6 . Nick Rose-Stamey is a lot like Jack Black’s character in School of Rock- a guitarist who discovers a passion for making music accessible to children. Working in the nonprofit arts education sector over the last 10 years raised his awareness of the lack of music programs in public schools, and later inspired his nonprofit, Band in a Bus. “The original idea was to take an old school bus and turn it into the best band class on wheels,” he says.

In fact, activities of Band in a Bus don’t actually happen on a bus. It provides instruments, courses, and staffing to students. Kids 18 and under can also participate in enriching summer programs through Band in a Bus, such as Bucket Brigade, five weekly classes where grades K-4 learn rhythm (节奏) and STEAM (science, technology, engineering, arts, mathematics) principles through contemporary music. There are also teen bands for grades 7-12 where kids learn to play pop music and develop social and team work skills.

When schools went virtual during the COVID-19 period, Rose-Stamey thought it was a shame that instruments were left sitting on shelves instead of in the hands of kids. So he created and distributed more than 1,000 “Band in a Box” DIY kits. Each kit contains small noise makers like kazoos, drumsticks, and shakers, with the intention of introducing a modernized music class experience that meets kids where they are.

“It is reported that if a kid has 30 minutes of a performing arts or creative elective every singleday, then that’ll help them develop their social, emotional and leadership skills, because there’s a lot of team work when it comes to making music. You have to learn how to work well with others,” Rose-Stamey says.

In the last year, Band in a Bus has worked directly with more than 500 students. “Music is a win-win for everybody,” Rose-Stamey says. “I just hope that someday we can stop making it the first kid out in the dodge ball (躲避球) game.”

9 . MUSICAL HERITAGES FROM ANCIENT CHINA

Since remote antiquity, Chinese people have used music to record their lives and describe the ideals in their hearts. Catchy tunes are not only played on precious instruments, but also visualized in carvings, paintings, and buildings. Feel free to explore here!

Han Dynasty (202 BC-AD 220)

This period marked the significant development of the manufacturing of gugin and its music. The example unearthed from the Mawangdui Han Dynasty Tomb in Changsha, Hunan province, proves that gugin had developed into the form known today during that period. It shows 7 strings and 13 markers indicating the pressing positions of overtone series.

Northern Wei Dynasty (386-534)

Buddhism and its musical culture spread extensively during this period. Buddhist temples provided places for musical activities, which were recorded in many of the existing stone carvings. Located in Gongyi, Henan province, the Grotlo Temple is famous for its reliefs representing musical events. They are precious historical materials reflecting the music characteristics of the dynasty.

Song Dynasty (960-1279)

With economic development, a variety of musical cultures emerged to meet the entertainment needs of different social classes. Part of the painting Life along the Bian River al the Pure Brightness Festival vividly reveals a storytelling performance. The painter adopted delicate techniques to truly record a street performer, whose superb skills are reflected by each listener’s show of appreciation.

Ming Dynasty (1368-1644)

At this time, traditional Chinese operas developed rapidly, promoting the formation of many singing styles. People began to enjoy operas and drama stages were built. Covering a construction area of more than 160 square meters, the Fancun village drama stage in Shanxi province provides rich materials for the study of the local folk culture.

10 . As the clocks strike midnight one by one on New Year’s Eve, one song will ring out more than any other from the world’s crowds — “Auld Lang Syne”, the Scots-language ode (颂歌) to friendship and good times past, which was first set to paper by the Scottish poet Robert Burns, though he claimed he was not its original author, only a documentarian of one part of an old oral folk tradition. According to historian Dr. Morag Grant, the concept of   “auld lang syne” was once a Jacobite tradition.

Burns’ version quickly became popular in Scotland after it was published in 1799, and thanks to that Scottish diaspora—which carried its folk traditions to places like the States, Canada and New Zealand — snatches (音乐片段) of   “Auld Lang Syne” are productive throughout history.

It was in 19th-century England that the New Year’s Eve tradition emerged. At St Paul’s in London, Scotts who went abroad would gather together and belt out the words to “Auld Lang Syne”. “To miss it in the eyes of some Scots would amount to little less than a crime,” the Edinburgh Evening Courant wrote at the time.

An increasingly connected world helped to promote the song’s spread. The inventor of the telephone, Alexander Graham Bell, sang it down the mouthpiece to demonstrate the new telecommunications equipment. Later, another scientist called Emile Berliner chose it as one of the first songs to be recorded on the gramophone. In 1929, the bandleader Guy Lombardo began the tradition of playing “Auld Lang Syne” from Times Square, first on radio and then on television.

From its folkloric beginnings, “Auld Lang Syne” has travelled far, shapeshifting and acquiring new meaning as it passes between people and cultures. Today, it symbolises friendship and fond memory for communities across the globe, and it becomes the second most sung song in the English language, beaten only by “Happy Birthday”. It’s quite a success for a poem written in a Scottish minority language.