Anna Rosa Mari

Anna_Roza@hotmail.com
+44 7852 239767

Chico Inácio
f.inacioara@gmail.com
+55 11 9 9313 6393

Lucia Ortiz
luciaortizviola@gmail.com
+44 7852 239767

Vania Andrea Garcia

vania.garcia.h@gmail.com
+591 76470069

2020 Global Leaders Program

Capstone Challenge
 Table of Contents
Executive Summary.................................................................................................................3
Overview...................................................................................................................................4
Mission
Vision
External Value Proposition Statement
Core Values
Context......................................................................................................................................4
Problem/ Need
Client/ Beneficiary
Industry dynamics
Theory of Change.....................................................................................................................8
Program Operations 
Organizational Structure
Team culture
Financial Plan.........................................................................................................................13
Communications Plan............................................................................................................13
Positioning Statements
Impact Assessment.................................................................................................................15
Impact Measurement & Success Benchmarking
Scalability...............................................................................................................................15
Scalability Statement
Implementation
Concluding Statement ..........................................................................................................19
Appendix.................................................................................................................................20
Executive Summary

East and West. North and South. Two hemispheres connected in one sphere of music. In Musica Sphe-
ra, we believe in the power of cross-continental music collaboration to foster opportunity and support
communities.
Across Latin America, over five hundred music programs reach children at risk of vulnerability, having
a tremendous impact on local communities. Sadly, a vast number of these organizations face financial
challenges, which leave them with a substantial lack of resources and infrastructure. Based in remote
areas, programs that have the potential to achieve maximum impact are overwhelmingly understaffed,
as challenging geographical conditions discourage potential teachers to relocate.
At the same time, in Europe, the financial climate of austerity of the past decade has led to increased le-
vels of unemployment and exacerbated competition, especially in the arts and education. A new genera-
tion of promising musicians and music teachers are eager to develop skills essential for job applications
and gain in-the-field experience.
Targeting this dual need, Musica Sphera aims to establish effective international connections between
the two continents, focusing on the exchange of skills and resources, which we firmly believe can be
profitable for both areas. Through this collaboration, European Graduates receive in-the-field teaching
experience alongside organizations in Latin America, while educational programs maximize their im-
pact by gaining a new dynamic workforce and a tailored professional development package.
Despite its cultural tourism appeal, this is not just another volunteer program. Long-lasting impact is the
key element of Musica Sphera’s mission. Each partner organization receives a tailor-made, nine-month
package on online teacher development resources. The package is hosted by an interactive online pla-
tform and is curated by distinguished music and educational professionals. At the same time, following
a meticulous selection process, music graduates reinforce the operations of the organization, having
received preparatory training and guided mentorship on-site by Musica Sphera. With a focus in esta-
blishing ongoing relationships and sustainable results with music departments across Latin America,
the program partners with one organization annually, aiming to expand operations over the years.
In order to achieve its mission, Musica Sphera is teaming up with a network of leading artists around the
globe. Featuring professors from the Royal Colleges in the UK, principal musicians from the Berliner
Philharmoniker, the BBC Orchestras, and Hong Kong Symphony, as well as renowned pedagogues in
Spain and Latin America, the program is offering top quality musical partnerships for meaningful and
on-going impact.
To successfully fulfill its operations, the program is generating income from enrolment fees from music
graduates, and support from foundations. Musica Sphera is seeking a private sponsorship of $25,000
towards its operations, which will enable the organization to achieve a long-lasting impact in music
education in Latin America.
Music education has the power to transform lives and reinforce societies. With your support, we can
empower the work of hundreds of teachers and reach out to children in the farthest of communities.

3
Overview

Mission

To reinforce music programs across Latin America and provide professional development for
European graduates through direct collaboration.

Vision

To secure sustainability and long-term impact for at risk music programs across Latin America, whilst
providing distinctive professional development opportunities for European graduates.

External Value Proposition Statement

Our initiative has a dual value proposition:

• It enhances the work of music organizations across Latin America, through a targeted develop-
ment platform and the provision of teaching artists and resources.
• It provides practical experience in a professional setting for European graduates embarking upon
their careers.

Core Values

We believe in:

1. Equal distribution of musical resources

2. Social impact through the power of music
3. Meaningful intercultural collaborations
4. Embracing and celebrating cultural diversity
5. Individual and collective commitment to achieve long-term impact

Context

Problem/ Need
Across Latin America, hundreds of music organizations that face socio-economic and geographical
challenges have limited access to resources and development, preventing them from sustainability, and
putting their social impact at risk. Equally in Europe, music graduates lack teacher training opportuni-
ties upon embarking on their careers in an increasingly competitive professional environment.
Small and medium Latin American cities tend to have more difficulties in accessing crucial resources
such as teachers, instruments, and reliable infrastructure, for a proper and regular music education. Even
in long established institutions, such as the Universidad Autónoma Tomás Frías in Potosí, Bolivia, staff
are often limited; in this case to only three instructors: a conductor, a violin and a woodwind teacher.
Similar issues occur amongst orchestral programs. The conductor of Orquesta Sinfónica Juvenil de
Chulumani in La Paz is also the sole tutor for all thirty instrumentalists in the program. Likewise, in
Tarija, conductor of Orquesta Vivaldi also serves as a violin, viola, and cello teacher, for twenty-five
children.
Organizations such as Sinem Platanar and Sinem Cóbano in Costa Rica rely on advanced students to
4
provide tuition for certain instruments, having just one tutor for the whole program. Sadly in the latter
case, the provision of double bass tuition had to stop as soon as the student could no longer afford the
rent of their instrument. In Puerto Tejada, Colombia, Fundación Dejando Huellas have managed to
survive for over ten years without teaching staff, relying solely on volunteers that visit the organization
for short periods of time.
Organizations such as Fundación Batuta in Colombia have expanded in various locations such as Le-
ticia in the Amazonia or Puerto Asís, a small town in Putumayo, further enhancing their social impact.
However, despite the large student uptake that enables the development of youth orchestras, such pro-
grams can only employ two teachers for all the instruments. The director of Allegro Foundation in Ar-
gentina described similar challenges. The organization leads music projects in Rosario, one of the cities
with highest index of criminality in the area, reaching out to hundreds of children at risk. He stated in
one of our interviews: ¨some teachers have to travel for seven hours in order to reach some of the loca-
tions. As teacher salaries are low in the area and they do not cover additional travel expenses, we find it
extremely hard to find staff that can invest their time¨
Bringing external staff support, and providing further professional development, is crucial for the future
sustainability of such organizations, and can assist tremendously in expanding the communal meaning
within their societies.
At the same time, across Europe, the increasingly large numbers of music graduates, in conjunction with
reduced professional opportunities following past years of austerity, has created employment challen-
ges. Upon launching their careers, a large amount of accomplished musicians face challenges in initial
job applications, as they lack practical teaching experiences. Although highly skilled instrumentalists,
and accustomed with educational practices as part of their degrees, they are often not considered for job
applications in music education. Eva, Helena and Hannah, all music graduates interviewed by Music
Sphera, described the situation as “overwhelming”. Helena stated that she has experienced the feeling
of “being lost” in job searching as relevant experience was required for any job application, whereas
Eva also mentioned that upon 6 years of performance experience in top colleges in Europe, students
leave with nothing to show in terms of educational experience.
Targeting this dual need, Musica Sphera aims to connect graduates and interested organizations, achie-
ving pleasing results for both ends. Through direct collaboration, distribution of resources, targeted
professional development and field training, we believe that we can increase opportunities for organi-
zations and individuals alike.

Client/ Beneficiary

• Beneficiary: Latin American Organization (Appendix – Persona)

Music education programs across Latin America are often unsupported by local governments and the
private sector, making their long-term impact and sustainability difficult to achieve. In many cases, high
quality teaching needs reinforcement, whereas in others, the addition of teaching personnel is impera-
tive. Marlene Mercado, Director of a String Program in the remote city of El Alto, Bolivia admits that
some of the teaching staff in her organization do not have undergraduate or graduate qualifications, and
that the quality of teaching could be improved. Living conditions in this city are challenging, which
could discourage prospective music teachers to move to the city for longer periods of time, whilst at
the same time, there are no Higher Education Programs that could provide continual development to
existing musicians. As she stated, a number of tutors themselves, have gaps in their musical training and
are seeking further development.
Targeting this need, our main beneficiaries will be the teachers of these organizations, including in some
cases selected advanced students. They will receive targeted support via the development platform led
by Musica Sphera’s Global Partners, whereas their work will be further assisted by the provision of
music graduates in-the-field.
• Customer/ Beneficiary: European Graduate (Appendix – Persona)

5
A vast number of European music graduates from conservatoires and universities alike face challenges
in first job applications in music education upon graduation due to the lack of practical teaching expe-
rience. In our conducted interviews, graduates stated that they have experienced the feeling of “being
lost” in job searching, as relevant experience was required for any job application. They all affirmed that
they would value an opportunity of extensive practical training, especially if it was conducted over the
span of several weeks and alongside guided mentorship, and stated that such programs would be worth
investing into following their academic studies.

Industry dynamics

The Organization for Economic Cooperation and Development (OECD) research regarding the average
age range of students enrolled in both full-time and part-time education programs shows that at least
90% of students are between four and seventeen years old. However, in some countries this range is
considerably shorter. In Mexico, the equivalent average range is located between five to thirteen, whe-
reas other OECD partners such as Brazil (five to fifteen), Argentina (five to fourteen), and Costa Rica
(five to fifteen) continue to show worrying results on the education indexes (OECD, p. 292: 2016).
Hundreds of Latin American music programs are addressing this issue, using music as a tool for so-
cial transformation. Fundación Nacional Batuta operates 163 musical centres across 94 municipalities,
reaching 23,441 beneficiaries1, and Sistema Nacional de Fomento Musical in Mexico, manages 188
youth orchestras, with 7,384 enrolled members, 166 bands with 6,464 students, and 810 choirs, rea-
ching 220,000 beneficiaries in 20112. The vast expansion of musical organizations and the amount of
beneficiaries reached is an indicator of their scope and the necessity of their operations, as well as their
impact in the community.
Sadly, some of these music programs face geographic or economic challenges and are struggling to ob-
tain the necessary resources for a smooth and successful further implementation of their program. Their
sustainability is therefore at risk, and with it, the intended impact on their communities. 3
On the other hand, data shows that fifteen out the thirty-six leading music colleges globally are based
in Europe4, indicating the prolific production of accomplished musicians annually in the continent. Al-
though a large amount of such institutions include pedagogical modules in their curriculum, very few
focus on the practical aspects of musical tuition. As a result, the majority of highly skilled music gradu-
ates from European conservatories have very little experience of teaching in a classroom environment
upon leaving education. In an ever-competitive professional environment this imposes considerable
challenges in application for first time jobs in music education, as graduates are required to demonstrate
significant practical experience in their portfolios to compliment their otherwise strong musical back-
ground in order to be shortlisted for interviews in the field.
Adding to the exacerbating completion, further data show that unemployment rates for musicians are
higher than in other jobs. (Picture 1)

Musica Sphera addresses both issues. While in some countries in Latin America there is difficulty obtai-
ning teachers and resources, in European universities hundreds of competitive and accomplished musi-
cians graduate each year seeking teaching opportunities. A direct collaboration could benefit both ends.
Even though volunteer music programs, which offer elements of field teaching experience and brief
support to music organizations and local communities, exist globally, the majority only offer short in-
terventions, which don ́t provide a long-term impact for either side.
In addition to the collaboration with selected music graduates, Musica Sphera offers music organiza-
tions targeted professional development via its bespoke digital platform, aiming for a long-term im-
pact and future sustainability. Through this custom designed product, the organization connects with
renowned professionals globally, and receives weekly professional development courses addressing its
1 http://mapa-musical-batuta.appspot.com/map/index.html
2 https://www.tdx.cat/bitstream/handle/10803/333332/wamope1de1.pdf?sequence=5)
3 Data facilitated in the problem section
4 https://ceoworld.biz/2019/03/23/best-music-schools-in-the-world-for-2019/
6
unique challenges, as well as online access to teaching resources.
Equally, for the European graduates, the program provides extensive teacher training alongside a dis-
tinguished pedagogue, as well as over a month of field teaching experience. This competitive portfolio
is enhanced by cultural activities and a package of online preparatory activities. Musica Sphera’s inter-
views have so far confirmed the appeal of such a package amongst graduates, with the majority of the
interviewees suggesting that they would happily invest in an increased fee for the services provided.
Looking at the scope for future collaborations, Musica Sphera could partner with universities in Euro-
pe, which do not offer such initiatives, and with established existing online music platforms offering
master-classes of pedagogical content. The work of the program could be also enhanced through the
fostering of relationships with other local non-government organizations across Latin America.

Picture 1 - Share of the self-employed among creative and performing artists, authors, jorna-
lists, linguists and in total employment, 2018

7
Theory of Change

Economic and geographic factors greatly determine the levels of access to music education and deve-
lopment opportunities. Remote regions across Latin America often struggle to access crucial resources
for regular music education, including teachers, fundamental infrastructure, and development opportu-
nities. In places such as Universidad Autónoma Tomás Frías in Bolivia, the scarcity is such that often
one teacher is in charge of the tuition of an entire program. The impact of such programs in the local
communities is immense and their sustainability imperative.
Equally in Europe, amplified competition combined with the austerity of past years, imposes a need for
music graduates to demonstrate significant portfolios of professional experience when embarking on
their career. Such experiences are not extensively included in the curricula of traditional music degrees,
leading to additional challenges when applying for job opportunities in the field.
Musica Sphera offers a dual solution to the need for training opportunities for music graduates in Euro-
pe, and the call for support and development for music programs in Latin America. Focusing on direct
collaboration, it aims to achieve impact on educational establishments and individuals alike in both
hemispheres. 
The initiative will be working primarily with music organizations throughout Latin America who face
infrastructural challenges in order to fulfill their mission. Focusing on each organization’s unique needs,
Musica Sphera’s interactive online platform delivered by distinguished Global Partners will provide tar-
geted teacher development opportunities throughout the course, in addition to access to online resour-
ces. At the same time, selected European graduates of highest musical caliber will be receiving online
preparatory sessions leading up to field collaboration within the organization. Throughout the extensive
six-week collaboration, the graduates will receive guided teaching mentorship followed by in-the-field
experience, and will enrich their teaching skills through a culturally elevating program whilst providing
substantial infrastructural support for the organization. 
 
Program Operations 

Musica Sphera’s program consists of two four-month operations annually collaborating with four music
graduates and one Latin American Organization based in Bolivia, Brazil, or Mexico each time. 
Throughout the first twelve weeks of each operation the partner Latin American Organization will be
receiving weekly digital courses via Musica Sphera’s professional development platform. These cour-
ses will be targeting specific needs of the organization focusing on pedagogical, musical and technical
content, and will be delivered by the program’s selected Global Partners, consisting of leading music
and pedagogical professionals world-wide. During this time, the group of graduates will be receiving
twelve weekly online preparatory sessions, focusing on teaching material, language essentials and cul-
tural and travel preparation. 
Following both digital courses, the graduates will work directly with the partner organization in Latin
America for six weeks, obtaining extensive field experience whilst supporting the organization’s re-
sources. During the first two weeks of the residency, the graduates will receive daily teacher training by
Musica Sphera’s Teaching Mentor, following which they will continue teaching within the organization
for a further month.
Complementing the educational program, Musica Sphera will provide a coherent cultural package of
local activities, organized in liaison with the music organization, aiming to connect the graduates with
local communities and provide a holistic experience.
The operation will last for four months in total and conclude after the field collaboration. Musica Sphera
will allow access to the digital platform material and resources for the music organization for six mon-
ths following the end of the operations.

8
 Logic Model

Problem Statement:
1) Music programs in Latin America facing socio-economic and geographical challenges have limited access to resour-
ces, preventing them from sustainability and long-term social impact.
2) European Music Graduates lack teacher development opportunities in an increasingly competitive professional envi-
ronment.

Program Goal:
To reinforce music programs across Latin America and provide professional development for European graduates throu-
gh direct collaboration.
Key Assumptions:
1) Thousands of Music Programs across Latin America achieve valuable impact in local communities.
2) Financial and geographical challenges put the sustainability and development of such programs at risk.
3) Especially in remote rural areas, Latin American Music Programs struggle to meet staff demands.
4) Participating in music making in a safe and structured environment generates social bonding and cultural coherence; it enhances moti-
vation, self-confidence, commitment, social responsibility, positive behaviour, and happiness.
5) Thousands of Graduate Musicians across Europe face challenges in their first job applications due to exacerbated competition in the
field.
6) The climate of austerity of the past decade has affected job opportunities in Europe further.
7) European Music Colleges and Conservatoires provide theoretical educational knowledge, but limited field teaching experience in their

curricula.

9
Resources:
1)Administrative team in the UK, Spain, Brazil and Bolivia
2)Partner Music Programs in Latin America
3) Network of Partner Professionals: Royal Colleges of Music (UK), Berliner Philharmoniker, BBC Orchestras, Hong
Kong Symphony
4) European Private Sponsors

Activities Outputs Short-term Outcomes Intermediate Outcomes Long-term Outcomes

Online resource platform for Eu- Twelve online sessions focusing Increased confidence for the up- In the field effective use of resour- A toolkit with essential resources
ropean Graduates on teaching strategies, resources coming residential. ces, teaching approaches and cul- for the future first steps of music
and cultural preparation. tural elements. teaching.

European Music Graduate Resi- A six-week residential partnering Effective teacher training through Impactful teaching strategies se- A portfolio of diverse teaching
dential in Latin America with a Music Organization in La- guided mentorship and increased cured and applied in practice by skills and experiences obtained
tin America, combining: two we- teaching experience. the graduates. by the Graduates in application
eks of teacher training; four we- for future jobs.
eks of field experience; and local Direct boost of resources for the
cultural activities. Music Organization.

Online Development Platform for Twelve online professional deve- Effective training and increased Teachers enriched their content Quality musical instruction and a
Partner Organizations in Latin lopment seminars for staff (mu- aspiration among teaching staff. and pedagogical knowledge and wide pool of resources are secu-
America sical, technical & pedagogical), use resources into practice. red for the Music Organization.
and a six-month access to online
resources.

10
Organizational Structure

The team of Musica Sphera consists of its founding members, an external associate and a group of
global partners:
The Legal and Finance Director is responsible for financial management and forecasting, budgeting,
fundraising, accounting, contract agreements and legal matters. They are the Program’s representative
with sponsors and are in charge of the payroll of the organization.
The Graduate Program Manager is responsible for the online and in-the-field facilitation of the Gra-
duate Program. They oversee all relevant administration, such as application process, graduate insu-
rance, travel, hosting and cultural activities, and student surveys; they are in direct contact with the
graduates, and in charge of the online content provided for them.
The Manager of Latin American Collaboration is in direct contact with the Latin American partners,
in liaison with Global Partners for the content of the Online Platform, and in charge of the Latin Ame-
rican Operations. They oversee the Program’s evaluation as well as Human Resources maters related to
Teaching Mentors.
The Advisor of Online Provision is in charge of online platforms, their design and technical support,
the organization of their material, and the facilitation of the online sessions.
The Field Manager acts as a representative of Musica Sphera in the field, by supervising field acti-
vities, providing daily support to graduate students, and collaborating in the field with the Teaching
Mentor and the Partner Music Organization.
The Teaching Mentor is an acclaimed pedagogue employed by Musica Sphera as an external partner
in order to provide daily field training to the graduate students.
The Global Partners of the Program include a network of global leading artists who provide the con-
tent of the Online Platform of the Program, through seminars and online training.

Team culture

Musica Sphera is born in the understanding of interculturality and cross-cultural communication. Colla-
boration is the driving force of the Program, where musical and entrepreneurial expertise is applied in
an environment of respect and open communication.
Based in the UK, Brazil, Bolivia, and Spain, the funding members combine assets of diverse cultures
and professional backgrounds in teaching artistry, music performance, university tuition, artistic ma-
nagement, and fund development. An appreciation of different cultures and values starts from within
the team, where challenges are taken as opportunities to thrive. Equally, differences of member’s back-
grounds, ideas and skillsets form a source of strength. The Program members view diversity as vital for
the creation of innovative ideas, and strive to establish an open space for communication and fruitful
facilitation.  The organizational roles are delineated in a harmonious democratic system, based on indi-
vidual skills and strengths, where different levels of energy are aligned, and team members feel equally
accountable and validated.
Keeping true to its mission and core values of respect, cultural plurality, accountability, and social
impact, Musica Sphera endeavors to create a balance between goals, purpose, and resources needed in
order to fulfill its objectives.

11
12
Financial Plan

Musica Sphera’s financial plan consists of three different revenue streams:

• Earned income from program fees

• Contributed income from foundations and private sponsorship
• In-kind donations

The larger portion of revenue for the start-up year is contributed income, which consists of 62% of the
total amount.
Musica Sphera will begin its funding cycle in 2021 taking into consideration the socioeconomic global
effects following the Covid-19 pandemic. The program is optimistic that funding will be granted from
certain bodies such as Granada Foundation, Prince Claus Foundation and Corporación Andina del Co-
mercio, as the initiative meets the grant application requirements and its mission aligns fully with their
objectives. Nonetheless, research for additional grants will be pursued further, with the aim being to
expand, if not double, the amount of contributed income initially budgeted.
Likewise, the program will solidify in-kind contributions with global partners. Musica Sphera already
has a strong network of distinguished professional musicians who have already expressed a desire to
support its operations. Six global partnerships will be established during the first year of operations
at a cost of $1,000 per partner. The program will rely on private sponsorships to cover the amount of
$25,000, and such contributions will be established at different offering levels, such as $5,000, $3,000
or $1,000 per donation.
Given that the Latin American partner organizations face diverse financial challenges, the residential
costs and access to the online development platform will be subsidized. Earned revenue will be genera-
ted totally from the Graduate Student Program. Each graduate will pay a total of $2,000 to cover men-
tor and field manager fees, lodging, insurance, field activities and development of the online resource
platform. Musica Sphera aims to organize two collaborations per year, offering four graduate places per
each operation. Thus $16,000 of earned income will be generated during the launching year, marking
22% of total revenue.
Fixed salaries for Musica Sphera’s staff have been determined based on an average of salaries in the
U.K. and in Latin America. These form the biggest program cost for the launching year, albeit a vital
investment. Additional fees will be charged on a contract basis for the positions of the Teaching Mentor,
Field Manager and Web Developer. Any surpluses not accounted in the budget will be invested in the
Teaching Development Platform.
Finally, further program costs include: research trips to partner organizations’ locations by team mem-
bers; program evaluation; marketing; web development and its maintenance; and fund development.

Communications Plan
Positioning Statements

1. For excelling European music graduates seeking on-site teaching experiences, Musica Sphera
is the most effective and enriching development program. Designed by international music
professionals with over 15 years of expertise in the field, the program provides practical trai-
ning alongside guided mentorship and online resources, whilst achieving long-term impact in
communities across Latin America.
2. For ground-breaking Latin American Music Organizations, Musica Sphera is the Professional
Development Program that has the longest lasting impact among teachers and students. Partne-
ring with some of the world’s leading music professionals, it offers long-term online develop-
ment tools paired with on-site international collaborations.

13
Communications Plan
Stakeholder Group: European Graduates
Touch-points Actions

Information presented on partner universities newsletter, music magazines, music specialized media Reads about the opportunity on partner universities newsletter, music magazines, music specialized
Awareness channels such as websites and/or social media pages media channels such as websites and/or social media pages
Information personally provided by teachers, colleagues, conductors Acknowledges the opportunity through teachers, colleagues, conductors

Information, participants testimonies, videos and photos from the website and social media’s pro- Goes in the website and compares with other similar programs
Information gram. Asks fellow musicians and past participants. Research about the founder´s curriculums and Latin
Information and impressions from a closer and trustful person such as: orchestra’s colleagues or
Gathering conductor and teachers. America organizations
Newsletter Subscribes to receive Musica Sphera’s newsletter

Compares with other existing similar programs

Decision Videos, photos, testimonies and detailed and sensitive informations about tuition, application process Emails or calls Musica Sphera to clarify questions and doubts
Making and documents needed provided by the project by email or telephone Self-evaluation as a possible candidate
Considers financing options

3 phase application process Sends the required documents for the application
Purchase Online interview Proceeds to the interview if selected for phase 2 of selection process
Purchase process Pays the fee and agree on participant conditions if goes through to final phase

Signs up for the training course and complete all parts successfully
Online platform Attends all online meetings with the partner organization
After-Sales Online meetings
Goes through personality test and sensitivity and cultural training
Working with mentor on site
Travels to site and commits to all activities once on site

Stakeholder Group: Latin American Music Programe

In-Person interaction with the director Musica Sphera meets personally or emails/calls the person trough a reliable contact
Awareness E-mail interaction with the director Review introductory material and replies in one of the comunication channels (phonecall, e-mail or
Pitch document and project presentation via email in-person)

Information Project dossier and documents sent via email Examines  entire project
Gathering Videos with material and demo video of the online platform. Discusses with peers about the staff capability to put the project in practice

Decision Phone and video calls for collaboration proposals Examines the selection criteria for admission of volunteers
Making Discussions about possible procedures Examines sustainability, feasibility and long-term plans of the project

Conference Calls
Finalizes the purchase through telephone/videoconference
Purchase Mutual production of terms of agreement with Musica Sphera’s staff
Demands some conditions to be agreed that results in a written agreement to be signed
Contact other local organizations for logistic support

Requests constant and scheduled conference calls with Musica Sphera’s staff
Conference calls
After-Sales On-site reunions
Asks questions and doubts, gives valuable suggestions to the process
Agree on a time for the 15 days fieldwork of MS staff in the project.

14
Impact Assessment

Impact Measurement & Success Benchmarking

Musica Sphera’s planning includes an evaluation component based upon the results of the first two ope-
rations. These will offer key information on the early success of the program. Such success is primarily
linked to the growth and sustainability of the partner music organization. Better-equipped teachers will
provide higher instruction and guidance towards students, which in return will guarantee future sustai-
nability for the organization and greater impact within the community.
The following questions look closely at program implementation and stakeholder satisfaction at an ear-
ly stage, enabling Music Sphera to make adjustments if standards are not met, saving time and potential
future funding loss.
• Operations: What, if any, changes have been made to Musica Sphera’s intended activities? The
question identifies potential complications with operations and helps us establish how our activi-
ties, once completed, can be improved and be optimally designed in order to achieve our objec-
tives. Answers of this question will lead us to alter the program activities accordingly to achieve
maximum impact.
• Graduate Student Engagement: How satisfied are the European Graduates with the quality of
mentorship and field experience received? Music graduates form Musica Sphera’s main client
and the principal stream of the program’s earned income. Their satisfaction towards our services
is crucial. The feedback of this respondent group is imperative to reinforce or divert from the
project’s strategic plan.
• Impact on Latin American Partner Organizations: How satisfied is the Latin American Music
Organization with the online platform and the teaching partnership? As beneficiaries, the Direc-
tors of Music Programs will directly oversee the implementation and projected outcomes of the
program. They will provide vital data to confirm or reject our assumptions and hypotheses.
The questions above are essential to the program’s success since they provide the most important fe-
edback for the program: they can reveal weaknesses and challenges, offering an early warning, but
they can also pinpoint strengths and deliver a clear idea of whether our efforts are directly tackling the
problem. Taking these into consideration, we will have the opportunity to scale-up efforts at an early
stage. Surveys, administrative data and interviews will be the program’s main data collection methods
at this stage of process evaluation. Surveys will enable us to receive general feedback on stakeholder
satisfaction and provide information of program strengths and weaknesses. Interviews on the other hand
will allow us to investigate stakeholder views in greater depth. Administrative data will provide us with
useful future information on the numbers of students and beneficiaries.
Following the fist two operations of the pilot year, the Musica Sphera team will complete an impact
report combining data from both. This report will include: program data and results, analysis, and de-
velopment of further plan strategies to continue our work. The report material will then be shared with
primary sponsors and donors as well as with potential funding bodies. It will serve as a means to gene-
rate more partnerships with Latin American Music Organizations, and it will be posted on the program’s
website, whilst also being available by request to all stakeholders. Finally, the impact report will enable
the program to further cultivate its storyline, and attract additional public support.

Scalability

Scalability Statement

Musica Sphera’s ultimate aim is to reinforce Latin American music programs in order to generate a

15
positive long-lasting impact in their communities. The Program will start by creating partnerships with
two under-resourced music organizations and by enrolling eight to ten graduate students annually. The
first residential operation between the European graduates and Latin American partners will provide
essential information to estimate the project’s scalability. Process evaluation of the dynamics between
these two stakeholders will determine future collaborations.
Year 1: This year will be focused on the funding, planning, building and marketing of the program. Ex-
penditures will mainly consist of start-up costs, such as logo, website design and online platform expen-
ses, and travel related expenses in order to establish collaborations with partner organizations. Musica
Sphera will also launch an assertive marketing campaign targeting European graduates. Funding will
be pursued through public and private foundations, such as Granada and Prince Claus Foundations, and
private sponsorship.
Year 2: During this time, the first two collaborations between music graduates and Latin American part-
ner organizations will take place. The revenue earned from these activities will prove crucial to further
developing virtual platforms and preparation courses, and cover maintenance and operations costs. Sin-
ce initial start-up costs will not be required in the second year, more revenue will be generated for other
program activities. Process evaluation will take place throughout the course of four months for each
project operation, focusing on both graduates and partner music organizations. Based on the evaluation
results of the first operation, the program will be able to adapt changes needed to the following opera-
tion the following months. Sponsorship development will be continued during this period, while Mu-
sica Sphera will be creating further partnerships with local groups and non-profit organizations. Such
partnerships will enrich existing cultural activities of the field graduate experience, whilst assisting the
Program to expand its network, trust and popularity.
Year 3: Musica Sphera will address the viability and implementation of two more fieldwork operations
after a thorough evaluation of previous collaborations and an assessment of the needs and compromise
displayed by our potential partner organizations. By increasing operations and student uptake, earned
revenue will subsequently be increased and it will allow the organization to have a small margin of
profit to invest in the further development of our virtual platforms.
Following Year 3, the program will examine expanding its activities and increasing its annual opera-
tions. Multiple collaborations with music organizations across Bolivia, Brazil and Mexico could take
place simultaneously, and the number of selected graduates could increase considerably. Music Sphera
will then look into expanding its network to more countries across Latin America, and establishing
partnerships with European universities and local non-government organizations.

Implementation

Musica Sphera’s Implementation Timeline is designed in alignment with the academic calendars of
partner Music Organizations in Latin America. The program’s activities will be taking place betwe-
en February-May and August–November annually. Considering potential financial implications due
to Covid-19, this implementation timeline starts in January 2021, and the launching of the Program’s
activities is in August 2022.

January-July 2021

• Meetings with private sponsors

• Grant funding research
• Establishment of in-kind contributions with global partners
• Targeted interviews and surveys for stakeholder samples

16
 • Establishment of collaborations with Latin America Organizations
• Logo & brand design commission
• Website design commission
• Registration of the organization as a legal entity
• Development of online platform

September – December 2021

• Grant funding applications in Europe and Latin America
• Establishment of private donations
• Field travel to Bolivia, Mexico and Brazil: Meetings and program presentation to partner Music
Organizations
• Appointment of Teaching Mentor for field training
• January – June 2022
• January: Total funding raised: $47,000
• Commission of Marketing and Communication Manager
• Targeted advertisement for European Graduates
• Development of online content for the Graduate platform
• June: Deadline for Applications for European Graduates Application Selection
• July: Deadline for fee submission for European Graduates
• Final coordination of the online platform material (Latin American platform)

August 2022: Launch of Program Activities

August – November 2022

• Coordination of the Graduate Program and the Latin American Partnership
• Hosting, travel, and insurance arrangements for Graduates, Mentor, and Field Manager
• Planning of field cultural activities in liaison with Local Ally
• Process Evaluation
• Targeted advertisement for European Graduates Selection 2023

November 2022: Field activities in Latin America

17
18
Concluding Statement

Musica Sphera fosters the power of cross-continental music collaboration to transform communities
and enhance goals and aspirations of individuals on either end. Taking advantage of ever-developing
digital technologies, it connects professionals across the globe; from Hong Kong, to Bolivia, Australia
and Germany. It provides opportunities for aspiring young professionals internationally, and targets
distinct needs of organizations that achieve nonpareil social impact.
Topographic and socioeconomic factors, which affect the mission and defy the growth and sustaina-
bility of such music organizations, are anticipated challenges in the program. Although the initiative’s
operations are modest, its resources are vast, and the scope for scalability promising. In order to achieve
tangible results, Music Sphera channels these resources into a custom designed support product, unique
for each operation. Above all, striving for long-lasting impact, the program initiates a communication
network for each organization, and the capacity for an ever-lasting exchange of information. For young
graduates, experienced teachers, and established professionals from both hemispheres alike, it forms a
space for exchangeable skills and ideas, artistic cultural plurality, and mutual growth.
In a globally connected professional environment we believe that lack of resources, infrastructure, and
opportunity should not occur. Instead, skills are distributed, tools circulated, scope and prospects cul-
tivated.
One music sphere benefits us all. To share resources; trade concepts; forge opportunities.

19
Appendix:

Stakeholder Personas

 European Music Graduate

Customer & Beneficiary

Music Graduate
Looking for in-the-field teaching experience

A DAY IN THE LIFE ELLIE

Ellie has recently graduated from a prestigious music department in the

United Kingdom. Although she gained ample performing experience and Female, 22
is considered an expert on her instrument, she is struggling to be suc- English Clarinettist
cessful in job applications in music education. Ellie has been involved in Single
some educational projects throughout her degree, and has received basic
teaching training. However, due to increasing competition, her current
CV can hardly secure an interview in an educational department, as she
lacks past teaching experience. She is keen to break this cycle and find
volunteer teaching opportunities, which will complement her existing
strong musical skills and enable her to apply for future jobs successfully.

PERSONALITY

Traits/ Attitudes Goals Motivation

Creative, hard working, team player,
ambitious, and methodical.
She loves being busy, traveling, and
meeting new people.
PURCHASING HABITS
Location/Travel  Finances & Decision Making  Purchasing Patterns
Ellie is based in the North of En-
gland, but she is used to travelling
around the country for work. She
enjoys this aspect of her profession,
and she is keen to travel abroad.
Wants to be a successful free-
lance musician and educator.
Being in demand is really
important to Ellie. She is not
interested in a full time position
yet, but she wants to create a
strong portfolio in education,
and be able to apply successful-
ly for Visiting Music Tutor and
Teaching Artist positions.
Having just left education,
Ellie doesn’t have savings or
a stable income. However, she
has a good credit history, and is
willing to borrow money from
her family in order to advance
her career.
To become employable and
financially independent.
To gain confidence in job
seeking and feel successful in
her career.
Ellie’s purchasing varies
monthly, depending on in-
come. However, she priori-
tises with expenses that have
to do with her instrument
(reeds, music, clarinet gear
and gadgets)

EDUCATION, SKILLS, & TRAINING

Ellie has a Bachelor of Music Degree, majoring in clarinet performance. She has performed profession-
ally throughout her studies, and won several prizes. She is gradually getting more professional bookings
after leaving college, and she is trying to expand her network. Throughout her BMus, she started teach-
ing privately and volunteering in educational projects offered by her Department. She is ambitious and
used to working diligently to achieve her goals.

DESIGN CRITERIA
Must Must Not  Ideally
• Feel like an expensive • Teach woodwind ins-
• Include a mentor in-the-field
“holiday trip” truments
• Have “secret costs” • The mentor can
• Have all expenses covered outside the course fee and provide expertise
upon arrival airport flights advice on woodwind
tuition
• Lead to varied teaching
experiences; including small
and large instrumental tuition,
and ensembles  
• Have a structured schedule
 

20
• Latin American Program Director

Customer & Beneficiary

Passionate musician and administrator, hoping to ignite change in

her community through the power of music.

A DAY IN THE LIFE ALEJANDRA

Alejandra is resourceful and committed and always looks for ways

to make a difference at the different jobs she performs. She lives in a
small city, and has different jobs in order to support her son, so she
is always on the run. Alejandra divides her working week between Female, 45
directing the Music Program, and playing as guest violinist in various Divorced, 1 child.
ensembles. She also teaches management at a local university, and
has some consultant independent projects on the side. Having to deal
with politics and bureaucracy on a daily basis in order to make things
happen, Alejandra understands the importance of having a well set
up music project. Her tendency to never say “no” usually makes her
work late most days.

PERSONALITY
Traits/Attitudes Goals Motivation

Keeping a stable and yet life-

Hard working, ambitious, Alejandra has experienced the
changing job that allows her to
caring. Team player, committed power of music herself and she
take care of her community.
and passionate. Occupied most is certain of the positive change
Sustaining a position that can pro-
of the time with parenting and it could make in the community
vide education and
job duties. she loves.
health services for her family.

PURCHASING HABITS
Location/Travel Finances & Decision Making Purchasing Patterns

Alejandra shops in small retail- Alejandra is financially indepen-
ers or local markets in town.
She does not have the oppor-
tunity to socialize as much,
but when she does, she enjoys
planning social gatherings at her
own apartment.
dent although she receives a small
pension from her ex-husband
to support her son. With these
resources she is able to provide her
child access to a good private edu-
cation school and health insurance.
Although a middle-class profes-
sional, she needs a lot of help from
her immediate family to take care
of her son. She owns her own
apartment.
Alejandra spends approxi-
mately 10% of her income on
non-essential products. She
owns her apartment and she is
organized with her finances,
however she is averse to risk
when it comes to big invest-
ments.
Alejandra likes to expend a bit
more when there are special
holidays and social occasions.

EDUCATION, SKILLS, & TRAINING

- Dual undergraduate degree in Management and Music Education.

- Consulting work in the arts management field and project development area for 10 years.

- Violin/Viola instructor for 15 years.

- Orchestral/ensemble player for 20 years.

- Professor of Management at University for 5 years.

- Worked for a financial institution for 10 years.

DESIGN CRITERIA
Must Must Not
• Be affordable and acces- • Feel like she has to “baby-
sible sit” volunteers at her pro-
gram.
• Offer opportunities which • Have other hidden expen-
generate a long-term ses in regards to program
impact offerings.

• Online teaching resource

platform has useful and 21
unique content, hard to
find elsewhere.
  Private Sponsor

Private Sponsor – Donor

Business executive based in London, passionate about the arts and

social issues, and searching for opportunities to expand his philan-
thropy work.

A DAY IN THE LIFE EMILIO

Emilio is a successful Latin American business executive based in
the U.K. His work often finds him travelling between Europe, Latin
America and U.S.A.
A regular concert attendee in London, his love for music started
at a young age having played different musical instruments, and
subsequently he has supported various cultural organizations in the
U.K. and abroad. Male, 58
Connected to his roots, he is especially interested in intercultural
projects in Latin America.
Married

3 Children

PERSONALITY
Traits/Attitudes Goals Motivation

Entrepreneur, arts connoisseur Given his strong ties with Latin

and dynamic.
Strives for a balance between
his professional and personal
life.
Prioritizes with his family.
Giving back to the community cultural music school in London, towards their improvement.
is part of his ethos and family
tradition.
Emilio appreciates the benefits
America, Emilio would like to of music education, having expe-
see more socially and culturally
rienced it himself from a young
prosperous countries. age, and he frequently supports
various social-musical initiatives
in the United Kingdom where he
He wants to broaden his network is based.
and solidify his reputation as a
philanthropist.
He has witnessed the perils and
struggles of underserved popu-
Emilio wishes to create an inter- lations and wishes to contribute
with a focus on world music.

PURCHASING HABITS
Location/Travel Finances & Decision Making Purchasing Patterns

Emilio lives with his wife and
children in West Hampstead,
north London. He travels for
business at least 3 or 4 times a
month.
Emilio has been successful in de- Emilio lives a comfortable
veloping his business and values lifestyle; he enjoys spending his
the opportunity of a good invest- free time on holidays abroad
ment. with his family.

He likes to invest to initiatives He has not spared resources in

that are reliable, well structured giving his children the best edu-
and with a strong vision. cation possible.

Personal stability, sensibility and

a progressive mind-set have led
him to successful decision making

EDUCATION, SKILLS, & TRAINING

Emilio has an ivy league education having completed an MBA at the Columbia Business School. He
has climbed the corporate ladder and has been a top executive for the last decade. Emilio has broad
knowledge on investment banking and portfolio management. He has advised companies in the U.K,
the U.S. and Latin America, and he is on the board of different cultural organizations.

DESIGN CRITERIA
Must Must Not Ideally
• Have a clear vision, be • Be lacking organization and • Impact matches invest-
reliable and ignite pas- deliver a small margin or ment.
sion. return.

• Have a strong and cohe- • Impose a risk of • The organization must

rent business plan. investment. respond to the identified
problem by having inclusi-
ve and sustainable growth.

• Be informed of the
results of his investment
upon completion of the
pilot program.

22
 Impact Business Model Canvas

IMPLEMENTATION VALUE PROPOSITION MARKET

Partners Key Activities • To enhance the work of music organiza- Stakeholder Stakeholder Seg-
• Administrative team in the • Online Development Pla- tions across rural Latin America. Relationship ments
UK, Spain, Brazil and Bolivia tform for Partner Organiza- • Online and on-site interac- • European Music Graduate Stu-
• Partner Music Programs in • To provide professional development
tions in Latin America tion with Graduates dents
Latin America for European graduate students.
• Online resource platform for • Direct relationships with • Network of Partner Professio-
• Network of Partner Profes-
• To create long term social impact in sponsors and donors nals: • Royal Colleges of Music
sionals: Royal Colleges of European Graduates
Music (UK), Berliner Philhar- • European Music Graduate Latin America. • On-going correspondence (UK), Berliner Philharmoniker,
moniker, BBC Orchestras, BBC Orchestras, Hong Kong
Residential in Latin America • To enrich cultural experiences for musi- with Latin American partners
Hong Kong Symphony Symphony
• Building Partnerships Glo- cians from Latin America and Europe. • Constant virtual updates to
• European Private Sponsors • Music Programmes in Latin
• Granada and Prince Claus bally our supporters America
• To create a cultural an educational coo-
Foundations, CAF “ • Mentoring the programs • Teachers and advanced students
perational environment between Europe
administration - Cultural in Latin American Partner Organi-
inmersion activities and Latin America. zations
• To provide training for teachers and • Foundations
advanced students with limited access to • Donors & Sponsors
Key Resources musical resources. Channels
• Highly qualified music leaders and management team • International partnerships and collaborations
• Reliable partner programs and competent delegates • Social media marketing
• Renowned musicians and pedagogues from around the world • Online platforms
• Selected graduate students from prominent universities • Online material
• Strong database of music pedagogy material and instrumen- • Marketing Newsletters
tal programs

Cost Structure Revenue Streams

• Team Salaries 57% • Online Platform Set Up & Maintenance • Private Foundations and Grants 33% • Graduates Fee 22%
• Residential Program Costs 22% 10% • Private Sponsorships 29% • In-Kind Contributions 16%
• Marketing & Promotion 6% • Evaluation 5%

Intended Impact
To create a solid cultural and educational music collaboration between Europe and Latin America, in order to secure sustainability and long term impact in Latin American
communities, while providing professional training and resources to professional european musicians launching their careers.

23
 Start-up Budget
Start-up Budget
For the time period: 01/01/2021 to 12/01/2022
Project takes place in: Bolivia All
amounts
appear in
USD.

Budget Category Budget Item Budget Formulas Notes

Amount
INCOME
Contributed Income
Private Foundation Grants $27.000 Prince Claus Fund for Culture Development $16,000,
CAF $8,000, Granada Fundation $3,000 , additional fou-
ndation support
Private Sponsors $25.000 3 x $5,000, 2 x $3,000 and 3 x $1,000
In-Kind teaching $6.000 3 x $5,000, 2 x $3,000 and 3 x $1,000
Subtotal Contributed Income $58.000

Earned Income
Graduates Fee $16.000 $2,000 per graduate/ 8 graduates in total divided in 2 pro-
grams
Subtotal Earned Income $16.000

Total Income $74.000

EXPENSE
General & Administrative Expense
Personnel
Legal & Finance Director $12.500
Graduate Program Manager $9.500
Manager of Latin American $9.500
Collaboration
Advisor of Online Provision $8.000
Field Manager $2.000 6 weeks, including lodging and meals

24
Budget Category Budget Item Budget Amount Formulas Notes
Continuation Expense
Non-Personnel
Legal Fees $1.200 Setting up a charity in the U.K
Domain Hosting and Email $114
Subtotal General & Administrative Expense $42.814

Program Expense
Marketing
Brand Design $700 Logo and Art Design. Done in the UK / Start-Up Expense.
Marketing design $1.000 Marketing strategies. Done in Latin America/Start-Up Expen-
se
Online Advertising $500 Social media
Fundraising
Fund Development General Costs $750
Start-Up Digital
Website Design and Development of Training $6.000 Contract web-developer. Start-up expense
Platforms
Academic
Teaching Mentor $4.000 Fees for two programs, including travel and lodging
Global Partners $6.000 Six global partners X $1000 each for two projects
Evaluation
Program Evaluation $3.500
Other
Insurance for Graduates $560 $70 per person
Graduates Hosting $3.200 Lodging and meals for 8 people x $400
Staff Research Trip to Partner Organizations $1.900 Lodging and travel expenses for 2 people in 2 different desti-
nations for 5 days each. Start-up expense
Cloudhosting $114
Subtotal Program Expense $28.224

Total Expense $71.038

Surplus (Deficit) $2.962

25
 Residential Schedule of Operations
DAY 1 DAY 2 DAY 3 DAY 4 DAY 5 DAY 6 DAY 7
Music School
9:00-12:00
Arrival to First
Music School Music School Music School
Latin visit to music Cultural
9:00-12:00 9:00-12:00 9:00-12:00
American school, immersion
FREE Workshops Workshops Workshops
destination introduction activity I
with with with
(Graduates, to All day
mentors mentors mentors
Mentors) teachers,
students
and mentors
LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH
Music School Music School
Music School Music School Cultural
15:00-17:00 15:00-17:00
15:00-18:00 15:00-18:00 immersion
FREE FREE Workshop Workshop
Student Student activity I
with with
Teaching Teaching All day
mentors mentors
DINNER DINNER DINNER DINNER DINNER DINNER DINNER
First visit to
Ensemble
FREE FREE FREE FREE FREE FREE
Rehearsal 19:
00-21:00

DAY 8 DAY 9 DAY 10 DAY 11 DAY 12 DAY 13 DAY 14

Music School Music School Music School Music School
Music School Cultural
9:00-12:00 9:00-12:00 9:00-12:00 9:00-12:00
9:00-12:00 immersion
FREE Workshops Workshops Workshops Workshops
Workshops activity II
with with with with
with mentors All day
mentors mentors mentors mentors
LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH
Music School
Music School Cultural
15:00-17:00 Music School
15:00-18:00 Farewell to immersion
FREE FREE Workshop 15:00-17:00
Student Mentors activity II
with Masterclass
Teaching All day
mentors
DINNER DINNER DINNER DINNER DINNER DINNER DINNER
Coaching
Orchestra
FREE FREE FREE FREE FREE FREE
Rehearsal 19:
00-21:00

26
DAY 15 DAY 16 DAY 17 DAY 18 DAY 19 DAY 20 DAY 21

Music School Music School Music School

9:00-12:00 9:00-12:00 9:00-12:00 10:00-12:00
Cultural
Student Student Student Virtual Mee-
immersion
FREE FREE Teaching - Teaching - Teaching - ting
activity III
Workshops to Workshops to Workshops to with Musica
All day
Local Local Local Sphera Team
Teachers Teachers Teachers

LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH

Music School Music School Music School Music School Cultural

15:00-17:00 15:00-17:00 15:00-17:00 15:00-17:00 immersion
FREE FREE
Student Student Student Student activity III
Teaching Teaching Teaching Teaching All day

DINNER DINNER DINNER DINNER DINNER DINNER DINNER

Coaching
Orchestra
FREE FREE FREE FREE FREE FREE
Rehearsal 19:
00-21:00

DAY 22 DAY 23 DAY 24 DAY 25 DAY 26 DAY 27 DAY 28

Music School Music School Music School Music School

9:00-12:00 9:00-12:00 9:00-12:00 9:00-12:00
Cultural
Student Student Student Student
immersion
FREE FREE Teaching - Teaching - Teaching - Teaching -
activity IV
Workshops to Workshops to Workshops to Workshops to
All day
Local Tea- Local Tea- Local Tea- Local Tea-
chers chers chers chers

LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH

Music School Music School Music School Music School Cultural

15:00-17:00 15:00-17:00 15:00-17:00 15:00-17:00 immersion
FREE FREE
Student Student Student Student activity IV
Teaching Teaching Teaching Teaching All day

DINNER DINNER DINNER DINNER DINNER DINNER DINNER

Coaching
Orchestra
FREE FREE FREE FREE FREE FREE
Rehearsal 19:
00-21:00
27
DAY 29 DAY 30 DAY 31 DAY 32 DAY 33 DAY 34 DAY 35

Music School Music School Music School Music School

9:00-12:00 9:00-12:00 9:00-12:00 9:00-12:00
Possible trip Student Student Student Student Cultural
to Teaching - Teaching - Teaching - Teaching - immersion
Sightseeing
nearby tourist Workshops to Workshops to Workshops to Workshops to activity V
destination Students and Students and Students and Students and All day
Local Local Local Local
Teachers Teachers Teachers Teachers

LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH

Music School Music School Music School Music School Cultural

15:00-17:00 15:00-17:00 15:00-17:00 15:00-17:00 immersion
Sightseeing Sightseeing
Student Student Student Student activity V
Teaching Teaching Teaching Teaching All day

DINNER DINNER DINNER DINNER DINNER DINNER DINNER

Coaching
Orchestra
FREE Return FREE FREE FREE FREE
Rehearsal 19:
00-21:00

DAY 36 DAY 37 DAY 38 DAY 39 DAY 40 DAY 41 DAY 42

Music School Music School Music School Music School

9:00-12:00 9:00-12:00 9:00-12:00 9:00-12:00
Student Student Student Student
FREE FREE Teaching - Teaching - Teaching - Teaching - Departures
Workshops to Workshops to Workshops to Workshops to
Local Local Local Local
Teachers Teachers Teachers Teachers

LUNCH LUNCH LUNCH LUNCH LUNCH LUNCH

Music School
Music School Music School
15:00-17:00
15:00-17:00 15:00-17:00
FREE FREE FREE Farewell Departures
Student Student
Party
Teaching Teaching
with Students
DINNER DINNER DINNER DINNER DINNER DINNER

Local Theatre
FREE FREE FREE FREE 18:00-21:00 FREE Departures
Recitals
28