Clark Bryan is an award-winning concert pianist and recording artist. He has studied with some of the greatest pianists of our times. With more than a dozen albums to his credit, Clark has also recorded over two thousand piano works since the Pandemic. As a teacher, Bryan has taught thousands of students, adjudicated more than 75 music festivals coast-to-coast in Canada, given dozens of workshops and written a book, “Gateways to Learning and Memory”. In 2004, he founded The Aeolian Performing Arts Centre. Today, this historic and legendary Centre is recognized as a beacon for arts and culture in Ontario and regularly hosts musical artists of many genres and is prized for the gift of intimacy and acoustics it provides to both audiences and performers. Bryan believes that everyone should have universal access to music, art, education, and culture. Because of this belief, he launched El Sistema Aeolian in 2011. This free, UNESCO award-winning program has offered more than a thousand children and youth an opportunity to experience the joy of a rich musical education. “Music is one of the most powerful tools we have for social change,” he says. In all his work with the arts and education work, Clark displays a progressive, social-justice mindset. Other innovations have included Aeolian Pride Choruses, Rebelheart Collective, Aeolian Talks, A National Song Writing Competition and The Aeolian Jazz and Musical Arts Festival. Bryan was awarded Musical Personality of the Year (2005) and won a Jack Richardson Award for Community Contribution (2011). In 2017, Mr. Bryan was given the Western Alumni Award of Merit and inducted into the Don Wright Faculty of Music Wall of Fame. In 2018, Clark was recognized with a Canada 150 Award through the House of Commons for his contributions to community and the nation. In 2022, Clark won Best Classical Solo Musician at Forest City London Music Awards. In 2023, Bryan was featured in a book about London by renowned author Richard Bain. In 2023, Clark was awarded a Lifetime achievement award from the Forest City London Music Awards and inducted into the London Music Hall of Fame. In 2024, he was awarded The Mayor’s Honour List from The City of London. Bryan continues to extend his reach into the community. Whether speaking about the power and joy of music study in his TEDX talk or engaging in community activism, Clark is committed to community. He speaks regularly at events, is featured on radio, newsprint and television.

November 22, 2015

The Communicative Performer

A communicative performer starts out with having something to say.  What is said must be “owned” by the performer to the degree that the audience feels as if the music was composed and is spontaneous.  Authentic to me means fully embraced and starting from a place of authentic “self”.  We are all products of our influences: our experiences, teachers, parents and other relationships.  Testing out ideas against any prejudice of a teacher’s ideas must happen in order to fully communicate to our audience and colleagues (if in an ensemble).
We must be in “flow” to communicate well.  The synthesis of mind, body, emotions and spirit is flow.  The match to light flow is inspiration.  This comes from a place of passion and the need to show our audience what we see and feel.
Being open and reading our audience is also critical.  Our body language and demeanour are part of making connection.  We must use intuition to make the connection.  Intuition is that subconscious intelligence which unites all of our being; all of our experiences as well as our present and our glance  to the future.
I have found that communicating on a verbal level with an audience helps immensely.  Not the typical “old-fashioned” lecture-recital, but imagery, history and story-telling.  This must not be academic but real and personal reflections.  I have often had audience members remark that this “set-up” or “after-thought” helped them find a “way into” or “reflection” of the music.  This is especially important with longer works where attention spans are challenging for the uninitiated.
There is a kind of psychic or symbiotic relationship that occurs where the performer feels the audience on the edge of their seats and can direct them.  This is a sign that all has been achieved.
My last thought on this subject is that we must communicate from a place of love.  Many of us can recall an experience of listening to a work performed without love.  It can be a good performance.  Everyone will know and feel that something is missing.  The ingredient of love shifts the “good” to “sublime” or “ecstatic”.
Some of being a communicative performer can be taught.  The rest is a point of arrival for giving rather than receiving.  It comes after we evolve as people to the point where we are past our narcissistic egoism.  At this point, there is no more divide and conquer, but feelings of love and delight in sharing a moment of creativity with friends.

November 15, 2015

An article from many years ago after I had just bought the Aeolian:

150 Moments that define London Ontario and Clark Bryan

An article where I gave my opinion about Art in Culture in London (London Free Press):

Free Press Article about Culture with Clark Bryan

November 4, 2015

I had an interesting conversation recently with a music educator from academia.  We were talking about musical and social outcomes from music education programs.  If I said that program X has a great outcome, she would ask:  “what lens or you putting on for this outcome”.  This begs the question of definition for outcome.  How can we truely measure a multifaceted outcome in a meaningful way.  There are logic models we can contruct.  There are measuring tools we can make and adopt.  But how can we “define” in a “moment in time” the impact of our teaching and resultant learning.  I think we need to continue to hold the tension between our observations and the questions we haven’t even thought of yet!

September 11, 2015

Why Music?

As we move forward to advocate for music education, there is an interesting perspective to keep in mind. Most of us are aware of the benefits of studying music such as increased brain function, increased fine motor skills, self-discipline, pursuit of excellence and many other side-benefits.

It is really important to remember that the first and foremost argument for studying, playing and listening to music should always be because “it is music”. Music alone advocates for music. Its powerful transformative nature inspires us and gives us the greatest depths of pleasure. We visit many lands, cultures and lives through music. It is by far one of the greatest gifts we have as human beings. It is impossible to describe music adequately in words and that is its magic. Music transcends language and integrates its communication to us uniting our mind, body and spirit. It brings us into “flow” and gets us to the centre of our consciousness. If we remind people of this, we will awaken them to the most authentic reason for music.

July 2, 2015

William Deresiewicz recently published a book entitiled “Excellent Sheep”.  Besides outlining the failings of our educational approach in our elite systems, he focuses on “the meaningful life”.  I love his last quote of Thomas Hardy:

“The beggarly question of parentage-what is it, after all?  What does it matter, when you come to think about it, whether a child is yours by blood or not? All the little ones of our time are collectively the children of us adults of the time, and entitled to our general care.”

If we can treat every child with this fairness and equity-not to mention love, we can change the world!

which are “empty receptacles”. It’s an oppressive relationship: the teacher takes control and takes the role of an oppressor. The student is expected to be a passive follower.

Freire proposes a “problem posing” education structured to encourage thinking in students. The student and teacher enter into a partnership relationship of dialogue to jointly come to conclusions about problems. The teacher must not pre-determine solutions but these solutions must come together with the student through dialogue. The teacher and the student must learn from each other.

July 2, 2015

William Deresiewicz recently published a book entitiled “Excellent Sheep”.  Besides outlining the failings of our educational approach in our elite systems, he focuses on “the meaningful life”.  I love his last quote of Thomas Hardy:

“The beggarly question of parentage-what is it, after all?  What does it matter, when you come to think about it, whether a child is yours by blood or not? All the little ones of our time are collectively the children of us adults of the time, and entitled to our general care.”

If we can treat every child with this fairness and equity-not to mention love, we can change the world!

July 2, 2015

I recently wrote this article for El Sistema Toronto’s e-newsletter:

Building Self

El Sistema is both a social movement and an inspiring music education program. The social component is about community building and eliminating barriers to participation, but is that enough? The music education component is an enriched intensive experience for our participants, but are we just offering a conditioned traditional approach?

Education in its best form is a shared experience. It should be an atmosphere of discovery. Our students are not empty vessels needing to be filled. They are also our teachers. It’s not just our participants who can learn and grow as we teach young people, but also our teachers, administrators, volunteers, families and communities.

The positive psychology movement is casting a revolutionary framework we can use for the social/educational context of El Sistema. Seligman, one of the leaders of this movement has proposed five foundations of human needs which give us a comprehensive sense of well-being. They are: Positive Emotions, Engagement, Relationships, Meaning and Accomplishments. If we make this model the foundation of our social/education framework we can then create tools to nurture these five areas of personal and social development.

These tools and approaches will help us continue to develop our revolutionary programs and create more influence for better education approaches and social impact.

May 6, 2015

Norman Doidge in his book “The Brain That Changes Itself” has offered us an incredible gift.  It is the beginning of the instruction book for the human brain.  Although research into neuroplasticity is still in its infancy, Doidge stands at the gateway of ushering in a new era of understanding of both how the brain works and how we can change the way it works.  A couple of quotes I really enjoyed:

“So a neuroplstically informed view of culture and the brain implies a two-way street:  the brain and genetics produce culture, but culture also shapes the brain.  Sometimes these changes can be dramatic.”

“Studies by Taub and others of musicians who play stringed instruments have shown that the more these musicians practice, the larger the brain maps for their active left hands become, and the neurons and maps that respond to string timbres increase….Brain imaging shows that musicians have several areas of their brains-the motor cortex and the cerebellum, among other-that differ from those of non musicians.  Imaging also shows that musicians who begin playing before the age of seven have larger brain areas connecting the two hemispheres.”

April 22, 2015

This sums up my feelings and experiences with our current approach to teaching and learning from our Education Systems in Canada and much of the world.

Our Education System

April 21, 2015

I stumbled across a TED talk that got me thinking about how much we need to do in regards to learning and teaching opportunities.  I had considered Steiner/Waldorf models of outdoor gardens and outdoor teaching, but hadn’t given thought to the shape, size and design of schools.  This kindergarden school in Japan bursts the four-wall model we have all become familiar with.  It nurtures activity, fitness, community, nature, play and fun!  A circular environment brings children back to learning and follows their “play activities” running in circles.  Tree climbing and exploration are also natural to children and can be found throughout this amazing facility.  The designer makes the case for children taking risks, falling down and hurting themselves as a natural and good phenomenon!
http://www.ted.com/talks/takaharu_tezuka_the_best_kindergarten_you_ve_ever_seen