Ways of Knowing
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In the early 1980s, students from Spanish Harlem, Harlem, the Bronx and Queens took part in a Carnegie Foundation, New York Academy of Sciences and Ford Foundation-funded program entitled MIDI-Music-Mathematics-Science... WAYS of KNOWING. (Midimast)
These students, with no prior musical training, learned how to compose a contemporary piece of music at a professional level. In the process and indeed as the stipulated goal of the immersion, they acquired concepts in Mathematics and Science greatly exceeding the normal learning for their grade levels. Principals were stunned at the quantum improvements in Mathematics and Science test-scoring in such a short time, and immediately initiated a New York City-wide training session where 275 Mathematics and Science teachers took part in the processes and concepts prevalent to Midimast.
Tests rendered in the NYC Area schools verified a significant improvement in mathematics and science scores, and only after weeks of immersion in the process.
Noted scientists involved at inception included Seymour Papert , author of MINDSTORMS and Professor at M.I.T., as well as fellow professor Marvin Minsky, the “Father of Artificial Intelligence.”
Fueled by great successes, Midimast eventually expanded into courses in which as many as 275 New York City Mathematics and Science Teachers learned how to utilize Music to better teach concepts pervasive in and inclusive to Music, Mathematics and Science.
This Teacher-Based Curriculum Guide is exactly the kind of knowledge and broad scope our Music Teachers and all Teachers need to have in their toolbox, as they work with administrations and sometimes, colleagues, who are misinformed about the vastly potent usefulness and interconnectedness of Music and much more!
The concepts covered, the facts presented, and the actual case studies shared, uplift the role and importance of Music in every child’s life. The text, whether implemented or not serves to expand one’s knowledge base with specific regard to the intersection of Music, Mathematics and Science... and more.
Into 2017, Stephen's 4th Symphony was nominated for the Pulitzer and Nemmers Prize in Music. Winner of three 2009 Telly & Ava Awards for his 2005 Visualized Concert, Kakehashi: THAT WE MIGHT LIVE, Stephen's concert-version was also nominated for the Pulitzer Prize in Music. His 15 feature film scores include the Oscar-nominated 12:01PM, and most recently, The Unwilling. An ASCAP Concert Awards recipient each year since 1992, Stephen's more than 1145 works include 4 symphonies, several concerti and over 33-hours of Music for Ensembles of the 3rd Millennium™. With 28 CDs and 6 books on iTunes, and simply by word-of-mouth, Stephen's pioneering, self-publishing entity known as STORMWORKS has gone from 0 to many thousands of worldwide renderings since 1992.
Digital Libretti here: stormworld.com/DigitalLibretti/
“Melillo is to wind music what Beethoven was to the symphony orchestra, and he follows a Beethovenesque design of increasing the musical tension almost to the breaking point, receding, and then reaching again. It is superlative musical craftsmanship and inspiring to hear.” Marvin Sosna, Music Critic
“His S-MATRIX Symphony was fabulous, full of childlike wonderment as the composer intended and marvelous sounds. And they worked to maximum effect — a brilliant, original use of orchestral resources for a sophisticated, sensational, beautiful and satisfying experience.” Nancy R. Ping-Robbins, Music Critic
“...a new voice in the direction of music, his sound – a bridge between the serious and the immediately visceral.” Maestro Gerhardt Zimmerman, Conductor
“...his ability to create a mood, find precisely the right touch of drama and create the needed effect was manifest... the sustained chords in the choir, the timpani’s roar, the harp’s glissandos. Melillo used them all with a sense of absolute rightness and the result was fresh, joyful and exciting... each measure scored with an unerring ear for drama and emotion.” John S. Sweeney, Music Critic
“He could become the Leonard Bernstein of this age... Everything he creates has many layers, ranging from synchronicity to the significance of numbers, from visceral emotions to the brotherhood of mankind.” John S. Sweeney, Music Critic