LAURELS 2004-2005 Arts in Education and Academic Presentations
With educational-outreach events at schools and on college campuses, Assimakopoulos and members of the Laurels international Performers Roster will present interactive performances, with Q & A sessions, intentional correlations to classroom subject matter, and activities designed to engage both intellect and emotion.
I. The LAURELS project resource materials are annually time-lined for peak publicity during March "Women in Music Month", with public performances, educational outreach concerts, radio interviews, PBS vignettes, and article publications.
II. LAURELS considers its literature-based commissions an intellectual challenge in artistic integration for both its composers and interpreting artists, resulting in an engaged exploration into and resonant experience with literature and contemporary musical idioms.
Requiring only one performer, the LAURELS commissions present a contemporary music project easily accessible to performance and educational venues with honoraria and spacing considerations.
III. The LAURELS project assembles multidimensional documentation and curricular reference material critically needed by educational institutions, libraries, media, and concert programming venues. LAURELS fosters audience connection to twenty-first century art music through literary and visual avenues of entry and association, implementing the mediums of live performance, recording, multi-media, and printed material to successfully achieve its ambitious and culturally significant objectives.
IV. The LAURELS project explores the integration of music and literature affirming the national standards for Arts Education's "Correlation and Integration" goals.
V. The LAURELS project fosters audience aesthetic and intellectual connection to twenty-first century art music. LAURELS fosters audience connection to twenty-first century art music through literary and visual avenues of entry and association, implementing the mediums of live performance, recording, multi-media, and printed material to successfully achieve its ambitious and culturally significant objectives. The brevity of the pieces allows great flexibility: the flutist can use one long-version program to represent a significant percentage of the entire slate of composers, or split the program up into smaller talk-and-play segments at scholastic events where time constraints apply. The solo aspect of the program, or the lack of need for a piano, lends itself to classrooms and other spaces where close quarters might limit the types of music presented. It also keeps honoraria to the minimum so that schools can embrace the hosting opportunity without being concerned about costs.
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