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Proprietary

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Proprietary

  1. 1. Andrew K. Sokol Steve Luongo [email_address] [email_address] 770.558.4199 239.482.6880 “ CHECK-OUT MUSIC” Project
  2. 2. Agenda <ul><li>Mission Statement </li></ul><ul><li>Why Music Education? </li></ul><ul><li>Why Public Libraries? </li></ul><ul><li>Responses From Various Libraries/Library Systems </li></ul><ul><li>Methodology – A & B </li></ul><ul><li>Program Flexibility </li></ul><ul><li>Funding </li></ul><ul><li>Next Steps </li></ul><ul><li>Executive Members </li></ul><ul><li>Advisory Board Members </li></ul>
  3. 3. Mission Statement <ul><li>An international effort by </li></ul><ul><li>The John Entwistle Foundation </li></ul><ul><li>to develop and manage a musical education, donation and </li></ul><ul><li>training program at libraries whose patrons are most likely to be </li></ul><ul><li>underprivileged children and adults. </li></ul>
  4. 4. Why Music Education? <ul><li>“ Music lessons have been shown to improve a child’s performance in school. After eight months of keyboard lessons, preschoolers showed a 46% boost in their spatial IQ, which is crucial for higher brain functions such as complex mathematics.” - Frances Raucher, Ph.D., Gordon Shaw, Ph.D. University of California, Irvine </li></ul><ul><li>Students with coursework/experience in music performance and music appreciation scored higher on the SAT: 53 points higher on the verbal and 39 points higher on the math for music performance, and 61 points higher on the verbal and 42 points higher on the math for music appreciation than students with no arts participation. - 1999 National Report Profile of SAT Program Test Takers </li></ul>
  5. 5. Why Music Education? <ul><li>A study of 237 second grade children used piano keyboard training and newly designed math software to demonstrate improvement in math skills. The group scored 27% higher on proportional math and fraction tests than children that used only the math software. - Graziano, Peterson, Shaw, &quot;Enhanced learning of proportional math through music training and spatial-temporal training, &quot;Neurological Research, Vol. 21, March 1999 </li></ul><ul><li>“ The onset of Alzheimer’s is delayed by education and by intellectually demanding activities like music making.” </li></ul><ul><li>- Dr. Zaven Khachaturian, senior medical adviser to the Alzheimer’s Association </li></ul>
  6. 6. Why Music Education? <ul><li>&quot;Musical training can be a big help in getting to the top of business and politics, according to most congressmen and Chief Executive Officers of Fortune 500 companies.  90% of more than 1,000 CEO's and congressmen interviewed by the McDonalds's fast food chain said playing a musical instrument as a child helped them develop &quot;character and leadership skills.&quot; </li></ul><ul><li>- USA Today </li></ul><ul><li>A plethora of quotes, studies and research available! </li></ul>
  7. 7. Why Public Libraries? <ul><li>America’s Public Libraries are the great information equalizers - the only place people of all ages and backgrounds can find and freely use a diversity of resources, along with the expert guidance of librarians. There are >16,000 public library locations in the United States alone. </li></ul><ul><li>Recent reports indicate that &quot;almost 1 in 5 public library outlets serve a poverty area&quot; (16.8% serve poverty areas, 2% serve extreme poverty areas).  </li></ul><ul><li>The American Library Association has found that libraries in at least 41 states (82 percent) report funding cuts of as much as 50 percent. </li></ul>
  8. 8. Why Public Libraries? <ul><li>America’s libraries are facing the deepest budget cuts in history. Across the country, libraries are reducing their hours, cutting staff or closing their doors – drastic measures that were not taken even during the Great Depression. </li></ul><ul><li>Outstanding feedback from ALL libraries and library systems polled during research and development of program as well as first round of fund-raising initiatives. </li></ul>
  9. 9. Responses From Various Libraries/Library Systems <ul><li>“Bringing music to the lives of children who would not otherwise have the opportunity would be a wonderful opportunity for us.” </li></ul><ul><li>“I viewed your PPT presentation (updated) and I am very impressed with your plan. I look forward to hearing from you again.” </li></ul><ul><li>“I think a music education program would be a tremendous addition to these libraries!”  </li></ul><ul><li>“We here at the library have done our best to expose our patrons, children and adults, to cultural and musical programs. In my opinion when a town or county has no cultural center, the library has to try and fill that void. A musical education program will help us do just that!” </li></ul>
  10. 10. Methodology A <ul><li>“ Introduction to Music” Programs </li></ul><ul><ul><li>Traveling program throughout individual library systems </li></ul></ul><ul><ul><ul><li>Introduction to Multiple Instruments </li></ul></ul></ul><ul><ul><ul><li>Demonstration/Hands-on Instruction </li></ul></ul></ul><ul><ul><ul><li>Professional guidance </li></ul></ul></ul><ul><ul><li>Education </li></ul></ul><ul><ul><ul><li>Educational materials </li></ul></ul></ul><ul><ul><ul><li>Best practices </li></ul></ul></ul><ul><ul><ul><li>Methods to quick learning </li></ul></ul></ul>
  11. 11. Methodology B <ul><li>Check-Out Music Lessons </li></ul><ul><ul><li>6 week courses (one course per week per level) </li></ul></ul><ul><ul><ul><li>Beginning </li></ul></ul></ul><ul><ul><ul><li>Intermediate </li></ul></ul></ul><ul><ul><ul><li>Advanced </li></ul></ul></ul><ul><ul><li>Year Round Availability </li></ul></ul><ul><ul><ul><li>4x per year </li></ul></ul></ul><ul><ul><li>Competitions and awards </li></ul></ul><ul><ul><ul><li>Local sponsorship </li></ul></ul></ul><ul><ul><ul><li>Community involvement </li></ul></ul></ul>
  12. 12. Program Flexibility <ul><li>All of the programs described are available to any local community or national organization that meet the criteria set forth by The John Entwistle Foundation. </li></ul><ul><li>Where applicable, these programs can include an expanded range of instruments and instruction. </li></ul><ul><li>Additional programs may include; </li></ul><ul><ul><li>Audio engineering and recording </li></ul></ul><ul><ul><li>Music production </li></ul></ul><ul><ul><li>Songwriting </li></ul></ul>
  13. 13. Funding <ul><li>National or Local Sponsorships Available </li></ul><ul><ul><li>Sponsorship of program available at any level </li></ul></ul><ul><ul><ul><li>Local </li></ul></ul></ul><ul><ul><ul><ul><li>Corporation or other Non-profit donations </li></ul></ul></ul></ul><ul><ul><ul><ul><li>“ Name” Project for benefactor </li></ul></ul></ul></ul><ul><ul><ul><ul><li>Minimum donation required </li></ul></ul></ul></ul><ul><ul><ul><li>National </li></ul></ul></ul><ul><ul><ul><ul><li>Single benefactor </li></ul></ul></ul></ul><ul><ul><ul><ul><li>“ Name” Project </li></ul></ul></ul></ul><ul><ul><ul><li>International </li></ul></ul></ul><ul><ul><ul><ul><li>TBD </li></ul></ul></ul></ul>
  14. 14. Next Steps <ul><li>Agreement to move forward </li></ul><ul><li>Develop pilot: </li></ul><ul><ul><li>JEF and sponsor to define project terms </li></ul></ul><ul><ul><li>Press Release/Participation </li></ul></ul><ul><ul><li>Full Partner(s) opportunity </li></ul></ul><ul><li>Implement project: 6 month pilot </li></ul><ul><ul><li>Develop roll-out parameters </li></ul></ul><ul><ul><li>Press Release/Participation </li></ul></ul><ul><ul><li>Finalize partner(s) participation </li></ul></ul>
  15. 15. Executive Members <ul><li>Founder and Executive Director </li></ul><ul><ul><li>Steve Luongo </li></ul></ul><ul><li>Board of Directors </li></ul><ul><ul><li>Dr. Bruce Bumstead, DVM </li></ul></ul><ul><ul><li>Stefani Kelly </li></ul></ul><ul><ul><li>James Huysman, Ph.D, LCSW </li></ul></ul><ul><ul><li>Laurie Luongo - VP, Bitsa Talent, Inc . </li></ul></ul><ul><li>Consultants for the Estate </li></ul><ul><ul><li>Queenie Johns and Chris Entwistle </li></ul></ul><ul><li>Advisory Board Committee Chairman </li></ul><ul><ul><li>Andrew K. Sokol - Managing Partner, TASK Partners, LLC </li></ul></ul>
  16. 16. Advisory Board Members <ul><li>Peter Frampton </li></ul><ul><li>Peter Jacobsen </li></ul><ul><li>Glenn Anderson </li></ul><ul><li>Chris Stamp </li></ul><ul><li>John Shiely </li></ul><ul><li>Doug Flutie </li></ul><ul><li>Roger Glover </li></ul><ul><li>Leslie West </li></ul><ul><li>Melissa Marsala </li></ul><ul><li>Tom Cleveland </li></ul><ul><li>Stephen Zubrod </li></ul><ul><li>Irwin Menken </li></ul><ul><li>Glenn Aveni </li></ul><ul><li>Danny Socolof </li></ul><ul><li>Jim Roberts </li></ul><ul><li>Jennifer Blake </li></ul><ul><li>Mark Gooday </li></ul><ul><li>Robin Zander </li></ul><ul><li>Mark Farner </li></ul><ul><li>Eddie Money </li></ul><ul><li>Joe Lynn Turner </li></ul><ul><li>Angel Cordle </li></ul>

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