Artist observations

Artists on the roster observe each other and provide feedback on the work they’ve seen, either by filling out a form, sharing written responses, or arranging a phone discussion with a staff member and/or the observed artist.

Artist roster

The musicians—chosen through a rigorous selection process that includes a written application, live auditions, and interviews—who bring Musical Connections to life through performances and interactions at host venues. Artists may be singers, instrumentalists, or members of an ensemble.

Coordinating presenter

The organization—for example, Carnegie Hall—that creates the Musical Connections program and is responsible for administering the program—selecting participating venues and managing venue relationships, assembling an artist roster, managing artists, designing programs, and so on.

Host venue

An institutional setting—hospitals, prisons, juvenile detention facilities, senior care facilities, and so on—where Musical Connections work takes place.

Learning community

A core group comprising artists and staff of the coordinating presenter, who are not only planning Musical Connections and designing programs, but also are engaged in an active process of assessment, evaluation, and sharing, with the goal of improving and deepening the work.

Mid-year conversations with artists

Feedback sessions with each artist/ensemble held midway through each year to provide musicians feedback on their performances and to hear questions and observations from them about their work.

Operational evaluation

A tracking process designed to help staff document what it takes to implement the program well and to develop thorough and efficient ways of making a complex program run smoothly.

Participants

Those who reside or are confined to host venues and who comprise the target population for Musical Connections programs and creative workshops.

Participating venue

See host venue.

Professional development

Workshops and other forms of training designed to support Musical Connections artists and train them for this specific work. Professional development, most often in workshop format, teaches artists about the unconventional environments they are entering and helps them develop techniques for engaging and involving the variety of populations whom Musical Connections programming serves.

Programs

A Musical Connections program can be anything from a single performance to a long-term partnership with a host venue. Program scope and design are dependent on many factors including the needs of the host venue, the in-house resource of the coordinating presenter, and the availability of staff and artists to implement programs.

Roster

See artist roster.

Stakeholders

Everyone involved in Musical Connections—participants, clinical and administrative staff of the host venue and the coordinating presenter, artists, government and social service agencies, and so on.

Threshold-to-threshold

The idea, essential to Musical Connections, that programs at host venues are not confined to a stage, but rather begin the moment the artists enter the facility and do not end until the moment they leave.

360° impact

The work of Musical Connections impacts everyone involved and is collaboratively planned, from the coordinating presenter’s staff, to the artists, the host venue’s staff, and the participants.

Venue

The facilities at which Musical Connections programs take place. Carnegie Hall’s programs take place in four types of settings: hospitals, juvenile detention facilities, prisons, and senior care centers. (See also host venue.)

Venue observations

A preliminary, impressionistic appraisal of the host venue where Musical Connections will take place. This step can take many forms—sitting in on an existing workshop or staff meeting; casual interactions with residents over a meal; touring the facility with a member of staff or a resident; sitting in the lobby and watching day-to-day routine; and so on.