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Events take place at Hillside Club, located at 2286 Cedar Street in Berkeley

Young Artist Award 2005 Annual Competition

for Piano, Voice, and Orchestral Instrument Performers

Over $2000 in Prizes

New! Special Prize for the performance of the Original Composition

For questions & info, contact: YAA Competition Chair, Ms. Rozalina Gutman: rozalinapiano@comcast.net or by calling at 510.845.4624


Read the article about our Club's 100th Anniversary. For info re. joining the Etude Club of Berkeley, please, call Fran Tannenbaum-Kaye, Membership Chair at (510) 482-1886

The annual Audition is traditionally held in April. 

Specific Guidelines and Requirements are usually available in the Fall.


We thank all the participants for striving for the best results & for showing their dedication to studying music. We also admire their teachers & parents for their support.
Congratulations! to the winners of Young Artist Award 2005

Original Composition Category:

1st Prize - Preben Antonsen

2nd Prize -

Reuben Moss and Keenan Roberts Boswell


Junior Performance Category:

1st Prize - Preben Antonsen

2nd Prize - Juhye Lee

3rd Prize - Max Manzanarez


Senior Performance Category:

1st Prize - Victoria Yoon

2nd Prize - Rachel Antonsen

3rd Prize - Jeffrey Taylor


Please, scroll down to read the winners' biorgaphies.

Awards Ceremony and Winners Recital

will take place on May 16, 2005 at 1:00 pm at the Hillside Club

located at 2286 Cedar Street in Berkeley 

FREE AND OPEN TO THE PUBLIC

We are pleased to announce personal appearance of Mr. Edwin Outwater,

the Conductor of San Francisco Symphony Youth Orchestra, Wattis Foundation Music Director.

Ms. Elizabeth Prior Runnicles will personally present the Awards to the winners.

RECEPTION WITH THE WINNERS WILL FOLLOW

We are grateful to KDFC Classical 102.1 Radio for the support and publicity generously provided for our event.


     

We are grateful to the adjudicators for YAA 2005 - Dr. William Bolcom (composition/piano), Ms. Elizabeth Prior Runnicles (strings), Ms. Miriam Abramowitsch (voice) for their generous contribution of time & expertise.

Please, read their biographies below:


Composer William Bolcom
Composer/pianist WILLIAM BOLCOM was born in Seattle, Washington, in 1938. Exhibiting musical talent while still very young, he began (at age 11) private composition studies with John Verrall and piano lessons with Berthe Poncy Jacobson at the University of Washington. Bolcom earned his B.A. from the University of Washington in 1958, studied with Darius Milhaud at Mills College in California and at the Paris Conservatoire de Musique, and earned a doctorate in composition in 1964 from Stanford University, where he worked with Leland Smith. Returning to the Paris Conservatoire, he won the 2e Prix in Composition in 1965. Various awards throughout his career include: a BMI award (1953), two Guggenheim fellowships (1965 and 1968), several Rockefeller Foundation awards, several NEA grants, the Marc Blitzstein Award (1966) from the Academy of Arts and Letters (for Dynamite Tonite, an opera for actors written with his long-time collaborator, Arnold Weinstein), two Koussevitzky Foundation Awards (1976 and 1993) for the First Piano Quartet and the Lyric Concerto for Flute and Orchestra - written for James Galway, the Pulitzer Prize for music in 1988 for 12 New Etudes for Piano, the 1977 Henry Russel Award (the highest academic prize given by the University of Michigan) followed 20 years later by the prestigious Henry Russel Lectureship (awarded to a senior faculty member) in March 1997 at the U of M,  the Pulitzer Prize for music in 1988 for 12 New Etudes for Piano, investiture in the American Academy of Arts and Letters in 1992, honorary doctorates from the San Francisco Conservatory of Music, the Alumnus Summa Laude Dignatus Award from the University of Washington in 2003. For more info, please, go to: http://www.bolcomandmorris.com
Miriam Abramowitsch, Mezzo Soprano
With vocal flair and dramatic mastery, Miriam Abramowitsch is acknowledged as a leading interpreter of both classic and contemporary song in more than ten languages. According to the San Francisco chronicle, "she has the rare internal stuff of which the fine Lieder singer is made." In 1998 she sang the world premiere of David Del Tredici's "Chana's Story" with the composer at the piano. The enthusiastic reception of its first performance called for its New York premiere in 1999 at Weill Recital Hall at Carnegie Hall. Abramowitsch regularly performs as guest soloist with numerous contemporary music groups such as the San Francisco Contemporary Music Players, the Monday Evening Concerts series in Los Angeles and Composers, Inc. She sang the title role in the world premiere of Charles Wuorinen's opera "The W of Babylon" with the San Francisco Symphony's New and Unusual Music series. Other premieres include works by Ralph Shapey, Ursula Mamlok, Gerhard Samuel, Harold Blumenfeld, Tom Cipullo and many others. In addition to the song literature, Ms. Abramowitsch has a large and Varied orchestral repertoire, from the classic works of Bach, Beethoven, Mozart, Brahms, Handel and Verdi to Mahler, Stravinsky, Durufle and Berlioz. On compact disc for the Music & Arts label, Ms. Abramowitsch has recorded Schubert's "Winterreise" with George Barth, fortepiano, and songs of Darius Milhaud. A future release is planned of Del Tredici's "Chana's Story," with Mr. Del Tredici at the piano. Ms. Abramovitsch teaches at Mills College, Oakland, CA and privately.

 


Elizabeth Prior Runnicles, Viola

A noted violist, Ms Runnicles performs regularly with the San Francisco Opera Orchestra (where she has served as Associate Principal) as well as the San Francisco Symphony, the San Francisco Ballet Orchestra, and, as Associate Principal, the Marin Symphony. Other orchestral credits include the Baden Baden Radio, Stuttgart Radio, Basel Symphony, and Mannheim Opera Orchestras, as well as the Freiburg Philharmonic and Cape Town Symphony.  A native of South Africa, she was a prizewinner in the International String Competition in Pretoria, and has toured extensively as an orchestral soloist, recitalist and in chamber music ensembles such as the Broderick String Quartet, the Marin Harp Trio, Trio Resonance, the Barbican String Quartet, and Ensemble 13 Karlsruhe. Festival performances include the Colorado Music Festival, the Cabrillo Festival, the Grand Tetons Music Festival, the Amelia Island Chamber Music Festival, the Sun Valley Summer Symphony and the Fredener Musiktage. Ms Runnicles is also known for organizing a series of "house concerts" on behalf of the San Francisco Friends of Chamber Music. Please, click on the following link to find out more details about Ms. Runnicles Bay Area  performances: www.chambermusicsf.org/aboutus.html#5


Biographies of Young Artist Award 2005 Winners

 

Max Manzanarez, age 15, Cello, 3rd Prize in Junior Performance Category

Max is a cello student of David Kadarauch and a member of the San Francisco Symphony Youth Orchestra.  A graduate of The Crowden School, he performed as a soloist with the Berkeley Symphony Orchestra.  He has performed in the Junior Bach Festival and for the Morrison Chamber Music Day Program.  He participated in master classes with Bonnie Hampton, Ian Swenson, Jean Jeanrenaud, Jeremy Menuhin and Alexander String Quartet. Max attends the College Preparatory School.

 

Jeffrey C. Taylor, age 17, Violin,  3rd Prize in Senior Performance Category

Jeff is a graduating senior and valedictorian at Livermore High School.  He will study violin with Kathleen Winkler at Rice University in the fall.  He has been a student of Robin Sharp in San Francisco for the past four and a half years and a Suzuki student prior to that.  Jeff is in his third season with the San Francisco Symphony Youth Orchestra, has performed in the Junior Bach Festival and has attended California Summer Music in Pebble Beach.

 

Reuben Moss, age 16, Violin, 2nd Prize in Original Composition Category

Reuben, a Crowden School alumnus, studies violin with Erika Miranda.  Reuben is an experienced soloist, chamber musician, orchestral violinist, violist, double-bass player, jazz musician and composer.  He received top honors at the 2005 California Music Educators’ Association competition for his original string quartet “Jhaleed.”  The founding member of The Moss Brothers rock band, Reuben recorded two full-length commercial CDs of his songs before turning 12.

 

Keenan Roberts Boswell, age 17, Piano, 2nd Prize in Original Composition Category

Keenan is a student at Las Lomas High School in Walnut Creek, CA.   Keenan’s first orchestral composition for organ and orchestra, Let the Earth Be Glad, debuted in February 2003 with the Oakland Youth Orchestra under the direction of Maestro Michael Morgan.  In December 2004, he performed an organ solo on National Public Radio’s, From the Top. Locally, he has performed with the Diablo Symphony, the Contra Costa Wind Symphony. In June 2004, while on the international tour with Contra Costa Children’s Chorus, he has performed as accompanist at some World's most prestigious venues including Carnegie Hall.

 

Juhye Lee, age 13, Violin, 2nd Prize in Junior Performance Category

Juhye Lee is currently an eighth grade student at John Muir Middle School in San Leandro. She was previously the concertmaster of two CYS (California Youth Symphony) orchestras, and is now the concertmaster of PACO (Palo Alto Chamber Orchestra) Training. Juhye has played in the Junior Bach Festival in 2004 and 2005, and she won first place in the PACO concerto competition. Her current teacher is Doris Fukawa at the San Francisco Conservatory.

 

Rachel Antonsen, age 16, Violin, 2nd Prize in Senior Performance Category

Rachel has enjoyed playing the violin since she was 6 years old, studying with Debbra Wood Schwartz. In 2003 she began studying with Zaven Melikian. Rachel often performs in chamber music groups. She has played with the Oakland Youth Orchestra, frequently been a soloist or ensemble member at the Junior Bach Festival, and attended California Summer Music and the Bowdoin International Music Festival, where she studied with Jan Repko and Yair Kless. She plans to attend the Virtuoso Program at San Domenico School for her last two years of high school.

 

Preben Antonsen, age 13, Piano, 1st Prizes in Original Composition & in Junior Performance Categories

Preben has been composing music at the piano almost every day since he was four years old. Molly Axtmann began teaching him piano at age 6, and music theory through his own compositions. He later studied piano with James Chip Brimhall, and now studies with Sharon Mann. He has studied composition with John Adams since 2001, and this year is also studying counterpoint with David Conte. He is a 2005 BMI Student Composer Award winner. ASCAP recognized three of his compositions with Morton Gould Young Composer Awards in 2001, 2002, and 2005. Last fall Preben began learning percussion with Victor Avdienko, and now plays percussion in Young People’s Symphony Orchestra. He is a regular summer participant in the Perlman Music Program in Shelter Island, New York, where he sings and plays piano and chamber music. Preben will begin ninth grade at Lick Wilmerding High School in the fall.

 

Victoria Yoon, age 17, Cello, 1st Prize in Senior Performance Category

Born in Korea, Victoria Yoon has played cello for 5 years and is a student at Albany High School.  Her teachers include: Judith Fraser in Vancouver, Maureen McDermott in New York, and Mildred Rosner, her current teacher. Victoria has participated in numerous workshops, working with Bonnie Hampton, John Katz, and Shauna Rolston.  She won the Langley Community Music Festival in the Advanced Cello division, second prize in Langley Community Music Concerto Competition, first prize in Vancouver Kiwanis Music Festival, highest honor in Langley Kiwanis Music Festival, and first prize with scholarship in the Canadian Music Competition.  In addition, Victoria has played in numerous orchestras including the Oakland Youth Orchestra, where she is co-principal cellist.


YAA 2005 Competition Requirements:

Application Deadline: March 15, 2005, Audition: April 19, 2005  11 AM - 4 PM 

  • One work from each of the following periods must be included & performed from memory:

1. Baroque or Classical,

2. Romantic,

3. 20th century/Contemporary OR original composition in a form of Etude, composed by contestant

  • Entrants must furnish their own accompanist
  • Entrants must furnish the music to the judges (no © violations)
  • Entrants must be 13-15 or 16-18 years old as of the Audition date
  • Entrants must be residents of Alameda or Contra Costa Co.
  • Entrants must perform at The Winners Concert to collect Awards
  • Entrants must submit $25 application fee. $5 application fee is available to the participants from low-income families. 
  • Entrants must submit signed Application Form. Please, download and print APPLICATION FORM BELOW

 


Document
Please, click the icon to download/print the Application Form for Competition 2005
Document
Click here for Competition Requirements in a printable format

Members & performers at the Club's Meetings


Janet Weinstein, President of Etude Club greeting performers
Katy Wilson, First Vice-President & Program Chair after performance
Members socializing after the performance
One of the Club's regular performers - Louise Milota
During Club's Monthly Performance
Club members listening to the performers
 
   
 
You Are in the Archives

Tuesday
January 27, 2004












Berkeley’s Etude Club Marks a Century of Music

By KATY WILSON Special to the Planet (01-27-04)

Celebrating its 100th anniversary this month, Berkeley’s Etude Club is renewing its dedication to music performance and appreciation and to the encouragement of young musicians.

“This anniversary is a testament to the enduring power of music, and it provides a fascinating window on the past,” says Janet Weinstein, club president.

The Etude Club began Jan. 29, 1904, when six women gave a dinner party and performed a musical program afterwards. Opportunities for women to perform in public were slim at the time, and the evening was so inspiring that the women established a formal group to promote the study and performance of music. Members are either musicians or the ever-important associates, the listeners.

Today the Etude Club continues, meeting monthly for a program of music performed by members, with tea and conversation following. The club encourages students to continue their pursuit of music and promotes musical development through an annual scholarship competition each spring, open to students in Alameda and Contra Costa counties.

An Etude Club program today might look like the Feb. 26, 1914 program, which featured works by Beethoven, Mozart, and Mendelssohn. But other pieces heard recently at Etude were actually written during the Club’s lifetime. Among them: Francis Poulenc’s lyrical 1962 Sonata for clarinet and piano; the virtuosic 1939 Scaramouche for two pianos by Darius Milhaud; or Hubert Ho’s Tremble (2003) for flute and piano, performed with the composer at the keyboard.

Over the past 100 years, Etude Club has felt the brush of history. “Our archives provide a wonderful glimpse into the last century,” says Joan Goodman, Etude historian. The club survived the 1906 earthquake, two world wars, and the turn of the millennium. It saw the 1918 Spanish flu epidemic claim the lives of several members. World War I found Etude Club members active outside music, with a table at the Twentieth Century Unit of the Red Cross making surgical dressings.

When the 1923 fire broke out in central Berkeley, it happened to be an Etude meeting day. Past president Eda Cooper recalled that the door suddenly burst open mid-program and a voice shouted, “Berkeley is on fire! Go home immediately.”

By 1931 the club had raised enough money to purchase its own piano, paying the then princely sum of $1,800 to Sherman Clay for a Steinway grand. Many card parties and extra performances were held to pay off the balance. And by 1946 the club was meeting at its current location at the Hillside Club on Cedar Street. Members are faithful, with one 98-year-old member writing this winter to say she regretted she would not be renewing her membership; attending meetings had become difficult.

Times have changed. “Our members no longer attend in white gloves or arrive by streetcar or horse-drawn carriage,” says Goodman, “but our commitment to music remains the same.” Etude Club will be commemorating its centennial through the remainder of 2004.

For additional information on joining the Etude Club or attending one of its programs as a guest, call 559-3959.




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HELP US LIBERATE MUSIC LEGACY OF J.S.BACH, ALLOWING HIS GENIUS TO DISRUPT VICIOUS CIRCLE OF TRAUMA, TO BRING COMFORT TO THE VICTIMS OF OVERWHELMING & HOPELESS INJUSTICE & TO ASSIST HARASSERS IN OVERCOMING MORAL BLIND SPOTS

YOUR CITIZEN'S DUTY TO LAUGH IS THE UNEXPECTED & UNCONVENTIONAL  SOLUTION TO THE ROOT OF THE MOST OF BLIND SPOTS OF THE HUMAN MIND 

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FROM J.S.BACH, 
including his musical humor  

 Are you a part of the majority of people, who had never heard and don't know of the term EXPRESSIVE ARTS AND MUSIC even among musicians and artistes ?   And, have you never heard of its origin - EXPRESSIVE ARTS AND MUSIC THERAPY? Are you among majority of people, who don't know that it involves VERBAL counseling, as ONLY ONE integral part of the REFLECTIVE cognitive behavioral therapy, utilizing otherwise missing high efficacy of tapping into SUPER-conscious mind ?

This approach to self-growth is rooted in FELT SENSE-based practice of self-expression that allows an individual to go back to METAPHORICAL language of conceptual cognition, practiced by all of us during pre-verbial period and then, abandoned... due to the flawed educational system that is based on ignorant disregard of importance for the curricula, based on BALANCED COGNITIVE DEVELOPMENT OF THE BRAIN that reflects the state of INTER-HEMISPHERIC BALANCE  between left and right hemispheres of the brain, and leads to development of 

INTEGRAL MINDSET (vs UNILATERAL VISION OF REALITY).

capable of grasping the great complexity of our interconnected reality with its polyphonic multidimensional nature and ever changing symphonic fluidity.  Indeed, these music terms describe the nature of our reality better than any other words.  And there is important reason for it - VIBRATIONAL NATURE OF OUR UNIVERSE, discovered by Einstein as a part of his String Theory, that brings indisputable evidence that VIBRATION is the universal measure of all matter, since on subatomic level any and all matter in our universe is nothing, but vibrations of various frequencies...
That is why, research in brain/music field is most essential to propel innovations in MUSIC-CENTERED TRANSFORMATIVE COGNITIVE TECHNOLOGY for our civilization.  And, that is the reason why, it is of critical significance to use the capacity of music to reflect the complexity of our society through musical concepts of adequate complexity structure that had started to evolve fairly recently in human history - only during past several thousands of years.  However, even more recently - during less than half a century, neuroscience had begun developing the new branch - music/brain science.  And  despite  significant limitations of funding, it helped Humanity understand some key concepts, such as Music Instinct, based on healing joy-neurotransmitters is actually capable to act as the tangible COUNTERPOINT in the processes that are involved with instinctive behaviors that result from the evolutionary relics of the human brain, that are also based on neurochemicals.  Thus, Music can be used as the high efficacy tool for measurable cognitive advancement and propel evolution of the human brain that is struggling to evolve beyond its self destructive tendencies, misfiring more often than we all wish and causing cognitive blind spots in the perception of even among the best of humankind (as the evident data demonstrated...)  

And one of the key reasons for this is CENTRALITY OF TRAUMA that effects human psyche in dramatic ways.  COMPOUND NATURE OF TRAUMA is one of the reasons why it is the great challenge that deters many efforts to succeed in overcoming it.  It is due to not one, but a bundle of evolutionary ancient instincts impacting our consciousness at the same time. Embodiment of these complex processes allows for clarity of their grasp, and provides the pathways  for repatterning of synaptic networks associated with  traumatic memories of strong impact  with overcompensation, particularly when it comes to childhood developmental trauma.

Sadly, due to the above problem of blind spots as well as their institutionalized form of flawed policies, laws, regulations, conventions, practices, traditions, one of the key fields in our society became self-paralyzed  with the lacking logic and effectiveness strategies that are currently used to resolve  the effects of trauma and to break its spread through VICIOUS CIRCLE OF TRAUMA effectively.

 This is an essential gateway for self-understanding that allows to tap into their own unconscious mind to get informed about what has become invisible and un-sensored in the realm of our own dumbed down and self-repressed pain and other feelings that determine our priorities on various levels, both conscious and unconscious.

Clinical psychology training, based on verbal -only counseling PARADOXICALLY DOES NOT  provide the ways for re-patterning of the mental blocks, and does NOT aim to offer the assistance to the arrival of the individual to the FELT SENSE of THE ROOT CAUSES of their trauma either. So the core issues of their trauma never get recognized, addressed and resolved.  This paradox is also the outcome of the misfiring evolutionary young brain that is the collection of the parts from various evolutionary periods and their related conflict with one another...

And as the result, most of our blind spots never get merely recognized and so, they remain as unresolved barriers, since no step of repatterning of misfiring synaptic networks from residual trauma takes place, due to the gigantic blind spot in the field of the clinical psychology, both individual and societal?

And that is the core reason for the overwhelming collapse and paralysis of many parts of our society in all realms of it, with too many examples of painful and costly failures and absurdly false outcomes.

So, what can help solve the problem? Why the leaders in the psychology field know about this, and yet do nothing meaningful to prioritize this cognitive fitness issue to be the top priority in the field that is responsible for it? The answer is both simple and complex:

Practitioners of the Expressive Arts therapy know that if a client was exposed to the Arts and music practices during childhood, it is a natural resource they can tap into during the crisis. But if not, it becomes yet another additional obstacle to overcome and may not work just for this absurd reason of lacking arts literacy, and absence of the metaphorical "vocabulary" as the result of the limited  access to the Arts for ALL. Indeed, the level of sanity in our society depends on the accessibility of practicing the Arts and music.

It may appear unexpected, but music and the Arts PRACTICE is where the solution for this complexity of our brain is, and it may not be oversimplified any longer in our society.  No, the inherited incivility of multitude of the blind spots may not continue to hurt much more and cause more of tremendous losses and suffering. Investment into expanding self-awareness and thus, increasing the level of mental health is obviously a very good yield investment into every part of our society.
However, the issue needs and deserves vocal advocacy, since it can be obvious only to those policy makers, who are capable to grasp this obvious reality without oversimplification of the complexity, who possess the type of mindset that includes versatility in conceptual and abstract cognition, along with symphonic vision and polyphonic multitasking. And due to the compound challenges of looming planetary collapse, we may not compromise on this critical requirement of intellectual leadership, since now it determines our sustainability, our very survival. 

Only one example of such brain paralysis that results from the societal blind spot that is the outcome of our individual and collective lack of priority to object health hazards of environmental catastrophe that we, the carriers of the human brain, had created for ourselves, while incomplete oblivion to it, due to the fact that we’ve lost our most critical sensory capacity to feel our own pain that should inform us of the hazards on the level of self-preservation instinct, but it no longer does, due to the epidemic of SENSORY DEBILITATION.

[And to begin to understand the depth of this catastrophe, please, watch the documentary STINK! on Netflix re. artificial fragrances (and let me known what do you think of it). Yes, indeed, it will help you and yours in the most critical for your brain manner of protection and prevention of neurotoxins from causing cancers, dementia, diabetes, autism, MS, Parkinson’s , Alzheimer’s, heart, lungs, liver, kidney and multitude of other diseases...]

We, as the society and as individuals had somehow forgotten that Music and the Arts had evolved not as a luxury, but instead, as the ancestral tools for dealing with the deficiencies of the human brain, struggling with evolutionary relics in its structure. Our sense of priorities is directly dependent on our sensory capacity, or rather - it should be, but it NO LONGER is!  And without addressing this underlying issue, the problems, associated with the material manifestation of environmental catastrophe won't be prioritized, and thus, the urgent and at times challenging decisions would not have a chance to help us assure sustainable future...

Of course, these prioritizing abilities are critical for the effective leadership capacities, for being prepared and capable to assure sustainability and to facilitate the change.  Due to the brain plasticity, we are often ruled by inertia, rolling on and on through the old path of detrimental for us mental patterns. Even individual change is not simple to accomplish. So when it comes to the need to change societal patterns, without intellectually strong, capable of adequate reflection leadership, driven by the balanced brain and symphonic abilities to sense fluid  and complex priority system, based on reawakened sensory function, will make the choices of personal and collective sustainability, as determined by the traditional ethics to be more important than any of the corrupt political games.  Indeed, no individual with clear priorities for own  health and safety would justify getting a legalized bribe in the form of political campaign contributio, since no amount of money can buy their health from many cancers and other above listed illnesses triggered by the cumulative effects environmental hazards, as it is currently routineiy done by the US Congress representative, demonstrating evidence of self-defeat, as the form of localized insanity.


Indeed, to a degree, we all are affected by the experiences of blind spots of our still evolving human brain,  and without meaningful strategy to learn from J.S.Bach's lessons through systematic studies and refinement of the provided by him tools for mediating evolutionary relics of the brain development, we can not hope for sustainability of our society.  So far there is no viable alternative.  The core problem of most mulfunctions  could and should be addressed, as  the urgent counterpoint to the self-destructive policies and traditions that must seize, with no chance to continue to rule our lives by inertia.

The newly heightened level of existential challenges in our life demands for the capacity for the innovations in all parts of the society.  But how can we expect for the changes to manifest in our outer reality, unless we use the strategies that foster critical for us positive changes in our brain?  Luckily, the new type of mindset for the sustainable leadership to pursue the goals for the sustainable planetary mindset can be achieved - through applying cognitive technology with the above discussed balancing impact.

The logistical facilitation of the implementation of this transformative strategy in various settings is the key to success, and should be tackled with urgency.

And, when it comes to facilitating the change, Music and the Arts, as the creative "playground" for experimentation and for testing not only the ideas, but also for practicing the actual process  of change and increasing the inner capacity to identify the need for change, to facilitate and to engage with the necessary novelty, to commit to new patterns, and to thrive through transformation process, despite the challenges.  And Music, one of the most experiential types of the Arts  that is most helpful for allowing to experience the sense of changes, can be very effective in such preparatory stage of MODELING THE SENSE OF CHANGE, developing the emotional readiness and helping to identify any emotional hindrances and mental barriers.   (Engage with this sing along song "Change Is the Only Constant").   

And when it comes to execution of the organizational shift, such as the shift in the institutions that are involved in leading the reforms, the leadership that is capable of change is the key to THE SUSTAINABILITY, and therefore, can not be compromised.

The true intellectual leadership depends on the balanced cognitive function. And  luckily, there IS hope to achieve it: Despite the complexity of the problem, it has been solved 300+ years ago by the timeless unsurpassed Genius J.S.Bach, who had provided the toolkit for re-balancing the disrupted by stress and trauma emotional/intellectual balance, critical for optimal cognition and increase mental productivity of the human brain.

However, turning on any J.S.Bach recording and playing it in the background isn't enough yet, although it may appear to be close to the solution. But without knowing how to get involved with his music on a personal level, in the sense of using it as the therapeutic tool for self-mastery, his magic may continue to remain hidden and untapped... J.S.Bach’s Music delivers the container for our authentic engagement by involving into emotionally/intellectually balanced perception, helping to restore its presence after stress and trauma disrupt it, as well as to build the resilience to trauma and stress.


THE PRESSING CURRENT NEED TO OVERCOME THE CONSEQUENCES OF EMOTIONAL WITHHOLDING IN MUSIC, "THE LAST LINE OF DEFENSE " FROM EMOTIONAL REPRESSION


 Unfortunatel, the majority of the existing recordings of J.S.Bach's music contains dispassionate renditions that harbor cognitive dissonance, due to the intensity of compose's intent, and thus, can not be used effectively for this important task. This is yet another paradoxically absurd institutionalized for centuries blind spot that imprisons J.S.Bach’s music and strips away its power, so it could not be fully harvested for therapeutic and developmental applications:

even the music of this composer, who had risked a lot to oppose emotional withdrawal in music and to unleash its transformative powers, has been subjected to THE EMOTIONAL REPRESION, by creating false educational standards for musicians, forbidding for emotional engagement with the music of the composer who had emphasised it with his compositional tools choices.  And many musicians need specialized re-training and coaching to address the long lasting effects of distortive educational standards that had to endure. 

That is where the core solution for most of our brain malfunction currently resides. This approach needs  tangible resources for collaborative work with brain scientists to observe the processes of calibrating and development, along with longitudinal studies,  along with raising public awareness  and information dissemination.  Despite complexity, the critical for sustainability success of this process will lead to the wave of positive shifts in all parts of the reality.  Indeed, we, as the society, can not afford to continue the neglect for prioritizing these matters of using such high efficacy modalities any longer. And, on the apocalyptic mornings with no sunlight due to the thick smoke, we were all reminded of how importwnt it is for our sustainability TO GET TO THE ROOT OF THE PROBLEM BY SENSORY REAWAKENING, AND TO BE ABLE TO REFRAME OUR PRIORITIES FOR COGNITIVE ADVANCEMENT, BY SENSORY RE-ACTIVATION.

We are lucky to inherit J.S.Bach's music therapy tool kit that allows to embody & to RE-PATTERN complex PTSD of cognitive dissonance.  Such blind spots that are caused by malfunctions of our brain, can be addressed by dealing with the misfirings of the parts, conflicting with each other, due to their different evolutionary age (as in Fight-or-Flight instinctive response). Modalities, based on J.S.Bach’s polyphony RESTORE DISRUPTED BY STRESS AND TRAUMA EMOTIONAL/INTELLECTUAL BALANCE THAT IS CRITICAL FOR THE OPTIMAL BRAIN FUNCTION,   And through authentic engagement with BOTH complex intellectual structure AND PASSIONATE EMOTIONAL CONTENT, manifestation of HIGH EFFICACY healing impact can be achieved both for self-growth & for counselors’ use in their work with clients.

MUSIC EDUCATOR'S EXPERIENCE FORMED BACH'S MINDSET OF NEUROSCIENTIST
Hands-on teaching experience provides unique insights into the process of travels to/from conscious/unconscious mind, for converting music ideas into semi automated skills, that allows for mounting  multitasking layers of music expression tasks (if music teaching process is structured correctly).  Bach's innovations in compositional tools were informed by his daily teaching related observations about  the brain capacity to create patterns and change them.  This process is at the core of music therapy-focused activities as well, and even basic music literacy and familiarity with the concept of entrainment of a music piece can be instrumental for using music as the healing tool at the time of crisis, caused by the vicious circle of trauma.


Dear members of the worldwide family of J.S.Bach's devotees,

If you are among a few of those people who is able to grasp the complexity of the issues, please, show support at the time of EXTREME DISTRESS AND HARDSHIP of the inventor and developer of the above unique tool kit that provides the rare hope for Humanity that is currently in a dire hopeless place... thanks to our bran’s instinctive ability to elicit feel good neurotransmitters upon interaction with music.

Partner with us to help us use our UNIQUE ABILITY TO GRASP AND TO ADDRESS THE ROOT OF ALL PROBLEMS AT ITS CORE -  the unique methods of coaching, training and retraining musicians to help them regain their emotional freedom, in order to enable them to share it with the public, one audience at a time.  

It is the critical step for recovering from the global widespread calamity of SENSORY DEBILITATION that derails our ability to make the sound priorities,and thus, is THE MOST DESTRUCTIVE FORCE IN THE FORM OF THE BLIND SPOT AT THE CORE OF ALL ILLS OF EVERY HUMAN BEING'S, REALITY

Offer your help in action, please, by reaching out TODAY, and be the first to enjoy the benefits of writing your name into the history of the Humankind.

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EXCLUSIVE OFFER TO THE MEMBERS, SUPPORTERS  AND SPONSORS OF  OUR EMERGING INT'L CAMPAIGN  LIBERATE BACH!
THAT SUPPORTS RECOVERY OF MUSICIANS AND THEIR AUDIENCES FROM THE TRAUMATIC IMPACTS OF THE ABSURDLY FALSE CONVENTION  OF EMOTIONAL SELF-REPRESSION.

YOUR PERSONALIZED MESSAGE to a power figure of your choice can be amplified by the worldwide audiences' support and cheers, led by Timeless Genius Music Therapist J.S.Bach, who comes to life through his music to unite millions of his devotees to protect and to advocate for the powerless, to empower their voices, & to help them being finally heard and being treated justly, as they speak the truth to power, to those, who are unfit to occupy the power chairs, and yet do so to the detriment of our society.  The world will resonate to your musical joke,  thanks to being set to his miusic, while witnessing how his music allows to grasp the inner conflict of contributing elements of their cognitive dissonance through the healing experience of the cruel absurdities that result from their blind spots.  The whole world will be consumed by laughter at the cruel absurdity of powerful abusers, thanks to being set to the soundtrack of unidentified for three hundred years and just unearthed by our founder Rozalina Gutman FUGUE-PARODY, filled with unnoticed by scholars, teachers, music performers and their audiences dissonant sonorities, composed around the time of his false imprisonment by the persevering through incivility of his contemporaries Genius-CONVICT J.S.Bach.  

Find out about this time-limited exclusive offer for Supporters and Sponsors, contributing to manifestation of her daring recording of the funny maverick & related efforts of exposing senseless lies about J.S.Bach, with implications for brain sciences & throughout society

CONTACT US

NOW is the special opportunity TO WRITE YOUR NAME INTO THE HISTORY! Join the progressive vanguard of our society: BE AMONG THE FIRST TO EXPERIENCE, TO MASTER &  THEN TO HELP  LEAD THE REST OF THE WORLD AWAY FROM THE CURRENT SELF-DESTRUCTIVE PATH FOR OUR CIVILIZATION, by reawakening the resonance to our souls' purposes, and  
re-patterning of the unfitting inertia of the human brain's plasticity, by reflecting and embodying this conscience awakening through Music and the Arts