Jessica Roemischer - The Piano Duet Paradigm(R)

Holiday Spirit!

2011-12-22T06:24:00.000-08:00

My gifted student, Tanny Labshere was born blind. Her reality is darkness. And yet, with the love of her family, the care she receives at Riverbrook Residence for Women in Stockbridge, MA, and through her piano music, she brings light to all who hear her play. Tanny has performed on three occasions for Governor Deval Patrick.

In the spirit of Light and Hope, Tanny and I offer you this duet. We wish you a Wonderful Holiday and a New Year filled with Health and Happiness!

"In My Dreams" - The Experience of Freedom in The Piano Duet Paradigm

2011-12-15T10:17:00.000-08:00

This video is a kick-and-a-half...and it's revelatory! It took place in one of my workshops. Mary Cunov was discouraged from playing by her early piano teacher. But Mary's dad was a Dixieland trumpet player. She LOVES Boogie-Woogie.

In improvised duet with me, for the first time she had the opportunity to let herself "go." As we played together, her creativity becomes obvious. Finally, the music that's always been inside of her came out!

WHATEVER your experiences have been--both in music and generally--KNOW that there's a FREE spirit inside you, READY to be released!

"A Duet is Something You Feel" - A Student Reflects On His Experience

2011-12-13T14:16:00.000-08:00

Tyler Henry, my young student, reflects on his experience of playing music in duet at the piano.

"For people who are listening, the first thing I want to say is that (when you perform on the piano), it's not about the attention that you get, it's about playing for the people, for you...A person has different emotions, happy, sad. So, find an emotion that you have now and just start to play..."

Inspiring advice for us all!

"A Bottomless Pit of Flowers"

2011-12-07T16:20:00.000-08:00

Maia Vlcek has been working with me for three years. I find myself delighted and inspired in our lessons because I KNOW that, even on days when she arrives from school tired and a little bedraggled, she will come forth with music that is striking, original, beautiful. She never fails. Maia is a wonderful example of the limitless creativity that EACH of us carries. She is simply allowing it to flow forth. We amusingly refer to it as her "bottomless pit of flowers."

This is one of the first duet improvisations we did together--we recorded it three years ago when Maia was eleven. It's gorgeous. I often listen to it when I want to focus or relax.

EVERY individual, in fact, has a bottomless pit of flowers inside of him or her! For each of us, it comes out in a different way. Your task is to determine how you can most easily access that infinite source of creativity inside you. In what way do you most readily express yourself?

Maia is a beautiful and inspiring example of creativity in action.

This duet was recorded yesterday.

"I'm a Piano-ist!"

2011-12-07T06:19:00.001-08:00

Rosie Chernila started piano with me when she was five, or maybe four. From the outset, we played improvised duets together. And from the beginning, they were beautiful. She has a delicate touch on the keys, a lovely sense of rhythm and phrasing.

Several months later, she exclaimed, "I've learned all I need to know. I'm a piano-ist!" With that, she decided to stop lessons. I took her declaration as confirmation. I was succeeding. Rosie was in touch with herself - an essential individuality that was being released through her music.

Music--especially when created in duet with another person--bypasses the limitations of language, of age, of physical or even cognitive limitations. I often speak with my philosopher father about the liberating effects of musical duet. When he first saw my duets, he was struck--and continues to be--by the freedom of expression afforded those who sit with me at the piano. We are working outside the traditional parameters of language and musical "narrative." Together with my students we are creating our own own narratives. My dad will be presenting a paper on this topic at Oxford University next summer.

Rosie's resumed her piano lessons. I'm delighted. Look and listen closely and you'll perceive her distinct personality. It's already there, emerging through the music. She's six now. I always feel something between us, a subtle and beautiful connection. Yesterday, we recorded this spontaneous duet.

Moments of Delight

2011-12-06T14:58:00.000-08:00

Today, I had a wonderful lesson (if you can call it that!) with a student who studied piano for many years prior to working with me. Our duets are incredible - free, virtuosic, inventive, HAPPY! We spoke about "moments of delight," our mutual experience of inspiration as we improvise together.

Become aware of the moments of delight that arise in YOUR day-to-day life. These moments will often occur unbidden, but they are significant. The experience of awe you feel will allow you to encounter/enter a different realm, an ineffable dimension of beauty and lightness that is otherwise invisible, and yet always there.

"Duet is Like A Garden" - A Student Reflects on His Experience

2011-12-05T15:35:00.001-08:00

This letter was written by a 17-year old student of mine named Erik. He is an unusually thoughtful young man. Anticipating an insightful response, I asked him to reflect on his experience of improvised piano duet. I just received this:

"In duet, the intertwining notes and chords are almost like a garden. It grows, if you nurture it, and eventually it becomes this big full thing before you have to cut it all away or it dies down naturally.

(Here, you can listen to an improvised duet that Erik and I created.)

"Duets display the combined emotional and musical efforts of two people in creative growth. The music can spark something in everybody as long as the ear is open. As the notes and chords grow and come together, they become one sturdy piece of music, filling this invisible canvas like an aural painting. A colorful, musical expression. In that, they're just as essential, if not more so, than what's created with paints and brushes -- we all need our prized music collection anyway, not everyone has a prized art collection.

"Music reminds me of colors, and what I've been thinking of here, I probably would not have thought of if I hadn't been listening this week to the music of the group, YES. I've been studying their layers of music -- listening to lots of progressive rock bands like them. A lot of their songs and pieces tend to sound like these big things, but a lot of the time it isn't as big as the ear perceives...

"I don't think I can describe my emotional expression with music; it just is. I can just let it be, and let it happen. I can't describe how I play anything, I have no idea what I'm doing at the piano, I just go for it and what comes out is what comes out. I don't think I'm alone there. Steve Howe (the guitarist in Yes) can't describe how he composed some songs...

...and Neil Young has a fascination with recording things "in the moment", which I haven't heard him elaborate on, but I imagine it's probably because once the moment's gone, the emotion is gone, and the initial magic of the song is lost as well. And that's what I can relate to, I think.

"The point that I'm getting to is that, unless you know exactly what you're doing with your instrument, you can't over-think it. But who wants to know, or hear someone who knows exactly what they're doing, anyway? If the music is truly expression and art, it all has to spontaneously happen in-the-moment.

"I hope you've had a wonderful week, and I wish the very best,
Erik"

When the Saints Go Marching In - The Duet Paradigm in Action!

2011-12-04T14:39:00.001-08:00

Tanny Labshere is one of my students - a young woman with exceptional musical abilities who was born blind and is also hearing impaired. We began working together four years ago when I started teaching music to Tanny and other women at Riverbrook Residence, New England's oldest and finest facility for women with disabilities.

My relationship with Tanny has progressed and deepened over the years. You can hear it in this improvisation. Something is happening through the medium of music. A CONNECTION. It's unpremeditated. We're each creating music individually and yet we're also TOGETHER.

Listen for what's beneath the music--the relationship between us. You're seeing and hearing two individuals who are independent, free, and inspired, and who are also collaborating creatively in response to each other. This dimension of relatedness is there, between everyone. You can sense it in your interactions. It's subtle. I suggest this: really listen to another person at the same time that you're listening to and expressing yourself, risking, stepping into the unknown. That's what we are doing here. THAT is duet!

The Ultimate Duet

2011-11-29T11:46:00.001-08:00

In prayer this morning, it suddenly occurred to me: I am in a duet with God, the Creator, or Spirit--that which is all-pervasive and ever-unfolding. And even more, the Creator is in duet with me!

In prayerful silence, I reflected on my inner "posture" and recalled what happens in piano duet--receptivity, listening, attentiveness. I open to another person and who he or she TRULY IS, making room for the possibility of an extraordinary outcome. The same was happening in prayer.

Indeed, the ULTIMATE DUET is with the Creative Force of the Universe. When we come into life, our birth is a beautiful expression of duet--God or Spirit in duet with matter, giving form to Itself as us. And when we leave, we are often reminded once again of its Absolute presence, its inherent and infinite nature, its purity and goodness.

At any and every moment along the way, we can rekindle our connection to this Divine Force. Simply choose to LISTEN FULLY and UNCONDITIONALLY for that "still small voice." In so doing, we realize that it's ALWAYS been there. We enter into the ULTIMATE DUET.

Here are several principles of The Piano Duet Paradigm. As I'm realizing, when used as prayer or meditation, they can awaken our relationship to God.

LIBERATE one's senses to listen wholly and fully to ANOTHER human being (or God, the Absolute, Spirit). In so doing, we begin to hear the natural, true "voice" of the other (of the Creator) at the same time that we begin to experience OUR OWN.

New and even MIRACULOUS POSSIBILITIES are REVEALED.

Harmony recognizes harmony. (Pythagoras)

These MIRACULOUS, NEW results are the manifestation of GRACE.

As we experience GRACE, we gain SELF-KNOWLEDGE, awakened to the CREATIVE FORCE that works through EACH OF US.

The Piano Duet Paradigm - A New Model for Human Relationship

2011-11-28T14:34:00.000-08:00

What if there was a doorway into an entirely new kind of human relationship, one in which physical, cognitive, psychological and emotional limitations are transcended; where creativity flourishes; separation dissolves; true equality is achieved; and the outcome far exceeds what either individual could manifest alone?

Over the course of thirty years, I’ve developed an approach to piano duet improvisation that is yielding extraordinary results with people of widely diverse backgrounds. As a result, the remarkable possibility I describe above is becoming an actual reality.

Here are several examples. In the videos below, you’ll observe piano duets with three very different individuals. In each instance, you’ll hear the person create music of striking originality. Both the student and I flourish. I believe this "Duet Paradigm" has profound implications for parents, educators, business leaders, spiritual teachers, professionals, and practitioners in every field.

Duet with Hope Garner
Hope is a 15 year-old girl with Down syndrome. This duet was, for me, a defining moment. As you'll see, Hope created music of disarming beauty. As a result, I found myself bearing witness to a human capacity entirely unfettered by her “disability.” She confirmed that EACH of us must have extraordinary creative abilities, no matter our background.

Duet with Sevyn Smith
Two years ago, I improvised in duet with 2½ year-old Sevyn, the son of Robb and Tiffany Smith. This improvisation models a dynamic relationship between adult and child, one that frees a youngster to become fully him- or herself. Observe how, through the music, I sustain my connection with Sevyn from the outset. When he finally sits with me at the keyboard, you’ll see him respond with a sensitivity and nuance that transcends his age. Ultimately, what transpires could not have been premeditated!

Duet with Pam Parsons Dupuy
Pam had limited background in piano. Yet, if you listen carefully to the beauty of tone and musical phrasing, you’ll hear playing that defies her lack of experience. Fully fledged music was already there inside her, waiting to come forth. She wrote later, “I remember wanting to find the right note, feeling self-conscious, a bit worried about doing it ‘wrong.’ Yet I was soothed by the music, the warmth and encouragement...” The result is stunning.

The Duet Paradigm - A Model of Human Relationship for Our Time
The traditional idea of the piano duet, recast in the 21st century, becomes a model of relationship for our time. As an individual is supported in a dynamic field of trust and exploration, she or he ventures into the unknown, often becoming freed in dramatic ways from physical and/or psycho-emotional conditioning. This can occur with or without the use of music. It arises when someone extends to you presence, trust and unconditional listening. In the space that arises, a person is inspired to let go, to express him or herself in new ways. The unique qualities of individuality are revealed--her or his true "voice." The transforming potential inherent in relationship is realized. People have described this experience as one of "loving remembrance," "of immense joy that washes away residues of pain," "of doubtlessness," of "childlike vulnerability," "where no fear can hold sway."

The next phase of my work involves bringing this miraculous paradigm to individuals and groups throughout the world via the internet. For instance, I have worked with children via SKYPE who are part of the Integral Heart Foundation in Guatemala and the Cakike Music Program in Bogota, Colombia. Many of these children are impoverished and often abused. Other recent in-person and virtual events have taken place with: teen girls in protective custody in Sydney; dozens of primary school children in southern New South Wales, Australia; women of economic privilege who never thought they could improvise; people in recovery from heroin and other addictions; young girls struggling to find a sense of identity; people challenged with every form of developmental and physical disability.

In the three videos above, you witnessed some of the ways individuals have transcended their disability, age, or background through the duet experience. Based on these and dozens of other striking examples, I believe that the liberating power of duet--which can occur in any human relationship--is a catalyst for widespread change, allowing people to rise above the challenges they face and realize their potential, no matter who they are or where they live. In my thirty years of experience, the Duet Paradigm has never failed to activate the glorious creative energy that exists within each and every one of us.

More on The Piano Duet Paradigm...
Jessica’s YouTube Channel, featuring dozens of solo and piano duet videos

"DIFFERENCES IN DUET: Musical Expressions from the Heart with Jessica Roemischer" - The best Multimedia Presentation of Jessica’s work to date, by Debbe Kennedy and the Global Dialogue Center

PERSONAL REINVENTION: Discovering New Pathways to Leadership with Jessica Roemischer Presented by Debbe Kennedy at the Global Dialogue Center

Light, Music, Spirit

2011-11-27T19:33:00.000-08:00

It was an extraordinary day playing the piano at both the Worthington and Chesterfield, MA Congregational Churches, and then for a friend's 70th birthday party. There were many moments of joy and inspiration. I'll share the highlight: Rev. Doug Small gave an especially compelling sermon for the first Sunday of Advent. Following his sermon, I played an improvised anthem medley, blending Minstrel Boy, America the Beautiful, Amazing Grace and finally, Come, Thou Long Expected Jesus. The church itself was built in the 18th century--simple, light-filled. At the last note of the anthem, I was overcome with the feeling that one longs for--a sense of something greater than yourself. The physical light became a metaphysical light. It was BEAUTIFUL. I played to THAT. Truly a blessing.

MGMT - A Piano Student Succeeds!

2011-11-26T10:02:00.000-08:00

Twenty years ago, Ben Goldwasser, co-founder of the band MGMT, began his musical career at the age of nine in duet with me at the piano. He was one of my early students. Ben's father, David, said that it was the support and creative freedom I gave Ben that helped him gain confidence in his abilities. MGMT has become world-famous and nominated for two Grammys.

I offer this as encouragement to EVERYONE. When the creative spirit is nurtured, recognized and freed, it can lead you to amazing places! Good on 'ya Ben!

New Podcast About The Piano Duet Paradigm(TM)

2011-11-23T14:59:00.000-08:00

In this 1-hour interview with David Roel on TalkShoe Online, I discuss how music bypasses the limitations and defenses we often unconsciously carry. In The Piano Duet Paradigm, two people become inter-supportive, generating a field of trust and exploration. New realities emerge. The Duet Paradigm is a spiritual practice, one which is imminently human, real and tangible, one that gives rise to an awakened experience of the creative force that flows through each of us.

This quote by Pierre Teilhard de Chardin goes to the heart of what I observe and what inspires me to share this work with others: "Together we exist and forever we will recreate each other."

You can listen to this interview in its entirety here

In a Safe Place, the Creative Spirit is Freed

2011-11-22T20:19:00.000-08:00

I'm working via SKYPE with students in the Cakike Music Program in Bogota, Colombia.

Over the past six weeks, the students have been sharing with me stories of their lives, of their greatest happiness, playing little songs that they're learning on guitar, piano, xylophone. I'm helping them connect to themselves--to their source of identity, strength and confidence--to that which nothing in their often difficult lives can touch.

For each child, I'm improvising a special piece inspired by his or her life and story. This morning's session with a class of young students exceeded my expectations. Two boys--brothers--entered into a spontaneous duet on xylophones, each taking turns improvising as the other accompanied. They used what they had learned to take a leap and begin to create their own music. The respect they extended to the other made this possible. That respect and care allowed the space for something new to happen. The Cakike teacher, Paola Medina and I were deeply moved to witness this! In that safe place, the spirit inside of us can ignite and come forth in such beautiful ways! This morning was an inspiring example!

More to come...

Opening Pathways of Communication

2011-11-21T17:40:00.000-08:00

This morning in my music class at Riverbrook Residence for women with disabilities, I improvised in piano duet with a young woman who is almost completely deaf.

Despite her disability, I was amazed to see her fingers on the keyboard, lithe, confident. She could FEEL the rhythms I was creating and SEE my hands moving as I played an accompaniment in the bass. She joined me, producing simple lyrical sounds in the treble. In the last note, we were completely together. The music that had emerged was beautiful. She turned to me with a HUGE smile. My heart melted! And I thought--there are are SO MANY MORE channels of communication open BETWEEN us than we think! Such subtle and accessible pathways that allow us to collaborate and communicate!

Be Thou My Vision

2011-11-20T10:10:00.001-08:00

I perform on piano nearly every Saturday afternoon at Chocolate Springs Cafe, in Lenox, MA. There amidst people enjoying the world-class deserts, coffees and exotic teas, I play improvised interpretations of "My Favorite Things" or Dave Matthews' "Crash Into Me," or The Beatles' "With a Little Help from My Friends" (here's a video of Little Help)

In fact, my CD "Haven," was recorded there. The selections I chose for the CD were those in which the alchemy was right, when the listening ear meets the music and as I sense it, inspiration carries my playing farther and wider and deeper.

Yesterday afternoon, people were absorbed in conversation, enjoying their social time with family, friends. Then, just prior to the end of my "gig" I decided to play several hymns (I've been introduced to so much beautiful music playing at the Worthington Congregational Church, where I'm the pianist.)

As I began to play, the atmosphere changed. A palpable stillness emerged. The air grew "viscous." I've come to recognize these moments as manifestations or reminders of the Divine, of God, or spirit--whatever you feel comfortable calling it.

The music was an opening into that realm. "Be Thou My Vision" was the perfect hymn for the moment. It speaks of the ineffable, to remember it always and know that it will never abandon us.

Here is my piano interpretation of "Be Thou My Vision," recorded yesterday at Chocolate Springs.

"Be thou my vision, O Lord of my heart,
naught be all else to me, save that thou art;
Thou my best thought by day or by night,
Waking or sleeping, thy presence my light..."

Indeed, we ARE intrinsically connected to that which is Infinite, Beautiful and TRUE. Wherever you are as you're reading now, contemplate this realm which is extraordinary and the source of strength and healing. See if anything comes to you.

Coda:
This morning I woke early to play at Worthington Church and there quite unexpectedly--because it's rare for late November in New England--was a rainbow arching over my street...another beautiful reminder of that ineffable realm and its myriad manifestations of beauty in the world.

Inspiration at the Right Moment - Barry Lopez, Writer and Naturalist

2011-11-19T05:34:00.000-08:00

A year and a half ago, I gave my first transformational retreat in the Berkshire Hills of Lenox, MA. Together with the participants who'd enrolled for the weekend, we'd explore the power of duet improvisation to awaken our creativity, to hear our unique "voices" as expressed through improvised music, and finally to leave--I hoped--with a new sense of life and its possibilities.

The night before the retreat began, I was nervous as I contemplated the schedule, the myriad practical details, our activities together, my aspiration for the weekend. At 11pm, something compelled me to turn on the TV, which is unusual. There on PBS was the final episode of Bill Moyers' "Journal," a show in which each week he would interview a person of note--an artist, public figure, spiritual leader. I had heard of his guest, author, Barry Lopez, and vaguely recalled that I'd been inspired years earlier by something he'd written. As Lopez began to speak, however, I realized that I had been blessed. Here was EXACTLY the right message, the right person to strengthen and affirm my vision just as the weekend was about to begin.

To give you a sense, this is an excerpt from the interview. He is speaking about writing; but, really he is encouraging us to CREATE. There are real and positive effects that our creative acts can have on another human being:

"And when you can open up (to your creativity) and come out of your own little small tiny place in the world and...you try. And you get something on paper. And you give it to somebody. And you say, "Well, what do you think?" If it really works, they (will) read it and they will say, "I think I'm going to be okay."

Barry Lopez was expressing what compels me to do my work, my reasons for encouraging others to trust in themselves, in that which lies often untapped in each of us--one's own true voice!

It was no wonder that Bill Moyers chose Barry Lopez as the final guest. Moyers said in his introduction to the interview: "So many people have inspired my own work that I had a difficult time making that choice. But i finally decided to ask someone whose curiosity about the world, and pursuit of it, have set the gold standard for all of us whose work it is to explain those things we don't understand"

You can watch the interview in its entirety here on the PBS website:

http://www.pbs.org/moyers/journal/04302010/watch3.html

Here in My Heart - A Story of Music, Faith and Love

2011-11-18T16:51:00.000-08:00

The following article was printed in The Advocate, North Adams, MA - October 19, 2011

Over the past 30 years, as a musician, composer and teacher, I have taught piano to hundreds of students of every age and background. And yet, what probably comes to mind when you think of "piano lessons" has little to do with what happens for people when they sit with me at the keyboard.

Imagine yourself discovering that you can create music of disarming beauty -- even if you have little or no musical background. Imagine finding a confidence that defies any preconceptions you may have about yourself or life. Imagine experiencing reality in a new way as a result of creating music together with another person, where limitation and fear are replaced by positivity and love.

From the outset, I was drawn to playing in duet with my students, and I developed a unique approach to piano duet improvisation. The result is that a person with no musical background or "ability," and even with a disability, is able to create beautiful, original music. In the process, I've been transformed, finding a deep faith in life and in our innate human capacities that often extend far beyond what we (or others) may have imagined.

Here's one inspiring example: Stephen Lepotakis has studied with me for two years. Stephen was diagnosed with autism early in his life. His mother, Sheila, explained how the first clue was in his verbal expression, which stopped developing at 18 months. Stephen is now 22. In our lessons,he communicates more through music than through language. Sheila has said, "If we could put to music everything he needs to learn, he would absorb it all quickly. He would surpass so many of his deficiencies."

Stephen enjoys my Steinway grand, which gives him 88 keys, as compared to his small, electronic keyboard at home. At his lesson, he glides his hands up and down the piano in long glissandos and gleefully plays fast sequences of notes in the bass. It's those exuberant, percussive sounds that lead his mother, Sheila, to lovingly refer to him as "her little Chopin."

Stephen loves music and numbers and telling time. Appropriately, among his favorite songs is the Chicago classic "Does Anyone Really Know What Time It Is." As he performs this song in duet with me, he will look at his watch in the midst of it and call out the time: "3:42 p.m.!"

Another song Stephen loves is the Chicago hit "Here in My Heart." The theme of that song perfectly expresses the effect my working with Stephen and my other students has had on me. Sheila and her husband, Neil, were advised early on that they should resist changing their lives to accommodate their son's, and yet their love for Stephen comes from a place that's deep and natural. I've been inspired and touched by this wonderful family.

Stephen expresses through music some of what he can't convey through language. He has a wonderful sense of rhythm and is capable of subtlety and nuance. I only need to give simple suggestions and he's right there with me. It truly is a collaboration. Stephen and I performed at the 2009 Jolly Jaunt fundraiser, for which he received the "Most Spirited" Award. We chose our duet version of "Does Anybody Really Know What Time It Is" to play for 350 people at the Community Resources for People with Autism fundraiser in 2011, receiving a standing ovation.

My work with Stephen and all of my students has been a revelation. It has allowed me to recast the traditional piano duet into a model that can be applied to any human relationship -- at home, school and work. The elements are unconditional listening and presence, faith in another's potential, a spirit of exploration, trust that an extraordinary outcome is possible and curiosity to see what happens. In day-to-day interactions, when you create these conditions for another person, or you are blessed to be given them, joy, creativity and love will flow forth.

Video - Performance for Governor Deval Patrick

2010-09-07T17:27:00.001-07:00

Over the past eighteen months, I've had the honor of performing twice with my gifted student, Tanny Labshere, for Massachusetts Governor Deval Patrick. I teach Tanny at Riverbrook Residence for Women in Stockbridge, MA. She is truly a success story of the State - in this video I explain why.

For our performances, we have chosen some of our favorite piano duets. The Governor's humanity and warmth have shone through each time we've played for him. I've been struck by that quality and, believing that it makes him worthy of support, I decided to become involved in organizing a fund raising event for his upcoming re-election.

At Suky and Tom Werman's idyllic Stonover Farm Inn in Lenox, MA (where my husband and I were married!), on a sparkling late summer afternoon, we performed our original duet interpretation of "When the Saints Go Marching In." It was a memorable moment!

Katy, Ray of Hope

2010-09-05T18:30:00.000-07:00

In August, Mick Quinn and Debora Prieto interviewed me about my transformational work in music for their tele-series, "Ordinary People, Extraordinary Actions." In the process, I learned about their "extraordinary actions" - to better the lives of impoverished children in Guatemala.

And I also learned these astounding facts: 43% of children in Guatemala under the age of 5 are chronically malnourished. This is one of the highest malnutrition rates in the world. More than half of the population is below the national poverty line and 15% live in extreme poverty. Poverty among indigenous groups, which make up 38% of the population, averages 76% and extreme poverty rises to 28%.

In one of our conversations, Debora and Mick told me of a 13 year-old girl named Katy. When I first heard Katy's name and the tragic circumstances she has endured, I sensed a connection with her. In retrospect, as I reflect on my thirty years of teaching, I realize that I've experienced that special rapport a number of times. It has most often been with a woman or girl who has faced particularly challenging circumstances.

I was compelled to write Katy a piano composition. Last Saturday, thousands of miles from the slums of Guatemala, I turned on the mp3 recorder and began. What came to me was a sense of innocence and of joy. Katy was being robbed of these precious attributes--the birthright of childhood. I created a piece inspired by what I knew was in her, despite her tragic life. I called it, "Katy, Ray of Hope."
Click here to listen

A few days later, I emailed the piano piece to Debora. She set up her computer so that I could meet Katy via SKYPE and speak with her as she listened to the composition. Katy is a student at The Scheel Center, an extraordinary place where Debora spends two days per week teaching children whom, as she describes, share one quality, "abject poverty."

There were many kids in the room finishing lunch, talking boisterously. But that didn't seem to matter. As Katy listened to the music she became completely absorbed. I watched her face on my computer screen here in the United States. Time was suspended. The piece seemed to go on forever. Finally, towards the end, Katy broke down in tears and threw her arms around Debora. Debora was my surrogate. I couldn't touch Katy or hug her. But we were connected. "No one has ever created something beautiful for me," Katy said. "This is so beautiful." I responded by telling her, it's the first piece I've composed especially for someone.

Katy has touched my heart. I have decided to sponsor her through Mick and Debora's program. It allows her to have books, shoes, a bed--it will fulfill her basic needs and the needs of her family. My hope--and this is the goal of their program--is for Katy to become educated, to rise out of poverty, to begin to make real her hopes and dreams.

There are many other children in Mick and Debora's program who need sponsorship. For $25/month your sponsorship will be their Ray of Hope. Please see this website to learn more about these children and how you, too, can sponsor a child in Guatemala.

This new video is a wonderful introduction to their program.

Music Reaches Across Cultures

2010-08-24T08:04:00.000-07:00

I want to share with you extraordinary evidence that music DOES, indeed, heal people, no matter what they have experienced and regardless of cultural background.

My good friends, Debora Prieto and Mick Quinn are working to better the lives of impoverished children in Guatemala. Debora decided to show a group of her teenagers the video of my piano duet with a 15 year-old girl named Hope Garner, who has Down syndrome. (This photo shows the teenagers as they are watching Hope's video.)

Debora explained how she came up with the idea to show the video: "When the teenagers first told me of their backgrounds, I had to make a huge effort not to cry in front of them. Every story was so sad and painful that just listening to them was like torture....I decided to use this video because I work in an environment where there is not room for vulnerability on the part of children. Any sign of "weakness" would open a huge space for abuse. The only way I could bring that intimacy back to my kids was to show them the video of you with Hope."

Here is the video these teenagers saw:

Hope's video had a profound impact. Debora described it to me this way:

"What happened was amazing. Most of the children couldn’t even talk, others said that they didn’t have words to express their feeling; it was too big for them to explain and to understand. One was almost crying. Then they began to express a deeper self-confidence. They began to realize that THEIR voice was important, too!"

Debora and Mick interviewed me recently for their "Ordinary People, Extraordinary Action" series. I highly recommend that you listen to the audio below, Debora describes these children in more depth and the extraordinary effect that seeing this video had on them. It is a VERY special conversation. Indeed, when music speaks from the heart, it touches the heart in another and gives a new sense of self-worth and of possibility, even amidst extreme hardship.

Click Here to Listen

Mick and Debora run "The God's Child Project," a sponsorship program in Guatemala, which makes it possible for children in need to have their basic requirements met--shoes, a bed, books for school. For $25/month your sponsorship will give them new hope. Please see this website to learn more about these children and how you can sponsor a child in Guatemala.

For more information on Mick Quinn, author of the award-winning book, The Uncommon Path, and Debora Prieto click here.

Sharing the Transformative Power of Music with Governor Deval Patrick

2010-04-11T12:30:00.000-07:00

On April 10, 2010, Governor Deval Patrick and his family appeared at a fundraiser/campaign event in Northampton, MA. I had an opportunity to give the Governor an article that was just published in Exceptional Parent Magazine, which describes my music program at Riverbrook Residence. The article culminates in an account of the duet piano performance of America the Beautiful/We Shall Overcome that my gifted Riverbrook Residence student, Tanny, and I played for him last June. (Watch video of our duet)

In the article, I describe that performance: "While I played the familiar refrain of America the Beautiful, Tanny began the descant--a soaring counter-melody high in the treble. Our notes melded together and the duet became pure music. I could feel the Governor watching, listening. Everyone in the room was held in rapt suspension. Suddenly, Governor Patrick was not the governor, I was not the music educator, Tanny was not blind. At the final chord, the Governor came immediately to the piano and pressed Tanny's hand in his..."

Last night, in recounting that occasion to Governor Patrick, he remembered it well and said he'd like for us to play again for him. That opportunity may arise soon!

Also at the event last night were dear friends, Bernard Jones and his wife, who is a wonderful artist - Ruby Rice. Bernard is a fellow musician, a supporter of the Governor, and had invited me to the Northampton fundraiser. He was also responsible for arranging our piano performing for the Governor last June. Thank you, Bernard!

New Piano CD - A Fundraiser for Haitian Relief Efforts

2010-01-21T07:14:00.000-08:00

I've just produced a new CD of Hymns, Spirituals, Originals, and Duets. The entire proceeds from sale of the CD will be sent to Doctors Without Borders and other major relief organizations responding to the disaster in Haiti.

This solo piano recording includes Amazing Grace, When the Saints Go Marching In, Simple Gifts, When You Wish Upon a Star, Old Ship of Zion, Wonderful World, Danny Boy, The Battle Hymn of the Republic, and many more beautiful interpretations.

Click here to listen to a sample track

Support this important cause while gaining inspiration and hope through music!

Price is $25.00 per CD, postage paid.

You can order through PayPal here:Total proceeds from the sale of each CD--$17.00--will be donated to Haitian relief efforts

Music at the Integral Spiritual Experience Conference, 2010

2010-01-07T19:25:00.001-08:00

Over the course of thirty years, I've improvised at the piano with hundreds of individuals on four continents—people ranging in age from 4 to 84, as well as those with developmental disabilities such as Down syndrome and autism.

Without fail, everyone who has ever played in duet with me has come forth with music of disarming originality. Time and again, I see people emerge simply and fully as themselves--free, authentic, creative, alive. The music they express reveals the essence of who they are. It is always beautiful and it is always unique.

Thus, in early December, when I discovered an upcoming conference called, "Integral Spiritual Experience: Your Unique Self," I sensed that the event would relate to what I was observing through music. I wrote to conference organizer Nicole Fegley to explain how my teaching and performing would be an apt addition. Although it was just three weeks prior to the event, she created a way for me to be involved. Her receptive and generous response made it possible for me to offer five days of dynamic exploration into the power of music to awaken our deeper humanness.

The Integral Spiritual Experience conference took place at Asilomar Conference Center--a beautiful coastal preserve near Monterey, CA. I braved the -20F below wind chill at Albany, NY airport, gladly boarded the plane and landed (after a couple of stops) in balmy sunshine. The hospitable warmth created a conducive environment for self-actualization and joy.

I learned that the conference was the result of ongoing dialogue between Diane Musho Hamilton, Marc Gafni, Robb Smith, Ken Wilber, and other pioneering Integral thinkers and teachers. It was formulated as a framework for spiritual practice and personal growth in our time of heightened individualism. ("Individualism" refers to the self-aware, self-determining, globally-informed, media-saturated, post-modern consciousness of many of us, as compared with, for example, the tightly circumscribed, clannish, cycle/season-oriented, subsistence lives of serfs in 12th century medieval villages.)

In fact, the whole issue of individualism has been on my mind. Having written a major article about the evolutionary theory of Spiral Dynamics, I recognize what it's taken to get us to this point--the millennia of cultural/consciousness development that's produced our unprecedented psychological and existential freedom. And now, as I improvise with my students at the piano here in the 21st century, it's clear to me that their sense of individuality is a springboard for growth and awakening, rather than an impediment. The capacity to express ourselves freely and openly--and to value our expressivity as significant--makes possible my transformative work in music.

Years ago, even before I was consciously aware of it, I set out on a path to bring forth through music sublime beauty in myself and others. I was trained in the finest European tradition, in a lineage that links directly to the great masters of the Western world--Chopin, Liszt and Beethoven. During the pre-conference teachers' meeting Marc and Diane described the characteristics of the "Unique Self." It was a "dharma" or spiritual teaching that mirrored the insights I've gained from decades of music study, performance and teaching.

"It's like you're a snake-charmer, calling out the inner dimensions of anyone who sits with you at the piano," Andre Schugt, one of the participants, said to me. It's true! Using an innovative approach to duet improvisation, I create a dynamic field of trust and doubtlessness. As each person places his or her hands on the keys, any pretense or self-consciousness falls away as unique combinations of notes, gestures, and rhythms arise.

The music takes wing through never-before-heard melodies that inspire all who are present. Without exception, what emerges is of real beauty. The universal and the personal become One. People describe their experience of improvising as one of "loving remembrance," "of immense joy that washes away residues of pain," "of doubtlessness," of "childlike vulnerability," "where no fear can have sway."

At the Integral Spiritual Experience conference, I had the opportunity to conduct a children's class, as well as two improvisation sessions for adults. The many responses confirmed music's transformative power. Jane Chesher described: "In the midst of making 'mistakes' on the piano, somehow something beautiful emerged, and my mind couldn't get that. It's radical to awaken the true authentic self in the center of making 'mistakes,' and then for amazing music to arise. I do think it's the reason I had a doubtless return to my own sense of wholeness this weekend."

Katherine Konner, whose video is below, later reflected: "While I was improvising, my left hand literally froze like a claw. This reminds me of contractions that occur in my life. Sometimes I just find myself stuck... so in a way, improvising with you was like finding grace. It was a way of getting myself unstuck. You helped me reconnect myself to my own beat."

The Integral Spiritual Conference proved to be a potent context for my work. Improvising with so many thoughtful, committed individuals in an atmosphere of self-discovery demonstrated music's power to release the inmost self, allowing us to see that in essence we are creative and free. Indeed, this is the catalytic recognition I'm endeavoring to bring to the world!

These videos of piano duet improvisations from the ISE conference reveal the inherently unique and beautifully creative self that resides in each of us, no matter our age!

Improvisation with Katherine Konner

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Improvisation with Akiva Davis,the 18 month-old son of Rabbi Avram and Laura Davis. Akiva is the youngest child with whom I've improvised. I let the duet unfold spontaneously, taking my cues from him. In mirroring his musical gestures, I support him. This approach, in general, is vital for child development and growth. And as you'll see, the result is delightful and surprising!

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Improvisation with Sevyn Smith,the 2 ½ year old son of Robb and Tiffany Smith. I created music that expressed Sevyn's energy and I kept going with it regardless of what was happening. Suddenly he joins me and begins playing with striking maturity. His energy channels itself into wonderful music!

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Improvisation with Parker Tucker, a 9 year-old girl. Parker always wanted to improvise at the piano and felt thwarted by conventional piano lessons. The minute I met her, I knew her creative spirit was there waiting, ready to be released. I was right! Her improvisations were beautiful and more: she helped by improvising with me in trios with Akiva and Sevyn, encouraging them, placing their fingers on the keys. At the final event of the conference, she and I performed for the 500+ participants. Thanks to Parker, I brought Akiva and Sevyn on stage to join us for what would be a memorable performance.

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Improvisation with Pam Parsons Dupuy In this video you'll hear my instructions to Pam - these are the guidelines I often give to people when they first sit with me at the piano. The result is stunning. You'll hear Pam's beautiful tone and feel her absorption. I then speak about how we can produce resonant tone at the piano, which is the essence of transcendent music. Pam certainly illustrates it!

For more information or to schedule a performance or workshop,
Please visit: www.pianobeautiful.com
or email: jessica@pianobeautiful.com

"The Light of Beauty Exists Inside Every Human Being!"

2009-12-16T10:44:00.000-08:00

A Music Workshop at Integral New York, November 2009

Over the past twenty-eight years, I have taught piano to hundreds of students. And yet, what probably comes to mind when you think of “piano lessons,” has little to do with what happens for people when they sit with me at the keyboard.

Imagine yourself discovering that you can create music of disarming beauty—even if you have little or no musical background. Imagine finding a confidence through music that defies any preconceptions you may have about yourself or life. Imagine watching another individual transform before your eyes as original piano music emerges spontaneously from her fingertips. Imagine experiencing reality in a new way as a result of music, where limitation and fear are replaced by positivity and Love.

In my workshops—which consist of solo piano performances, improvised duets with members of the audience, meditation, lecture, dialogue, and videos of great musicians—participants experience all of the above and more.

I am simply transmitting to others what music means to me. From the time I was quite young, improvising endlessly on the blues, or learning by ear my favorite James Taylor chord progression, or playing the most sublime Mozart composition, gave me solace amidst tumultuous circumstances. I was blessed that my family had a beautiful Steinway grand—the same instrument on which I now teach my students. Without fail, each time I would sit at the piano, music magically transmuted the effect of whatever was occurring around me. It made me whole.

In November, I conducted an interactive workshop in New York City sponsored by the Integral New York/Ken Wilber Meet-up Group. This particular event was created in collaboration with music educator, Lesley Stoller, who does groundbreaking work at the Queens Children’s Psychiatric Hospital. During the course of the evening, two participants, Susan Babcock and Jackie Sabin, improvised in duet with me. Although Susan had extensive formal training on piano and harpsichord, she believed herself incapable of improvising her own music. Jackie’s musical background was limited, consisting of trumpet studies in middle school. Despite their trepidation, both took the risk and sat down with me at the keyboard.

As you’ll see in this video, the experience awakened each woman to her inherent musical ability!

Indeed, my workshops are intended to effect deep and lasting transformation. Susan later wrote to me, “The most amazing thing happened last night. I practiced some of my classical piano pieces for over three hours and at the end, I decided to go for it. Improvise. Jessica, it was no more ‘accomplished’ than what I did with you in the workshop. But, like that session, it set my heart free. I didn't do it ‘well.’ I did it. Your workshop has burst a dam that’s been constricting me in my musical and personal expression for my whole life, ever since I learned how to be self-conscious. It’s like you’re saying to all the dark cynics in the world, 'Look at this!! The light of beauty exists inside every single human being!!'”

“A creativity I thought belonged only to talented artists”

2009-12-15T15:17:00.000-08:00

Barbara Larisch of Integral New York
describes her experience improvising at the piano

Improvising with people of all ages and backgrounds is one of the most exciting dimensions of my work. When someone first sits with me at the piano, I begin by playing an evenly rhythmic, harmonically pleasing accompaniment in the bass (on the white notes, key of C). At a certain point, I ask the individual to improvise a melody in the treble (also on the white notes). Inevitably, he or she begins to explore, to venture out, experiment and expand, inspired by the sounds emerging from their own fingers and mine.

Barbara Larisch, who helped promote my recent events for the Integral New York/Ken Wilber Meet-up Group, took the leap and improvised with me during my first iNYC event in June, 2009. Her thoughtful reflections beautifully articulate the experience many have:

“When I was invited to play an improvised duet, I was at first very reluctant. I never thought of myself as musically inclined and I felt self-conscious about my lack of ability. But when I sat down at the keyboard and tentatively placed my fingers on the keys, as Jessica suggested, I felt my awareness of the room slowly slipping away.

"At first, all of my attention was focused on the mechanics of playing and I tried hard to integrate my rudimentary notes with the beautiful sounds that were arising from Jessica’s playing. It was a very cognitive and kinesthetic experience, very much like learning how to balance on a two-wheeled bicycle for the first time. Jessica’s presence was always with me, though. Her fingers were dancing across the keyboard and I discovered that the more I let go of my fears, the more playful our music became. Her voice was there in the background, coaxing me to let myself relax into the experience. My whole body started to release its tension and I realized that I was enjoying the dance that was unfolding. Each moment thereafter became an opportunity to be playful and creative and I found myself taking more and more risk.

“Then the quality of my listening began to change. I found myself responding musically to the notes that she was playing. We were having a conversation without words. But I knew that a language was being spoken because I became aware of shifts in mood, as the notes grew stronger and more playful, and then little by little, slower and softer. I became aware that I was co-creating these beautiful sounds with Jessica and I sometimes felt like we took turns playing the lead, like two dancers do, wordlessly and without any communication. The joy I discovered in expressing myself musically awakened a creativity in me that I thought belonged only to talented artists. But now I see that the impulse to create lies deep inside each one of us.”

This video from my Integral New York workshop, June 2009, shows Barbara improvising for the first time:

The Spirit of "Yes We Can" - Meeting President Barack Obama

2009-10-24T15:15:00.000-07:00

It’s not every day that one has an opportunity to meet the President of the United States. On Friday, October 23rd, that possibility presented itself. In support of Governor Deval Patrick’s re-election bid here in Massachusetts, President Obama traveled to Boston to appear in a fundraising event. I couldn’t NOT go.

I arrived at the Westin Copley Hotel several hours early. The first clue that something unusual was afoot occurred when I stepped into the elevator. I pushed the fourth floor button to go up to the American Ballroom, and nothing happened. I pushed it again. I suddenly started to feel as if I was in an espionage movie. “The Secret Service is checking the area and they’ve blocked the elevators from going to the 3rd and 4th floors,” the concierge informed me. I waited in the lobby as Boston police came and went and a Secret Service agent perambulated quietly around the area.

My good friend, Bernard L. Jones, who was to meet me at the event, was delayed for more than an hour trying to find his way to the hotel amidst Boston traffic—and that was before they blocked off all the streets in anticipation of the President’s motorcade. (If you’ve ever driven in Boston, you’ll understand!). Bernard, a Vietnam War combat veteran has worked for many years in the Veteran Affairs Dept. and is a Democratic State delegate from Colrain, MA. (He’s also a bass player.) Bernard is a wonderful supporter of my work and made it possible for me to meet both Governor Patrick and Vice President Biden at recent political fundraisers.

Last June, together with the kind assistance of Charlotte Golar-Richie, Executive Director of the Deval Patrick Committee, he helped to arrange a performance for the Governor, in which I played a piano duet with my student, Tanny Labshere of Riverbrook Residence. Governor Patrick was clearly touched by what he heard that afternoon, and sharing the beauty of music with him was a memorable experience.

Here is a video of Tanny and me performing the medley we played for the Governor – “We Shall Overcome” and “American the Beautiful.”

My reasons for attending last Friday's event with President Obama were to support Governor Patrick, and also because I hoped to meet the President and introduce him to the extraordinary music being created by the women whom I teach. In fact, I had recently sent a DVD of the women’s performances to First Lady Michelle Obama for consideration for her new White House Music series.

In anticipation of possibly meeting the President, I prepared a package addressed to him that contained that same DVD (you can watch the video on YouTube), a letter of introduction, and a beautiful card made by Jenn Bradley, a staff member at Riverbrook Residence. The card contained images of many of my students at Riverbrook, New England’s oldest facility for women with developmental disabilities.

Perhaps it was superstition, but for the most part I kept quiet about my upcoming trip to Boston. A few people did know. Joan Burkhard, executive director of Riverbrook—and my fabulous boss—sent me off with well wishes. Some of the staff at Riverbrook and several of my Riverbrook students were aware I was going. My best friend, Elza Maalouf was supportive as ever, having told me long before I could have imagined it, that my work would “impact millions.” My husband, Laurie, who doubles as my personal trainer and life coach, helped me focus on my goal.

A day or two prior to the event, Claire Garner, whose daughter Hope is a student (see Hope’s inspired piano performance here) asked me if she could share the news. I said, yes, and knowing that faith was very important to her, I said, please tell everyone you know to pray that I connect with the President and make this beautiful music known to him. Claire is a member of the Living God Fellowship in Great Barrington, under the direction of Pastor Lein Collins. And that’s what she, the Pastor and the congregation did. Reverend Doug Small and the wonderful folks at the Worthington Congregational Church, all of whom are enthusiastic supporters of my work, were also thinking of me.

Having arrived at the event several hours early, when they finally opened registration, I was one of the first through the metal detectors. A U.S Secret Service policeman, K-9 division, swept by and into the elevator with a huge German Shepherd. I went up to the American Ballroom, which featured two stages, one of which was for entertainment and the other, bordered by a blue barrier, for the President. I took a spot “on the rope,” as I’ve discovered they call it, and stayed put for 2.5 hours until the Governor and President arrived.

In the meantime, Bernard showed up with Wes Brown, Jr. also a bass player and instructor at University of MA/Dartmouth. Wes’ father, Wesley Brown, Sr., was the first African-American to graduate from the Naval Academy in Annapolis. In recognition, they named a new field house at the Naval Academy in honor of him. I asked Wes, Jr. if his father had met President Obama and he said yes, he was in the stands during President Obama’s inauguration.

Amazingly, despite hip replacement surgery less than two months ago, Governor Patrick strode up the steps to the podium with no discernible limp. He proceeded to speak about the challenges faced by his administration as a result of an enormous State budget shortfall, and then outlined his significant accomplishments. He is up for re-election in 2010, thus President Obama’s visit to help raise money for his campaign. Governor Patrick then introduced President Obama, his long-time friend. In and amidst my videoing and photographing (you can watch an excerpt of President Obama's speech here), I was struck by their common message: both the Governor and the President implored the audience to take responsibility for the future of this country. They emphasized the importance of public action – “it’s up to you to help create the changes we need,” they each said to the audience in their own words.

I take that message, “It’s up to me,” very much to heart and it is, in fact, what compelled me to attend this event with the hope of meeting the President. Every day the people I teach are exemplifying Change, emotionally, cognitively, and creatively. Despite their disabilities, my students prove that the capacity to express beauty is a human birthright, unfettered by any limitation. When people witness their performances—-as the Governor did in June—-they hear something of disarming beauty and freedom, and invariably experience optimism. The women's music proves that optimism is, indeed warranted, and that's why I’m endeavoring to make it visible at a national level. It’s a vital message for our times--the spirit of possibility is what got Barack Obama elected almost exactly a year ago.

President Obama stepped down from the podium after his 20-minute speech and began to greet the crowd along the barrier. As he approached me, I reached down to pick up my 8 ½ x 11 packet. I was immediately thwarted by a Secret Service agent. The President was not receiving anything. President Obama reached toward me and shook my hand as he looked me in the eye. Things were happening so fast it was hard to keep up. In a second, he was further down the line, flanked by several Secret Service men and one woman, whom I watched intently for a few seconds. I admired her. She reminded me of a petite, blond version of Trinity, from the movie The Matrix.

Then Governor Deval Patrick began to greet those of us at the front of the crowd. He took time and acknowledged people, many of whom were familiar supporters. He recognized me. I let go of the possibility of getting anything to the President, and simply remarked on how wonderful it was to see him so well after his surgery. He was very appreciative and kind. As he moved past us, Bernard said he wanted to give something to him. I followed. Through the throng of people, Bernard passed a card to the Governor. I tried to do the same, but my large packet was difficult to get through three rows of people straining to shake hands. However, just as Governor Patrick was nearing the end of the line, he turned, looked directly at me and said, “Do you want me to take that?” I couldn’t quite believe it. “Yes, thank you!” I answered. I was thrilled. This wonderful offer from the Governor was the best thing I could have imagined.

Inside the packet, addressed to President Obama, was a letter. It read: “We know that if the women of Riverbrook Residence perform in Washington for the nation, they will truly represent the spirit of “YES WE CAN!” As I drove slowly home in the Friday rush-hour traffic, I was imagining the President opening my packet as he left Boston on Air Force One.

Performance at FODfest - The Daniel Pearl Memorial Concert

2009-10-04T20:14:00.000-07:00

My student, Tanny Labshere and I performed on Saturday, October 3rd as part of the 2009 FODfest--Friends of Daniel Pearl Memorial Concert--at the historic Mahaiwe Theater, Great Barrington, MA. I played one piano solo - "Amazing Grace"--and two duets with Tanny--"Tanny's Theme" (which she composed) and "We Shall Overcome."

Tanny lives at Riverbrook Residence in Stockbridge, MA, where I teach music to women with developmental disabilities. She is blind and began to play the piano at age 11. Tanny and her music are flourishing in our duets together. This performance took place for nearly 700 people. Prior to walking on stage, I said to Tanny: "if you play beautifully, you will give people the greatest gift: hope in life." Thanks to everyone who made this event happen, the FODfest concert gave Tanny the opportunity to do just that.

The FODfest Concert series is a highlight of Daniel Pearl World Music Days , which takes place during the month of October and features many local musicians. Daniel Pearl was a musician as well as a journalist. He gave his life in the pursuit of freedom and truth. World Music Days was established by his parents, Ruth and Judea Pearl, in his memory. Through music they seek to foster global interconnectedness and community. The FODfest series will be staged throughout the United States and Taiwan and is made possible through the tireless efforts of Todd Mack, Lynnette Najimy, Paul Karlsen, and many others.

With warm thanks to Todd and everyone who made this event happen, and to Judea and Ruth Pearl, who created Daniel Pearl World Music Days to honor their son's spirit and forge a brighter future.

New Television Interview - "Spirit of the Berkshires"

2009-09-20T16:51:00.000-07:00

In this just-released interview with Dr. Andrew Cort for his "Spirit of the Berkshires" series, I talk about the role of music in life, healing, and human transformation, and describe my work with the women of Riverbrook Residence in Stockbridge, MA. The interview was aired on CTSB-TV, a local cable channel.

Spirit of the Berkshires - Episode 8 from Andrew Cort on Vimeo.

"Here in My Heart" - Lessons Learned from an Unusual Young Man and His Family

2009-09-20T08:17:00.000-07:00

Stephen Lepotakis has been studying piano with me for almost a year. He enjoys my Steinway grand, which gives him 88 keys as compared to his smaller, electronic keyboard. At his lesson, he glides his hands up and down the piano in long glissandos and gleefully plays fast sequences of notes down in the bass. It’s those exuberant, percussive sounds that lead his mother, Sheila, to lovingly refer to him as "her little Choppin.”

Stephen loves music and numbers and telling time. Appropriately, among his favorite songs is the Chicago classic, “Does Anyone Really Know What Time It Is.” Or the theme song from Rescue Rangers, the TV cartoon.

Stephen was diagnosed with autism early in his life. Sheila explained how the first clue was in his verbal expression, which stopped developing at age 1 ½ . Stephen has just turned 21. In our lessons, he communicates more through music than through language. Sheila has said, “If we could put to music everything he needs to learn, he would absorb it all quickly. He would surpass so many of his deficiencies.”

Each time I see Stephen for a lesson, I’m impacted by the love Sheila has for him. It’s a warmth that permeates my home and my heart. She’s that rare person who always has a kind word to say, and means it. She oversees the local Special Olympics and fundraises for many other causes. Sheila and her husband were advised early on that they should resist changing their lives to accommodate their son’s--that he should adapt to their routines and grow in that. And yet, the love Sheila has for Stephen comes from a place that’s deep and natural. The same is true for Stephen’s father, Neil. He said to me recently, “I wonder what’s inside him, what he would express If he could tell us.” They are an unusual family.

Stephen expresses through music some of what he can’t convey through language. He has a wonderful sense of rhythm and is capable of subtlety and nuance. As we improvise together at the piano, we play strongly, softly—I only need to give simple suggestions and he’s right there with me. It truly is a duet! You’ll easily hear those qualities in this audio clip of a piece we recently recorded at Chocolate Springs Café in Lenox, MA.

Coda
Another song Stephen loves is the #1 Chicago hit, "Here in My Heart." It's sung by 28-year Chicago veteran, Bill Champlin, who's an acquaintance of Sheila's, and who is now pursuing his solo career. Stephen played that song so much he wore out the tape. The theme perfectly expresses the effect that Stephen and his family have on those of us who are fortunate to know them!

Road Trip – A Musical Journey with Hope Garner

2009-08-05T13:17:00.001-07:00

I’m starting to think that heaven is a place on earth. I’m seeing miracles unfold before my eyes with increasing regularity—through music.

About eight months ago, I began teaching piano to Hope Garner. Hope is fourteen years old. As with many of my students, I improvise in duet with her. From the outset, it was obvious to me that Hope is unusually free in her musical expressivity, ranging over the keyboard like it’s home. She'll play shimmering phrases high up in the treble one moment, and rumbling bass rhythms the next.

Hope loves singing, too. And she writes her own songs. Her mom, Claire, is a singer and guitar player. Hope has a wide range of musical tastes-—she loves Phoebe Snow, Stevie Wonder, Hannah Montana, Cake, Bjork and Brian Duncan. When she grows up, Hope wants to be a singer (and a cook and cleaner).

Hope likes to refer to herself as having “Up’s Syndrome.” As I've realized, it’s true. She is a success story made possible by love, faith and modern medicine. Her first three months were spent at Bay State Hospital in Springfield, MA. She was born with five holes in her heart--congenital disorders such as this are common to children with Down’s Syndrome. Claire explained how, when babies are born with genetic disorders, it takes awhile to know what they’ll be capable of. Despite her rocky beginnings, by the time Hope was in kindergarten, she knew the alphabet and could spell her name. With the incredible love and support that Claire gives her, Hope has developed into the girl that comes and sits with me at the piano.

Hope’s musical journey is central to her life’s journey. And so are road trips. Hope loves to go on excursions with her mom. They’ll get in the car (their current vehicle—a Jeep—is dubbed the “J-unit”), play CD's, and travel around the East Coast, staying at bed and breakfasts or friends' or family.

I recently recorded a duet with Hope and played it back to her. I asked her what she’d like to name it. We agreed that “Road Trip” was an apt title. As you’ll hear, this piece is both a musical journey and reflective of Hope's life. We sat and listened to the piece on my stereo. I asked her what she thought of it. “It makes me cry,” she said, so quietly I almost didn’t hear her. "Why?" I asked. “Because it’s amazing.”

Here is our duet, “Road Trip”

Amazing Grace - An Afternoon at the Vistar Foundation

2009-07-31T09:54:00.000-07:00

What is the purpose of music? The answer to that question became clearer last week when I spent an afternoon in Stamford, CT at the Vistar Foundation. Thanks to my violinist/teacher friend, Judy Gerratt, a meeting was arranged with Vistar’s founders, Ron and Victoria Friedman, who graciously invited us into their home, their organization, and their creative process.

Ron and Victoria are pioneers in the emerging field of collective consciousness. They established Vistar in 1994 to tap the potential inherent to this new domain, and have attracted a diverse group of individuals, many of whom have been involved since its inception.

Collective consciousness refers to a process whereby people access together a higher and deeper state of awareness. In the words of Ron and Victoria, Vistar is “dedicated to the Power and Potential of Collective Consciousness...to the Field that arises when individuals gather in aligned intention...a Field which carries intelligence, wisdom, healing and creativity far beyond the sum of those present.” I had encountered Vistar’s work when I was part of the EnlightenNext organization in Lenox, MA—which is dedicated to a similar endeavor.

Vistar is unusual in that they use collective consciousness to create original theatrical and musical performances from the ground up. This aspect of their work particularly interested me since I’m a musician. They have developed a technique—the Vistar Method of Communication—which uses four simple rules to facilitate communication and the creative process in a group setting. “Every aspect of production from content, scripting, composing music, choreography, lighting, staging, set and costume design, employs the Vistar Method of Communication.”

Arriving in Stamford after a two hour drive from Stockbridge, MA, I found myself in an enchanting neighborhood of winding roads, field stone fences, rolling lawns, beautiful homes and woods. On a warm, sunny afternoon (which has been a rarity this summer!), Judy, Victoria and I sat together on the back terrace and talked for an hour or so before Ron and some of the Vistar members arrived. Interestingly, from the moment we began speaking we were drawn to ask each other about our personal journeys as individuals, more than about collective consciousness.

Victoria knows the work of EnlightenNext and so we spoke about our respective experiences. Having been immersed in the organization for ten years, I stepped outside of that community eighteen months ago. My life is now dedicated to the transformational power of music, in the context of which I'm teaching, lecturing and performing. Victoria spoke about two major influences in her life--spiritual teachers, Charles Ahart and Kenneth Mills (more about this extraordinary man later)--who impelled the founding of the Vistar Foundation.

Ron soon joined us as did members of Vistar—-Bettina, William, Lucinda, Bill, and others, including Victoria’s amazing 96-year-old mom. It became apparent that, although the focus of the foundation is a collective process of conscious creativity and discovery, the issue of individualism was on many people’s minds, including Ron and Victoria’s. And mine.

Amazing Grace - Part 2

The first two hours at Vistar flew by as we discussed a myriad of topics, any one of which I would have gladly spent an entire afternoon exploring with Ron, Victoria and the members of their organization. What continued to pique my interest most was the question of autonomy or self-actualization. I raised my concern that collective/group dynamics can sometimes inhibit the emergence of the individual. Victoria responded by saying that the collective experience should elicit one’s deepest sense of self. I replied that if the success of the collective is measured in those terms, then I totally agree!

After lunch, we moved to their spacious living room to embark on what Ron and Victoria had titled, “Tonal Presence: A Sound Gathering.” They had kindly created an afternoon “of music, poetry, song and enlightening discussions on sound, creative expression and Consciousness,” so that, together with Vistar performers, Judy and I could participate in their collective process.

What proceeded to take place fit their description perfectly. Ron began the session by reading a poem from Hafiz. Responses from the group were welcomed and suggestions for the next step—would it be a song, a recording, a performance?—were proposed. There was space and respect for the contribution of each individual, which made it easy to reply in an authentic way.

Next we listened to a choral piece by Kenneth Mill’s Star-Scape Singers. Discovering the work of Kenneth Mills that afternoon was a highlight for me. Mills was a concert pianist who gave up his performing career to become a spiritual teacher, composer and choir director. The result is the most extraordinary contemporary choral music I’ve encountered. He combines consonance (a sense of familiarity) and dissonance (the unfamiliar) in just the right measure. His original choral pieces and arrangements are scintillating and that is no exaggeration! Through music, he creates a bridge from the present (and past) to the future.

Taking my cue from the Star-Scape CD, which includes Mills’ choral rendition of “Amazing Grace,” I suggested I play that piece on piano for the group —it’s one of my favorite traditional melodies. It was a special experience to perform for people whose lives, like mine, were dedicated to the creative spirit. Their responses were wonderful.

(Click here to listen to the audio)

When I finished playing, in my mind I could hear the whole group singing "Amazing Grace" as I accompanied them. I suggested that as the next step in the event, but Ron said we should wait. I wasn’t quite sure why.

Judy then brought out her violin and we improvised together—something we’d not done before. She prefaced our duet with a disclaimer: she was far more comfortable playing classical music than improvising.

And yet, her tentativeness in that first attempt, resulted in music that was moving and authentic. The "Amazing Grace" performance grew from my solo to the duet with Judy, to a trio with one of the Vistar singers, and beyond as one by one the performers joined us. Afterward, we shared our thoughts on what happened. Some truly beautiful moments had arisen in the performance and the reflections that followed deepened the experience.

Later that evening, Ron Friedman described his response to my playing “Your music is not directive,” he said. “It’s poetry.” I asked him to explain the distinction. He said, “Mills’ music is directive. It goes outward. But, because of the silence and the space in your music, it calls upon the listener to respond from the deepest place and in so doing, it brings forth their true self. That's poetry. After you played," he continued, "we needed time to allow that response to emerge." It was thrilling to hear his response. "That’s why I suggested we wait," he said. "Your music went too deep for us to move on quickly.”

Ron was elucidating my sense of the power and purpose of music: to awaken the listener to his or her own authentic Self—-the seat of autonomy and beauty. As I considered the meaning of the song "Amazing Grace," the words were reframed:

Amazing Grace,
How sweet the sound,
That saved a wretch like me;
I once was lost, but now I’m found;
Was blind, but now I see.

Music is the sweet sound by which we now see--glimpsing the essence of who we are. And, yes we are saved--by the awakening of the inmost parts of ourselves.

That afternoon helped reveal the purpose of music and my own life. The visit to Vistar was wholly positive and evolutionary and for that I’m grateful. Victoria later wrote to me: "I know this is the beginning of great expansion with music, message, friendship and the essence of the Creative impulse." I, too, look forward to continuing this wonderful, new relationship!

The Riverbrook Piano Improv-a-thon

2009-07-04T09:22:00.000-07:00

There are marathons and bike-a-thons and walk-a-thons, but on Sunday, June 22, Riverbrook Residence in Stockbridge, MA hosted what may have been the world’s first Piano Improv-a-thon!

Riverbrook, the oldest facility for women with developmental disabilities in New England, is where I teach music. In collaboration with Riverbrook director Joan Burkhard and the many wonderful people on the staff, this event helped fulfill my aspiration to show that, no matter who we are, beauty is inherent to us all by virtue of being human.

Over the course of the afternoon, people of all ages, backgrounds and levels of musical experience—including many of the Riverbrook women—improvised with me on the beautiful Samick grand piano that graces the Riverbrook living room.

The Piano Improv-a-thon was a fundraiser for the Riverbrook music program, which is giving women with developmental disabilities a powerful and transformative means of self-expression. We raised almost $4500—far more than anticipated.

The Improv-a-thon performers collected pledges for their participation from family, friends, and colleagues. (For example, many of my husband’s fellow teachers at Taconic High School supported his participation in the event.) Contributions also came from dozens of individuals and businesses throughout the Berkshires, the Hilltown area and beyond. The Red Lion Inn, The Taggart House, Bardwell, Bowlby and Karam Insurance, Consolati Insurance, Boston Seafoods, Zabian’s Jewelers, Guido's Marketplace, and Once-Upon-a-Table restaurant, were among the many who donated.

Children as young as four years old participated, as did some of the Riverbrook residents and many of my older students. As you’ll hear in the audio clips below, each improvisation was completely individual. Yet, a sweet interconnection manifested itself, arising from that deeper level where beauty is born.

Riverbrook is a rare and special place for women with disabilities. It is an environment where beauty and interconnectivity can flourish among everyone who walks through its doors. As our piano improvisations released the creative impulse in each participant, an unusual alchemy of music, ease and freedom emerged that afternoon. I actually think this was a world's first!

Here is a sample of the twenty-four Riverbrook Improv-a-thon performers. Click on “audio recording” to hear their performances. More photos and audios are coming--stay tuned!

Nancy Babcock, Worthington, MA

Nancy studied piano for a short time when she was a girl, but was told that she had "no musical talent."

Click here for audio recording

Carol Ray, Riverbrook Residence

Carol has lived at Riverbrook for many years and is beloved by residents and staff alike. Carol expresses her exuberant relationship to life through playing music and dancing. She participated in our performance, "Flying Free: Music without Limits."

Click here for audio recording

Isabella DeFelice, Richmond, MA

Isabella is four years old. Her two sisters and brother--Gabriella, Daniella and Dominic--study piano with me. Isabella is just beginning. Our occasional forays into music are entirely improvisational.

Click here for audio recording

Tracy Salvadore, Riverbrook Residence

Tracy loves singing and playing the piano. Occasionally, when we're improvising something upbeat, a staff member or resident will start dancing to our music. This gives Tracy great joy and amusement!

Click here for audio recording

Frieda Pilson, Chappaqua, NY and Richmond, MA

Frieda has played piano for much of her life. Classically trained, she longed to free her creative musical voice. She began studying with me a number of years ago and now improvises freely, as well as composing her own strikingly original piano pieces.

Click here for audio recording

Tom Weeks, Southfield, MA

Tom works for the New York Life Insurance Company. He sings with the Berkshire Choral Festival and has a beautiful tenor voice. Tom began studying piano with me in 2008. His improvisations have a distinctly "vocal" quality: beautiful melodies are always emerging from him!

Click here for audio recording

Bram Fisher, Richmond, MA

Bram and his brother, Satchel, both study piano with me and play in the school band. They clearly love music! Each boy has a distinctly individual sensibility, as expressed in their performances of jazz and blues pieces and familiar songs, improvisations, and their Garageband compositions.

Click here for audio recording

Tanny Labshere, Riverbrook Residence

Tanny and I played a semi-improvised interpretation of "We Shall Overcome" and "America the Beautiful." Two weeks prior, we had played this duet for Governor Deval Patrick.

Click here for audio recording

More photos and recordings from the Riverbrook Piano Improv-a-thon are coming soon--stay tuned!

Meeting Vice President Biden

2009-06-25T11:32:00.000-07:00

It’s not every day that the Vice President of the United States stands less than a foot away from you, gives you a disarmingly warm hello and a very firm handshake! Thanks to a dear friend, Bernard L. Jones, that’s exactly what I experienced yesterday.

Bernard, a Democratic State delegate from Colrain and Vietnam combat veteran, had invited me to a special reception in Boston for Vice President Joe Biden. Together with several hundred other people on the roof deck of Fenway Park, I listened to the Vice President speak about the issues confronting this new administration. He described his visits to hard-hit industrial communities throughout the United States and the economic necessity for health care reform. His speech was sober, personal, and finally...uplifting. Not in an impractical or hyperbolic way. His optimism was authentic, real.

I was hoping to hand him a DVD of my piano duets with the women of Riverbrook Residence. Through the medium of music, women with disabilities are exemplifying—emotionally, cognitively and socially—the spirit of change he and the new administration stand for. I knew that the Vice President would find this work meaningful and inspiring—just as Governor Deval Patrick had the week before!

As I learned from a Secret Service agent, however, no one is permitted to hand the Vice President anything, except perhaps a business card. So I gave my packet of materials to another friend, Michael Wilcox, through whose connections we hope to deliver it to the Vice President.

My aspiration is for the Riverbrook women to be recognized at a national level. Specifically, I imagine them performing in the First Lady’s new White House Music Series. They will help make the White House the “People’s House”—as First Lady Michelle Obama is seeking to do.

Through their music, these women, who in other circumstances may have been relegated to the fringes of society, are inspiring people throughout Massachusetts. They demonstrate why the optimism Vice President Biden expressed last night is justified—they prove that beauty, creativity and freedom are our nature, inherent to us all and unfettered by any limitation!

Watch this YouTube video of a performance by the women of Riverbrook Residence.

A Musical Performance for Governor Deval Patrick

2009-06-12T04:43:00.000-07:00

What an amazing night! Last evening, my gifted student Tanny Labshere and I had the opportunity to play a piano duet for the Governor of Massachusetts, Deval Patrick. For the occasion--a small fundraising party at a private home--we created a special medley of "We Shall Overcome" and "America the Beautiful." At the last chord, there was a palpable absorption in the room. People were deeply impacted.

Tanny's adoptive mother, Paula Labshere, was there and she was thrilled. We both had an opportunity to express to the Governor the ways in which the State had made it possible for Tanny to grow and thrive, though she was born blind. It had given her life-changing opportunities: through the foster program she was placed with a loving family who eventually adopted her; Tanny attended the Perkins Institute for the Blind; and now she was at Riverbrook Residence in Stockbridge, MA, which is a model of care for women with disabilities. That's where I teach her music.

Like anyone in government these days, the Governor is grappling with extraordinary challenges. At the event, he spoke about the multi-billion dollar cut in the state budget and, as a result, the hard decisions he's having to make. I thought, it's important for him to see what's working, and how significant it is. State programs and facilities in Massachusetts had made it possible for a young woman like Tanny--who was born into great difficulty--to ultimately express the freedom and beauty Governor Patrick had just witnessed. His response was wonderful. He was clearly moved by what he had just heard. It was a very special moment!

Jose Antonio Abreu - The Transformational Power of Music

2009-03-05T11:37:00.000-08:00

I recently discovered through a musician friend, Judy Gerratt, this amazing Venezuelan man, named Jose Abreu. He has developed a system of teaching music to young children and created youth orchestras throughout his country. In this video on the TED site, he describes why and how music is having a transformational effect on Venezuelan children.

Here is a quote from near the end of his speech:
“The huge spiritual world that music produces, which also lies within itself, is the end of overcoming material poverty. The minute a child plays, he is no longer poor. The historian, Arnold Toynbee, said that the world is suffering a huge spiritual crisis…I believe that to confront such crisis, only art and religion can give proper answers to humanity, to mankind’s deepest aspirations and the historic demands of our time."

It is precisely because he goes to the heart of music—to its spiritual essence—that he is able to catalyze individual and social change. His reflections on the transformational power of music mirror what I’m observing in my work with women with developmental disabilities. (see video) I would state in this way the part of his quote I italicized: ”The minute a person plays, she/he is no longer disabled.”

Flying Free: Music without Limits

2009-02-12T06:54:00.000-08:00

By Jessica Roemischer

This video is taken from a performance called, "Flying Free: Music without Limits." It features improvised and semi-improvised piano duets with the women I teach at Riverbrook Residence in Stockbridge, MA. Riverbrook is home to twenty-three women. Under the direction of Joan Burkhard, a committed staff is creating the optimum conditions for women with developmental disabilities to be supported in every dimension of life. This is the environment I entered as a piano teacher in Fall, 2007. In my work with the women, I became disarmed by the result. As you’ll see, these women confirm that beauty arises from the deepest level of being, unfettered by any limitation. They demonstrate why music is, arguably, our most powerful and universal means of human expression and is present in us all!

The Beauty We Carry in Our Hearts - A Holiday Reflection

2008-12-22T20:03:00.000-08:00

by Jessica Roemischer

A friend, John Steiner, recently sent an email that included a quote from the philosopher, physician, theologian, and musician, Dr. Albert Schweitzer.

“…Just as the rivers we see are minor compared to underground streams," Schweitzer said, "So, too, the idealism that is visible is minor compared to what people carry in their hearts unreleased or scarcely released.”

I’ve taught music for almost three decades to students of all ages, cultures, levels of experience and most recently to women with developmental disabilities who are blind, autistic or have Down’s syndrome. (A video of a recent performance will be posted soon.) What I am witnessing confirms that the beauty we carry in our hearts, often unreleased, is far greater than what is apparent.

Schweitzer, who won the 1953 Nobel Peace Prize, went on to say that, “Humankind is waiting and longing for those who can accomplish the task of untying what is knotted, and bringing these underground waters to the surface.” At this holiday season, I believe that if we look closely, if we have faith in the beauty that's there, hidden below the surface, we will help bring it to light.

Here’s a track from my first CD, Pachelbel’s Canon in D.
Happy Holidays!

"Flying Free: Music without Limits"

2008-12-16T20:11:00.000-08:00

by Jessica Roemischer

Last Sunday at a small concert hall in Pittsfield, MA, I had the opportunity to stage a multi-media/musical event called “Flying Free: Music without Limits.” On a Steinway grand piano I performed improvised and semi-improvised duets with the women I teach at the Riverbrook Residence in Stockbridge. The Riverbrook women have disabilities that range from blindness to autism and Down’s syndrome. As they played, their words—in which they describe their experience of music—were projected on a screen for the audience.

Some of the women are just beginners at the piano; one woman who is blind is quite adept. Regardless of the level of experience, each woman played with disarming authenticity, creativity and naturalness. The sixty people who attended witnessed something of revelatory beauty that went far beyond my own expectations. What occurred, I believe, had the hallmarks of a new kind of art and aesthetics.

My father traveled four hours in winter weather to attend the performance. A college professor, he has taught the philosophy of education for over fifty years and is no stranger to the realm of students with learning difficulties. Nonetheless, he said, “This event completely deconstructed my notion of what it meant to be developmentally disabled. It was staggering. It proved to me that we can transcend our biology.” Another member of the audience wrote to me later that day: “We were in tears. My wife and I have gone to hear various concert artists. There was more music at your event than in the performances we have seen. You and the women from Riverbrook gave us music to move the spirit.”

A truly new expression of art and aesthetics is not a linear extension of how we currently see things. It is not a re-combination of existing themes or elements. Nor is it a “renaissance” of earlier cultural or artistic movements—as great as they may have been. It is a wholly new way of perceiving that upends our most fundamental and often unconsciously held beliefs. My father experienced that reorientation and so did I. This event was not about “handicapped” people doing something that they had learned by rote. These women were creating music of profound beauty and authenticity, by any measure. They proved that they could, indeed, transcend their biology. The implications are far-reaching.

And that’s where beauty comes in. In working with the women, I listen solely for beauty and for what is unique and natural to each of them. For as long as I can remember my mother has instilled in me that appreciation. She herself is a pianist who studied with an extraordinary teacher in NYC during the ‘40’s and ‘50’s. His name was Leopold Mittman and he was accompanist to violinists Isaac Stern and Mischa Ellman. Just over a year ago, in a book my mother found on piano pedagogy, she read that her teacher’s teacher studied with Franz Liszt, who studied with Carl Czerny, who studied with Beethoven. This astounding discovery confirmed everything she’d been given by Mr. Mittman and had passed on to me. She taught me what makes music sing.

I’m bringing that musical sensibility to bear in an entirely new context with a new, evolutionary goal. In my work with these women, I have absolute confidence that they are capable of expressing profound beauty. Last Sunday, they proved to me and the audience in that small recital hall that it's true. Even in the realm of professional concert-making, real beauty is extraordinarily rare. The audience member who later wrote to me about his experience was right, and his unsolicited observations confirmed what I’d suspected: Beauty is not merely a function of talent, as we generally define it—it’s deeper than that. Beauty is a dimension of the human soul unfettered by any limitation. On Sunday, I saw it emerge before my eyes and witnessed the effect it had on the audience. People were so impacted. There was hardly a dry eye in the house. At that depth, beauty becomes what Steve McIntosh calls an evolutionary “attractor of perfection.” Only that kind of beauty can catalyze a new, integral art and music—-one that can have an evolutionary impact on our consciousness and culture.

In recognition of the event’s significance, “Flying Free” was jointly sponsored by the Boston Symphony Orchestra’s Community Education Program, the internationally acclaimed theater company, Shakespeare and Co. and Miss Hall’s School, a private girls’ high school. It was also supported by a grant from Caroline and James Taylor, which was of special meaning for me, as James Taylor was one of my earliest musical influences. (I can remember the moment in 1971 when I first heard “Fire and Rain” playing on a small, transistor radio.)

A video of the event will be completed next week and posted on YouTube and on this blog site. It will give you an experience of what occurred. We will be disseminating the video to organizations and individuals throughout the country, including the Obama team. As solicited on his website, this is certainly an "American Story" that generates ideas and insights that can "change the future of this country."

Thirty years ago – in 1978 – the concert pianist, Vladimir Horowitz was invited by Jimmy Carter to perform at the White House. The videos of that concert are among the most sublime I have seen.

The evolution of that performance, three decades later, would make evident that everyone, including the women I work with, can express the same kind of undeniable beauty. That’s what happened on Sunday and that’s what needs to be heard at the White House and throughout culture, to inspire every man, woman and child in this country to realize that beauty is inside of them!!

What a Wonderful World

2008-11-26T09:30:00.000-08:00

by Jessica Roemischer

Nearly every Sunday, I play the piano for services at a small, rural church in the hill town of Worthington, MA. The minister, Reverend Doug Small, is a great advocate for God and for the beauty of music, two reasons why I love to accompany his services. Prior to the service this past Sunday, Rev. Small described to me what he was going to say so I could choose an appropriate piece for the piano solo. Sunday’s theme would be Thanksgiving, for which he’d offer this counsel: “As we approach the holiday, if you cannot find something to be grateful for, just look more deeply.” I thought, we need a song that celebrates our re-awakened appreciation for life. So that’s what I played - my piano rendition of the Louis Armstrong classic, “What a Wonderful World.” Happy Thanksgiving!

America the Beautiful

2008-11-16T14:35:00.000-08:00

By Jessica Roemischer

I can safely say that I’m a pianist by birth. My mother played beautifully and during her pregnancy with me, as she practiced Brahms and Schumann, their melodies no doubt penetrated the walls of her womb and entered my developing consciousness. I have no idea when it was that I first tried to plunk out notes on the piano. I was that young.

In 2006, after working for a few years as a senior editor for What is Enlightenment? Magazine (now EnlightenNext), I returned to teaching and performing music. In so doing, it became apparent that music is with me still. It’s in my blood. These days at the piano, I give every bit of my attention to each note, each span of silence, the arc of each musical phrase. I shape sound and silence like a potter shapes clay. In return, music gives me doubtless confidence—in beauty.

I recently read a short statement from integral thinker Steve McIntosh, and the penny dropped. McIntosh articulated my thoughts exactly, placing the experience of beauty in a far-reaching context. He said that the advancement of human culture is pulled forward by beauty. He called beauty—and truth and goodness—evolutionary “attractors of perfection.” As we awaken to these primary values, they “draw us forward into increasingly more evolved states and stages.”

I am performing regularly: in rural churches, at stylish cafés and elegant country inns, at weddings, at funerals, at fundraisers, even at bowling alleys. The people who hear my music come from diverse social and economic backgrounds. Some who wholeheartedly respond to my playing are life-long Republicans (one is close to George W. Bush), others are dyed-in-the-wool Democrats. Music touches something in us that’s more essential than these distinctions. That gives me hope.

In my last posting, a pre-election interview with global activist Dr. Don Beck, he spoke about the need for a new kind of leadership—one that transcends partisan politics. His emphasis was an apt one. As it turned out, 48 million people in the US voted for John McCain and 52 million for Obama. We are still a divided nation and our problems are enormous. I am inspired, however, by what this country represents and by what it can become. I remember the Pledge of Allegiance: “…One nation under God, indivisible.” That motto instills in me a powerful and disarming sense of patriotism.

Barack Obama, an African American, was just elected to the highest office in the United States. I was amazed, as many were, to see him walk across that long platform in Chicago to declare his victory on the evening of November 4th. I have a dream that America, under President-elect Obama’s leadership, will become the nation whose lofty credos are inscribed on so many of our government buildings in Washington. I am optimistic that this country can regain its standing as a beacon of possibility for millions around the world. Hopefully, this is a new beginning.

I believe that the power of beauty can and should be called upon to help catalyze this transformation. Beauty awakens that place in us where we are far more alike than dissimilar. Beauty emanates from our deepest selves. In light of the immense challenges we face, that dimension of us should be activated intentionally, awakened by evolutionary attractors of perfection such as transcendent music, to move us towards a wholly new future.

Two years ago I was asked to perform at a campaign fundraiser for Deval Patrick, who subsequently became the Governor of the State of Massachusetts. He was making an appearance here in Berkshire County. For the occasion, I created this piano interpretation of America the Beautiful.

Beyond Polarization in America: A Trans-Partisan Perspective on the 2008 Presidential Election--An Interview with Dr. Don E. Beck

2008-10-26T19:43:00.000-07:00

by Jessica Roemischer

Introduction
As I’ve watched the presidential campaign unfold in my living room, I’ve become increasingly unsettled by the cultural schism it’s revealing. Robo-calls from John McCain, caustic opinion pieces on Sarah Palin (often by women), FOX news, MSNBC, negative campaigning—Left and Right. In this highly charged atmosphere, it’s been difficult to make sense of things. I’ve even questioned my longstanding allegiance to the Democratic Party, which has made it challenging to find common ground with friends I’ve known for years. In search of a different perspective on the election, I was compelled to seek out global activist, Dr. Don E. Beck, whom I interviewed in 2002 for What is Enlightenment? Magazine.

For over forty years, Don Beck has worked to facilitate social change in some of the world’s most polarized environments—notably apartheid South Africa during the 1980’s and ‘90’s, and currently in Israel/Palestine. Don Beck really gets human beings and our widely varying habitats and worldviews. With striking clarity and a disarming optimism, he illuminates the rich and complex mosaic of cultures, as he presents practical solutions to seemingly intractable problems—terrorism, the Iraq War, the AIDS epidemic. Beck’s unique perspective—the basis of the evolutionary theory called Spiral Dynamics—allows him to craft effective protocols where others fail.

Don Beck is a social scientist of a different order. For that reason he has advised world leaders such as Nelson Mandela and F.W. deKlerk; he has met with Tony Blair’s cabinet and with the Mexican government, among many others. I knew we needed his view in America at this critical juncture. In response to my request, Don graciously granted the following interview. True to form, he goes to the heart of the matter—and our divided nation—as he reveals how our next president can emerge as the truly new kind of leader we so urgently need.

Jessica Roemischer: The 2008 United States presidential campaign is turning out to be among the most polarized in recent memory. Could you please begin by speaking about the cultural schism we’re seeing in this country?

Don Beck: I began my study of political campaigns many years ago. My doctoral dissertation was on the United States presidential campaign of 1860. That election, which also occurred during a time of tremendous dividedness in this country, put Lincoln in office and subsequently led to the Civil War. So I’m very suspect of the polarity that occurs during the election process. Today, the fragmentation in America is equally as extreme. It’s reflected in the “hot issues” that polarize people, such as abortion or the Iraq War, issues that are looked upon by the two political parties in ways that are seemingly irreconcilable. And with our 24/7 news cycle and talk radio and so forth, I believe the schism is even deeper and wider than it was in 1860.

JR: Can you speak further about this election and the societal rift that’s being revealed?

DB: Campaigns of this nature confirm the cultural change that’s already happened beneath the surface, but which we haven’t been able to perceive clearly. The analogy I like to use is this: imagine it’s a dark, rainy night and a sudden bolt of lightning illuminates for a nanosecond the structural forms of the landscape. Then the darkness creeps in again. This election is illuminating the cultural landscape of this country, giving us insight into who we have become.

What we’re seeing is that we’re not the same country we once were. Today, there are multiple sub-cultures in the United States. We’ve become sort of a “Rubik’s Cube” society. Accumulated wealth and the increasing economic disparities have augmented differences in worldviews, orientations and political/religious experiences. Immigration patterns are also having an effect. There’s a book called The Big Sort by Bill Bishop. His basic thesis is that we have re-organized ourselves into think-alike, look-alike enclaves within which people can move freely. This has fragmented our society into little pockets of interest, sometimes living side-by-side. As a result, it’s becoming harder and harder to identify a core of Americanism. I’m not sure there’s a clear definition of what binds us together.

In contrast, when I’m in Europe I feel a much greater sense of national identity. For example, I still get a strong sense of “Germany” when I’m in that country. And the Danish value systems are clearly coming to the surface again. But here in the United States, even the Republican/Democrat, conservative/liberal categories are being challenged. The Blue State/Red State categories are not holding up anymore. That’s the kind of fragmentation that is going to be displayed in the results of the election. When the vote is analyzed precinct by precinct, we’re going to get a much better image of this country than we would have had otherwise. I think the social complexities we’re about to see in the results of the campaign will force us to seriously look at the way we resolve our difficult issues.

JR: I come from a long line of democrats and never questioned my affiliation with the left wing. However, because of the highly polarized nature of this election, I’ve found it difficult to side wholeheartedly with Obama. I am far more hesitant to put myself on one side of a deeply divided situation.

DB: The behavior from both the extreme left and right wings is very troublesome. The rumor mongering and personal attacks—and both wings have done it—are very dangerous because they can lead to serious polarization following the election.

JR: How can we address this extreme cultural divide?

DB: I hope we maintain some good sense after the election regardless of who becomes president, because if the election turns out to be very close, it could produce tremendous tension. For example, if McCain wins, there will be serious disturbances in many of the African American communities, with charges that the election was stolen. And if the right wing senses that it has been disenfranchised in some way, it may begin to show isolationist tendencies.

I don’t think there’s been serious talk about what’s next, about what kind of government we need to move us beyond the adversarial situation that’s become such a problem. All the conversations about what McCain’s going to do to the existing government, or what Obama is going to do, miss the point. We need a whole new style of thinking about government itself.

In order to accomplish this, the president elect should invite various elements in our society to meet in conventions to redesign the American system. Rather than assume a partisan position, I hope he’ll hold a series of trans-partisan, not just bi-partisan, events—meetings and summits—on how to heal America and rebuild our confidence, and our financial and political structures. That’s critical for us.

So I hope that whoever wins will start a major conversation on many of these matters. Instead of each party shouting at the other, we need a calm kind of inquiry—more than just dialogue—to look at problems in a whole different way so that we restore the essence of Americanism. I imagine a series of White House conferences, where experts are brought in to discuss a variety of topics under the kind of leadership that will look for integral solutions. To accomplish that, we have to learn how to manage the spectrum from extreme left to extreme right. All the positions or viewpoints must be exercised and publicized for us to experience any kind of transformation. It’s important for everybody to be at the table. In that sense, Sarah Palin’s contribution has been positive. She has helped bring elements to the vote who heretofore wouldn’t have participated in it.

JR: Can you please elaborate on what you mean by “trans-partisan” politics?

DB: Trans-partisan politics represents a whole new approach to governance. After eight years of so much right wing, if we get eight years of left wing counterbalance, we’re no better off. We’ll have to learn how to craft solutions in the mid-range that draw equally from both wings—that’s the so-called “Third Way.” That prototype is in our cultural fabric. For example, the way wagon trains were organized in the 1800’s as they headed west had a collective spirit about them, as opposed to the elite systems we’re using today. So rather than providing for the needs of communities as part of a top-down mandate from either left or right, the government needs to facilitate resources which already exist and bring them to bear on problems. We have to look seriously at the design of our systems and find ways to mobilize all of our resources at the local level and in community programs, as well as at the state and federal levels.

JR: Can you give an example of this new approach to governance?

DB: Let’s look at education. If we’re going to compete with the Chinese and the Indians, we have to do something different with our educational system, especially in the public schools. Simply pouring money into “the little red school building” is not going to do it. You have to look at the broader issue of what it means for a child to develop in this society, and how the whole community can be mobilized to address that. I would have “Annual Summits on the Child,” where we bring together the knowledge from health care organizations, our school counselors and psychotherapists, and our churches and spiritual communities. We ask: How are our children doing in physical health? How are our children doing emotionally? How are they doing in their spiritual development? You can then overlay this information on GIS maps to see what’s happening neighborhood by neighborhood.

In a sense, this is the model we had many years ago when grandmothers would sit on their porches and watch the kids after school. But we’ve lost that kind of control mechanism. So we have to mobilize the intent of the whole society through these kinds of local summits. Businesses and others will get involved as well because everyone has a stake in our children’s progress. This is something that should be done, and be done quickly. There’s no question that an initiative of this kind will transcend partisan politics.

JR: Which candidate do you think is best suited to institute this new trans-partisan approach to governance—Obama or McCain?

DB: I think both candidates have strengths in this regard. But after eight years, the “out party”—the Democrats—are in a much better position to do this because the “in party” is exhausted. When you look at the people Bush has had in important roles, you can see that a party that maintains power for eight years runs out of steam. I think there’s a freshness in the Obama camp and a lot of popular support for him with high levels of energy. I think he’s more equipped to do something like what I’m describing. Certainly Obama’s background also suggests that to us.

Yet, much can be said for McCain—his courage, strength and resolve. He probably has the ability to deal with foreign affairs much better than Obama does. But there are elements to his right which concern me—for example, the element behind so much of the warfare. Similarly, to Obama’s left, that hard liberal system is destructive for us because it won’t institute the kind of policies that are necessary for most of the population. I’m worried about extremity on both sides of them.

JR: What are some of the policies from the left that won’t work?

DB: We’re still a very traditional, conservative country in so many ways. The more liberal viewpoint has got to accept traditionalism, discipline and accountability, and insist that everyone play their role rather than simply seeing them as victims. That’s always part of the problem of the "Hard Left." They will not insist that people own up to their responsibilities. It’s still play “the blame and be blamed” game, rather than promoting what I call “thrive and help thrive.” If the federal policy is to simply throw money at problems and not insist on accountability, then it will produce these “sink holes.” In other words, these programs will not result in real economic or social development.

JR: In his recent endorsement of Barack Obama, Colin Powell called him a “transformational figure,” someone who can take us beyond polarization. Do you agree?

DB: If what Obama is saying in this campaign is what he truly thinks, he may be that transformational figure. Creative thinking often comes from outside the system, suddenly appearing unpredicted by anyone. I think that Obama fits that description pretty well. So, I’m not alarmed at his background, although I’m a bit concerned about the kinds of people he’s dealt with in the past in South Chicago. I’d like to see him with a different assortment of friends, which are probably there.

At the same time, he’s formed various support groups. There’s one in foreign affairs, for example. He does seek advice from elsewhere. But I don’t know if that’s a sign that he himself doesn’t know what to do. I really don’t know who Obama is, and that makes me edgy at times. But I like what he says; I love this new voice. And I think the Democratic Party, which has been outside of power, has more momentum, with people anxious to do things. If Obama does not personally favor the extreme partisan behavior in the House and Senate, he can certainly set the stage, and control, the parameters for new strategies. But I sure would like to see his list of candidates for the various secretarial positions.

JR: Do you think that Obama, as an African-American, can unite a country in which so much racism continues to exist?

DB: My point of view is that the issues about race are not about race, they are about value systems. As long as we define what’s happening in terms of race, we trap ourselves in a cul-de-sac. So, voting for someone because they are black is no different from voting against someone because they’re black. It’s an expression of the same stereotyping. I hope that Obama in his style, his way of speaking, and his approach can lead us beyond that polarization, but he needs a new model to integrate our systems. Obama talks about real change, profound change. His strong statements on the matters of race are very reassuring to me. I hope that we actually see it, and he is not simply playing a political marketing game. Then it will be a good thing.

JR: What is your view on Sarah Palin?

DB: Oh, I think she’s a breath of fresh air. I’m not sure I would have nominated her to be vice president, but I think she has engaged a lot of people in the election process who wouldn’t have otherwise been involved. And like I said before, every element of our population needs to be engaged in the political process for there to be transformation. So I’m glad to see her and the more rugged lifestyle she represents. I’m glad that there are other models of femininity that can be widely accepted, as opposed to the typically progressive, feminist view of it. I understand that when she appeared on Saturday Night Live, the show got its highest rating in years. I like her style. She is a tough little bugger. She’s broken through a lot of the corruption and nonsense, and the political games.

What we’re seeing is this: social and political conditions often generate fresh, innovative voices. Sarah Palin is one, as is Obama. I see them as similar in that regard. They both come out of unexpected sources, all of a sudden appearing on the scene. She’s added a lot of charm and class, and color and fun to the whole campaign, and that’s probably a good thing. I also think she’s been an inspiration to a lot of younger women. Yes, she speaks in plain “good ol’ boy, good ol’ girl” language, but she’s not the first politician to do that, for God’s sake. Our political history is littered with this kind of thing, back to the days of Abe Lincoln and Stephen Douglas. If something happened to McCain, however, I’m not sure that she’s the person I’d like to see as president.

JR: I’ve had difficulty with many of the opinion pieces about Palin coming from the progressive, liberal side. I often found the rhetoric unnecessarily acerbic and divisive.

DB: I’ve been disappointed at the extreme left attacks on her, which have sometimes been very personal and have often come from women in this country. No one’s perfect, for goodness sake. I don’t know if they’re jealous because she’s pretty, or because she has a husband who’s loyal. Even her phone was bugged. And there was a guy from Tennessee who broke into her email system and put a lot of it up on the internet. I’ve seen more of that kind of behavior from the progressive, left-wing side during this campaign than I’ve seen in the past. That’s really disappointed me. Some of the attacks on Obama—the accusations and racial remarks—fit the same category. Extremism is what it is, whether it’s left wing or right wing. It’s closed, it’s fear-driven, and it’s angry, often vicious. Campaigns like this can make it worse and that’s what we’re seeing. There’s guilt enough to go around.

JR: Are you disturbed by Palin’s accusations that Obama was “palling around with terrorists?” Do you feel, as did many people, that she crossed a line?

DB: Oh, I think she did. There was too much "red meat" in that--it was too provocative. Of course, he’s not a terrorist. More broadly, these statements and her entire approach demonstrate that the Republicans don’t have a model for the future. It's still too polarized--Red State/Blue State. That's troubling me about McCain, as well. He’s a more short term, one-term candidate, I think. If we decide that we only want to elect someone for the next four years, then he isn’t a bad choice. But if we are serious about a major transformation in our system—and I think we’re poised for that—Obama talks like he’s the man. I certainly hope that’s the case, because it looks like he’s going to win.

JR: How will the president-elect move in a trans-partisan direction given that the country is so divided, and the American political system itself is based upon a partisan, bi-cameral arrangement—Republicans and Democrats, the House and the Senate, etc.?

DB: If Obama is elected president, I’d like to see leadership from him in a truly, truly new dimension, as opposed to the partisanship that many in his own party will try to foist on him. If there’s landslide support for him, the question is: will he be strong enough to handle all the different entities that have been shut out for eight years and are now rising to power with no checks and balance. An overwhelming victory will mean that the Democrats own the White House as well as the House and Senate, and that’s always a dangerous situation.

I’m seeing some early signs that he may have that kind of independence. For example, when he spoke of his faith-based initiatives, it gave me some assurance that he won’t be drawn in by the left extremists. That was hopeful to me because if he succumbs to these same centrifugal forces of political polarization, the whole thing will fall into the political cleavages that have been deepened by this campaign. It that happens I see all kinds of bad things happening to us.

I worked in South Africa between 1981 and 1999, helping to transition that country out of apartheid, and I studied Nelson Mandela very carefully. One of the first things he did when he became president was to have tea with the widows of the former apartheid prime ministers. He wanted to be non-political and non-racial in his approach, and so he purposefully began to work across that divide. And when the South African rugby team won the 1995 World Cup, there he was on the field after the victory wearing the Springbok jersey. It was an extraordinary demonstration in which he was identifying with the Afrikaner. It softened many of their attitudes toward him.

Likewise, if Obama really is a “transformational figure,” as Colin Powell says, he will be creative and launch out in a whole new direction. But if he isn’t and he’s played a political game, then we’ve been duped.

JR: Do you think that’s possible?

DB: Oh, I just don’t know. I tend be an optimistic and trusting kind of guy. I tend to believe that Obama means what he is saying in his speeches. But I don’t know who’s around him at this stage. I’m holding out the hope that he is real.

I’ve been around a long time, Jessica. From my perspective, we are in an almost war-time type emergency. The 1860 presidential campaign study I did many years ago opened my eyes to things. I saw what could have been done following that election and wasn’t, and the terrible situation that ensued. This is a momentous election, and one that has had so much ugliness in it. That’s why I’m thinking about a government of national unity. We need cooperation and collaboration and faith in our system and the courage to do something about it. So, it’s going to be interesting to see what happens after November 4th. It’s not going to be smooth as we go forward, but maybe our financial problems are severe enough that we’ll awaken to the reality that we have to think and act in very different ways.

Dr. Don E. Beck is one of the world’s foremost authorities on culture and politics. He is founding director of The Institute for Values & Culture, Co-founder of The National Values Centre in Denton, Texas, and President & CEO of The Spiral Dynamics Group, Inc. For more information on Dr. Beck's work in the Middle East, please visit the Center for Human Emergence, Middle East.

Beauty Will Save the World

2008-09-30T09:29:00.000-07:00

I am a pianist, music teacher, photographer, and writer. But of all the mediums of communication, music for me is the most authentic and natural. Music at its best is arguably humankind’s most potent conveyor of transcendent beauty. When you hear truly beautiful music, it dissolves all boundaries between self and other, self and world It is ephemeral and yet utterly real. I recently found a quote from the great Russian writer, Feodor Dostoevsky. He said, “Beauty will save the world.” I humbly submit that as the context for this blog post and others to come.

I was born into a musical family and grew up in Westchester County, New York during the 1960’s and '70’s. For as long as I can remember music was a source of joy and inspiration. I studied piano from the time I was 7 and continued playing off and on for the better part of the next two decades. I am now playing and teaching music full-time in the Berkshire region of Western Massachusetts. (watch YouTube video )

My mother had a profound and enduring musical influence on me—she forged my relationship to music by helping me understand what makes music “sing.” During the 1940’s and ‘50’s, she studied with the Polish pianist, Leopold Mittman, who was accompanist to violinists Isaac Stern and Mischa Ellman. My mother remained an “amateur” pianist – she never had a concert career. Regardless, she succeeded in transmitting to me a discerning ear for truly beautiful music, and what is required of a musician to bring that beauty forth. When my mother recounted her lessons with Mr. Mittman, she communicated the awe he evoked as he played the great repertoire of the Western world—Chopin, Brahms, Beethoven. Music came to life for her in his Upper West-side Manhattan apartment.

Now in her late 70’s my mother continues to play piano and has even returned to piano teaching —something she gave up for many years. She continues to share with me recordings by some of her favorite pianists (like Vladimir Horowitz —watch video). My mother has also become a tag-sale enthusiast. One day last fall, she found an old book on piano pedagogy at a local garage sale. It traced the lineage of the great piano teaching traditions through the 18th, 19th and 20th centuries. The one fact she knew about her teacher’s background was that he studied with the Scottish-born composer and pianist, Eugen D’Albert. What she discovered last fall in the yellowed pages of that book, was that D’Albert studied with Franz Liszt, and Liszt studied with Beethoven. I was astounded. We both were.

I will continue to post my thoughts and reflections on music and more, illustrated with audios, videos and an assortment of other links. I look forward to sharing these with you and hearing your responses.