professional dancers are real people too. Working with guest choreographers also helped me to understand and learn more about the larger dance world, outside of FSPA. It was working with guest choreographer Darrell Moultrie that I began to realize my passion for contemporary dance. Learning the different styles of Darrell and other guest choreographers at FSPA led me to explore other styles of dance, and helped me to become a more versatile dancer. Eventually, I realized I wanted to study modern dance in college.

Now, as a scholarship student at the Lou Conte Dance Studio, home of Hubbard Street Dance Chicago, I am grateful for the training I received at FIM. Although my dance trajectory has moved from performing in The Nutcracker to learning repertoire by Nacho Duato and other contemporary choreographers, I credit the foundation of my dance training to FIM.