LEVINSKY COLLEGE SCHOOL OF MUSIC EDUCATION TEL AVIV

1. LEVINSKY COLLEGE SCHOOL OF MUSIC EDUCATION TEL AVIV

2. LIVE MUSIC ENCOUNTERS (LME)COMMUNITY PROGRAMLEVINSKY SCHOOL OF MUSIC EDUCATION • In-music class activities in which the young students learn about works that are played, later on, at the live concerts. • B. In-school chamber ensemble performances presented and narrated by young music educators (graduated of the Levinsky School of Music Education) • C. Final live concerts at the community auditorium, which are the culmination of the in-school preparation activities

3. LIVE MUSIC ENCOUNTERS- PRIMARY SCHOOLS Mini-Concerts Narrated Preparatory Meetings Towards the Symphonic or Chamber Concerts The Leader- Coordinator- Narrator Student Teachers- Training from the LSME Ensembles from Symphonic and Chamber Orchestras Primary Schools Students and Music Educators

4. Live Music Encounters Academic CourseManagement, Coordination, Design and Narration HOW TO ACCOMPLISH A GROUP GOAL? 1.THE MUSIC EDUCATORWho regularly teach the concerts’ repertoire in schools or kindergartens 2. THE LEADER-NARRATORWho presents and animates the chamber meetings in class room 3.THE PERFORMERS (players, singers and conductors) 4.THE MUSIC EDUCATORS IN -TRAINING

5. 1. Rationale and objectives of a specific concert program The considerations guiding the design and manner of narration concord with an approach (didactic, intuitive, esthetic, philosophic, cultural, etc.) The program represents certain model of "human/stage" and a dynamic/social/value interaction among the young audience, the musicians performers and the animator. Categories for discussion and analysis

6. 2. Choice of Repertoire The content reveals attention paid to the world of the student-listener (images and associations, cognitive ability, social maturity and interest of the age-group, etc.) The program offers contextual links to other fields of knowledge The program offers audience participation activities in the realms of movement, singing, playing music

7. 3. Structure and organization The logical structure of the program is clearly organized in terms of previous experiences and based on the concept that the concert is preceded by a process of preparation at the school around a guiding principle: overall sequence; a modular series of sub-sequences moves from the simple to the more difficult moves from the familiar to the more remote The timing of the program is suited to the characteristics of the target audience The program is organized according to a developmental principle, shifting between "direct moments", "high" points

8. 4. Accompanying explanations The text explanations and the narration style concords with the stated objectives. The explanation highlights the elements of the content The nature of the explanation is balanced in respect to the repertoire and the manner of its performance The text explanation is phrased in sophisticated language, in a spoken language, in prose, in rhyme

9. 5. Assessment of the value of the concert model and its performance to the audience The audience is actively involved in the program , challenged by: structure and performance of the repertoire activities in the realm of singing, movement, or playing clues regarding familiar and unfamiliar musical materials leading questions a story the charismatic presence or character of the narrator the charismatic presence or character of the performers The program arouses in the audience a sense of empathy, curiosity, or motivation for future encounters with "live" music

10. R. The sense of communal vocation has increased in the concert projects and increased my awareness of the need to participate in processes of change in the society around me. There is a great similarity between the two roles, yet: Teaching is a work on something which necessitates long-term planning, personal contact, patience and trust-building. The coordination and animation of the concert programs require a meticulous preparation for a one-time impact. This role has "released" me from mental models of teaching on one hand and deepened my disciplinary knowledge on the other. R. The sense of communal vocation has increased in the concert projects and increased my awareness of the need to participate in processes of change in the society around me. There is a great similarity between the two roles, yet: Teaching is a work on something which necessitates long-term planning, personal contact, patience and trust-building. The coordination and animation of the concert programs require a meticulous preparation for a one-time impact. This role has "released" me from mental models of teaching on one hand and deepened my disciplinary knowledge on the other. R. The sense of communal vocation has increased in the concert projects and increased my awareness of the need to participate in processes of change in the society around me. There is a great similarity between the two roles, yet: Teaching is a work on something which necessitates long-term planning, personal contact, patience and trust-building. The coordination and animation of the concert programs require a meticulous preparation for a one-time impact. This role has "released" me from mental models of teaching on one hand and deepened my disciplinary knowledge on the other. The lesson plans are completely different from the narration "scripts" of the concerts. The latter are demanding and utilize my creative, writing and language abilities. The mutual inspiration arising during the preparation meetings between the musicians and myself, towards the chamber meetings in the classes, widens my horizons and strengthens my place and my role in the team work. The lesson plans are completely different from the narration "scripts" of the concerts. The latter are demanding and utilize my creative, writing and language abilities. The mutual inspiration arising during the preparation meetings between the musicians and myself, towards the chamber meetings in the classes, widens my horizons and strengthens my place and my role in the team work.

11. N. The perception of the role of coordinator-narrator greatly influences my teaching abilities, although the shaping of the role of narrator has been built on my didactic principles as a teacher. N. The perception of the role of coordinator-narrator greatly influences my teaching abilities, although the shaping of the role of narrator has been built on my didactic principles as a teacher. N. The perception of the role of coordinator-narrator greatly influences my teaching abilities, although the shaping of the role of narrator has been built on my didactic principles as a teacher. N. The perception of the role of coordinator-narrator greatly influences my teaching abilities, although the shaping of the role of narrator has been built on my didactic principles as a teacher. The experiential emphasis, the fact that this is "live music", the one-time quality of the encounter and its power, are unique qualities of the role of coordinator-presenter. The multi-system work characteristic of the "Live Music Encounters" presents a new and different complexity from the one characteristic to schools: the different strengths of the staff members leading the encounters, the issues of hierarchy, equality or cooperation invite constant discussions. The experiential emphasis, the fact that this is "live music", the one-time quality of the encounter and its power, are unique qualities of the role of coordinator-presenter. The multi-system work characteristic of the "Live Music Encounters" presents a new and different complexity from the one characteristic to schools: the different strengths of the staff members leading the encounters, the issues of hierarchy, equality or cooperation invite constant discussions.

12. S. The “Live Music Encounters" process forced me to a constant reflection on my goals and means to accomplish them and the expected achievements. S. The “Live Music Encounters" process forced me to a constant reflection on my goals and means to accomplish them and the expected achievements. S. The “Live Music Encounters" process forced me to a constant reflection on my goals and means to accomplish them and the expected achievements. The restricted time dedicated to the chamber meeting during its performance in class, influences my methods of teaching in school and kindergarten in the aspects of enjoyment and effectiveness. The restricted time dedicated to the chamber meeting during its performance in class, influences my methods of teaching in school and kindergarten in the aspects of enjoyment and effectiveness. The restricted time dedicated to the chamber meeting during its performance in class, influences my methods of teaching in school and kindergarten in the aspects of enjoyment and effectiveness. In the "Live Music Encounters" I see myself in the role of mediator between the world of music, the performers, and the world of the pupils. The source of everything is the encounter with the music, I make the music leave one heart (the performing artist) and enter another (the listening child). “Like sending mail. " In the "Live Music Encounters" I see myself in the role of mediator between the world of music, the performers, and the world of the pupils. The source of everything is the encounter with the music, I make the music leave one heart (the performing artist) and enter another (the listening child). “Like sending mail. "

13. 1. An awareness of the cardinal influence of their abilities as music educators on their leading roll in Live Music Encounters Program 2. A feeling of social calling and emotional involvement 3. An acute awareness of differences in social dynamics among the various schools and communities 4. A deeper need for a wide range of disciplinary knowledge 5.A constant discussions on styles of collaboration: issues of hierarchy, equality or cooperation that emerges from the different strengths of the staff members leading the Live Music Encounters. 6. An expanded use of creative thinking 7. A concise and eloquent style of verbal communication 8. An increase in "stage" awareness.

14. LEVINSKY COLLEGESCHOOL OF MUSIC EDUCATIONTEL AVIV The Levinsky College of Education is expanding its area of activity and is initiating multi-systemic educational partnerships that enrich the life of the school and its multicultural surrounding communities. In our changing world, studying in educational partnerships is not limited in time and scope, but rather becomes an integral part of our lives, which accompanies us along our professional paths.” (Bulletin, 2003-2004, Levinsky College of Education).