The Contribution of CDM

The Contribution of CDM

Valentina Iadeluca and Andrea Sangiorgio, hosts of the Seminar, have contributed to the works of the seminar with a presentation on the experience of “Bambini al Centro” (Children in the Centre), a project running since 1999 in Rome and financed by the Italian State.
Bambini al Centro is a recreational-musical space devoted to children 0-12 and their families.

The principal goal of the Centre is to provide an opportunity of encounter, relationship, sharing and global growth with and through music and dance.

Watch a video on Bambini al Centro (in Italian - 2009)

Bambini al Centro:
Music as a means to promote wellbeing

Birth and configuration of an experience

Keywords
Children, promotion of wellbeing, inclusion, Orff-Schulwerk, anthropological approach to music education

1. A BIT OF HISTORY

In 1997, through the creation of a special law, the Law 285, the left-wing government lead by R.Prodi – in a very innovative way for Italy at that time – established a fund, the "national fund for infancy and adolescence", which was intended to promote the welfare and the quality of life of children from 0 to 18 years old. Through this fund the italian authorities distributed economic resources to municipalities and these, in their turn, activated specific projects according to the different regional needs.
The great novelty was that only a small number of local authorities chose to implement social projects using their own professional figures, such as psychologists or social workers. They wanted to give way to projects aiming at getting in contact with new potential users in contexts other than the usual offices. This time the interventions had to go towards the users, trying to reach as many people as possible and offering a concrete answer to their wishes and needs.
The underlying idea was that new, different professional figures – in particular from the world of private associations and services, the so-called "third sector" – could give a valuable contribution in terms of competence and innovation to promote welfare in poor areas. It was decided to let out on contract a thick number of projects to private institutions, through specific calls for biddings.

The CDM Centro Didattico Musicale – still today the organization that realizes the project "Bambini al Centro" on behalf of the IV municipal district of Rome – was at that time a small and promising music school.
Since 1993, in which CDM was born, we had chosen the Orff-Schulwerk approach as our main methodological orientation for teaching music. We had already tested the effectiveness of elemental music and dance education and, in particular, its value as a socializing experience, including and fostering the musicianship and humanity of each individual, children or adult, able or disabled.

In 1998 the Commune of Rome called for tenders, inviting private institutions or associations to present projects of services that should:
• be active in a problematic or poor area of the city
• enhance the quality of life of children 0-12
• support their parents
• improve the quality of relationships between children and adults
• identify discomforts and hardships otherwise not declared
• actively promote the integration of diversity as a value and a means of growth in the group.
It must be noted that the word "music" was not included in the text of the calls. So we started to imagine a place where children in poor or difficult situations could make music without having to pay anything and could use music as a language to express themselves, to create, to get in contact with others, to learn to play respecting rules, to cooperate for a common goal. A place where children and parents, grandparents and grandchildren could encounter and play or dance together. What we had in mind was an experience of Community Music, without being aware of the immense potential of this concept.

Our dream met the interest of the administrators and, to our great surprise, we won. The Commune of Rome set aside a significant fund. Now we had to plan the project in every detail, considering not only the dictates of the Commune, but also the expectations of schools and of citizens regarding a project of these dimensions. We started to build a new, pioneering way of thinking, what we call now "inter-institutional interlocution". We established a round table with professionals of the Commune of Rome, school representants and social workers. We structured and planned the intervention starting with the analysis of all requirements expressed by these subjects. The ability to build a network with the different bodies of the municipal territory has been a decisive factor for the success of the project.
Bambini al Centro opened its doors in October 1999. Since then there have been numerous extensions of the project or new calls for bids, that we have regularly won. Notwithstanding the general reduction of the fundings for social purposes and the political events that our country has gone through (or has suffered from!), the extremely positive evaluation of the effectiveness of the project has let it develop over time. Today we can say proudly that Bambini al Centro still exists. Many aspects have changed thorugh the encounter with our users – children and parents - adapting new strategies and solutions to a constantly changing world. For the sake of brevity we will put apart the various transformations of the project during these years and we pass on to the description of today's reality of Bambini al Centro.

2. BAMBINI AL CENTRO

Bambini al Centro is a complex system of services that aim at promoting the wellbeing and the quality of spare time of children 0-12 and at supporting their parents in practical, educational, emotional and relational aspects.
The main characteristic of the Centre is the experience of making music in groups as a means of enhancing meaningful interpersonal relationships among children and among children and adults.

2.1 Where it takes place

The venue of the project Bambini al Centro is situated in a section of a public primary school of Rome – the 196° Circolo Didattico – in the suburbs of the north-east area of Rome. The choice of this particular area was determined by the requirements of the initial call for bids, that wanted the project to be addressed to an economically and culturally poor area. Poverty, solitude, neglect, wastage, use of drugs: these are the main problems of the social context to which Bambini al Centro tries to give an answer. Moreover, in the last years there has been a major transformation of the population, due to a strong rise of the multi-ethnical components: immigrants (and their children) coming from Maghreb, East Europe or Latin America.
The venue has at its disposal around 350 square meters, including an open space and seven rooms for various activities. In summer it is possible to use the courtyard of the school for outdoors activities and performances. 

2.2 The users

Bambini al Centro can host regularly 120-160 children and their families in a school year. After almost ten years of activity the service is so well-known in the local area that the requests largely exceed the possibility of reception. Many people come to the Centre through personal contacts. Many others get in contact with it through the network built by the Centre with the social services and the nursery and primary schools of the area: social workers or class teachers can point out specific cases of children with difficulties or problems. These children are welcomed as the most important users of the Centre and don't have to go through a waiting list. In the school year 2006-2007 out of 139 children attending the activities 29 have arrived thanks to a recommendation.

2.3 The services

2.3.1 The front office

The front-desk represents the first contact of the Centre with the potential users. The person that deals with the public has to function as a sort of counsellor, trying to get in contact with the communicational style of the person and the reasons that brought her to the Centre.
The quality of this first contact is of critical importance. This is the beginning of a relationship that parents learn to perceive over time as trustworthy. The front office has the task of understanding the needs (often not clearly declared) of both parents and children and to suggest the most suitable activities among those offered by the Centre. It must be said that all services are thought of as flexible and client-directed. When a child – or better, a family system – enters for the first time the Centre, they have the possibility to choose what kind of relationship they wish to have with it: occasional or structured in time, focused on the child, the parents or both. In Table 1 a synthesis of what can be done:

Table 1. Activities of the Centre and kind of frequency

Occasional frequency	Regular frequency
For children
Free or structured activities in the playroom	Music Activities
	Music Therapy
	Art Therapy
	"Heart Group" (emotional literacy)
For parents
Psycho-pedagogical advice	Encounter groups
For children and parents
Performances and Parties	Music Activities

2.2.3 The psycho-pedagogical service

On demand it is possible for all parents to meet the psychologist of the Centre. Through individual talks parents are helped by an expert to clear doubts or define behavioural strategies in the relationship with their children.
Beside the individual meetings it is possible to attend the groups for parents that take place once a week. We have seen that the attempt to get in contact with parents through a "too declared" psychological approach tended to put to flight just those people who suffered from the most difficult situations. We have taken into account, then, the necessity of many parents to have a place for recovering energy and emotional balance. Through these courses we have offered to them an opportunity to reflect on their role as parents and to work on their own body through yoga and bioenergetics.

2.2.4 Free and structured (non musical) play activities

The service of the "playroom" is meant to support families in organizing their children’s leisure time after school and to offer children a qualified alternative to loneliness, television, playstation or wandering about the streets.
It is organized in three different areas. Each area is dedicated to a specific age (3-5, 6-8, 9-12 year olds) and has its own person in charge.

The activities, according to different ages, are: free games, team games, courtyard games, singing games, structured dances, drawing and painting, reading books and so on. Workshops - of a length of two or three classes - focus on particular themes as recycling waste material, multiethnic cooking or miming, etc. The service helps to check the dynamics that take place among children in a situation of pure entertainment. Especially those children who have difficult backgrounds can find here a way to test their relationship with Bambini al Centro before starting to have a more regular frequency or to attend a musical group. The playroom gives us the chance to keep in touch with these children and not “to lose” them.

2.2.5 Music activities in groups

• Early childhood music – for parents and children 0/36 months
• Music and Play - 4/6 years
• Ensemble music with Orff Instruments - 7/8 years
• Voice and percussion instruments - 9/12 years
• Music Theater – parents and children
• Kids and grown-ups – children, parents and grandparents

The wide range of music-recreational activities and the way they are conducted constitute the distinctive trait of the Centre. Classes take place once or twice a week and are 60 to 90 minutes long.
In the context of Bambini al Centro our idea of music education aims at supporting and accompanying children's developmental process. The group is the place where this happens, music is the means to do it, the growth of each child is the goal.
The activities are mainly inspired by the Orff-Schulwerk approach. This concept aims at promoting a significant, emotionally involving and holistic music learning. The interaction of music, dance and speech, the use of movement as an indispensable requirement for any musical learning, the constant link between body, voice and instrumental sound represent the foundation of this methodology.

Orff-Schulwerk is an approach that fosters creativity through play, exploration, improvisation and composition. The attention to the person and her global wellbeing facilitates the development of motivation and creates a safe environment in which everybody has the possibility to experiment with different forms of artistic expression.
Playing music together is a way to encounter other persons within the group and to develop a positive relationship with them.
Within the anthropological, holistic frame of the Orff-Schulwerk approach – stimulating perceptive, motor, emotional and relational skills – we have integrated some of the findings of recent researches in cognitive psychology of music, in particular Edwin Gordon's Music Learning Theory, a systematic and coherent model for the gradual development of music understanding and literacy.

The educational model developed at Bambini al Centro is respectful of different learning and thinking styles: "understanding" – through verbal language and intellect – marches side by side with "doing" and "feeling" – integrating different channels of expression and communication. This way many children who have some learning problems can be at ease with these activities because they feel confident with their (often under-estimated) skills.
Moreover, tasks are differentiated according to each individual's competences and wishes, so that every child in the group can choose and master a task that is not too difficult – and therefore frustrating – or simple – and therefore boring. Everyone learns at his/her own level, getting over his/her own limits.

The teachers, one or two for each course, establish a serene and stimulating athmosphere, where group work is based on a shared set of rules. The classes have a precise structure: there is an opening and closing ritual, usually a song or a dance, through which all members of the group are welcomed and mentioned by their name. The central part of the class is focused on one or more materials, often taken from the folklore or from ethnical repertoires of the world and taught mainly orally. We intend, if possible, to value to multicultural components of the group.

Within a rich range of possible uses of space, the circle is the basic scheme for the encounter, the communication, the sharing of information and experiences in the group. The circle confirms the identity and the equal importance of all members. In the circle children don't sit according to a hierarchic order and can look at or speak to each other.
The inclusion of all children, able or disabled, is favoured by the presence of a so-called professional educator, who accompanies the disabled child in the construction and definition of his/her relationship with the group, aiming to make him as autonomous as possible in his/her interactions with other children.

A particular attention is deserved by the groups that include both children and parents.
The early childhood music group (0-36 months) is born as an "experiment" aimed to assist young mothers in developing a special and intense contact with their babies through music – songs, rhythms, dances, games. This experience has led to a growing demand of activities for babies and their mothers. Many women need to live their motherhood in a community dimension, getting out of their solitude and encountering with and through music the experiences of other women.
The course "Kids and grown-ups" is a successful model of intergenerational integration through music. Beyond specific musical goals – that will be anyway adapted, as mentioned before, to individual skills – the main goal is here to offer the possibility to enrich and differentiate the net of interpersonal relationships of children, parents and grandparents.

2.2.6 The psycho-pedagogical supervision of teachers

The educational relationship involves the teacher not only as a didactic expert, but also as a whole person that gets into contact with other persons. It moves and affects the teacher’s experiential background and his/her psychological story. When the professional environment requires a close proximity to discomforts, privations and different kinds of difficulties it becomes extremely important to support teachers through a specific action of psychological supervision.
The project provides for all staff members regular meetings – once a month - with the psychologist of the Centre. The meetings want to stimulate the awareness of emotions that may come out in the relationship with users; they want also to help teachers to be aware, both at a cognitive and emotional level, of the fact that "bad" or "impossible" children do not exist; teachers may rather have their personal and inner reaction towards a particular behaviour of a child or of the group. It is necessary, for example, to be able to read children’s behaviours that may be wrongly judged as a refusal or lack of interest in the activities. Teachers should better see these behaviours as a mirror of the child’s negative relational backgroud. When teachers have such a good emotional balance that they are able to give answers that are different from the ones the "difficult" child is used to – reproaches, humiliations and exclusion – then we witness a qualitative leap in the child’s motivation, relation and learning.
Teachers’ awareness about psychodynamic aspects in educational relations affects positively not only children’s and educators’ personal experiences, but it has also a strong impact on the final outcomes of teaching/learning processes.

ACKNOWLEDGMENTS

We want to thank the IV municipal district and, in particular, Dott.ssa Antonella Rossi, from whom we learned a lot; the director of the 196° Circolo Didattico of Rome, Dott.ssa Eva Pasqualini, for her managerial intelligence and personal support; Dott.ssa Raffaela Andolfi and Dott.ssa Alessia Liberati, who are with us the soul of this project; all children, parents and teachers who have made all this possible.

REFERENCES

FRANCESCATO / PUTTON / CUDINI (1998), Star bene insieme a scuola. Strategie per un’educazione socio-affettiva dalla materna alla media inferiore, Carocci editore, Roma
GARDNER, Howard (1987), Formae mentis. Saggio sulla pluralità dell’intelligenza, Feltrinelli, Milano
GOLEMAN, Daniel (1996), Intelligenza emotiva, Rizzoli, Milano
EDWARDS, Carolyn / GANDINI, Lella / FORMAN, George (a cura di) (1995), I cento linguaggi dei bambini. L'approccio di Reggio Emilia all'educazione dell'infanzia, Edizioni Junior, Bergamo
JUUL, Jesper (2001), Il bambino è competente, Feltrinelli, Milano
GOODKIN, Doug (2001), The Musical Community, in: American Orff-Schulwerk Association, "The Orff Echo" Volume XXXIII (Summer 2001), Cleveland, OH, pp 10-11
GORDON, Edwin E. (1997), Learning Sequences in Music. Skill, Content and Patterns. A Music Learning Theory, GIA Publications, Chicago
HASELBACH, Barbara / NYKRIN, Rudolf / REGNER, Hermann (1985), Musik und Tanz für Kinder. Unterrichtswerk zur Früherziehung, Schott, Mainz
HASELBACH, Barbara / NYKRIN, Rudolf / REGNER, Hermann (1990), Musik und Tanz für Kinder. Musikalische Grundausbildung, Schott, Mainz

Valentina Iadeluca

Interpreter of modern music and a jazz singer. Master in Cultural Management and Communication at LUISS Management University of Rome. On behalf of the Commune of Rome, she is author and responsible for the project “Children in the Centre”, a system of educational services in music and play area (the experience presented in this CMA Seminar).
She is director and teacher of CDM – Centro Didattico Musicale.
She is very active as a music teacher trainer, both in Italy and abroad, mainly on the subjects: 3-6 years old children: teaching music, playing music, voices in movement: teaching creative movement and singing to primary school children, Music, Words, Pictures: interdisciplinary approaches to music education beginning from reading picture books, planning of music activities.
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Andrea Sangiorgio

Graduated in Music and Movement Education at the Orff-Institute, University “Mozarteum”, Salzburg, Austria. Master Degree in Ethnomusicology.
Director and music teacher of CDM - Centro Didattico Musicale, Roma.
Teacher training courses throughout Italy and abroad mainly on: elemental music and dance education (Orff-Schulwerk approach), ensemble music for percussion instruments, group improvisation, applications of cognitive psychology of music.
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see the Italian Version  of the paper

CMA

Community Music Activity

Vision

We believe that everyone has the right and ability to make, create, and enjoy their own music. We believe that active music-making should be encouraged and supported at all ages and at all levels of society. Community Music activities do more than involve participants in music-making; they provide opportunities to construct personal and communal expressions of artistic, social, political, and cultural concerns. Community Music activities do more than pursue musical excellence and innovation; they can contribute to the development of economic regeneration and can enhance the quality of life for communities. Community Music activities encourage and empower participants to become agents for extending and developing music in their communities.
In all these ways Community Music activities can complement, interface with, and extend formal music education structures.

Mission

The CMA commission was established in 1982 within the International Society for Music Education (ISME) following previous formations as the Education of the Amateur Commission (1974), with Magdalena Stokowska (Poland) as Chair. The name changed to the Out of School Activities Commission in 1976 and was chaired by André Ameller (France) from 1976-1982. The first seminar was held in 1988.
The commission aims to:

• Facilitate the exchange of information on areas relevant to the field of community music.

• Encourage debate and dialogue on different international perspectives on community music and on current issues within the field.

• Encourage international cooperation.

• Where possible enter into dialogue with musicians and music educators in related fields.

• Disseminate research and other information.

Past Seminars

2006 Singapore
Creating Partnerships, Making Links, Promoting Change
Chair: Phil Mullen, UK (2004-06)

2004 Tenerife
Chair: Pat Shehan Campbell, USA (2002-04)

2002 Rotterdam, The Netherlands
Five Themes on Community Music
Chair: Huib Schippers, The Netherlands (2000-02)

2000 Toronto, Canada
Lived Music, Shared Music Making: Community Music the New Millennium
Chair, Kari Veblen, Canada (1998-2000)

1998 Cape Town, South Africa
Many Musics-One Circle
Chair: Betsy Oehrle, South Africa (1996-98)

1996 Liverpool, UK
Here Comes the 21st Century-The Challenges to the Future
Chair: David Price, UK (1994-96)

1994 Athens, Georgia, USA
The Role of Community Music in a Changing World
Chair: Tim Joss, UK (1992-94)

1992 Auckland, New Zealand
The Role of the Music Educator in the Multicultural Society
Chair: John Drummond, New Zealand (1990-92)

1990 Oslo, Norway
Training Musicians and Music Educators to Meet Community Needs
Chair: Ingrid Olseng, Norway (1988-90)

1988 Wellington, New Zealand
Community Music-Interaction between Amateurs and Professionals
Chair: Einar Solbu, Norway (1982-88)

For more information see www.isme.org

Themes

Seminar Themes

The seminar has explored the following themes:

1. Community Music and the Criminal Justice System
What elements are needed in order to generate excellent projects within the criminal justice system? Is there something distinctive and necessary when setting-up creative music-making events within these sites? What are the best music genres to work in, song writing, improvisation, choir, drumming? How can the community in community music be viewed within instances of enclosed environments?

2. Community Music and Well-being
How do people benefit from community music practices? Where are the examples of successful instances and how is this measured? Can community music make a significant difference with those suffering with mental health issues? What are the pathways needed that would allow meaningful relationships between community music projects and the health service?

3. Community Music: Faith, Religion and Ritual
Where are the examples of community music as a multi-faith discipline? What are the key issues for
practitioners working in this area? What are the implications in terms of philosophical, political or ethical dimensions? How can community music operate within particular belief systems? Does community music’s commitment to the ‘welcome’ resonate with religious practices? What if any are the distinctions between a musical worship/ritual ‘event’ and community music practice?

4. Community Music and Leadership
How often do facilitators fool themselves and/or fool the participants that they are working within open creative structures? How often does one start creative music making workshops but know full well what the musical outcome will be? Do facilitators control and limit the participants under a smoke screen of empowerment idealism? Have significant aspects of the work-shopping process been loss in well-honed expert methodologies and systems? In short, how facilitatory is the facilitation?

5. Community Music and Social Capital
Does community music build social capital? If so, how?
Can community music in and of itself be viewed as a form of social capital?
Is community music and inclusive, exclusive, or neutral form of social capital development? Can Community Music have an impact on the economy?
Can community music as an approach to social capital building generate employment opportunities?

Click here for the Report on the Emerging Themes  of the CMA Seminar 2008

Click here for the abstracts of the papers  that have been presented at the Seminar.

If you want to see the whole text of the papers
go to wikispaces (Thanks to Steve Dillon for this precious work)

Participants

The 2008 CMA Group

The following people have participated to the Seminar:

Commissioners 2006-08

Lee Higgins (UK), Chair

Subject head for the integrated MA of Performing Arts Education,
Dance Theatre Practice, Contemporary Theatre Practice,
Community Music and Community Arts,
Liverpool Institute for Performing Arts, UK
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Lee Higgins is chair of the International Society of Music Education's (ISME) commission for Community Music Activity and joint editor of the International Journal of Community Music http://www.intellectbooks.com/. As a community musician he has worked across the education sector as well as within health settings, prison and probation service, youth and community, and orchestra outreach. As a musician he play guitar, mainly electric popular styles, Brazilian hand held percussion and Cuban congas. He has worked as a composer, primarily in collaboration with other art forms, particularly dance. His professional practice embraces a gamut of music genres, most notably samba drumming, improvisation, pop/rock, and music technology also combining the non-traditional performance space such as the use of site-specific and environmental possibilities in performance.

 Joel Barbosa (Brazil)

Universidade Federal da Bahia
Escola de Música
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Joel Barbosa studied at the Tatuí Conservatory and UNICAMP. With scholarships from the Braziliam Government, he obtained his Doctor of Musical Arts degree at the University of Washington, Seattle. His research includes music education at community bands and in NGO, and clarinet performance. It has been published by ABEM, ANPPOM and ISME. He wrote the first Brazilian band method. He was editor of the ABEM and president of the Brazilian Clarinet Association. As clarinetist, he has appeared as soloist in Brazil, USA, Austria, Germany and Colombia. He teaches at the School of Music of Universidade Federal da Bahia and coordinates social projects.

 Don Coffman (USA)

Professor & Head of Music Education
2003 Voxman Music Bldg, 300 N. Riverside
University of Iowa
Iowa City, IA 52242-1795
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http://www.uiowa.edu/~musiced

Don Coffman is professor and head of music education. He teaches undergraduate courses in conducting, instrumental methods, and introduction to teaching music. His graduate courses include the psychology of music and techniques for researching and measuring musical behaviors. An active researcher in lifelong music learning, he is the former Chair of MENC’s Adult and Community Special Research Interest Group. He has served on the editorial board of the Music Educators National Conference's Journal of Research in Music Education and currently serves on MENC’s Music Education Research Council, the executive board of the Society for Research in Music Education. He is also a board member for the Community Music Activities Commission of the International Society for Music Education. His writings have appeared in the leading music education research journals. Professor Coffman directs the Iowa City/Johnson County Senior Center New Horizons Band, which provides an opportunity for "chronologically gifted" adults to learn or reacquaint themselves with wind and percussion instrumental music. In 2006 he was honored for his work with his New Horizons Band with The University of Iowa President's Award for State Outreach and Public Engagement and the State of Iowa Governor’s Volunteer Award.

 Phil Mullen (Ireland/UK)

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Phil Mullen is an Irish community musician based in London and working in Southern England and internationally. He specialises in training community musicians which he did for Goldsmiths College, London University from 1990 to 2007. He now continues this work with a number of universities and community based training organisations. He directs a performance based educational project, the Open Ear Orchestra for the London Philharmonic Orchestra which focuses on composition and improvisation. He runs a 12 person community music team Soundpeople in London and the South east of England specialising in working with young people both inside and outside school environments. Phil has been involved with the ISME CMA since 1996 and was chair of the commission in 2004.

 Nur Intan Murtadza (Canada/Malaysia)

Department of Music
York University, Toronto, Ontario, Canada
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Nur Intan Murtadza is an interdisciplinary researcher, curriculum consultant and musician. She is currently a Ph.D candidate in Ethnomusciology at York University, Canada and her research examines pedagogy as social practice. Her analysis draws from synthesizing theories and methodologies from ethnomusicology, philosophy of music education, phenomenology, movement analysis and non-textual paradigms. She received her Masters in Music Education from the University of Toronto where she examined world music programs, particularly the gamelan ensembles in elementary and high schools. As a curriculum consultant, she has worked collaboratively with other team members in creating and implementing the Toronto District School Board’s World Music Learning Resource Program. In addition, she has conducted gamelan workshops/seminars at universities, museums and art galleries. Her community music activities include setting up a children’s gamelan group in Toronto, directing the York University Gamelan Orchestra and performing with various gamelan ensembles in North America.

Presenters

Brydie-Leigh Bartleet (Australia), Cindy L. Bell (USA), Cathy Benedict (USA), Flavia Candusso (Brasil), Stephen Clift (Australia), Mary L. Cohen (USA), William Dabback (USA), Donald DeVito (USA), Steve Dillon (Australia), Cristina Faria (Portugal), Valentina Iadeluca (Italy), Ilza Zenker Leme Joly (Brasil), Patrick Jones (USA), Alexandra Kertz-Welzel (Germany), Magali Kleber (Brasil), Dochy Lichtensztajn (Israel), Christian Mau, Catherine Pestano (UK), Helen Phelan (Ireland), Joan Pietersen (Australia), Mari Shiobara (Japan), Emma Rodrigues Suarez (USA), Andrea Sangiorgio (Italy), Patrick Schmidt (USA), Christine Ngai Lam Yau (China/UK)

Click here for the abstracts of the papers  that have been presented at the Seminar.

If you want to see the whole text of the papers
go to wikispaces (Thanks to Steve Dillon for this precious work)

Observers

Kathryn Deane, Murielle Leymarie, Christian Mau, Sigridur Palmadottir, Kristin Rao, Tawnya Smith, Julie Tiernan, Martin Welzel, Maria Carolina Leme Joly, Luyi Sun, Xiao Ying Li, Ying Lu, Qin Su, Xiu Zhi zhao, Li Li

Hosts

Andrea Sangiorgio
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Valentina Iadeluca
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CDM onlus Centro Didattico Musicale - Rome, Italy