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SLCC film students contribute their stories in and about the Museum

Watch it on YouTube

The Museum's Broadway Wing
looks forward to welcoming
the Sundance Film Festival
again next year!

Sundance took place in the Museum,
and the street lit up for 10 full days

With our new Sundance plakats up and down the street, made possible with support from SLC Corporation and EDA Architects, museum visitors got a preview of things to come — see a slideshow here.

"Along the Way" on Broadway

Cause Collective

The work of the Oakland-based artists collaborative known as ©ause Collective was projected nightly during Sundance. If you missed it on the wall, catch it here and see how engaging the moment as we move through our cities can engage our senses and sensibilities day-by-day, along the way.

Day of Song Public Participation

by Tina Bartholomew


"Music is the universal language of mankind."
– Henry Wadsworth Longfellow

The Day of Song is a day devoted to the role of music as an instrument of change. The Day of song will be held on June 20th, 2008, and seeks to gather people from all geographic locations to make music devoted to our common humanity. The goals for The Day of Song are to encourage the widespread development of the pragmatic view that we all have a common stake in advancing the causes of social, environmental, and economic justice; and to recreate the boundaries of community in order to celebrate our commonalities and differences.

The Day of Song is a celebration of change. The date chosen for the Day of song is significant in this theme of change since June 20th is the day before the summer solstice, the time when summer arrives, the season changes, and the days start getting shorter again. This is a day to celebrate all of the gifts associated with change -- change in thinking, change in season, and changing sounds. 

In order to better understand this day of song we will look theoretically at music's capacity on multiple levels: individual, physical, community, global, and virtual. Music has an important impact on human identity and capacity; it has a role in defining, building, or destroying communities, and these communities can span generations and geography through communication. Communication, and thus communities need not be face to face; this opens the virtual realm to the creation and sharing of music as an element of change. We will look at the historical concepts of music as it developed in Utah and reaches out globally to establish this Day of Song. 


"The musician is constantly adjusting decisions on tempo, tone, style, rhythm, phrasing, and feeling-training the brain to become incredibly good at organizing and conducting numerous activities at once."
– Ratey John J., MD.

Music triggers a cascade of brain activity, and has been seen to benefit the individual in relation to study skills, communication skills, cooperative skills, and cognitive skills (National, n.d.). Music touches many parts of our lives, as it touches many parts of our brains. It has been seen to operate in both hemispheres of the brain, depending on the musical activity being performed.

Such areas as the forebrain, nucleus accumbus, ventral tegmental, and cerebellum are seen to process the predictions of what a musical tune is going to do; internalize tempo, rhythm, and emotional peaks of a song; interpret the physical movement perceived in music; and release chemicals that trigger the brain's sense of reward (Letvin, 2007). This sense of reward sharply encodes memories associated with the music -- perhaps this is why poem or music has been used throughout history, from the Greeks to the troubadours.

Memorization is only one of the many benefits of music education. Studies have found that notational skills in music, rather than musical performance itself, positively correlate with achievement in math and reading, this is reflective of the ability to process symbols and representations. Musical pitch has also been found to be more predictive of mathematical ability, while rhythm is more predictive of reading ability (Scripp, 2000). Music helps the student to become more able to translate abstractions into practical issues and realities. The abstraction of the notes and musical symbols and the subsequent realization of such into concrete rhythm and melody utilize a series of brain functions that strengthen learning and study.

Music is seen as integral to the capacity of the person to credit others as a very important part of their everyday life. Music is said to be the language that binds all people together, it thus fills the increasing gap between the individual and the community (Sawchuck, 2005). Music enhances the sense of unity with world. The diversity of musical forms enables the engagement in the appreciation of multi-cultural forms of music that thus helps to improve capacity to appreciate various forms of culture and become less concerned with the differences between ethnic groups and race (Petress, 2005).

Businesses and executives have seen workers that are musically inclined to have better capacity in terms of accomplishing their tasks and are more capable in terms of handling people (Petress, 2005). This may be because music develops patience and cooperative skills in students. There is no doubt that learning the art is difficult and therefore students exposed to music education have better capacity in terms of patience (Schmidt, 2005). Music education means being accepting of oneself in terms of learning. This should also include being flexible in accomplishing tasks with others, especially in group musical performance. And most importantly, the task of understanding music means more endurance while learning other academic subjects. Music also improves the coordination of motor and mental skills. The mind should be sharp and it should be able to transform music into concrete performance.

Just as the intellectual response to music can be broken down and analyzed, so can the emotional response. Sentics, the study of the biologic basis of emotion, has uncovered genetically programmed brain and nervous system patterns correlating with basic emotions. Regardless of race, gender, or creed we all experience basic emotions in the same way. This means that we can have a common frame of reference-- we will have a common response given the same stimuli (Clynes, 1977). Music and the responses to music can be seen as universal physical elements.


"Rhythm is a way of transmitting a description of experience, in such a way that the experience is re-created in the person receiving it, not merely as an 'abstraction' or an emotion but as a physical effect on the organism -- on blood, on the breathing, on the physical patterns of the brain ... it is more than a metaphor; it is a physical experience as real as any other."
– Raymond Williams

Sound "agitates directly" and has the "power of direct emotional expression" (Dewey, 1916). The sound emitted by musical instruments stirs the atmosphere, creating sound waves that can be sensed by the deaf, or heard by the hearing. Percussionist Evelyn Glennie, who is profoundly deaf, asserts that hearing is simply a specialized form of touch - it is the "feeling" of vibrating air picked up by the ear. With a very low vibration, such as a large truck driving on the road, the ear becomes inefficient and the body takes over with the sense of touch (Hearing, 2008).

Music is physical; sound as it is heard or felt has the capacity to define space, to create virtual walls. Sound, or silence, shapes and characterizes a space. Both sound and space have a structural design, an architectonics. These physical elements, sound and space, can amplify and enhance each other and the environment. The sonic qualities of space and the spatial properties of sound can be constructed to work in concert in order to define a place in time.

The properties of sound and space compose a basis for artistic communication, development of communities, and cultural displays by creating environments conducive to expression, collaboration, or learning. Artistic communication and cultural displays seem to work best when operating in a context that encourages interaction and communication between the participants. Music has great capacity for unifying communities and cultures, but the experience and the environment must be cultivated in such a way as to foster the interactions that can bring change and harmony.

On January 12, 2007 renowned violinist Joshua Bell, in collaboration with the Washington Post performed an experiment in context, perception, and priorities. Bell played for 45 minutes at the Metro at the L'Enfant Plaza station in Washington DC in the midst of the morning rush hour. The experiment was designed to examine who would actually stop to listen, rather than continuing on their way. Over one thousand people hurried through the station that morning, of these only 7 altered their routine, only a handful seemed to step away from indifference and stayed to appreciate the music (Weingarten, 2007).

What does this say about street performers versus the concert going experience? This experiment emphasizes the importance of the setting for interaction. Perhaps the point of going to a concert is that one is prepared to enjoy the experience without the battle of time and priorities. Street musicians are ferociously competitive when it comes to good spots. These focal areas are identified as places where, for whatever reason, the pace of people's lives slow down rather than speed up. What would happen if a street musician were given a stage?

An important element in this experiment is the context and setting. What would have happened if this experiment were conducted in the evening rush hour? Perhaps then the commuters would not be pressed by work responsibilities, they may have had the time to stop and appreciate the music. The location may have been the key variable affecting the reactions of commuters. Public atmospheres should foster human interaction. An appropriate atmosphere may not delay the beginning of the workday, but it would allow for culture and chance encounters to be appreciated.

Street musicians provide a social catalyst for human interaction. These interactions are what bring individuals, and thus a community together. The main idea of a social catalyst is to initiate and create mutual involvement for people to engage in conversation. In most public spaces it may not be typical to initiate conversation with complete strangers; however, there are events and environments that act as catalysts to connect individuals who would otherwise not have come into contact.

William H. Whyte, a sociologist, terms such social catalysts triangulation. "A sign of a great place is triangulation. This is the process by which some external stimulus provides a linkage between people and prompts strangers to talk to each other as if they were not" (Whyte, 2001). Whyte observed people at street corners, hidden plazas, open plazas, building atriums, market places, alleyways, and mega structures. Within these spaces, he documented climate, lighting, density of people, where they stood, sat, and walked, carrying capacity, and public events in the spaces.

Initially Whyte hypothesized that light would be the leading factor in the desirability of a public space. While this is not entirely incorrect he was surprised to learn that sittable space was a much more overwhelming factor. This observation may not appear to be intellectually groundbreaking, but it is so often overlooked! Whyte concluded that there are seven key features that were necessary for designing a successful public space. These features are: sittable space, street, sun, food, water, trees, and triangulation.

Triangulation may include the subtler features that may facilitate interaction, or events that focus the attention of each individual on a common object, thus encouraging communication among otherwise disconnected strangers. Music is an ideal tool to create social interaction. Individual identity is partly formed through interaction in a social environment; it is created through meaningful interactions with a social world at the same time that humans transform their world (Mattern, 1998).


"Music expresses that which cannot be said and on which it is impossible to be silent."
– Victor Hugo

Throughout history, music has been used to mark important social movements and significant events. Music has been a strong agent of revolt; it has been used as reinforcement of identity; it is a tool for emphasizing social issues and community statements regarding key civic issues. Think of Bob Dylan's Blowin' in the Wind or John Lennon's Imagine. Hear the hopeful, angry refrains of the freedom movement and the slick pop of Motown. Understand the organizational power of a military cadence.

On the individual level, music functions as a way to improve the cognitive capacity of the person. This would also be used as way of regulating the emotions. On an expanded analysis, music is seen as the most influential agent of emotional response for people. Psychoanalysis also has a different view of music as a sublimation of sexual energies towards more rewarding social products. Younger age brackets have shown that music is used as an impression management tool, which would create an image to the external environment.

Various forms of music elicit a range of feelings and levels of power. For example the "loudness and intensity of heavy metal music visibly empowers fans, whose shouting and head banging testify to the circulation of energy at concerts" (Walser, 1993). Metal energizes the body; this translates into the listener's perception of increased power.

Heavy metal musicians produce these psychological and affective responses through power chords, heavy amplification, vocal and instrumental distortion, electronic sustain, and other conventions. In addition to the power chords they produce and sustain electronically, heavy metal singers produce "aural distortion through excessive power ... as the capacities of the vocal cords are exceeded, " which "functions as a sign of extreme power and intense expression by overflowing its channels and materializing the exceptional effort that produces it" (Walser, 1993).

By being empowered one is energized rather than depressed; "one might sense the possibility of enormous and positive changes, rather than being overwhelmed by the immensity of what only apparently cannot be accomplished" (Pratt, 1989). Music plays a very important part in the lives of people. Research in psychology has shown a link between music and social behavior. Studies on music and social behavior have shown that music has a very strong impact on the emotions of people. Music "in any of its widely different forms and contents, can evoke powerful emotional reactions in people" (Chamorro-Premuzic and Furnham, 2007).

Another example of music's effects is Blues music. Blues music "gives voice to powerlessness. Blues lyrics are filled with the pain which comes from an inability to control the important events of one's life" (Cary, 1990). Blues music reflects the experiences of powerlessness both in lyrical themes of escape and in its repetitive musical structure, which "signifies both confined possibilities ... and conscious, honest recognition of this situation" (Cary, 1990). Although Blues music reflects relative powerlessness it also provides counteractive ideology for its listeners. Blues is not merely a passive reflector of other power relations.

Music has a very strong influence in reinforcing ideology. It is this ideology that binds people together and creates a sense of community. It is music that creates culture and anti-culture. Martin Heidegger said, "Music stands for and encourages resistance to all forms of totalization and reductionism" (Holloway, 2006). According to this statement, this would mean that music creates a sense of "we" without diluting the "I." It therefore creates a sense of community without emphasizing the subordination of the person into this community.

The Powwow: Organization and Community

"If music expresses the experiences, history, and identity of a people, then it opens the possibility for sharing experiences, understanding the interests and identities of others, and communicating better in general."
– Mattern

"Music may serve critical visionary roles in making communities more open and tolerant to the experiences of others, helping members see themselves in a new light and expand the horizons of the community…Thus music can make communities more open to differences by undermining the preconceptions and unconscious assumptions that sometimes underlie prejudice and intolerance. It increases the possibility of mutual recognition and respect of differences that encourages greater modesty in asserting universal moral and political ends and judgments that are hostile to differences" (Mattern, 1998).

The powwow is a pragmatic attempt to organize communities for collaboration on shared problems. It may seem incompatible to foster community while allowing disagreement and debate, but it is actually complimentary. Allowing concerns to be expressed while fostering a respect for differences encourages cooperation and helps to manage the tension between unity and diversity. This enhances community vitality and promotes healthy discussion without squelching any concerns.

One illustration occurs annually in the Phillips neighborhood of Minneapolis where a Unity Powwow is organized to promote awareness of shared issues within the community while also encouraging a respect for differences. The Unity Powwow includes various cultural, ethnic, and racial groups, thus enabling each group to showcase their culture along with expressing concerns important to their group. While disagreement and conflict are inevitable among diverse peoples, the powwow provides a public forum where those differences can be expressed and negotiated (Mattern, 1998).

In addition to creating and reinforcing commonalities among different people, music also creates and reinforces differences (Mattern, 1998). Thus it is important not to overestimate the bridging role of powwow dynamics. The casual observer may experience a sense of apartness from the culture being showcased -- they may not understand the aesthetics and importance of the presenting group's music and dancing. Conversely, the outsider may tread heavily on respected customs; relations may become strained. The ability to foster the cohesion of a larger community balances on interpretive skills.

Important aspects of a powwow are a mediator, the circle (or some physical setting of equality), and explanation of expressions. The mediator should issue specific invites to individuals and groups, allowing them to enter the powwow by grand entry; showcase their values and concerns; and initiate explanation and understanding.


Musical compositions, it should be remembered, do not inhabit certain countries, certain museums, like paintings and statues.  The Mozart Quintet is not shut up in Salzburg:  I have it in my pocket."
– Henri Rabaud

"Although local communities are important for solving local problems and nurturing citizenship skills, they cannot be taken as the only, or even the main, site of public life. Given our need to address a multitude of pressing problems spanning local communities, citizens must acquire the dispositions and skills for addressing public affairs in larger arenas. If community is to serve usefully in today's world, it must be capable of encompassing more extensive domains" (Mattern, 1998).

The ability to expand communities geographically allows us to study other cultures and reflect critically on our own, it allows us to practice communication and build communities through music. However, since there are personal interpretations of music, people will disagree about its meaning. Is it necessary to come to an interpretive agreement for music to have resourcefulness and meaning? Is it possible to appreciate and understand ethnic music without experiencing the history and culture associated with it?

Weimar Workshop

In 1999 a workshop was organized in Weimar Germany to explore some of these questions. Daniel Barenboim, Music Director of the Chicago Symphony Orchestra and the Deutsche Staatsoper Berlin, and Edward W. Said, University Professor of English and Comparative Literature at Columbia University collaborated in Weimar, Germany, bringing together Arab and Israeli musicians to play as one orchestra. Student groups came from such varied backgrounds as Syria, Jordan, Palestinian territories, Israel, Egypt, and Lebanon (Barenboim, 2002).

There was an underlying assumption that the workshop might be an alternative way of making peace. There were rehearsals-- each day was filled with the recitals of chamber music groups and master classes, and of student-led improvisation groups and the full orchestra comprised of all the students. The workshop began with a very tentative atmosphere.

On one occasion a Jewish student wished to participate in a group that improvised Arab music only to be told by one of the Lebanese students that only Arabs can play Arabic music. However, a few days into the workshop this same Lebanese student was teaching Yo-Yo Ma how to tune his cello to the Arabic scale. Gradually the circle extended and they were all playing the Beethoven Seventh (Barenboim, 2002).

In the book Parallels and Paradoxes, Daniel Barenboim shares the experience of watching a Syrian student express the idea that, though he had never met an Israeli, an Israeli is representative of the negative that can happen to his country and the Arab world.  Later this student found that his stand partner was Israeli. They began to work together, working to play the same note with the same dynamic, with the same stroke, same sound, and same expression. They were trying to do something together and this single note became a common experience.

"Money can buy a lot of things and, on occasion, even some goodwill. But the fact remains that if conflicts are one day to be solved, they are only going to be solved by contact between warring parties. I believe that in cultural matters - with literature and especially music, because it doesn't have to do with explicit ideas - if we foster this kind of a contact, it can only help people feel nearer to each other" (Barenboim, 2002).

Music is also seen as an important resource in the community. "People now actively use music in everyday listening contexts to a much greater extent than hitherto. They are still exposed to music in shops, restaurants, and other commercial environments without active control: But they also control its use in the home, in the car, while exercising, and in other everyday environments. It might be expected that they should do this in order to achieve different psychological ends, such as creating certain mood states, or changing their levels of emotional arousal. Music can now be seen as a resource rather than merely as a commodity" (Chamorro-Premuzic and Furnham, 2007).

Advances in communication and information technologies have caused convergence of communities, commodities, and values. Today, people in widely different social and cultural environments experience similar or identical musical forms, especially pop and rock music. This is seen through globalization and virtual communication.

Exposure to globalized music may homogenize rather than differentiate human experience and identity (Mattern, 1998). This enhances the importance for expressive explanation and recognition of ethnic musics. However, musical consumption remains highly differentiated in most parts of the world. Also, the many forms of music preserve and reflect differentiation of experiences and identity.

Community is connected to particular times and places because people's identity is formed in actual concrete interactions with specific social and cultural environments at specific times. Through technology we are able to communicate and share experiences, transcending both temporally and spatially. Thus we are not limited to only one time and place-- we are able to build communities that span generations and geographic regions (Mattern, 1998).


"What attracts people most is other people."
– William Whyte

It is through communication that people develop the commonalities of community. Even local communities need not rely solely on personal interaction. Many forms of communication are possible today: not only traditional print and broadcast media, but also alternative forms such as electronic mail, Internet forums, and television.

When the term "virtual community" is used most people think of the Internet; however, the term refers to any form of media that fosters communicative interaction. Telephone communication is a source of community as is the telegraph or postal mail. The idea to use media as a social catalyst has been around for centuries: in the 1700s scholars associated with the Royal Society of London formed a community through the exchange of letters (Pears, 1998).

A virtual community is a social network with a common interest, idea, task or goal that interact in a virtual society across time, geographical and organizational boundaries and is able to develop personal relationships (Virtual, n.d.). People have been using online spaces since the beginning of the Internet to communicate. That includes prior to the World Wide Web, when Bulletin Board Systems and email loops connected individuals across time and space. Many found that they began to form bonds of one sort of another.

"Communications technology and face-to-face interactions are complements like salt and pepper, rather than substitutes like butter and margarine" (Harford, 2008). The most obvious example is online dating. Interactions begin online, but the end purpose is to build a face-to-face relationship. Cell phones, chat, Myspace, and Second Life are making it more attractive to meet people in the flesh.

These online connections allow people to socialize, businesses to work together, and communities to collaborate on issues. Motivators for contributing to online communities are: anticipated reciprocity, increased recognition, and sense of efficacy, and communion (Virtual, n.d.). In other words a person is motivated to contribute valuable information to the group in the expectation that one will receive useful help and information in return; individuals may contribute valuable information because that act results in a sense of efficacy-- a sense that they have had some effect on the environment; or people participate to enhance recognition and community.

As technologies have progressed various forms of media communities have emerged to include online communities and media spaces. Media spaces provide a virtual face-to-face setting, fostering the culture of collaboration; however, they depend on vocal articulation and appropriate camera placement. Telemurals is a new technology fostering interaction and triangulation between two remote spaces without the pressure of vocal interaction. Telemurals is an audio-video connection that abstractly blends two remote spaces.

Telemurals connects the remote places through an audio-visual wall. Video and audio from each space is captured. The images are then rendered, blended together, and projected onto the wall of their respective space. Telemurals are meant to act as social catalysts for triangulation, rather than promoting a task oriented setting. Social expression is encouraged by the image transformations that evolve as people communicate through the system, and through the blending of the participating spaces (Karahalios, 2004).

The Telemurals project carried out at MIT by Karrie Karahalios and Judith Donath use three different approaches to blending and transformation. One catalyst is a connection where conversation of the users appears as graffiti in the environment. Another approach shows silhouettes of the users at either end, as more conversation and movement takes place, the silhouettes evolve to show more and more detail. When conversation lulls the images fade back into silhouettes. The final approach renders each site as a series of comic drawings. Each approach allows the individual to see that they are affecting the space, and encourages them to alter it (Karahalios, 2004).

Salt Lake City

"Learning to play any instrument is much more than studying symbols. With every pluck of the string, or stroke of the bow, the player not only interacts with musical literature but with every listener."
– Paul Stewart Prier, Founder of The Violin Making School of America

Music has held an important role in Utah history, both as an organizational tool, as well as for communicative and social interaction. The Fremont and Ute Indians may have used reeds to signal a communal gathering, or sound an alarm. In 1998 archeologists working on South Temple in Salt Lake City found a Fremont whistle carved from the bone of a bird (Museum, 2007). The location where it was found is in a downtown area near the existing symphony hall. This shows the importance of music in the Utah community throughout the ages.

Mormon Music

Music occupies an important place in Mormon life today as in the past. Singing the classic Mormon hymns rallied the spirits of nineteenth-century pioneers making the long trek to Utah. As the most familiar of them all, "Come, come, ye Saints," exhorted: "Gird up your loins, fresh courage take, our God will never us forsake." Nothing quite captures the militant communal solidarity of early Mormonism so well.

The development of a Mormon Music developed around three conflicting impulses: "the will to progress versus the will to conserve, the need to borrow from outsiders versus the need for self-reliance, and the love of the aesthetic versus the love of utility" (Hicks, 1989). Many of these earliest "songs of Zion" were adapted from Protestant hymns and secular songs. Joseph Smith taught that the gentile culture was to be consecrated to God's glory, a view that Brigham Young continued to foster. The role of the choir early became ascendant in Mormon worship and acceptance.

In the early twentieth century Mormon musicians were searching for their place in American culture. The Tabernacle Choir developed as the institution that would bring Mormon music into American culture, and help to foster good will with the Mormon people. The competing goals of the Mormon Tabernacle Choir have consistently been: to what extent does it exist to perform and promote good music, and to what extent to propagate the faith of Mormonism? Since it's establishment in the mid 1800's the choir has had 9 changes in leadership, and with these new leaders come a new balance between the secular and the sacred.

The choir has etched its music in American history, they have sung for 10 presidents of the United States beginning with President William Howard Taft. In 1981 became dubbed as "America's Choir" when they sang at the inauguration for Ronald Reagan (Mormon, n.d.). The quest for musical excellence, both for itself and to counter gentile prejudice, has been in tension with popular tastes and with a nationalist desire for a distinctive Mormon culture. In our own times the Mormon Tabernacle Choir as well as the Osmond family, among others, have brought the Mormon's love of music into the lives of countless gentiles in America and all over the world.

The Osmonds became celebrities in America in the 1960s. In 1971 the group produced one of the biggest-selling soft-rock records of the year, "One Bad Apple." The group even had an ABC television Saturday morning cartoon show created about them. The Osmonds became a white parallel to the Jackson Five (The Osmonds, n.d.). The Osmonds vowed to employ the "hypnotic" power of rock to preach positive values, to keep their music inoffensive, and to keep themselves untainted by rock culture (The Osmonds, n.d.). By adhering to these values the Osmond family has been able to share music globally, along with a positive image of the Mormon culture.

Modern Music

Many parks movements in the downtown and Sugarhouse areas have developed community through music. Recently a program in Pioneer Park was initiated to bring live bands to the park in the hopes that enticing people to come to the park will bring transformation (Jensen, 2007). Pioneer Park has become an area known for its transient population and drug paraphernalia, although more uses next to the park and events in the park are beginning to change this. Other park events include the drums at Liberty Park in Sugarhouse, and the summer concert series at Gallivan Plaza.

This sense of community is reinforced through the naming of the NBA team as Utah Jazz, which is an emphasis of music as the core identity of the population. There is a need to take note of the ability of this image of Salt Lake City as the home to the Utah Jazz, to make a homogeneous culture. Music therefore becomes an instrument in this urban center to maintain the homogeneity of culture and leverage on this homogeneity as part of the tourism effort of the place. The advantageous position of music performance, the creation of music places, and music halls are all part of the need to develop places within this urban center where culture could be shared, practiced and reinforced.

Distinct musical venues in Utah include the Utah Symphony, and The Violin Making School of America. The Utah Symphony was founded in 1940 by Maurice Abravanel, and performs at Abravanel Hall. In 2002 the symphony merged with the Utah Opera Company, which was founded in 1978. These two groups were the largest in Utah and after merging continue to make the largest group (Music, n.d.).

The Violin Making School of America is distinctive to Utah. Before the school opened its doors there wasn't a single place in the United States to train in the art of violin making. The school was founded in 1972 by Peter Prier, a native German, and remains the most prestigious violin making school in the U.S. (Peter Prior, n.d.).

Utah has a thriving music scene outside of Mormon music and the symphony. Evidence of this is the local music zine "Salt Lake Underground," or SLUG. In 2004 over 200 bands submitted tracks for a compilation. SLUG narrowed the submissions to 59 selections featuring such diverse music types as hip-hop, jazz, jazz-rock, punk, and rock and roll (Music, n.d.). Alternative entertainment emerged such as the Tavernacle and the "dueling pianos." The Tavernacle is a bar where two pianos face each other, and the piano players either play together or swap songs back and forth while the audience sings along.

Utah also hosts a Hard Rock Cafe at Trolly Square. A plaque on the wall gives credit to Utah as a community of music. "When Brigham Young first saw the spot that would become Salt Lake City, he sad 'This is the place.' What vision! What foresight! What absolute clarity of a sharpened genius mind! Because lo and behold, what do you know...? Salt Lake City is still the place for music fans of all ages. So whether you're in town for the sights, the LDS Church headquarters or just plain lost... get on down to Hard Rock Cafe Salt Lake City, were music lovers of all kinds declare that this is still, and always, most definitely the place" (Hard Rock, 2007).

The significance of Salt Lake City's case is very important. On the one hand, this would prove to the role of music in providing an identity in a community that is so diverse. One should consider that in the process of urban development, it is the sustenance of this common identity that would help in sustaining an effort to maintain growth and development.

Music became the vehicle of unity of interests in this bustling city. Jazz and the role of music in the lives of people is emphasized through the structures in the city, which is dedicated in the recital of music of different genres and the construction of a leisure image through the consumption of music (Live, 2007).


"Music is what feelings sound like." – Author Unknown

As music becomes the focal point of a globalized activity this common interest for music will create a sense of collaboration for the participants, redefining the boundaries of community. Music will create a rich experience that will enhance cognition, emotion, and aesthetics as it develops a message of commonality - common humanity and a common stake in the development of social, environmental, and economic justice.

Music utilized in The Day of Song will be able to touch individuals, local communities, global communities, and virtual communities. Individuals will benefit from participation by tapping into the psychic realm and Sentics of music while collaborating on a global level. Regardless of the genre of music or the venue, individuals making music will be creating a rewarding expression that will permanently encode the experiences with The Day of Song into their memories.

The Day of Song will give the opportunity for local communities and cultural groups to express their values. It may have the power to solidify cultures and subcultures while also fostering integration and understanding. It will be an inspiration in creating physical and social environments that will encourage collaboration and tolerance. The Day of Song will be a social catalyst for triangulation on a global scale.

Virtual Environments will encourage users to alter the space. This manifestation of collaboration and change will be encouragement for further cooperation and support outside of the virtual environment. The environment will be a venue to come back to, allowing users to relive memories from The Day of Song. It will foster and encourage community.

Finally, The Day of Song may also provide a venue in the creation of identity. As community life is practiced through music, the person becomes more aware of their identity in relation to their fellow music lovers. At the core, music binds all people together and abolishes the dividing lines that impede the ability to foster co-existence.


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