Somebody was bound to notice eventually. After all, the problem was plainly visible to any concert-goer who could see the stage. There were a few anomalies, a few people of color who acted as pioneers. But a lack of institutional footing made sure they would continue to be just that: isolated exceptions to an unwritten rule. As time went by, as decades passed and things changed, more people noticed. And as they noticed, they began to wonder about that rule. Was it possible that the enlightened parlors of New York’s cultural elite were poisoned by the foul odor of racism? That the citadels built to honor European classical music were barred to those who weren’t inscribed on the golden role? Surely not. Why is it, then, that to this day it is exceptionally rare to see black, Latino, or Native American classical musicians? Cynics rolled their eyes, spat on the ground and asked, "what more can you expect from the Man?" Others erroneously chalked the situation up to a lack of interest in classical music among black musicians. And still others set about the task of actually doing something about it. Dr. Joseph Polisi was one of those people.

Since Dr. Polisi founded The Music Advancement Program (MAP), it has been hard at work training New York City’s black and Hispanic public school students to be tomorrow’s stars of the classical music stage. MAP was created to "address the absence of African-American, Latino, and Native-American students from orchestras across the country," according to its Associate Director, Edward Lawrence. The program seeks to nurture musical talent in public school kids when they are between the ages of eleven and thirteen. This is a crucial period in the development of a child’s sense of self, and is still early enough to allow for the training needed to pursue music professionally.

Students come to MAP’s offices every Saturday morning during the school year for a private lesson, an ensemble class, classes in music theory and history, and for a creative class called Music Workshop, where students are encouraged to experiment with many instruments. More advanced students also take classes in ear training and composition, often with results that astound the teachers and administrators at the program. Edward Lawrence and Assistant Director of Educational Outreach Lois Ash remember every piece a student of theirs has ever composed, and find it difficult to describe them without resorting to hyperbole. The program provides instruments and charges tuition based on a sliding scale, so that no student will be prevented from enrolling because of economic concerns. After the students graduate from the two-year program at MAP, they are encouraged to audition for MAP’s sister program, Preparing Artists Through High Standards (or PATHS). These older students are expected to be musical and personal mentors for their younger peers, and to comport themselves as examples and role models.

Despite MAP’s formidable recruiting efforts in schools, churches, and community centers, it is a tough sell for many twelve and thirteen year-olds because of the hard work involved. Lawrence, quietly imposing but soft-spoken, emphasizes that the program requires "one-hundred percent commitment," and "tries to instill a sense of discipline in the students that we hope will help them in their general life." The students we interviewed were quick to affirm that this is true. One student recalled how her teachers at MAP made her dye her hair back to its natural brown after she dyed it bright pink. For her, as for others, the rigorous standards of decorum expected of classical musicians are a mantle that hasn’t always sat comfortably on her shoulders. With what is clearly a grudging gratitude, she remembers how her PATH mentors and teachers steered her away from "hanging out with the wrong clique," and made her realize that in the hallowed halls of the major orchestras, "talent counts for a lot, but without the right appearance, you aren’t going to get anywhere."

But Mr. Lawrence is careful to allow for the fact that his students are still children, that they should be given room to play and to make mistakes, "as long as they stay on the path. Sometimes it can be tricky to chart a course between keeping them on that path and squashing their creativity through too much discipline." He admits that sometimes even he needs to rally his own discipline. "There are times when I ask myself, ‘why do you get off your bed on Saturday morning?’ Especially when it’s snowing. I mean it’s cold outside. But then the students give their recitals. You can remember how they could hardly hold their instruments when they first came in, and now they’re playing Chopin. For me, I get a sense of fulfillment every time I see the students perform. Sometimes it’s hard to just sit there and clap like everybody else when you really just want to break down and bawl because the young people played so well."

The students seem to share Lawrence’s sense of fulfillment. Daniel Emanuel Harris, a shy and precociously serious twelve year-old cellist, commutes from Staten Island to the program’s facilities at Lincoln Center early every Saturday morning, but has found the program such an inspiration that he is now interested in becoming a professional musician. His mother, who comes with him to the program every weekend, agrees. She recognized Daniel’s musical talent early on, but says that without MAP’s support, the cost of properly developing that talent might have been prohibitively expensive. She finds it "a great opportunity and inspiration just to be in this environment. It’s great to see my son surrounded by kids his own age who are really interested. It’s good for him to see that there is no shame in playing the cello. Most of the parents seem to be of one mind: that this is a good program. Many of them are here every week, making sure their child is on track and to help follow through on the instruction their child is getting."

The students we spoke with seemed unanimous in their appreciation for the program. Pedro Tsividis, a fifteen year-old Greek and Panamanian percussion student at MAP, told us that the program helped him to decide on a career in music. MAP Graduate Jonathan Lopez, a trumpeter from the Bronx who is currently enrolled at Juilliard’s pre-college program and Laguardia High School, also credits his teacher at MAP for his decision to pursue a career in music. "I feel MAP is an important program because it gives kids a chance in a time and a place when there isn’t much chance. Being surrounded by other serious colored kids in MAP gave me strength that I’ve needed since. In the orchestra I’m in now, there are only three colored people. I feel that’s not right. MAP gave me the extra backbone that I needed to continue in this white-dominated field. And I apply the things MAP taught me to my daily life and to school." Jillian Laboy, a Puerto-Rican cellist and bassist from Queens, agrees: "I feel the program has focused my playing. The staff is very supportive; they impose high standards, but without the stress. Because they ask me to do something, rather than telling me to do it, I don’t want to disappoint them. I also like the fact that at MAP, my ethnic background isn’t an issue one way or another. It’s comforting."

Though the program is geared towards classical music, it is also making an increased attempt to integrate jazz and Latin music into the curriculum. Many of the students get training in improvisation during their private lessons, and the ensemble teachers make a point of choosing pieces with a jazz flavor. This is largely in response to the expressed desires of the students. Jonathan, for example, told us, "I believe that if you call yourself a musician, you have to be open to all styles. I also play in a jazz band and in this other, kind-of weird quartet which is all strings. But studying classical music is the foundation. Once you have that foundation, you can branch out a little." Jillian agreed: "You know, I love the cello. I’m serious about it. It’s good for classical. But I also love to swing. I love jazz." Indeed, all of the students we spoke with were thrilled when jazz legend Wynton Marsalis stopped by the program to speak and to teach a trumpet class.

A survey of MAP’s graduates suggests that the program has had a lasting positive impression on the kids who have passed through it. Of those graduates who responded, 50% are currently taking music at colleges with strong music programs. Among them are MAP graduate Sean Coleman, currently at Juilliard; Rocio Mora, who is studying music education at New York University; and Harold Banarsee, now studying at Queens College. Indeed, Lawrence can remember the names of many of the program’s most successful students. His face lights up with pride when he remembers a particular student who, despite major obstacles, won a seat at the prestigious Interlochen Arts Academy last year.

At a time when everybody from Senator Jesse Helms to critic Barbara Solomon is criticizing the art world for its precious elitism and insulated irrelevance, it is refreshing to find a program actually dedicated to remedying the situation. Rather than turning to "bad" or "middle-brow" art as an alternative to Soho snobbery, as Solomon and her peers have recommended, programs such as MAP are extending the narrow boundaries of the art world and are enriching it in the process. During the nine years since its founding, The Music Advancement Program has proved successful in tapping a wealth of talent that might otherwise go unrecognized – and in so doing, it enriches young lives.

If you would like more information about the Educational Outreach Music Advancement Program, or would like to become involved, please contact Edward Lawrence, Associate Director, at (212) 799-5000, extension 244. The next performance of the student ensembles will be May 8^th, at Lincoln Center. The Performance is Free. For more information, please call (212) 799-5000, extension 244.