JSO NEWS

Breaking News on the Classical Scene in Jamaica

JANUARY 2015

JSO Amazing Story

It came to Dr. Lisa Walker as a vision in June 2008 while she was residing in the USA. In an email dated June 18, 2008 to the Dean of the
Music Department of Northern Caribbean University, Dr. Walker wrote: I am currently located in Florida and am going to commute to Jamaica every two weeks to work in Kingston and am considering moving back to Jamaica permanently. . . I am going to establish the Jamaica Symphony Orchestra . . . In another email dated June 26, 2008 to her friend in Jamaica, Priscilla Ho, Dr. Walker wrote: Jamaica......a
country of its size and development NEEDS to have a professional symphony orchestra. Even Honduras (where I was working for my Fulbright) has a professional orchestra.
Two months later, Dr. Walkers furniture and musical equipment, including a baby grand piano, were on a boat to Jamaica. By December
2008, the Jamaica Symphony Orchestra (JSO) was a reality and staged its first concert series in April 2009. The concerts, which comprised
the JSO based in Mandeville, were well attended and created a huge demand for membership in the orchestra. Even musicians from Kingston joined, despite having to traffic to Mandeville weekly to participate in the orchestra rehearsals.
In September 2009, a branch of the orchestra was opened in Kingston, which immediately filled a gap in the capital of Jamaica and created
a buzz around town as musicians from every corner of the city quickly auditioned for a seat in the symphony. Later, the steel pan was added as a fifth and equal section of the orchestra, which made the JSO the only orchestra in the world with five sections and a unique Caribbean sound. This attracted international attention and later led to Dr. Walkers work in France with over 400 musicians from 73 countries.
The JSO staged its next concert series in Kingston and Mandeville in November 2009 combining its orchestras in Kingston and Mandeville
on one stage. These attracted a huge turnout as music lovers flooded the venues to witness the orchestra first hand. Following the events,
the Jamaica Gleaner of November 25, 2009 branded the orchestra a Caribbean Classic, and stated: (the orchestra) surely is one of the
world's largest and definitely the only major one with a steel-band section . . . The large stage, filled with 100-plus classical musicians and
their instruments, was an impressive sight, one a Reggae Sumfest Dancehall Night could never duplicate . . . If the enthusiasm of the audience is a good indicator, the concert was a success . . . .
By 2010, the JSO had become a household name in Jamaica and
was featured at the Jamaica Stock Exchange Regional Conference in January 2010. It also staged a sold-out concert
(Beethoven meets Bob Marley ) in June 2010, and in October
2010 was the highlight of the World Travel Award - the biggest and
most prestigious awards program in the travel industry worldwide.
The following year (2011), the JSO premiered Run-A-Boat Symphony the first full symphonic work that has ever been written
for a 5-section symphony orchestra. Commissioned by Dr. Lisa
Walker, the historic work was composed by JSO Composer, Dr.
Andrew Marshall, who created history by writing the first full symDr. Lisa Walker sharing her vision for the JSO with the Governor
General of Jamaica, His Excellency Sir Patrick Allen.
phonic work for a 5-section orchestra. As the JSO continued its
Kings House, September 17, 2010
successes into 2012, it used its significant influence to pull nearly
all the top classical musicians in Jamaica on one stage for the first
time to celebrate Jamaicas 50th year of Independence in July 2012 under the patron of the Governor General of Jamaica.
Like many young organizations, the JSO had its share of problems in 2013 under the leadership of a new chairman, which led to a restructuring of the orchestra in 2014. As a result, the JSO is now positioned to become the premiere orchestra in the region based on its new
standard and minimum entry requirement (FRSM or equivalent). In addition, there are now five training orchestras ranging from beginning
to pre-professional as a bridge to the JSO; and its founder and music director, Dr. Lisa Walker, is now permanently based in Jamaica with
renewed energy and a firm commitment to take the musicians all the way to the top to place Jamaica at the forefront of the classical World.

Membership in Hillel Orchestra jumped by over 100%

As news of the Hillel Orchestras continue to spread, the Pre-Orchestra has seen over 100% increase in membership for its
new term that started on January 7, 2015. At the same time, the High School Orchestra has been beefed up with advanced
players from the Prep School Orchestra who will now perform in both orchestras until they are old enough to be full members
of the High School Orchestra.
Following on the high from the last Recital in December 2014, the energy and motivation of the musicians in all the orchestras
have increased remarkably in anticipation of the next Recital. The young musicians, who have been given free reign by their
coach to choose what to present at the next Recital, have decided to take the audience to the movie with their favourite movie
sound tracks . Accordingly, the musicians are now working on a number of exciting movie sound tracks, all of which are expected to be popular with the audience. One in particular, Let It Go from the popular movie Frozen, has created so much
excitement during rehearsals that it is obvious the kids can barely wait to perform it at the next concert. The work was arranged specifically for the Hillel Orchestra by local composer, Paulette Bellamy.

Dr. Walker directing members of the Hillel Orchestra at its End-of Term Recital in December 2014

In other news, the Hillel Orchestra started the new year on a roll with its first performance at Hillel on Friday January 9, 2015
to celebrate Hillels 46th birthday. Chairman of the Board of Hillel Academy and well-known Business Executive, Joseph M.
Matalon, who was obviously pleased with the presence of the orchestra, expressed his appreciation for the work being done
by Hillel and disclosed that he was once a student of the school.
The Hillel orchestra was launched in May 2014 with a handful of players and has grown significantly within a few months.
There are five ensembles ranging from beginners to pre-professional. Each ensemble is specially designed to develop musicians to their highest potential using graded repertoire to the most advanced orchestral literature. In addition to excellent orchestral skills, musicians develop a strong sense of discipline, accomplishment, confidence, self-esteem, and a deep appreciation for music and the arts. Students are placed in the appropriate training orchestra according to their level. From there, they
advance through the progressive leveled orchestras until they meet the minimum standard to be considered for membership
in a professional orchestra.
*Beginner Classes: These are designed for string players and introduce the basic positions and techniques necessary for a good foundation in string performance. Suzuki & Traditional methods and literature are used and no prior music
experience is necessary.
*Pre-orchestra (Level 1): The pre-orchestra class welcomes string students who are working in Suzuki, ABRSM, etc. level
one and need to develop beginning ensemble and reading skills.
*Prep School Orchestra (Levels 2-5): This is designed for students who currently play at levels 2-5. Appropriate graded orchestral literature is used to introduce proper performance practice.
*High School Orchestra (Levels 5-8): This is a full symphony orchestra experience for students who are working in
levels 5-8. Standard Orchestral literature is studied and performed. Open to all orchestral instruments.
*Pre-Professional (Post Grade 8): This is a full symphony orchestra experience specially designed for musicians
who have completed grade 8 or the equivalent and are ready to work on the most advanced orchestral literature. Open to all
orchestral instruments.

Who is Dr. Lisa Walker ?

Dr. Lisa Walker is an American Violinist and International String Coach with over 20 years experience in violin pedagogy,
including international master classes and workshops. She has performed nationally and internationally as a soloist,
chamber musician, and orchestral musician in North America, Central America, Europe, the Middle East, the Far East, and
the Caribbean.
Considered one of the best violin instructors and string coaches worldwide, Dr. Walker has worked with students from every continent in the world and was recently a violin professor at a prominent international school in Paris where she
coached over 400 young musicians from 73 countries. She has also served as chairman of the panel of judges for Florida
Federation of Music, and adjudicator for Florida Youth Orchestra, Florida Federation of Music, and All-city Music Festival.
A winner of several competitions and awards, Dr. Walker was trained in the prestigious Chicago Symphony Orchestra Civic orchestra program where she earned leadership positions and won the highly competitive concerto competition. She
has performed with the Chicago Symphony and other professional orchestras throughout the United States and had several performances in the famed Carnegie Hall in New York.
Dr. Walker has achieved a 4.0 Grade Point Average (perfect score) on all her undergraduate, graduate, and doctoral
courses and is conversant in several languages. Based on her outstanding academic and professional achievements and
extraordinary leadership ability, she was awarded a Fulbright scholarship by the American Government in 2004 to lecture
as a String Music Performance Specialist at the National Autonomous University of Honduras.

Lisa Walker is one of the most dynamic, determined and capable people I've known. . . and if she says she'll create an orchestra, then that's
what she'll do! Dr. Rachel V. Huang, Professor of Violin, Claremont Graduate University, California, July 2008
A diamond shines wherever it goes! Lisa is one of a kind Manuel Berberian, Alegro Music Centre, Miami, Florida, November 2013
. . . the greatest teacher I have ever known. Jennifer Maestro Moore, Los Angeles, California, October 2012
It would truly be a great loss not to experience the great teachings of Dr. Walker Jessica Li, Manhattan School of Music, New York, July 2008
I've never seen my son David so enthusiastic about anything until he started taking extra violin this year Silvia Strata, Italy, November 2013
Riho and I were very lucky to have you as our first violin teacher Chiari, Tokyo, Japan, February 2014
You (are) really as great as everyone says you are! Nour El Shabrawishi, Egypt, January 2014
Lisa Walker is an asset to the South Florida music community Catherine M. Gavin, Florida Federation of Music, July 2008
What an amazing opportunity for her to be taught by you Nicky and Amelie, United Kingdom, February 2014

Tropical Rhythms: A String Project in Jamaica (Extract) - Part 2

Tropical Rhythms, a String Project in Jamaica, transpired from 1997 to 2001 under the leadership of Dr. Lisa Walker, who later submitted the project as
partial fulfilment of the requirements for her Doctor of Musical Arts degree at Claremont Graduate University, California. The following is a continuation of
the extract from the project. Based on the last extract, Walker discovered a widespread mind-set in the Jamaican culture where high value is placed on
a visible performance product with very little value placed on the actual process. This peculiar cultural disposition compels a pedagogical approach heavily based on performance.
The Suzuki Method, begun by Shinichi Suzuki in Japan in 1947, is one example of a performance-based system. It was
through the Suzuki Method that I developed an early and solid bond with the violin. The late Mr. Joseph Williams, a Panamanian Suzuki instructor, introduced me to the violin using the Suzuki Method. . . . Mr. Williams was an extremely motivational
teacher and it was through my experiences with him that I developed an inspirational approach to violin studies. . . .
Suzuki Method organizes graded works by book level. Aptitude is developed through the repetition of works containing a particular technique rather than isolated technical exercises. When the technical skill is acquired, the student gains a polished
performance piece as a product. The philosophy of this particular method is perfectly suited to the demands of the Jamaican
music culture . . .
The string project required all participants, with the exception of adult learners, to attend twice weekly, once for a private lesson and once for a master class. The weekly master classes provided an opportunity for the students to play for and with
their peers. The group classes proved to be highly motivational and exciting for the students and were a vital ingredient in
the success of the project . . . The projects group class structure
provided opportunities for repetition of previously learned skills,
observation of new techniques, participation in ensemble playing,
practical theory, informal performances and sight-reading for each
student. In addition to performing every three months for the end
of term recitals, the students performed in full-scale public concerts
held in April and December every year, beginning in December 1999. They were also
invited to perform at a number of unique locales including filming for music videos,
church programs, weddings, garden parties,
Advanced Reading Ensemble. LR: Philip Ho, Nicolette
childrens homes and the house of the GovSmith, Stefan Kerr, Marc Gayle and Peter Ho
ernor General of Jamaica. . . .

Nicolette Smith

Varied levels of motivation among the students necessitated further grouping of classes. Certain students learned three or more levels per year, while others learned less than one level per year. One
extraordinary participant, Nicolette Smith, entered as an absolute beginner, practiced three to five
hours per day and completed six levels in a little more than a year. In response to this variety, I created differentiated syllabi. At the beginning of each term, the parent chose a recreational-track syllabus
or a performance-track syllabus for their child to complete. Every student was invited to complete the
performance-track syllabus with the commitment of daily practice. The comprehensive scope of this
particular syllabus focused on building solid technique. Alternately, the recreational-track syllabus
concentrated mainly on giving the student an experience of playing a stringed instrument in a nondemanding environment. The students completing performance-track syllabi were frequently called
upon to play in the community in groups or solo. Television and radio performances were included in
their collection of performances. All students from both tracks performed together in the projects biannual concerts.
During my sojourn in Jamaica, I quickly learned that high drama might very well define the essence of
the Jamaican culture. I presume the Jamaican audience responded favorably to the dramatic content
of our programs . . . At the conclusion of one particular concert, an audience member exclaimed to me,
I didnt know string music could sound like that! I was never able to define what that was, but she
registered both herself and her children the very next day.

Continued in the next JSO News