Quin Herron playing tin whistle with school children watching.

Quin Herron: Bringing People Together with Irish Music

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Originally from Plano, Texas, and raised in La Mesa, California, Quin Herron was drawn to traditional Irish music after being captivated by the sounds of James Galway and The Chieftains. Today, he serves as chair of the San Diego chapter of Comhaltas Ceoltóirí Éireann (Irish Gaelic: “Gathering of Musicians of Ireland”), an international organization dedicated to promoting Irish music, dance, language, and culture. Whenever he has the chance, Quin travels to Ireland to deepen his connection to the music and culture.

Portrait of Quin HerronAs a high school junior, Quin spent a year in Belgium as a Rotary exchange student. Later, while studying creative writing and music at the University of San Francisco, he completed a junior year abroad at Trinity College Dublin. This experience allowed him to travel extensively across Europe and especially in Ireland.

A skilled musician, Quin plays both the Irish tin whistle—a keyless, end-blown flute ideal for beginners—and the Irish flute, typically crafted from wood and based on the classical flute design of the 19th century. Known for its rhythmic, percussive, and expressive qualities, the Irish flute perfectly suits Ireland’s vibrant dance music. Quin honed his flute skills by studying with some of Ireland’s top musicians and playing in traditional music sessions across the country.

In addition to his instrumental work, Quin is an accomplished vocalist, performing Irish songs in the unaccompanied Sean-nós (old style) tradition. He also lends his voice as a tenor with the San Diego Master Chorale and serves as a cantor at Santa Sophia Catholic Church.

In his role with CWM’s World Music in the Schools program, Quin introduces students to Irish melodies on the tin whistle and teaches them traditional Irish songs. A tin whistle is available for each student thanks to donations from the community collected by Comhaltas.

If there’s traditional Irish music happening in San Diego, you’re likely to find Quin there. He’s a regular on Tuesdays at The Ould Sod in Normal Heights and on Saturdays at The Pub in Bay Park. His band, Gallowglass, is also preparing to release a new album.

Videos for Further Exploration

Gallowglass, with Quin on flute, performing “Over the Moor to Maggie”:


And a short clip with Quin on vocal:

Yale Strom: Bringing Klezmer Music to San Diego Schools

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Yale Strom is a San Diego-based violinist and leading authority on klezmer traditions of the Jewish and Roma communities of Central and Eastern Europe and the Balkans. A versatile and prolific artist, Strom’s expertise spans roles as a musician, composer, ethnographer, filmmaker, educator, playwright, and more. He regularly performs in San Diego, New York, and internationally, with a broad portfolio of creative work, as detailed on his Wikipedia page.

Born in Detroit in 1957, Strom’s journey with the violin began at the age of eight, sparked by free music lessons offered in his primary school. Growing up in a musically rich family—his mother a pianist, his father an avid music lover—he was naturally drawn to the world of music. In 1982, he formed his first band, Hot Pstromi, a project that has been central to his artistic life. Based in both San Diego and New York, Strom continues to compose and perform with the group, demonstrating his unwavering dedication to his craft.

Through the CWM’s World Music in the Schools Assemblies program, Strom and his now-renowned band introduce students to the diverse sounds of klezmer, blending Khasidic nigunim (vocal music) with Romani, jazz, classical, Balkan, and Sephardic elements. Whether in school programs or the CWM’s Access to the Arts for Seniors, Strom enriches performances with storytelling, helping audiences—whether familiar with klezmer music or not—discover the depth and history of this vibrant musical tradition.

For more on Strom’s extensive achievements, visit his website at www.yalestrom.com.

For Further Exploration

Enjoy Yale Strom performing with Hot Pstromi at the historic Museum at Eldridge Street, New York City:


And Yale and Hot Pstromi at UCSD’s Park & Market in San Diego:


Image of Ali Paris LA benefit concert for Save a Child's Heart Fund

Ali Paris: Master of the Middle Eastern Qanun

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An internationally acclaimed musician and one of the foremost qanun players of his generation, Ali Paris is celebrated for his exceptional mastery and innovative artistry on his 14th-century traditional instrument. Blending the rich traditions of Middle Eastern music with elements of Western styles, Ali has captivated audiences around the world. He has been described as an “unrivaled, unique artist” by the legendary Quincy Jones and “one of the most eclectic and diverse artists” by Grammy-winning musician Paul Simon, who attended many of Ali’s concerts at Lincoln Center in New York.

Born in Morocco, Ali began his musical education at the age of five. By the age of nine, he was discovered by Simon Shaheen, a master performer and educator of traditional Arabic music. Recognizing Ali’s potential, Shaheen mentored him as a protégé. Soon, Ali was performing in prestigious concert halls, and by eleven, he had embarked on his first European tour.

Since then, Ali has garnered numerous international accolades, including the prestigious Marcel Khalife Best Artist of the Year award, which he won for four consecutive years. His career has expanded exponentially, earning him a degree from Boston’s renowned Berklee College of Music on a full scholarship. Throughout his journey, he has collaborated with an illustrious list of world-renowned artists, including the late Paco De Lucia, Buika, Alicia Keys, Bobby McFerrin, and Javier Limón.

Ali has performed at many of the world’s most esteemed venues, from the White House and the Newport and Montreux jazz festivals to the Royal Palace in Jordan, where he gave a solo performance for Queen Rania of Jordan. He has also performed as a soloist with the Boston Symphony Orchestra and the Michigan Philharmonic and was featured in the Grammy-winning Spanish documentary Entre2aguas, as well as the Hollywood film Noah.

Ali’s performances are distinguished by his exploration of fertile ground between Eastern and Western musical traditions, creating a powerful dialog between cultures and genres.  His dedication to humanitarian causes has seen him collaborate with numerous world-class artists to support initiatives such as Doctors Without Borders, Save a Child’s Heart, and Keep A Child Alive. His work with Alejandro Sanz has also helped fund vital humanitarian projects in Africa and the Middle East.

Ali Paris on stage for school assembly

If students walked away from one of my assemblies with one profound lesson, it would be the realization that music is not just a series of notes and rhythms but a powerful, universal language that bridges cultures, nurtures empathy, and celebrates diversity

Through the vibrant sounds of Arabic music, the unique textures of traditional instruments, and the joy of shared songs and dances, I want each child to understand that while we may come from different corners of the world, our hearts beat to the same rhythm. This rhythm, rooted in our collective human experience, reminds us that we are all connected.

—Ali Paris

In June 2023, Ali was featured in the CWM series Music on the Move at Mingei International Museum. He is deeply committed to education through his involvement with the CWM’s World Music in the Schools program, regularly visiting school partners to conduct dynamic workshops and assemblies. Through these programs, he shares the beauty and depth of Middle Eastern music and culture, providing students with an engaging introduction to Arabic music and traditions.

 

For Further Exploration

Watch Ali Paris performing with the Detroit-based National Arab Orchestra:


Ali Paris on stage at the Newport Jazz Festival:

James Stanley: Teaching Hawaiian Ukulele, Movement, and Culture

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James Stanley is a San Diego native who was raised embracing, embodying, and sharing Hawaiian culture and arts. He is the eldest son of Kumu (Hula Teacher) Kathy Heali’i Gore Stanley, the founder of San Diego’s Heali’i’s Polynesian Revue. As such, James was immersed in Polynesian arts and began performing dance and playing the ukulele at a very young age. His love of dance and movement eventually inspired him to earn a BA in kinesiology from CSU Northridge in 2018.

Image of James Stanley performing traditional Hawaiian dance

James Stanley performing traditional Hawaiian dance

James has performed with many of Hawai’i’s music legends, including HAPA, Na Leo Pilimehana, Amy Hānaiali’i, Makaha Sons, and Kalani Pe’a. Today, James is an alakaʻi (co-leader) and kāne director (men’s director) for Heali’i’s Polynesian Revue. He pours his aloha into nurturing his family’s hālau (Hawaiian dance school) through music, dancing, and traditional practices.

We are proud to have James as a teaching artist for the CWM’s youth education program, World Music in the Schools. James engages over 900 San Diego County school children a week with Hawaiian language and traditions, ukulele, and dancing.

Image of James Stanley in a World Music in the Schools classroom

James Stanley in a World Music in the Schools classroom

James’ brother, Anthony Kauka Stanley is also a teaching artist for the School’s program. Learn more about Anthony from his profile on our website.

For Further Exploration

Watch James Stanley on stage performing Hawaiian dance to the music of the Mākaha Sons.

Silvio Diaz: Empowering Students through Latin Rhythms

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Born in Mexico City, Silvio Diaz grew up in Ensenada and Tijuana in an artistic household. His family produced educational performances for children, featuring puppetry, theater, and music. At a young age, Silvio played various musical instruments, including the clarinet, guitar, and drum set, along with other forms of percussion. Additionally, he participated in his family’s puppetry, theater, and music productions, performing in Mexico, Spain, and the United States.

While performing with his family, Silvio pursued his interest in visual arts and Latin percussion. He attended an arts high school in Mexico City before earning a bachelor’s degree in music composition from the Universidad Nacional Autónoma de Mexico. His journey as a musician involved playing in several bands, each specializing in different genres—including reggae, rock, and Latin music—while pursuing his own musical goals.

In 2018, Silvio relocated to San Diego to join his father and brother in their percussion ensemble Drummers Without Borders. Since its formation, Drummers Without Borders has been dedicated to providing music education to underserved communities, schools, correctional facilities, and the general public. The group uses rhythm as a fundamental tool to engage students and help them feel a sense of accomplishment. Their programs sometimes end with a parade with large puppets and rows of children marching with drums.

Drummers Without Borders has performed for the Center for World Music in two recent series: “Music on the Move: Border Stories” at The Front Arte Cultura Gallery and “Sound of the Border | Sonido de la Frontera” at Mingei International Museum.As a teaching artist with the CWM’s World Music in the Schools program, Silvio introduces students to the percussive rhythms of Latin America. He encourages his pupils to start simple, try new things, collaborate, and express themselves. His goal is to inspire confidence and teamwork.

Thanks to a partnership between the CWM, San Diego Unified’s Visual and Performing Arts (VAPA) Department, the VAPA Foundation, and the California Arts Council, Silvio participated in a program at Balboa Elementary highlighting the music and rhythms of Spanish-speaking countries in Latin America.

San Diego’s KUSI News featured this class for bringing culturally relevant music programming into schools:

Silvio teaches for organizations such as the San Diego Guild of Puppetry, Arts Education Connection San Diego, The House of Music, and Bocón Arts. He also enjoys playing music at home with his daughter. His ultimate dream is for everyone to recognize the power of art in education and human development.

Kaylie Kirby: Continuing a Legacy of Indonesian Arts

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Sharing her love of Indonesian arts through the CWM’s World Music in the Schools program, Kaylie Kirby is patient, passionate, and playful as a teaching artist.

Kaylie is no stranger to Balinese gamelan angklung (metallophone ensemble) in the K–8 classroom. She began her journey with Indonesian music and dance when she was in 5th grade at Museum School, the school in which she now teaches young students. There she studied Balinese gamelan and dance with master teachers I Nyoman Sumandhi and Ni Putu Sutiati, who were CWM distinguished visiting artists in San Diego back in the early 2000s. You can learn more about her full-circle performing arts journey from this feature story on our website.

After her first exposure to Indonesian arts as a 5th grader, Kaylie continued her studies, attending after-school classes in Balinese dance. Later, she joined Puspa Warsa, an ensemble of advanced students organized by former CWM teaching artists Alex Khalil and Kaori Okado. With that group, Kaylie performed all over Southern California for numerous universities and festivals, and on television.

Kaylie with daughter

She later studied under other Balinese masters, including I Nyoman Wenten, renowned Balinese musician and dancer, at CalArts and UCLA. In 2018–19, she was a member of the Balinese gamelan angklung ensemble Gunung Mas at the University of San Diego, directed by Dr. David Harnish.

Today Kaylie finds joy in sharing her passion for Indonesian music and culture, especially as her own children are now enrolled in the program at Museum School in San Diego’s Bankers Hill neighborhood.

Irish Music at The Ould Sod

San Diego’s Irish Music Sessions at The Ould Sod

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There’s a fascinating variety of traditional music to be found in the San Diego area. Mike De Smidt tells us about the weekly Irish music sessions at The Ould Sod, an Irish pub on Adams Avenue.

George at The Ould SodMany people became familiar with Irish traditional music in the 1990s with the emergence of the stage phenomenon Riverdance. Some may also be aware of something that has existed far longer and continues to be a vibrant affair for musicians and spectators alike: the session, best described as a group of musicians playing a spontaneous selection of dance music. Irish music has a very long history, dating back thousands of years, but the music that is heard today developed primarily in the past two hundred or so years.

One important aspect of Irish traditional music that makes it distinct from many other European musical traditions is its contiguous history, unbroken by shifts in the political climate or changes in cultural taste. Sessions are a great venue for the transmission of this tradition from one generation of musicians to the next.

The purpose is thus not only musical but also social. Friendships are forged and reinforced through the sharing of tunes from the participants’ repertoires. Sessions, moreover, play a vital role in building a sense of community.

Photo of The Ould SodThe session at The Ould Sod on Adams Avenue in San Diego has engendered a wonderful musical climate for more than 20 years and serves as an anchor for the local community of Irish musicians. Every Tuesday night, between five and ten musicians gather in an alcove by the front door or in the beer garden area at the rear of the establishment and play a variety of tunes—jigs, reels, hornpipes, slides, and the occasional song—for themselves and for anyone else who wishes to listen.

This is an important thing to note about Irish sessions: the musicians, while certainly happy if other pub patrons enjoy the music, are primarily playing for their own enjoyment. That being said, it is a fairly inclusive affair as well. New musicians—of varying experience—are welcomed into the group, learning the shared repertoire and often adding to it with music they bring to the gathering on their own.

While it is a regular weekly event at The Ould Sod, the session still maintains an air of informality that adds to its charm and sense of inclusion. There is no amplification, the instruments are acoustic, and you will find a wide variety of them at that! There’ll be the fiddles, flutes, banjos, and guitars that most people are familiar with, but also more unusual instruments such as the uilleann pipes and the concertina.

kevin-kane-bob-schoultz-at-the-ould-sod-sm

Photograph by Michael Eskin

A session is an occasion to celebrate, enjoy a musical culture, and have a great night out with your friends. Tuesdays at The Ould Sod are certainly no exception.

— Mike De Smidt is a musician, ethnomusicologist, and instrument builder living near Santa Cruz, California.

See a short video of a typical Irish session, from Joe McHugh’s Pub in the village of Liscannor on the west coast of Ireland.

The Ould Sod
3373 Adams Ave, San Diego, CA 92116
(619) 284-6594

Website | Google Map

 

Meghan Hynson: Sharing the Music and Culture of Indonesia

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Image of Meghan Hynson in Bali Holding an Angklung

Meghan Hynson with angklung in Java

Meghan Hynson was first exposed to Balinese gamelan (gong ensemble) while studying for her undergraduate degree in music education and oboe performance at Boston University. Intrigued by the sound of the gamelan, she soon began studying Indonesian ensemble music, took private lessons on Balinese gendèr wayang (metallophone duo or quartet), and was awarded a scholarship to travel to Bali to follow her passion for Indonesian music and culture.

She eventually earned her MA and PhD in ethnomusicology at UCLA, writing her dissertation on Balinese shadow puppet theater. Having taught at Duquesne University, the University of Pittsburgh, and Monmouth University, Dr. Hynson is currently adjunct assistant professor of ethnomusicology at the University of San Diego, where she directs the Balinese gamelan ensemble and teaches courses in global music.

Fluent in Bahasa Indonesia, the national language of that multi-cultured nation, Dr. Hynson has spent over a decade living and studying in Southeast Asia. In 2019, Dr. Hynson toured internationally as a vocalist for the Indonesian pop band, the Dangdut Cowboys, under the invitation of the U.S. State Department. She typically spends several months each year at her second home in Mas Village, Bali, doing research and furthering her study of the island’s rich traditions.

Image of Meghan Hynson in Classroom

Meghan Hynson in San Diego classroom

During her career, Dr. Hynson has developed world music curricula and outreach programs for K-12 schools, worked with major museums and international world music festivals, and spoken out for global diversity through music via campus and community activities.

As a teaching artist with the CWM’s World Music in the Schools program, Dr. Hynson teaches Balinese gamelan angklung and Indonesian angklung rattles.

See Dr. Hynson Performing

Meghan Hynson Plays Gendèr Wayang in Bali

Meghan Playing Sundanese Gamelan Degung

Leading the University of San Diego’s Gamelan Gunung Mas

Image of Sophie Bell with Uke

Sophie Bell: Bringing Joy to San Diego Music Classrooms

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Sophie Bell is passionate about making music fun and accessible for all. A talented multi-instrumentalist, Sophie plays the guitar, ukulele, bass, banjo, mandolin, and piano. Hailing from Boston, where she performed and taught guitar and electric bass, she is now a professional musician and music educator in San Diego. She inspires youth to foster community and connection with one another through the powerful language of music.

Image of Sophie Bell with BanjoSophie has taught students as young as three and as old as fifty across San Diego, in group classes and individually. As a teaching artist for the CWM’s World Music in the Schools program, Sophie shares her love for the ukulele and the diverse cultures in which it is honored and played. Her students strum and sing along with happy enthusiasm while learning the significance and history behind each song.

In addition to her work with the Center for World Music, Sophie teaches after-school music and movement enrichment classes at All Friends Nature School. There, she designed and built mountain dulcimers made from palm tree leaves that students used in their final performance. She has also taught through Guitars and Ukes in the Classroom, a San Diego nonprofit dedicated to expanding the role of music in education and elevating student engagement.

Image of Sophie Bell on stageIn the realm of rock music, Sophie taught at Gxrls Rock Summer Camp, a San Diego program empowering girls and non-binary youth through music. She also helped organize and led a rock band of six-year-olds at Kalabash School of Music and the Arts in La Jolla.

Sophie participates in a wide range of musical ensembles, including the Mesa College guitar and jazz ensembles, The Bearded Ladies, a four piece theatrical folk band, and the California pop group The Sleepy Pearls, for whom she plays bass.

Sophie’s thoughtful and compassionate temperament, as well as her lively and dedicated musicianship, transmit a love of music and personal expression to her students from the moment they set foot in her classroom. She believes deeply in cultivating the musicality inherent in every human being. Establishing that joyful connection is her heart’s work.

The Persian Tar

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The word tar, in Persian, means “string.” This word can be found in the names of many of the instruments that musicologists class as chordophones, including setar (“3 strings”), dotar (“2 strings”), ektara (“1 string”), and of course, guitar.

Mohammad Resa Lofti plays the Persian tar

Mohammad Resa Lofti plays the Persian tar

The stringed tar of Iran and Azerbaijan—not to be confused with the North African drum of the same name—is a plucked instrument with 3 double courses of strings, giving a hint to its origin, the 3-string setar mentioned above. While the setar traveled to North India eight centuries ago, eventually developing into the sitar, the tar was adapted from the setar in Iran only three centuries ago. The North Indian sitar and the Iranian tar are both larger and louder than the setar.

The body of the tar has a double bowl carved from a block of mulberry wood, with a thin skin membrane attached as the soundboard. When it is played with the traditional brass plectrum called mezrab, it produces a full, round, yet clearly articulated tone. It can be played as a solo instrument, in an ensemble, or to accompany a singer. As in many music cultures, the instrument’s sound and articulation mimic the vocal singing style, so the tar is played to sound like Persian singing, which employs a distinctive technique of melodic and rhythmic embellishment known as tahrir.

Ramiz Guliyev plays the Azeri tar

Ramiz Guliyev plays the Azeri tar

In an ensemble, the tar is often played along with the kamancheh, a bowed fiddle that also features a skin soundboard, and the tombak, a goblet-shaped drum. The frets of the tar are made of gut tied on the neck so as to be movable. This allows players to make small adjustments that might be necessary to play in different maqams, or scales.

The Iranian tar thus continues to be fretted like a setar and tuned according to the traditional system of the greater Middle East. During the Soviet rule of Azerbaijan in the 20th century, on the other hand, Azeri music and the Azeri tar adopted the Western equal temperament (piano-like) tuning system.

Video Links for Further Exploration

An audio recording of the great Azeri tar maestro known simply as Ramiz.

Here’s a short performance by the contemporary Azeri soloist Ms. Humay Qadimova.

Listen to two “old school” masters of the Iranian tar and dayereh, Bigchekhani and Farnam.

From the same period, an improvisation on Persian tar (Jalil Shahnaz) and voice (Ghavami).

Finally, an old standard by young masters on tar (Ghamsari) and voice (Seifizadeh).