teaching JANUARY 2018 VOLUME 25, NUMBER 3

Bravo THOMASmusicmusic DOLBY! The 2018 MRTE National Conference

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©2017 QuaverMusic.com, LLC January 2018 Volume 25, Number 3 PROMOTINGcontents THE UNDERSTANDING AND MAKING OF MUSIC BY ALL Music students learn cooperation, discipline, and teamwork.

42 WALKING IN STUDENTS’ FOOTSTEPS, PAVING THE PATH TO SUCCESS California music educator Brian McDaniel, a California Teacher of the Year, succeeds in a Title I school by creating an environment where all are welcome and—literally—walking in his students’ footsteps.

FEATURES 22 EL MUNDO HACE 26 MUSIC 28 E TCH IS 36 N AfME ACADEMY’S MÚSICA! THE CONNECTS US! ELEMENTARY! FIRST ANNIVERSARY WORLD MAKES Get ready for Here’s how just a With more than 80 MUSIC! 2018 Music In Our few of your fellow hours of professional English Language Schools Month® . elementary music development available, Learners can greatly Take a look at these educators are using NAfME Academy helps benefit from participa- opportunities, tips, technology to teach members broaden tion in music education. and more to help improvisation, their knowledge and What are some of educators celebrate composition, earn credit to advance the best practices for music education instrument sounds, in their careers—all on recruiting, retaining, with their students and more to their their own schedules. and teaching these this March. younger musicians. students?

COVER: Cherie Herring’s young students use their iPads

Cover photo courtesy of Cherie Herring. Photo this page by Brittany Grey. Brittany photo courtesy of Cherie Herring. Photo this page by Cover to explain about rhythms and how they relate to math.

nafme.org 1 January 2018 Volume 25, Number 3 contentsAdam Kruse’s students create hip-hop verses and beats.

55

DISCOVERIES John Burn’s Starting a fl ute chamber ensemble 20 musicians from Homestead High School WORKSHOP 12 General Music Teaching the musical DEPARTMENTS culture of the Andes 48 Brass & Woodwinds CLASSROOMS Pairing beginners with the A band in California shows what best brass instruments 49 can be done with generous funding Strings and community support. 12 String student practice journals 49 Percussion ADVOCACY Drumline: The importance As ESSA implementation moves forward, of the warm-up 50 there is still much work to be done. 14 Choral & Vocal Classroom management AMPLIFY in the choral rehearsal 51 NAfME’s new online community helps members to network, Alternatives Hip-hop: Creating in the classroom trade tips, and more. 16 52

RESEARCH STAGES The focus of the 2018 MRTE Elementary National Conference will be on diversity, Succeeding in the urban music program inclusion, equity, and access. 18 55 Secondary The children’s opera Brundibár 7 can be used to teach about the PRO•FILES Holocaust and tolerance. 56 7 Marisa Weinstein, winner of Collegiate the 2017 George N. Parks Teaching in a small rural school 58 Leadership Award … Annette Lambrecht, winner of the 2017 RESOURCES New media and accessories NAfME/ Sweet Adelines Inter- for the music classroom 60 national Music Educator Award … Alice Hammel, who teaches BRAVO! students who learn differently Teaching Music salutes musician, producer,

and innovator Thomas Dolby. 64 John Reichanadter. Lamont Holden; by Jim Zumsteg; by Photos clockwise from top left: by Marisa Weinstein 2 Teaching Music JANUARY 2018 (left) Photos clockwise from top left: by Jim Zumsteg; by Lamont Holden; by John Reichanadter. NAfME GovernanceConstituencies correct andcomplete.—AdrianeDarvishian,Director, I certifythatthestatementsmadebymeabove are filing date:99.71 %. percentage ofcopiessingleissuepublished nearestto issue duringprecedingtwelvemonths:99.76%. (2)Actual Percent Paid.(1)Averagepercentageofcopieseach issue publishednearesttofiling date:47,169. twelve months:57,597;actualnumberofcopies ofsingle undistributed issuesforeachissueduringpreceding H. Total.Averagenumberofdistributedcopiesand filing date:1499. number ofcopiessingleissuepublishednearestto each issueduringprecedingtwelvemonths:2010;actual after printing,andothers).Averagenumberofcopies G. Copiesnotdistributed(office use,leftover,spoiled filing date:45,670. number ofcopiessingleissuepublishednearestto issue duringprecedingtwelvemonths:55,587;actual F. Totaldistribution.Averagenumberofcopieseach filing date:131. number ofcopiessingleissuepublishednearestto each issueduringprecedingtwelvemonths:131;actual E. Totalfreedistribution.Averagenumberofcopies copies ofsingleissuepublishednearesttofiling date:0. during theprecedingtwelvemonths:0;actualnumberof outside themail:Averagenumberofcopieseachissue published nearesttofiling date:131.(4)Distribution months: 131;actualnumberofcopiessingleissue of copieseachissueduringtheprecedingtwelve (3) OtherclassesmailedthroughUSPS:Averagenumber copies ofsingleissuepublishednearesttofiling date:0. during precedingtwelvemonths:0;actualnumberof 0. (2)In-county:Averagenumberofcopieseachissue copies ofsingleissuepublishednearesttofiling date: during precedingtwelvemonths:0;actualnumberof Outside-county: Averagenumberofcopieseachissue D. Freedistribution(bymailandoutsidethemail).(1) filing date:45,670. number ofcopiessingleissuepublishednearestto each issueduringprecedingtwelvemonths:55,587;actual C. Totalpaiddistribution.Averagenumberofcopies published nearesttofiling date:0. twelve months:0;actualnumberofcopiessingleissue Average numberofcopieseachissueduringpreceding Paid distributionbyotherclassesmailthroughtheUSPS: of singleissuepublishednearesttofiling date:73.(4) preceding twelvemonths:81;actualnumberofcopies the USPS.Averagenumberofcopieseachissueduring vendors, countersales,andotherpaiddistributionoutside mail includingsalesthroughdealersandcarriers,street nearest tofiling date:0.(3)Paiddistributionoutsidethe 0; actualnumberofcopiessingleissuepublished copies ofeachissueduringprecedingtwelvemonths: (2) Mailedsubscriptions(in-county).Averagenumberof of singleissuepublishednearesttofiling date:45,466. preceding twelvemonths:55,375;actualnumberofcopies county). Averagenumberofcopieseachissueduring B. Paidcirculation.(1)Mailedsubscriptions(outside- issue publishednearesttofiling date:47,169. twelve months:57,597actualnumberofcopiessingle Average numberofcopieseachissueduringpreceding A. Totalnumberofcopiesprinted(netpressrun). EXTENT ANDNATUREOFCIRCULATION: months. purposes havenotchangedduringtheprecedingtwelve organization andtheexemptstatusforfederalincometax rates: Thepurpose,function,andnonprofit statusofthis Nonprofit organizationauthorizedtomailatspecial amount ofbonds,mortgages,orothersecurities:none. holders owningorholdingonepercentmoreoftotal Known bondholders,mortgagees,andothersecurity Owner: NationalAssociationforMusicEducation. N. Broadway,WhitePlains,NY10603 (Editor inChief):InTunePartners(TeachingMusic),582 Fulton Drive,Reston,VA20191–4348;SusanPoliniak National AssociationforMusicEducation,1806Robert and managingeditor:Publisher—EllaWilcox(Editor): Full namesandcompleteaddressesofpublisher,editor, Drive, Reston,VA20191–4348. business offices ofthepublishers:1806RobertFulton Complete mailingaddressofheadquartersgeneral 1806 RobertFultonDrive,Reston,VA20191–4348. Complete mailingaddressofknownoffice ofpublication: Subscription price:$10.00withmembership. August, andOctober. Frequency ofissue:4timesannually—January,April, Date offiling: September29,2017. Publication Number:1069-7446 Title ofpublication:TeachingMusic. MANAGEMENT, ANDCIRCULATION STATEMENT OFOWNERSHIP, (Act ofAugust12,1970:Section3685

Title 39,UnitedStatesCode.) Fadi Kheir Fadi — “This was themost important event Middle SchoolinPensacola, Florida of my professional career.” Early Registration: $75 persession before April30 creativity andmusicianship. how day-to-day teaching practices canreinvigorate students’ Hall thissummerfor two distinctweeklong workshops on Join musiceducators from across the country atCarnegie carnegiehall.org/MusicEducatorsWorkshop |212-903-9803 Education. City York New for Fund One-Year Astor Brooke the by provided is Workshop Educators Music for support Lead JULY 2018 11–14, YOU PLAY YOU AREWHAT 1 SESSION Zenda Swearengin, Choral Director andFine Chairman atJ. Arts H.Workman

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44 TeachingTeaching MusicMusic OCTJANUARYOBER 20172018 Making music easy to make WITH FOCUSRITE INTERFACES & NOVATION CONTROLLERS

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MARISA WEINSTEIN By Lisa Ferber

“Receiving the award was really wonderful and humbling.” — Marisa Weinstein

Respect, Responsibility, Commitment to Quality, and Perseverance Marisa Weinstein wins the 2017 George N. Parks Leadership in Music Education Award.

MARISA WEINSTEIN, recipient of the not?” to which she answered, “Yes!” Weinstein notes that, “Receiving the 2017 George N. Parks Leadership in Parks responded, “I will help you find a award was really wonderful and hum- Music Education Award, dedicates a heap teacher.” bling: I’m surrounded by wonderful music of gratitude to the man for whom this Parks recruited Weinstein to be the educators, including my partner, the honor is named. A NAfME member who band’s librarian and equipment manager, PreK–4 music educator for our district, has been teaching for 35 years, she among other roles. And Marilyn Buzy.” credits George N. Parks for enabling her then there was the time Though Weinstein to enter the field of music education. Parks said, “Bonnie Raitt’s originally thought she would Weinstein met Parks when she was an bass player needs a be a lawyer, her love of music undecided freshman at the University of sousaphone. Are you started early. “I fell in love Massachusetts Amherst, where he was interested in taking it to with music as a kid. My mom the marching band director and she was a him?” Weinstein said she was Cuban and listened to a snare drummer in the drumline. When walked it down to the lot of loud, fast Cuban music. she first met him, she wasn’t able to read stadium for a hundred I heard lots of salsa and music and therefore wasn’t accepted into bucks. “They tried to arrest MARISA WEINSTEIN merengue while she was Director of Bands, the music department. She recalls him me; they thought I was just Warsaw Middle School, cleaning the house.” Pittsfield, Maine

Photos by John Reichanadter. Photos by saying, “Do you want to be a teacher or some crazy kid.” Weinstein currently

nafme.org 7 • pro les Vanessa Bliley

“It’s a small town and a very small school. chorus whose parents I’ve also taught.” She has created a memorial to her past Anything having to do with music—that’s my job.” eighth graders by using the music publishers’ promotional CDs: She gives teaches three bands, chorus, classroom music—that’s my job.” She shares that the CDs out to the students, has them music, two jazz bands, and a show choir, having been a music educator for so long design and sign the flip sides, and then in addition to coaching three sports after brings special rewards. “Some of the hangs them up around the music room. school. “It’s a small town and a very small teachers in the building are former Weinstein remarks that kids see the CDs school. Anything having to do with students. I have many kids in band/ and say, “Do you have my mom up there?” and “Is that our teacher, Miss Kennedy?” Weinstein notes that teaching music is, “fun and rewarding, but what I think we all find difficult is the other stuff: Respect, responsibility, commitment to quality, and perseverance. It’s the same in athletics. I can teach a kid how to do a layup, but it’s the discipline that’s the hard stuff. It’s the same in anything: You take a risk, you commit to it, you perse- vere, and hopefully you have success.”

ANNETTE LAMBRECHT By Lisa Ferber

kindergarteners.” She also has an In Praise of Happy Accidents afterschool children’s chorale group of third-, fourth- and fifth-graders. “I keep Annette Lambrecht is the winner of the 2017 NAfME/ them because I love teaching them,” she Sweet Adelines International Music Educator Award. says. Lambrecht is the oldest of three ANNETTE LAMBRECHT fell into music Mesa University in Grand Junction in siblings and she says both of her sisters through a happy accident. K–12 music education with choir, band, are music teachers as well. “I was about four-and-a-half years old, and orchestra endorsements; and then The Sweet Adelines award is given to the summer before kindergarten,” says achieved her Master’s degree in educa- a music teacher within the organization the winner of the 2017 NAfME/Sweet tional leadership at Adams State College who exemplifies teaching the art of Adelines International Music Educator in Alamosa, Colorado. barbershop not only to the chorus but Award. “I fell and broke my arm, and part She has maintained her 13-year the surrounding community as well. of the physical therapy so I could write career in the RE-1 Valley School District, Lambrecht, who notes that her students was taking piano lessons. And that’s how where she teaches choir and theater range in age from 12 to 82, got hooked on I got started in music: I loved the piano (presentation and musical theater), as the sound of barbershop when a teacher and I loved my music teacher.” well as guitar. Lambrecht invited her to a local From there, her love of teaching came has a men’s choir, a women’s rehearsal. “There is no quickly. “I knew pretty early on. I was choir, a jazz choir, two accompaniment, there is no fortunate enough that all of my music theater classes, and a guitar instrument—it’s simply teachers have been incredible, and I just class—and she has had many voices that come together to knew that this is what I wanted.” of the same students for create harmony,” she says. Lambrecht was born and raised in years. “I started at the As for working with Sterling, Colorado, and now teaches at elementary level, and I students for such a long Sterling High School, which is also where moved up with them to time, Lambrecht remarks, she went to school. She graduated from middle school and then “It’s nice because you get to Northeastern Junior College in Sterling, moved up to high school. A ANNETTE LAMBRECHT know both them and their Music Teacher, majoring in music education; went on to lot of my students I have Sterling High School, families long term, and you Sterling, Colorado

finish her Bachelor’s degree at Colorado followed since they were get to build a relationship Photos from top: John Reichanadter; Ce Merrigan.

8 Teaching Music JANUARY 2018 Creating the ideal music suite has never been easier.

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800-4WENGER (493-6437) www.wengercorp.com relationship between Sweet Adelines “Make sure you are Chorus and my students, I think of it as always prepared for an inspiring community partnership. every scenario.” They support each other, they go to each other’s events, and they want to give with them. When you have them over the memorable performances.” course of time, you get to know their One tip Lambrecht shares for others strengths and you can help them all out.” in the profession: “Just make sure you are

Annette Lambrecht with students Lambrecht, who has been a NAfME always prepared for every scenario: Put at the Region 8 Sweet Adelines Convention member for about 15 years, says, every scenario in your head, and things in Cheyenne, Wyoming, in May 2017 “Whenever I am asked about the seem to work out.

ALICE HAMMEL By Lori Schwartz Reichl Music Is for All of Us Alice Hammel is devoted to teaching students who learn differently.

ALICE HAMMEL is a music educator, “How can we do a better job as author, and clinician who is widely known music teachers to for her enthusiasm and knowledge of teach these students?” — Alice Hammel teaching diverse students and children with disabilities. Having spent many grade, while playing the fl ute, Hammel sional development sessions, and years teaching both instrumental and decided that she wanted to be a middle conferences regarding diverse students, choral music in public and private school band director. She spent a summer students with disabilities, and students schools, she currently teaches music shadowing a music therapist, but who learn differently. Her message to her education at James Madison University eventually realized her true interest was audience is simple: “How can we do a in Harrisonburg, Virginia, aural skills at “to teach musical skills to students who better job as music teachers to teach Virginia Commonwealth University in learned differently.” these students?” Richmond, and online courses through Alice Hammel loves things, people, In looking ahead to 2018, Alice the University of Arkansas. and experiences that are different. This Hammel is most excited about several Hammel is the product of inquisitiveness has sparked professional projects. She, along with two pediatricians who she her interest in topics such as two other colleagues, is starting a new insists “did not believe in diversity, ADHD, autism, Kodály Program at Nazareth College in childcare.” From infancy, and children who are Rochester, New York. She is also teaching Hammel was immersed in nonverbal or living in a new course in Boston in July, complet- her parents’ medical world poverty. She understands ing a book chapter on “how students with and traveled everywhere the tremendous value music disabilities can interface with tablets in a with them. She often slept in provides for all children and music class,” and researching the topic of a crib at their private has set an educational goal students who live in poverty in rural practice and was an ALICE HAMMEL “to make sure every child, areas and discovering how best to teach attendee at numerous Instructor, even those who are uninten- them. As a proud parent, she is personal- Music Education medical conferences before James Madison University tionally forgotten, have ly looking forward to watching one of her Harrisonburg, Virginia entering grade school. access to music education.” daughters, also a music educator, Hammel’s curiosity was heightened when In addition, she believes all students conduct her fi rst program in Nashville, she observed the diverse children her would successfully learn each day if they Tennessee, and her other daughter parents treated and asked to learn about felt supported and challenged by each of perform with the Knoxville, New York their differences. Her parents also their teachers. She is frequently invited Philharmonic, and Pittsburgh Symphony

encouraged her love of music. In seventh to speak at various universities, profes- Orchestras as a fl utist. Anderson; courtesy of Alice Hammel (2). aryAnn Photos from top: M

10 Teaching Music JANUARY 2018

Classrooms ✢ BY CATHY APPLEFELD OLSON

John Burn’s musicians from Homestead High School much more, in fact, that the I simply wanted program’s annual budget has swelled to $400,000, with the the marching vast majority of those funds band to sound coming from donors. The good and have boosters’ money primarily the same covers travel, equipment, and expectations for instructors. The school district excellence. funds one half-time and two full-time sta ers for the school’s entire music depart- ment, and Burn’s troupe has a total of 20 instructors working with them in some capacity. Managing a Well- What else does $400,000 NO STRINGS buy? “What I need to be ATTACHED: Funded Program cognizant of is, either implicit- Keeping Your John Burn’s band in Cupertino, California, ly or not, I show my values of Program’s what I think the music Autonomy shows what can be done with generous When Boosters program should be. I need to funding and community support. Want a Say be aware as I’m spending tons Simply put, “You nip it THE TENS OF MILLIONS of work by Burn’s right-hand of money on busses or on in the bud early on,” Burn says of how he people who tuned in to watch man, associate band director costumes that that’s what I ensures Homestead’s this year’s Rose Parade Eric Weingartner, who think is important. As I look donors, large and small, know they are glimpsed a performance from oversaw the band’s application, back I think, ‘Should I be donating with no strings attached. one of the most well-endowed and mountains of support from spending more of this money “Even if they’re high school marching bands in parents, alumni, and commu- on getting kids private-lesson doing something as harmless as recom- the country. The Homestead nity members in a range of type instruction, or commis- mending a piece of High School ensemble capacities. music they like, I say, sioning new music instead of ‘Thank you for that. I’ll represented their Cupertino, The pomp and circum- buying more sousaphones?’ always be interested to know what your California–based school for the stance is a long way from the and so on,” Burn says. input is.’ But then I rst time ever at the event, a days when Burn himself was a “So in terms of what it buys follow up with, ‘You know, I have a lot of dream come true for John member of the Homestead or doesn’t buy, it’s up to you, considerations when you choose what we Burn, the school’s director of band. When he returned 27 the director of the program, do, and it’s my decision bands. years ago to take the reins of and your values. It’s something to make.’ I say it very politely, but I am clear.” Preparation for the the band program at the school I need to continually look at. I Burn says that potential overstepping ve-mile parade included situated in what’s now a haven look at what kinds of marching also has cropped up 10-hour practices to nail down for seven- gure homes, “I band shows are winning the over the selection of where and when the elements including endurance, simply wanted the marching Bands of America competi- band travels to perform and compete. performance and a particular band to sound good and have tions and I want to move in “They might ask, ‘Why hairpin 110-degree right turn the same expectations for that direction, but I need to don’t we do this or that performance? Or, we onto Colorado Boulevard in excellence,” he says. “We start- temper that with ‘what about went there last year, why aren’t we going the middle of what Burn says ed getting competitive success, the total music program?’ back this year?’ And is known as “TV Corner”— and success breeds success. The What is the right amount of again, I just say, ‘Thank you for your input, it’s “because that’s where every music boosters were excited money to use on truly a really good idea. We may go there again in network broadcasts from.” Not about it, and wanted to do nonmusical things like the future. I’ll do what

to mention the months of more for the program”—so costumes and props?” I think is best.’” Jim Zumsteg. Photo by

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NAfME member middle and high school music teachers can now receive 30 monthly copies of In Tune Monthly magazine’s digital edition simply by going online to intunemonthly.com/nafme-free-subscriptions.

FOR 15 YEARS, In Tune has been a reading resource used by educators to bring a wide variety of musical subjects into their classrooms.

• Either in addition to the printed or digital subscriptions you may have already purchased, or if you’ve never subscribed before, you can now get In Tune’s teacher’s edition, lesson plans and assessment materials, and free monthly access to copies for your students. • All that’s required is Internet access, via any computer or mobile device. • One click brings In Tune’s stories about today’s music world, theory and technique, instruments and equipment, music technology, higher music education and music from all genres to your classes. And, the digital edition of In Tune is identical in content and design to the printed magazine.

Whether you assign readings and make it part of your program or just give your students access to the most contemporary and relevant reading materials available for band, orchestra, chorus or general music students, you can now get your students In Tune without cost.

For more, go to intunemonthly.com/nafme-free-subscriptions Advocacy ✢ BY DEBBIE GALANTE BLOCK

in the section about school Twenty percent Representatives of state plans talk quality and student success.” about music and and Senators need arts education as The MMEA has a state to be reminded of being something advocacy leadership team that available for their promises. either Title I collaborates with four other schools or schools —LYNN TUTTLE that are urban. arts education organizations that are interested in well- rounded education and the arts community as a whole. The MMEA asked each of these organizations to contact their membership, and linked to a THE NAfME space for public comment ADVOCACY about ESSA. “Sixty percent of BULLETIN the comments in one section Found at bit.ly/NAfME An ESSA Update AdvocacyBlog, the As implementation moves forward, were related to the arts being Advocacy Bulletin is a necessary—not something blog about state and there is still much work to be done. national advocacy ‘extra.’ I think the reasons our issues relating to music education. Updated ALL STATE ESSA PLANS have interesting is how many of the outreach was so successful were around the clock by been submitted. The rst 13 state plans incorporate art because we included all arts our advocacy and public policy staff, here plans submitted in April had a education into programs dealing areas, and we reached out you will find commen- lot of strong language for music with speci c populations— beyond the arts education tary and news on: • Legislative and arts education. The second for example, music and arts community.” developments wave of plans oer language activities for homeless children What happens with ESSA in congress • The federal budget that supports music and arts in Rhode Island, New implementation now? “At the and appropriations education, “but it is more Hampshire, and Missouri. federal level, we are trying to process • Regulatory and distributed,” according to New York and California talk make sure that the highest level implementation Lynn M. Tuttle, NAfME’s about the importance of of funding is available for all of policy affecting music education Director of Public Policy and migrant children having access these Titles: To make sure that • Music advocacy on Professional Development. to music and arts education.” Congress will stay true to what the state/local level Every state is dierent, and Advocacy beyond the they promised in the law,” says UPCOMING Tuttle is energized by having educational community is also Tuttle. “Congress promised a ADVOCACY WEBINARS several dierent models to important, as can be seen in level of funding that would Participate in quarterly learn from and share; for exam- Minnesota. Mary Schaee, allow schools and districts the advocacy webinars! Add these 2018 ple, in Georgia, assessments of executive director of the exibility to provide additional webinars to your what the students are learning Minnesota Music Educators support for music as part of a calendar: • Title IV—budgets, is built into the accountability Association (MMEA) says that well-rounded education. In states, districts and portion of the plan. Over “when the Minnesota state order to make that section of you—what is Title IV looking like across one-third of the state plans call plan draft was proposed, we the law work (Title IV, Part the nation? out arts education in Title IV noticed that although there was A), Congress needs to keep its February 13th, 7:00 p.m. ET funding. Twenty percent talk some overall language about promised funding level. So far, • 2018 Midterm about music and arts education well-rounded education, there Congress has failed to do so. Elections and the Federal education as being something available was language in other parts of Representatives and Senators landscape for Title I schools. Eighteen the plan that was unintention- need to be reminded of their April 17th, 7:00 p.m. ET percent call out the importance ally negative. The speci c promises and asked for full You can also find all of of music and arts in after-school kinds of language were things funding of ESSA, in particular our past webinars archived at nafme.org/

programs. “What’s really like ‘the arts are an enrichment’ Title IV, Part A.” advocacy. Photo from iStockphoto.com.

14 Teaching Music JANUARY 2018 COLLEGIATE ADVOCACY SUMMIT

REGISTER TODAY JUNE 26-30 #NAfMEHD18

BE A FORCE FOR YOUR STUDENTS AND YOUR CAREER!

This is just the beginning of a new day for music education. We must help states, districts, and schools interpret and implement the new law of the land. There’s a lot more work to do!

Don’t miss this opportunity to join us in Washington, D.C., this June, for mentoring and professional development that will empower you to be the advocate you need to be, for yourself, and for your students. Help lead our next steps in this new era for music education. • Go “behind the scenes” as we meet face-to-face with U.S. legislators and their staffs in Senate and Representative offices on the Hill. • Enjoy a wonderful evening reception and awards dinner, as you meet and network with NAfME state and national leaders. • Participate in leadership and advocacy training that you can take back to share with your chapter and use in your career.

NAfME is the established national voice for music education, and we want YOU to be in Washington, D.C., in June for this exciting event. It’s the chance of a lifetime to carry your passion for music education to Capitol Hill. Reserve your spot today!

Learn more at: CAS.nafme.org Amplify ✢ BY LISA FERBER

student attire, and vocal health. Caption It’s taking what “We are seeing many ‘Wom- we have and en’s’ choirs renamed to ‘Treble’ increasing choirs. It used to be that girls engagement. wore dresses and guys tuxes, but attire is changing to black and white or just black, or choirs wearing choir robes.” Odegaard says that choral directors need to encourage each student to use their most organic voice. “They have to sing what’s best for them vocally. We want to make the best situation for the students.” Amplify Your Ukuleles are a big topic now, too, and teachers are talking Involvement! about which kinds to buy and NAfME’s new online community helps how to teach the instrument in members to network, trade tips, and more. their classes. “They are making a comeback from the 1970s and HOW TO AMPLIFY, NAf ME’s new engaged. are very popular,” remarks ACCESS AND online community, is giving Music educators are talking Odegaard. Other topics getting USE AMPLIFY music education pros a fresh about a wide array of topics so a lot of tra c are teaching To access Amplify, go to community.nafme.org. space to chat. Launched in far, including how to utilize popular music, whole-brain If you are a NAfME member, you will November of 2017, Amplify the National Standards, as well teaching, and SLOs (i.e., instantly be able to replaces the former sub- as a broad set of issues that can Student Learning Outcomes). access it. Here are some ways to use the ject-speci c forum with one be new to a given school, but Odegaard summarizes, system productively. that is designed to form are essential to a teacher’s “NAfME is working to engage • Is something on your mind? Post a potential work groups and ongoing success. For example, our members and to amplify question on the Discussion board to includes other new options. there are discussions about important education conversa- get quick answers Denese Odegaard, NAfME religious exemptions for kids tions—hence the name of this from your peers. • Try sharing resources President (2016–2018), says, who might not be permitted to exciting new space. With under the “Library” “We have been piloting participate in music. “Muslim Facebook, you can have a tab to help others in the community gain Amplify for our leadership, students may or may not be conversation, but here you can access to valuable information. national board, six divisions, permitted to participate in upload resources, build • In your profi le under and Societies and Councils music instruction based on communities, and connect “My Account,” you can set your email prior to releasing it for our their religious beliefs,” says with people by searching their preferences so you whole membership. Commu- Odegaard. “Some parents are name. It’s taking what we have will receive alerts each time you have a nities will be organically more lenient about participa- and increasing engagement.” new message, or even a daily digest of created as time passes.” tion, and some fully follow the Mentoring is also an activity from all of Odegaard notes that NAfME’s guidance of the Holy Qur’an important focus for NAfME. your communities. • Search for other 65,000 members were instantly and sacred texts.” She notes “We will eventually have subject- members with whom shifted from the old forum site that transgender issues com- matter–expert mentoring, so to connect by using the member Directory to the new Amplify platform— prise a buzzing discussion on people can connect with a at the top of the page. and within the rst few weeks, the site, especially concerning member who is an expert on a • You can even publish a blog by clicking on

2,400 members were fully topics related to housing, particular topic,” she says. “Community Blogs.” Photo from iStock.com/Rawpixel.

16 Teaching Music JANUARY 2018

Research ✢ BY SUSAN POLINIAK We hope to see you in Atlanta! —GLENN E. NIERMAN

The MRTE brings together music educators conference, headed by Patricia for forums, presentations, and more. Sheehan Campbell and Judith NAfME’S Jellison, both past recipients NEW MUSIC of NAfME’s Senior Researcher EDUCATOR Award and leaders in this area CERTIFICATION TABLE of research, they were most At the 2016 MRTE pleased. Judith and Pat will set Conference, a group of researchers from Brigham the stage for the diversity focus Young University shared at a plenary session in which their study on music teacher certifi cation they are the featured speakers throughout the U.S. The results of this can be seen early in the conference. In on the Music Educator addition, they have solicited a Certifi cation Table, which can be found online at ‘diversity of voices’ (meaning nafme.org/my-classroom/ certifi cation. professionals speaking Lynn Tuttle, NAfME’s about di erent aspects of Director of Public Policy and Professional Develop- diversity/equity and represent- ment, recommends that, “While looking at your The 2018 MRTE ing professionals at various own state may be of stages in their careers) for four interest, understanding the trends behind National Conference panel sessions at the conference certifi cation gives a lens The focus this year will be on diversity, that might help attendees leave on educational reform and practices across the inclusion, equity, and access. with enhanced knowledge and nation.” Several noteworthy points, perspective, an openness to according to Tuttle, THE NEXT NAfME Music remarks Glenn E. Nierman, ideas and a penchant for include the following: Research and Teacher Educa- Immediate Past President of self-re ection, research • Testing requirements have increased for music tion (MRTE) National NAfME. questions to be pursued, and educators, including 12 states requiring a teacher Conference will take place Concerning the upcoming good models of diversity, performance assessment March 22–24, 2018, in MRTE’s focus on diversity, inclusivity, equity, and access. such as edTPA. Atlanta, Georgia. “NAfME’s Nierman states that, “For quite The sessions, under the broad • The majority of states issue “general” music Society for Research in Music some time now, NAfME’s theme of ‘Diversity and education certifi cates, for all levels, all specialty Education (SRME) and the National Executive Board Inclusion in American Music areas—a K–12 music Society for Music Teacher (NEB) has been aware that the Education: Inroads, Blockades, teaching license, for example, instead of an Education (SMTE), along with organization needs to do more Redesigns and Deliveries,’ are elementary music teacher the Council of Music Program to promote inclusion, diversity, sure to be a highlight of the license or band teacher license. Leaders (CMPL; formerly the equity, and access in all its conference.” • All 50 states have Council of Music Supervisors) aspects—from promoting Nierman continues, “On alternative certifi cation pathways available for have worked together diligent- diversity in our leadership to behalf of NAfME’s Profession- music educators who ly to bring attendees opportu- increasing diversity within our al Development Committee didn’t follow traditional pre-service pathways. nities to encounter the latest Honors Ensembles. Conse- and with respect and gratitude “NAfME is grateful to research ndings in sessions quently, our NEB pledged to to the leadership of our the researchers who collected this information that include not only tradition- look at all decisions we face as NAfME Societies and Coun- and are allowing us to al research spoken presenta- a Board through an ‘inclusion, cils who spent countless hours share it with the fi eld,” says Tuttle. “We will tions, but in a series of open diversity, equity, and access planning the content of the continue to update this on an annual basis, and forums, symposia, and lens.’ So, when our Planning events at this conference, we welcome feedback if you presentations by key national Committee reported to the hope to see you in Atlanta!” know of updates that need to be made to your music education luminaries, as NEB that we envisioned a For more information, state’s information!” To well as research poster sessions Diversity, Inclusion, Equity, including dates and deadlines, share those updates, please contact Lynn Tuttle

and planning sessions,” and Access focus for the visit research.nafme.org. at [email protected]. Music notes from vecteezy.com. Photo from istock.com/Peopleimages.

18 Teaching Music JANUARY 2018

Discoveries ✢ BY STELLA CHANG

Starting a Flute

GiveChamber your flutists Ensemblea chance to grow and learn challenging repertoire.

general musicianship to shine in such Careful focus on tuning and technique in STELLA CHANG is a music an environment. For the audition, you the early stages can pay dividends later. teacher at the Taipei American School in Taiwan. A NAfME can expect a player to perform a short One challenge for creating a successful member, she can be contacted at étude, to play some scales, and to ute chamber ensemble is to ensure that [email protected]. sight-read an easy piece at moderate all players have a shared understanding tempo. A player with these abilities of tuning. To this end, I require each of ONE CHALLENGE facing many music should be able to handle the easier my students to have their own tuner educators is that they have numerous pieces in the chamber ute repertoire, and a contact microphone that clips ute players with relatively high skill and gradually move up to more onto the instrument; the tuner will pick levels, but not enough opportunities for challenging works. up only the sounds each individual these musicians to participate fully in Set expectations early, emphasizing that makes. With these simple tools, the bands, orchestras, or other ensem- successful chamber playing requires students can readily be persuaded to bles in school. To help these young both individual effort and group spend ve or ten minutes in the early utists develop as musicians, start a commitment. Any group of young ute classes to work on the tuning of unison program revolving specically around players is likely to have musicians with notes and simple triads. These basic the many pieces composed for chamber widely varying levels of skill and preparations can be enormously groups of ute players. Such a program condence, particularly if the group benecial later in the semester, as they has been created at Taipei American spans several dierent school grades. compel students to focus on listening to School in Taiwan, and has now been Young players who are accustomed to themselves and each other. Similarly, operating successfully for several years. working in conductor-led large asking students to play simple passages Here are some suggestions for music ensembles may initially struggle to solo and then asking others to provide directors who may be interested in understand the dierent qualities comments and feedback will encourage creating such an ensemble. required to play in a chamber setting, them to listen critically to each other, Keep numbers small at first, and insist where musicians have to listen inten- which will carry over into their playing on auditions. Any new program is more sively to each other to align tempo, in duets, trios, and larger groups. likely to succeed if there are solid dynamics, and phrasing. It is important Start with easy pieces to build confi- ground rules. It’s better to have a to emphasize that all players will have dence, and gradually work up to more half-dozen committed, enthusiastic the opportunity to participate in challenging material. Begin with music participants the rst year than 15–20 performances, and that being chosen to that is relatively easy in terms of who are not prepared to put in the time play a particular piece implies that the technique, such as duets by the Baroque and eort to succeed. Most young player will commit to mastering that composers Devienne, Quantz, and players have little experience playing in part before the group rehearsal begins. Telemann. These pieces usually have a chamber-music setting, so it’s Students are also expected to work on clear musical lines, relatively modest important to ensure that they have the specic études to improve their tessituras, and interesting lines for both

necessary level of technical skill and technique. the rst and second players. To increase Photos courtesy of Stella Chang.

20 Teaching Music JANUARY 2018 Photos courtesy of Stella Chang. playing. not are even they if performance, each to attend class the of members all encourage strongly and opportunities, performance out Seek music. their of ship owner personal of asense provide can this as ensemble, ute for pieces arrange or compose to students encourage also you can preparation, and interest student of level the on ing Depend quickly. or loudly play to dicult more are generally these as sta, the below range the of use extensive make that nonutists by written those of wary be but instruments, other for written originally works of arrangements good many also are There Tcherepnin. and Dubois, Castérède, Bozza, by quartets and trios ute excellent including material, 20th-century advanced more of repertoire arich is there mastered, been have these When Andersen. Joachim and Kuhlau, Boismortier, as such composers by quartet or trio, duet, ute for pieces 19th-century attractive numerous are there pieces, easier these with comfortable are students the When repetition. the during part ute rst over the take player other the and passage, rst the during part ute rst the take player one having consider leadership, musical of sense early an develop to and interest, musical the all players will have the opportunity opportunity the have will players all It is important to emphasize that that to emphasize important is It to participate in performances. to participate Some Some - -

have their moment in the sun. sun. the in moment their have to get participants less-experienced when spirit class of sense stronger a create can this as mini-concerts, these to along go should members class However, all performance. public for prepared be to technique or con dence sucient have will students all not that likely it is semester, anew of weeks rst the In 10–15 minutes. lasting concerts for even students, school high by visits welcome often schools middle lower and and homes, nursing hospitals, Local public. in perform to portunities op several be will there that know they if seriously aclass take to likely more are musicians school high and middle but rehearsal, and practice weekly from stimulation ample get may students self-improvement. to commitment greatest the shown have who students for “prizes” as them using consider and weeks, afew after only flutes harmony loaner Introduce concert utes, and require proportion require and utes, concert than heavier and bigger are utes bass and Alto utes. harmony require literature 20th-century the of most and arrangements contemporary many but utes, concert needs only ensembles ute for repertoire 19th-century and 18th- the of Most experience. prior their of most have students which on utes concert the from dierent quite sound and look which ute, bass or alto play to opportunity the be may ensemble ute chamber a of attractions ancillary the of one Any new program is more likely to succeed if there are solid ground rules. ground solid are succeed if there to morelikely is program Any new For many students, students, many For - - encourage students to take the class class the to take students encourage to to year year from repertoire Change mentor just a year or two later. two or ayear just mentor a becoming to afreshman as level abasic at aclass in participating from progress to ahigh-schooler for exciting be it can that I’ve discovered playing. small-group to approaches sensitive and leadership, musical eective behavior, classroom for appropriate models excellent be and program your than their more experienced peers. experienced more their than technique less have may who students by easily played be can and quintet, or quartet aute of components other the than prowess technical less and notes fewer require typically parts ute Harmony better. substantially are that manufacturers Japanese and an Europe excellent from utes harmony are there then aconcern, not is cost If treated. carefully if 10–15of years life auseful have should $2,000–3,000 costing instrument an and cost, modest arelatively at available are quality acceptable of Instruments these. of acouple purchase to need may district aschool class, ensemble chamber ute asuccessful have to and utes, harmony own their have not may specialists Even ute participants. for challenge of source anew create will this as course, the into months of acouple until utes harmony of introduction the delaying Consider utes. concert than tonality mysterious more and adarker oer also they but embouchure, relaxed more a with together support air more ally can help provide continuity in in continuity provide help can class the repeat who Students previously. class the taken have they if even students, for challenges new be always will there then year, to year from varies repertoire the If pieces. suitable of dozens are there ence, experi and ability technical of more than once. once. than more For every level level every For nafme.org nafme.org - - 21 Lectern ✢ BY ANGELA D. AMMERMAN

¡El Mundo Hace Música! (The World Makes Music!) Recruiting and Retaining English Language Learners

ANGELA D. AMMERMAN is the director of music education at the University of Tennessee at Martin and was previously the director of orchestras at Annandale High School in Fairfax County, Virginia. Ammerman hosts the #MusicEdLove podcast and is a NAfME member. She can be contacted at [email protected].

ABOUT 4.6 MILLION public school into your program will lead to a students in the United States were stronger and more vibrant program and enrolled in English Language Learner an empowered community of musi- (ELL) courses in 2014, and it is cians. Here are just a few ways you can Recruiting ELL students will lead to a stronger and probable that this number will contin- invite and encourage students from ELL more vibrant music program and an empowered ue to grow as time progresses (National communities to join your program. community of musicians. Center for Education Statistics, 2017, nces.ed.gov/programs/coe/indicator_cgf.asp). • DROP A LANGUAGE BOMB OR TWO. • TEAM UP WITH ELL TEACHERS. Keep In spite of a wealth of research boasting During recruiting concerts, encourage ELL teachers in the loop on the myriad the immense bene ts of music partici- students from diverse backgrounds to bene ts of music participation (cogni- pation for ELLs, this is a long-neglect- join by having one of your musicians tive, social, and lingual) and enlist their ed population within musical say a phrase or two in the primary help with recruiting eorts. The word ensembles.1 While the challenges of ELL language. Sprinkle a dash of the will spread quickly that you are not working with ELL students may seem prevalent ELL languages in your iers, only accepting of ELL students, but that overwhelming, the bene ts by far brochures, and social media postings. you want them in your program. outweigh the diculties. (Be sure to check these words and phrases with a second native speaker “Chào méng, musicians!” El Mundo Hace Música to ensure correct spellings and usage.) Sabine Trepte of Germany’s University An underserved population of students, of Hamburg suggests that our sense of ELLs are more likely to drop out of • DIVERSIFY YOUR PROGRAM. Maintain belonging and acceptance in social groups high school and score lower than their a culturally inclusive musical program. is an essential part of our social identities.3 peers on standardized tests, and are Do you have a primarily Hispanic ELL Student perception of musical ability and much less likely to participate in musical population? Bust out some Shakira social identity is directly aected by the 2 4 ensembles. Recruiting ELL students songs, or try to use Latino instruments! feedback we as teachers express to them. Ammerman. Headshot courtesy of Angela D. Bob O’Lary. Photo by

22 Teaching Music JANUARY 2018 While the challenges of working with ELL students may seem overwhelming, the benefits by far outweigh the difficulties.

of your ELL students holding and playing their instruments is a great way to encourage identity development and family support. Students will show their families these images that say, “Look! I am doing something that I enjoy! I am in a special group, and I have been successful today.”

3. REFER TO STUDENTS AS “MUSICIANS.” When I began saying “Good morning, musicians,” instead of greeting students with “Good morning, class,” I immedi- ately noticed a positive change in posture and student ownership. I even noticed a change in conversations outside of my classroom: “Yeah, man, I have to practice, because I am a violinist.” Note that they did not say “I have to practice because I play the Finding a place for every child in the recording from his or her own violin.” They began to identify not program is of the utmost importance, culture to share with your class. only with the music, but also as and fostering a positive musical social musicians themselves. identity will do just that. 2. ¿TELÉFONO? Consider your prole picture on Upgrade Your Teaching 1. RESPECT EACH STUDENT’S Facebook, Snapchat, or Instagram. Are Part of the magic of music is the power EXPERTISE, AND FIND A ROLE FOR EACH you holding a baton or an instrument, a to captivate an entire audience and to CHILD TO PLAY IN YOUR CLASS. child, or a family member? The images convey love, pride, sadness, and joy a. Do you have students from Vietnam? we each share with others reveal pieces without the use of the spoken word. Ask them how to say “Welcome!” in of our identity. The customary method Try the strategies below to bridge the Vietnamese, then practice on all your for sharing school events and successes communication gap with fewer words students: “Chào méng, musicians!” with families may not be ideal for ELL (and less time) to build an even b. Does your instrumental ensemble students. Parents of ELL students may stronger program. include utists from El Salvador? not understand the language used on Study Salvadoran composers in class. homework assignments, and some 1. VISUAL c. Have Composer Heritage Days students’ parents may be living outside a. Gain mastery over nonverbal cues where each musician brings in a the country. Taking pictures and videos (NVC) to optimize learning in your

nafme.org 23 ELL-friendly class. b. Demonstrate inappropriate behaviors rst and shake your head to indicate a negative response. Then, demonstrate the appropriate behavior and give a smile and a nod to indicate desirability. For instance, for posture issues: • Slouch in your chair. • Let your head loll to the side. • Very clearly shake your head “no.” • Sit up straight, give a big smile, and nod your head “yes.” c. Use relevant visual aids: • Posture posters featuring your own musicians. • Comics, cartoons, and pictures that use as few words as possible. • NVCs in the chart below. Consistently use the same phrases • Allow students to record parts of 3. WRITTEN and words as in the chart. class so they can go home and a. Always use concise and simple continue to practice. vocabulary. 2. AURAL • Make your own tutorials and b. Write keywords on the board clearly. a. Engage in call-and-response: You upload them to your class website/ Practice reading and speaking play, the students play, repeat. YouTube page. Better yet, have keywords multiple times in a rehears- b. Provide recordings of the pieces you your advanced players make the al, and review the following day. are working on. tutorials. c. Send short, simple letters home with your students. Nonverbal Cues (NVC) Chart Make Connections DESIRED CUE 1 CUE 2 SPEAK Last year, I taught in a school that BEHAVIOR boasted nearly every ethnicity found UNPACK Hands pulling imaginary Hands opening “Unpack” zipper in a horizontal circle imaginary case in a major metropolitan area. My GET BOOKS OUT Hands together Hands open “Books” musicians were vastly diverse and ran vertically the gamut from those who were INSTRUMENTS UP Palms facing ground Palms move outward, “Instruments then face up as if up” brand-new to our culture to those wrapping an imaginary loaf of bread who have been in the U.S. since the REST POSITION Palms facing ceiling Palms move outward, “Rest third grade. One of my beginner ELL then face down as if position” musicians was Grace, a shy junior kneading dough violinist in my orchestra program. MEASURE X Both hands up—palms Hands move down in a “Measure X” facing each other, fingers chopping motion Grace moved here from South Korea straight and out in 2015 and could barely speak a word DO IT AGAIN Index finger pointing to Turn index finger “Repeat” back of room in circular, clockwise of English, but she knew that she motion wanted to play the violin. Through a ONE Both hands up—palms Hands focus on the sec- “Violins only,” INSTRUMENT facing each other, fingers tion you want to hear— “Flutes only,” lengthy process of trial-and-error and, ALONE straight and out e.g., Violin 1: Center of etc. nally, the strategies above, I was hands will land on the violin section as if you amazed at how quickly she learned the are cutting everyone else out violin. Within just two years of her PACK UP Hands out—palms facing Move hands in until “Pack up” arrival in the U.S., she had already in, fingers straight they touch

successfully auditioned for an interme- Ammerman. Photos courtesy of Angela D.

24 Teaching Music JANUARY 2018 diate orchestra, and her English-speak- It is this beautiful tapestry of program sprinkled with visual tools to ing skills had skyrocketed. Toward the harmonies, simultaneously simple and augment learning objectives, and end of the year, I asked Grace why she complex, that my English Language building identities as musicians are just loved orchestra so much, and she said, Learners painted across my orchestra a few strategies we can use to help the “For me, music is con dence. I hear program. Fostering an inclusive world make music. what we play, and I listen. It helps me Notes to listen to words, too.” At this point, 1. J. A. Lorah, E. A., Sanders, and S. J. Morrison, “The Relationship Between English Language Learner Status and Music Ensemble Participation,” Journal of Research in Music Education, 62, no. 3 (2014), 234–44; A. B. Rao, A. B. (2011). she looked right at me and said, “I hear Beyond the Language Program Model: The Importance of Student Identity for the English Language Learner (Doctoral diss.), DePaul University, Chicago, Illinois. 2. Ken Elpus and Carlos R. Abril, “High School Music Ensemble Students what people say, and I listen and in the United States: A Demographic Profile,” Journal of Research in Music Education, 59, no. 2 (2011), 128–45. understand, too. Before orchestra, I 3. Sabine Trepte, “Social Identity Theory,” in J. Bryant and P. Verderer, Eds, Psychology of Entertainment (Lawrence Erlbaum Associates Publishers, Mahwah, NJ, 2006), 255–71. 4. C. C. Ng and K. Hartwig, “Teachers’ Perceptions of had no friends. Now when I have a Declining Participation in School Music,” Research Studies in Music Education, 33, no. 2 (2011), 123–42. bad day, I play music with friends, and they listen, and it’s like we are friends because of music.” Performances Last year, I took all of my musicians Live Streamed at to our State Assessment, also known livestream.com/wcupa as “State Festival.” My beginners— including my ELL beginners—played along with my intermediate musicians on simpli ed parts. Despite a signi cant language barrier and an enormous gap in ability, my musicians received straight superior scores from the stage judges. After Assessment, I interviewed Grace again and asked how she felt after the performance. Beaming with joy and brimming with tears, she said,

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M.M. Piano Pedagogy M.M. Music History and Literature M.M. Music Theory and Composition M.M. Music Education (Research Report, Performance, Orff- Schulwerk, Kodaly Option, Music Technology) M.M. Music Performance (Instrumental, Instrumental Conducting, Choral Conducting, Vocal, Piano, Organ) wcupa.edu/music

NASM National Association of Schools of Music

nafme.org 25 L A CI GET READY FOR PE

S MUSIC

M IN OUR

S SCHOOLS O I MONTH!

M MUSIC CONNECTS US MUSIC CONNECTS BY CATHY APPLEFELD US! OLSON

NOW MORE THAN EVER, there’s no denying the collective, connective power of music. The theme for this year’s Music In Our Schools Month®, which takes place in March, is social media, NAfME asks participants to use the hashtags “Music Connects Us.” #MIOSM and #MusicConnectsUs. Kristen Rencher, NAfME’s Director of Member and Among the elements of the program that are widely Student Programs, notes that “NAfME adheres closely to the embraced by music educators are special performances, ideal of fostering inclusion, diversity, and equity. Our stated lessons, sing-alongs, and activities aimed at shining a light on mission is ‘to advance music education by promoting the their music programs for administrators, parents, and the understanding and making of music by all’—with an community at large. But how else can you get your students emphasis on ‘all.’” red up to celebrate music education in a big way in March? According to Rencher, “Inclusion and Equity” are among n Invite parents in for a sneak peek—a chance to attend their NAfME’s core values, “which we de ne as: Building child’s rehearsals, not just the concerts. strength and promoting diversity in a profession representing n Take students to a local retirement center and invite the wide spectrum of people and cultures, abilities, economic residents to join in a sing-along. backgrounds, and gender identities. The 2018 MIOSM® n Invite your administration, school board, and/or other theme is meant to support our mission, and we look forward community members in for class. to seeing on social media how our members capture how n Create a video for local advocacy. Record your students music connects their students, school, and community.” performing and include an introduction from your principal, Elementary and secondary music educators celebrate the mayor, or another leader demonstrating their support for music month in myriad ways. “While in previous MIOSM years education, and use the video for outreach on local television. members would perform just the repertoire provided by NAfME, we have seen an expansion beyond the K–5 engagement to both middle and high school music programs that incorporate the theme into their classrooms and share their photos with us on social media,” says Rencher. “We really enjoy sharing their videos and photos, which help show how unique each music classroom is, and how important mu-

sic is in our schools.” When sharing their MIOSM-related (2). Photos clockwise from top iStock.com/SolStock; iStock.com/Highwaystarz-Photography

26 Teaching Music JANUARY 2018 AMERICAN YOUNG VOICES CONCERT Think of the ascending power of a concert. Now, imagine that experience multiplied exponentially. For 20 years, American Young Voices has brought together a total of more than a million students around the globe to participate in mass-scale music education experiences, including staging the largest school choir concerts in the world. This year, NAfME is again partnering with American Young Voices in conjunction with Music In Our Schools Month for five concerts in early summer. This year’s events are centered around the Mid-Atlantic region. Locations and dates are: • June 4: Tsongas Center in Lowell, Massachusettes • June 5: Liacouras Center in Philadelphia, Pennsylvania • June 6: EagleBank Arena in Fairfax, Virginia • June 7: Times Union Center in Albany, New York • June 8: Prudential Center in Newark, New Jersey Teachers can prepare the music in their classes—thus, the MIOSM tie-in—before their students come together for the concerts at the arenas. The cost is $95 per school for those that will have a MUSIC choir participating on-site. Teachers who are unable to bring stu- dents to the concerts can still participate in the fun and the learning by downloading the free sheet music for “Singing Together” by Craig McLeish as well as a lesson plan, teaching aims and objectives that align with the 2014 Music Standards, and conductor notes. The curriculum is designed to strengthen students’ skill sets in the areas of vocal range, diction, and music literacy. CONNECTS “WE LOOK For more information, visit: bit.ly/AYVMIOSM. FORWARD TO SEEING ON n Ask the students to list the ways in which music is a part of SOCIAL MEDIA HOW OUR their everyday lives, and then compare lists with friends and US! MEMBERS family members. CAPTURE As you begin prepping for MIOSM, consider inviting HOW MUSIC local Tri-M ® or Collegiate NAfME members to participate CONNECTS in plans for the month through performing, teaching, games, THEIR n Make a “Music Month” and discussions. Another way to get students engaged is for STUDENTS, calendar, and suggest that SCHOOL, AND teachers to share their own stories: Let students know what students dress for di erent COMMUNIT Y.” inspired you and why you chose to pursue music. musical eras. Play appropri- —KRISTEN RENCHER NAfME will again be o ering MIOSM merchandise for ate music as students arrive purchase, this year with an expanded selection. New for 2018 in the morning and at lunchtime. are MIOSM-themed buttons, pencils, stickers, and posters. n Add a musical touch to the morning announcements. Try “In addition, we will also be sharing new repertoire and having a “mystery tune” each day, or a music trivia question, educational resources that will be available after the new with MIOSM prizes for the winner. year,” Rencher adds. There are tons of NAfME resources n Sponsor a poster, poetry, or other ne arts contest. Entries available for teachers and schools to use in their concerts, should support Music In Our Schools Month and revolve including free sheet music downloads, lesson plans, teaching around this year’s theme of “Music Connects Us.” aims, and objectives that align with the new 2014 Music n Ask students to draw their favorite musical instrument, Standards, and conductor notes. More information can be design an instrument of the future, or bring in homemade found at nafme.org/MIOSM. instruments for “show and tell.” n Ask students to cut out pictures of music and musicians from magazines and create a musical wall collage for your classroom. n Collaborate with your school’s history or social studies departments to create cross-curricular activities based on the theme of the concert or the pieces being performed. n Take a eld trip to hear a local college group, community chorus, or orchestra, or invite a group to perform at your school. n Collaborate with the art teacher and have students design posters, banners, and buttons featuring the MIOSM theme of “Music Connects Us.”

nafme.org 27 28 TECH SPECIAL TECH

Teaching Music Music Teaching elementary! tech speci c key and scale format for each project. This limits the notes that they can can they that notes the limits This project. each for speci format scale and ckey the students the giving by start Or I’ll an from keys remove instrument. you youwhen do thing of kind It’s same choose. the can they what limit to o turn and in go  at not Ican speci(or, least, at GarageBand, cnotes rst). In it ‘improvisation’ call Inever and agame, outas starts thing whole “The Moon, way. Says easy afun, in improvisation teaching of ameans as  classes fth-grade and fourth- his of all almost into GarageBand heworks aresult, As classroom. his in creativity and improvisation on emphasis astrong puts Carolina, South Charleston, in School Elementary Goodwin at teacher music Moon, Richard GarageBand as a Gateway to Improvisation lessons? existing our into software and apps music-centered way incorporate to best the ple, is what consider. to caveats For exam- many still are there programs, However,country. in huge this despite our of tech into ux over the all classrooms in more more norm the and ing becom- is general in music-making theory, music and tion, of composi- skills the help teach to us technologies software and school of year. new use hardware The each passing with more robust and larger grow to seems classroom music tary elemen- the in use to tools of technology-based variety The

JANUARY 2018 JANUARY sounds, and more. improvisation, composition, instrument educators are using technology to teach Here’s how just afew elementary music BY CHAD CRISWELL CHAD BY IS

Photo from iStock.com/ Nadezhda1906. nafme.org 29 TECH SPECIAL choose for their solos, so the students “The iPad can be used are really only dealing with one-di- mensional creativity, the rhythm. In the effectively to do almost game (which I call ‘Smack Down’), I the impossible.” — Cherie Herring give the students a few simple rules for what they can and can’t do as they play. (positive or negative) he or she must musicians or some of their favorite The big rule is that you can’t skip notes. verbally explain whether or not it music artists. Then I record the kids I tell them they can only repeat the ‘sounded good.’ At that point, it seems playing along with them, either on note, or go from one key to its ‘next to become a moral imperative for each transposed electric keyboards or on door neighbor’ (up or down). The game child to get away with breaking the iPads, after setting up the appropriate initially to them is just to not skip, but rules. The degree of focus I observe as key and scale format in GarageBand. the key moment is when somebody they perform and listen to their peers One time I had a student come up to accidentally skips a note and I ‘let it perform solos, increases exponential- me saying that she really loved the slide’, and still reward that child. When ly—all of this in their quest to discover sound of the French horn and now she that happens, the rest of the students go the secret to how their choice of wanted to be a jazz French hornist! I crazy in protest. I explain to them, you rhythms and keys will sound good didn’t have the heart to tell her that broke the rule, but it still sounded when they play an improvisation solo.” there is no such thing, but the point is, good. Their response is always ‘Can we These introductions into improvisa- who am I to say what a child can or break the rules too? My response is tion lead into more advanced, but cannot accomplish in music and in life?” ‘Well yeah, if it sounds good.’ Their informal, aural training lessons. Says Even though GarageBand is a great next question is critical: ‘How do we Moon, “One of the best ways to develop tool for teaching these skills, it is not know what will sound good?’ and my the ear is what I call ‘playing with the without its limitations. Moon, however, response is always ‘I don’t know, I guess pros.’ In our jam sessions, the students has found ways to work around the you have to gure that out for your- get to pick the sound of whatever issues he sees as the most pressing. “I selves.’ From that time on, if a member instrument they want to use and I tell nd that the iPad can be a great prepiano breaks a rule in a solo, the class and I them if it will be all–black or all–white- instrument because, instead of having 12 decide if it sounded good or not (and if key improv. It can’t be a drum kit, notes to deal with, you can easily make he or she should be rewarded with a though: It has to be a tonal instrument. the keyboard pentatonic or whatever ‘Bach Buck’). If a member wants to The students set their keyboards up and you need, but the only thing that holds give an opinion on a peer’s performance play along with either great jazz back GarageBand is that you can’t transpose the black and white piano keyboard—only the light and dark grey ones.” To get around this limitation, Moon uses various tactics in his jam sessions that involve both iPads and his set of electric keyboards. “In the fourth- and fth-grade keyboard ensembles, I use normal electric keyboards and have them set to trans- pose so that, at the beginning, we only have to use the black keys. I’ll number the keys ‘1,’ ‘2,’ ‘3,’ etc. In GarageBand, it’s a little di erent. You can’t use normal notation for these things because of the fact that we are removing notes, so to work around this I use overlay sheets over the iPad keyboard to help students Cherie Herring makes frequent nd speci c keys (which are numbered) use of iPads in in order to follow a ‘key sequence her classroom.

keyboard map.’ I take the overlay sheets Photos courtesy of Cherie Herring.

30 Teaching Music JANUARY 2018 Teaching With Games Want to take your classroom up a notch? Try incorporating more tech-based games into your instruction. The gamifi cation of education is a hot topic these days, as teachers increasingly use fun apps, soft- ware, and more to teach and assess student progress. Bergeron does this by using an iPad to make solo-singing and improvisa- tion more fun—and less scary—with her younger students. “When doing vocal ex- ploration or short improvisations, I’ll use an app like MadPad or Keezy and pass the iPad around for each student to record. Then, students take turns ‘playing’ the sound board created by their explorations or improvisations. I fi nd that this really helps bring students out of their shell and takes their mind off the pressure of solo-singing.” For other ideas on how to teach various skills with technology, check out the iOS apps below. NinGenius A fun, competitive way to teach and assess student knowledge of note names and instrument fi n- gerings. Faster answers earn higher scores, and the built-in leaderboard gets students working hard to improve their scores. away and make the students use regu- example, uses a template created in lar-sized ‘keyboard maps.’ This is to Book Creator to record their discover- develop the skill of eyes looking up and ies about how instruments make sound: down at music, and then at the instru- scrape, hit, or shake. They may take a ment keyboard or the teacher. picture, record the sound of the Moon is also developing his own instrument, and explain, ‘To play this curriculum based around his use of instrument you …’ The iPad can be Rhythm Cat Pro 2 Students can learn how to play GarageBand. Information on this is used e ectively to demonstrate under- rhythms in a fun, game-like inter- face with 60 progressive levels available at bit.ly/mrmoonmusic; click standing of other instruction.” and thirty different songs. Practice as much the link for “GarageBand for Music Herring’s ideas for using the iPad as you want or adjust the tempo to match your needs. Classes K–12.” take many other forms as well. She and her students have used it along with Elementary iPad iDeas Google Earth to locate Debussy’s home Cherie Herring, music/technology Spe- in France, and have also used Doodle cialist at the Hammond School in Buddy to create an impressionistic Columbia, South Carolina, also makes painting in the style of Monet. “The heavy use of iPads in her classroom. iPad can be used e ectively to do “Our school makes a conscious e ort to almost the impossible. For example, use iPads more for creating and when learning about Debussy, the My Note Games This app can help students to explaining, and less for skill and drill,” whole tone scale, and rubato, I was able learn to read music notes on the says Herring. “That’s why we have to create a listening map for ‘Golliwog’s staff while using a real instrument to play them. You can start the kids off purchased Book Creator, Explain Cakewalk’ in which students moved a by tapping the note names, and then take things up a notch by having the students Everything, and GoodNotes for every doll to the steady beat in the A section, play along. student. Using apps such as Book but had to move the doll to demon- Creator and Explain Everything, I can strate rubato in the B section. I can’t create templates and deliver them to my imagine another way of having 21 students via AirDrop [a method for students experiencing and recording sending  les from one iOS or macOS rubato movement at the same time in a device to another]. Kindergarten, for feeling sort of way.”

nafme.org 31 TECH SPECIAL Fourth-grader Theresa Farquarh composes with guidance from Jacob Prosek. class throughout the day. I also use the board to show visual cues for class formations when we are moving around between Or activities. As an example, if I want the students to sit in a circle or some other formation, it can be tough with a group of kindergartners to get them to understand what I mean. So instead I’ll put up a photo of students sitting in a circle. Showing things like that visually helps a lot. Our school is also really big into using ‘I Can’ statements, so I’ll use the board to show those as well to each class.” His use of technology goes beyond the SMART Board, however, and ranges into the growing world of producing his own video content. Says Prosek, “I’m always looking for more ways to connect with students and Smart Concepts for level. This brings up a set of notes and families, so I’ve also started video the SMART Board rhythms, and they can drag things blogging and, honestly, the student Jacob Prosek, general music teacher at around to create a two-measure response has been very enthusiastic. My Westmore Elementary in Lombard, Illi- improvised rhythm using note options students and other people can interact nois, is a little more hardware-oriented that are appropriate to their grade with me through the vlog but, more in what he uses to help teach and enrich level.” importantly, the posts are fast to make his classroom lessons. His SMART This is just the rst of many dierent and easy for students and parents to Board system is an integral part of all of examples of how Prosek uses the board. digest. It’s a new way to interact with his classes. He uses it not only as a His ideas for ways in which to use the the community.” means of letting students be more board creatively and logistically are He also uses these self-made videos hands-on in the lesson, but also as a often unique and o the beaten path. in his classroom in a rather unique way. major organization and time-saving “The lessons I need for the entire day “As a speci c example, I’ve been tool. “Every day, we do a welcome song are all right there, and everything I creating and making video content to as the students enter the room,” says need for each part of each class is prepare kids for our rst-grade musical. Prosek. “As they are coming in, I already embedded inside the SMART I’ll make a video of myself doing the randomly select one student to come up Notebook le. All the music and audio choreography for the show and then front and compose on the board. The can be brought up with a button in the play it on the SMART Board as we student will go up and press a button on Notebook, and I can quickly remove, rehearse. This way, the kids can watch the SMART Board for their grade customize, and reset things for each and copy my movements without me having to physically be in front of the “I’m always looking for more classroom. I can walk around and help ways to connect with students instead. It helps a lot with classroom management. Without the students and families, so I’ve video, I can’t move around and help also started video blogging and, people; I’m stuck in one place at the front of the room. Plus, with a video I honestly, the student can make sure that what I am showing response has been very them is perfect, and there is no chance that I will mess up while demonstrat-

enthusiastic.” — Jacob Prosek ing the movements. It’s also great for Allen. Bottom photo courtesy of Cherie Herring. Kevin photo by Top

32 Teaching Music JANUARY 2018 things like preparing sub plans so that they can continue practicing even Helping to Meet the when I’m not there. It’s almost like I National Standards have duplicated myself.” For many teachers, one of the more difficult challenges regarding the new National Standards involves finding ways in which to meet those parts that deal with student creativity. The wonderful thing about technology is that it can make Problem-Solving and creating music on an individual level incredibly easy, and make recording and Work-Arounds archiving those creations even easier. Here are just a couple of MusicFirst Classroom–connected apps that can help. For Megan Bergeron DiSciscio, K–5 music teacher for Waltham Public O-Generator Schools (Massachusetts) and UMass This simple music sequencer lets students quickly create their own compositions by adding “pieces” to an overall rhythm. They can choose from dozens of sounds and Amherst doctoral student, technology is save results within the MusicFirst Classroom. also an integral part of her overall Groovy Music curriculum. For her, “technology is a Kids can explore music in a fun, creative way by working with a sequencer that in- really important tool for encouraging cludes many different visual themes. Students can earn rewards for exploring new concepts, and teachers can create assignments and archive performances within autonomy and creativity. Typically, a the MusicFirst Classroom. unit will begin with direct instruction but then culminate with a technology- Just as a student can have issues with ble-booked with another class, or any based project that allows students to technology, so, too, can the teacher. number of problems. But I think this demonstrate what they learned and also Bergeron admits that there are pros and can be a learning opportunity, too. If allow them more creative freedom. I cons to using any kind of technology in we as teachers are calm and exible in like to make sure these projects are the classroom, but she always plans the face of technical diculties, our open-ended and culminate in feedback ahead in case of problems. “Anytime I students will learn to be the same way. or a presentation rather than a grade. have a technology-heavy lesson, I also So much of teaching with technology is This way, students are less afraid of have a backup lesson plan. There are about teaching our students to be failure, which can be a stumbling block always days when the Wi-Fi doesn’t tech-positive! If they feel empowered to when working with technology.” work, the Chromebooks are dou- problem-solve and dig deeper on their Photos courtesy of Cherie Herring.

33 TECH SPECIAL

“If they feel own, that is a life skill that will serve Now, however, our district is migrating them well beyond the music room.” from iPads to Chromebooks, so I’m empowered to To reach this goal, Bergeron has currently trying to get caught up on problem-solve utilized both iPads and now Chrome- Chrome-based apps to replace some of books as the tools she uses most in her the iPad favorites. Right now, we are and dig classroom. “Something I miss about the using WeVideo for our lm-scoring deeper on iPads is that they were essentially their and sound-e ects project. We will be own MIDI controllers. It was really using Soundtrap later in the year for their own, that easy for students to play and record all more composition-based activities. is a life skill on one device. Soundtrap has a musical Both of these apps work seamlessly with typing feature, but it is less user-friendly. Google Classroom and are cloud-based, that will serve so I can check on their progress from them well anywhere and keep the projects organized by class.” beyond the Whether the goal is to open up new music room.” opportunities for creativity and learning in the classroom or to use —Megan technology simply as a means of Bergeron grabbing and focusing a student’s DiSciscio attention, consider moving away from the usual methods of elementary-level teaching and incorporate more tech into your routine. You may be amazed

at the results. Photos courtesy of Cherie Herring.

34 Teaching Music JANUARY 2018 AMPLIFY JOIN THE LARGEST COMMUNITY OF MUSIC EDUCATORS IN THE COUNTRY!

AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS.

• Discuss and Share – Younger educators can find ideas and share what they have learned. Experienced educators can mentor colleagues new to the profession. Plus, download resources relevant to your career—all in one platform.

• Network with Educators – Wherever you are, you can reach out to colleagues in other states and countries. Search a directory of your fellow 60,000 members.

HOW TO GET STARTED: • Go to community.nafme.org. • Edit your profile using your NAfME.org member username and personal password. • Control what is visible on your profile. • Join/subscribe to communities of your choice – you will automatically be enrolled in Music Educator Central. • Control the frequency and format of email notifications from Amplify.

Visit Amplify’s FAQ section: bit.ly/AmplifyFAQ (case-sensitive).

Reach Member Services at: 800-336-3768 or [email protected].

Bookmark Amplify on your browser: community.nafme.org. 1

Academy

NAf ME ACADEMY’S F I RS T A N N I V E RS A RY With over 80 hours of professional development— and growing!—NAfME Academy is a valuable and easily accessible resou rce for music educators. By Andrew S. Berman

When a schedule change at Prince George’s opment materials speci c to their classrooms. County Public Schools in Maryland resulted in “There is content in NAfME Academy for every less time for supervisors to meet with teachers, music educator,” assures JJ Norman, NAfME’s NAfME member and music supervisor Judith Professional Development Manager. NAfME Hawkins was concerned that it would impact Academy consists of a series of detailed webinars, professional development. It was already di cult browsable by category. Registered members can to schedule group sessions with a staggered bell look around for topics that interest them, or they schedule making everyone’s school day end at a can search for something speci c. di erent time. The answer came in an email: Registration is a simple process that begins at NAf ME Academy. nafme.org (under the “Programs” menu). After paying a subscription fee of $20 (the NAfME What is NAfME Academy? member rate), you will have access to a growing NAfME Academy is an online learning platform library that totaled 82 hours of webinars as of for music educators to access professional devel- December 2017. NAfME Academy is accessible

1 36 Teaching Music JANUARY 2018 1

NAf ME ACADEMY’S F I RS T A N N I V E RS A RY

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to you anywhere where you have an heard nothing but positive feedback,” A SAMPLING internet connection. “The feedback she says. OF WEBINARS we’ve heard over and over again is Hawkins’ positive experience using Looking for a place to start? that music educators love the asyn- NAfME Academy as a district Check out these webinars, which are the most popular among chronous aspect of NAfME Acade- administrator is a model of the NAfME Academy users: my,” says Norman. “They can use the Academy’s direction for its second year • Alternative Techniques for Academy wherever they happen to be, and beyond, shares Norman. “We Teaching Middle School Band • Essential Time Management and can apply what they learned in hope to see the trend of district Strategies for Teachers their classroom the very next day.” supervisors purchasing subscriptions • Fostering Independent Musicians Upon completion of a webinar, there for all those they oversee continue and in the Choral Classroom • OMG Strings! Tips and Tools is a brief assessment consisting of a few grow,” he says. In addition to Haw- for the Non–Strings-Playing questions. Teachers who score 75% or kins’ home district of Prince George’s Strings Teacher higher on the assessment receive a cer- County, which has purchased 68 • Professionalism in the Education Workplace ti cate of completion valued at one subscriptions, Atlanta Public Schools • Set Up for Success: Keys contact hour. Avid learners can soon has provided 100 to its music faculty, to a Well-Run Classroom amass a repertoire of certi cates, and the New York City Department of • Teaching Lessons to Special Learners broadening their knowledge and Education recently purchased 450. • Top Ten Tips to Energize ability to teach and lead. The Acade- NAfME Academy grew out of an Your Rehearsal my’s base of knowledge is growing earlier professional development too, with a plan to add 50 new program and has greatly surpassed its you’re registered, they’re right there in webinars each year. New webinars are predecessor. Norman reports that the NAfME Academy library. added as they are created, enabling a rst year of NAfME Academy has constant  ow of new content into exceeded expectations with over 4,000 Testimonials from the library. registered users. He attributes this Webinar Presenters success to ease of access, and adds that NAfME Academy users who want to Why NAfME Academy? the need for a readily accessible, get further involved with the Hawkins says that NAfME Academy is inexpensive program was the impetus program can apply to become webinar a great avenue for teachers who need for the creation of the Academy. presenters. The NAfME Professional professional development credit to Unlimited access is important given Development Committee has an achieve tenure or renew their profes- the realities of a career in music evergreen call for proposals. At any sional certi cation. Beyond ful lling education. A chorus teacher may be time, interested members can requirements, “It’s helping them be the called upon to teach a guitar class. Any submit their proposals to present best teachers they can be,” she sort of shift in a school’s budget or a NAfME Academy webinar at observes. Hawkins also notes that it’s a circumstances can have the music bit.ly/NAfME-PD-Webinars. All valuable tool for her as a supervisor. teacher going where they’re most proposals are peer-reviewed. “NAfME She sees the certi cates of completion needed, which may not be their Academy is by music educators, for rolling in from her teachers nishing specialty. NAfME Academy may not music educators,” says Norman. the webinars and gains insight into get the chorus teacher 100% of the “I had this idea for a presentation their interests and the areas in which way to con dently instructing a class called ‘Stop the Clock Gawk,’” recalls they feel they need reinforcement. of students on guitar, but “Developing NAfME member Angela Ammerman, “Surveys may not address those needs the Successful Guitar Class” by assistant professor and coordinator of and likes,” she points out. She’s found Michael Christiansen and “Finding the music education at the University of that hip-hop and general music are of Right Music Literature for Your Tennessee at Martin. “Music educators particular interest among music Guitar Program” by Christopher Perez frequently comment on the lack of teachers in her district. “So far, I’ve are a great place to start and, once classroom management training in the typical undergraduate degree pro- “NAfME ACADEMY IS BY MUSIC EDUCATORS, gram.” Ammerman brought her

FOR MUSIC EDUCATORS.” —JJ NORMAN proposal to the NAfME Professional Photo this page from iStock.com/Geber86. iStock.com/RuthBlack; iStock.com/valentinrussanov. Opening spread photos from left: iStock.com/BartekSzewczyk; iStock.com/andresr;

1 38 Teaching Music JANUARY 2018 1

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Development Committee, and it was webinar beyond energizing the “IT’S HELPING approved. “When I received the children is meeting them where they acceptance email, I was thrilled to are. “The thing we have to remember THEM BE THE nally get a chance to share my is that we want our students (all of our BEST TEACHERS message!” Ammerman then worked students) to be lifelong music lovers,” THEY CAN BE.” with Norman to create her webinar. she says. “That means that we must —JUDITH HAWKINS He suggested a format in which both nd ways to reach each and every her PowerPoint slide deck and her face child, even the ones who can barely bend. Since Strong is an endorsed as she’s giving the presentation are stay focused for ten minutes!” teacher trainer in CS for the Feiera- visible to the user. “The process was NAfME member Missy Strong, bend Association for Music Education, way easier than I had expected,” she music specialist at Fleetwood Elemen- she thought it was a great topic for a says. Ammerman was able to down- tary School in Mount Laurel, New NAfME Academy webinar. “So many load an application and record her Jersey, and adjunct professor of music people are using Conversational presentation right from her home. education at Montclair State Universi- Solfege or interested in nding out Ammerman’s webinar is called ty, also in New Jersey, feels strongly about it that doing a webinar with “Top Ten Tips to Energize Your that “music teachers, who can often such a vast reach made a lot of sense,” Rehearsal,” and it was inspired both feel quite isolated, thrive when they Strong relates. “And the folkdance by her time as a music educator and feel that they are a part of the broader webinar was just plain fun, and her experiences growing up as a music music ed community.” Strong created something that people want to do but student. “As a music educator, I made the “What Is Conversational Solfege don’t necessarily know how to start in it my goal to always keep my students and How Can It Fit into My Elemen- their classrooms!” engaged and excited to be in my tary Music Classroom?” and “Folk The experience of recording classroom,” re ects Ammerman. “The Dancing in the General Music webinars reinforced Strong’s feeling minute I would see a student look at Classroom” webinars. Conversational that NAfME Academy is a “fantastic” the clock, I knew I needed to step up Solfege (CS) is a notational literacy way for teachers to develop their skills. my game.” The ultimate goal of her program developed by John Feiera- She says the Academy “o ers a plethora of PD [Professional Develop- “ANY PROFESSIONAL DEVELOPMENT ment] opportunities at the ngertips of THAT A MUSIC TEACHER EXPERIENCES music educators that otherwise might not be available. And of course, any IS BOUND TO POSITIVELY IMPACT PD that a music teacher experiences is THEIR STUDENTS!” —MISSY STRONG bound to positively impact their students!” To learn more about NAfME Academy, visit bit.ly/NAfMEAcademy. There you will nd a full list of useful webinars, plus a brief instructional video providing an inside look at the platform. You can also see the sidebar for a list of the most popular webinar topics currently available in the library. Sign up for a $20 subscription or speak to your supervisor about subscriptions for you and your colleagues. The next new webinar could be the topic you’ve been waiting for, or it could already be

waiting for you in the library. istock.com/manaemedia. Photos from left: iStock.com/pixelfit;

1 40 Teaching Music JANUARY 2018 1 New Publications from NAfME

Songwriting: Strategies for Musical Self-Expression and Creativity Christian V. Hauser, Daniel R. Tomal, and Rekha S. Rajan. Foreword by Jim Peterik. Preface by BJ Thomas A musical composer, guitar rocker, and lyric opera singer team up to write this sensational book on songwriting. This book includes everything you want to know about the core competencies of songwriting, elements of music, and lyrics. Features include writing song lyrics, crafting musical compositions, musical styles, getting a contract, sustaining a career, publishers and agents, recording, and even how to survive in the music industry. No matter what music genre you desire—blues, country, hip hop, gospel, punk, classical, alternative, jingles, or rock—this is the book for you. You will find this fascinating book filled with tips, quotes from famous songwriters and musicians, and numerous stories on songwriting that will keep you fully engaged. Pages: 200 • Trim: 7 1/8 x 10 1/2 978-1-4758-2940-2 • Hardback • September 2017 • $70.00 • (£47.95) 978-1-4758-2941-9 • Paperback • September 2017 • $35.00 • (£23.95) 978-1-4758-2942-6 • eBook • September 2017 • $33.00 • (£22.95)

Classroom Keyboard: Play and Create Melodies with Chords Patricia Melcher Bissell with Brereton Wadsworth Bissell This book is concise, practical, and has modular content that can be taught in several flexible formats. The introduction of one hundred musical elements is supported by three hundred activities. Ten core melodies and seventeen other authentic pieces are carefully sequenced in mostly fixed hand positions. The intervallic reading of melodic notation is emphasized. Melodic repetition and gradually more demanding accompaniments help students with divergent abilities to play successfully. Students with prior musical experience will find that this course introduces them to aspects of musicianship that will enhance their future efforts. This book will facilitate meeting the Core Music Standards for grades 5–8, and the Novice/Intermediate Harmonizing Instruments Strand. It will help prepare students for the Novice/Intermediate Ensemble Strand, the Proficient Composition/Theory Strand, and the Proficient Technology Strand. It will also facilitate introductory college instruction. Pages: 128 • Trim: 9 x 11 1/2 978-1-4758-3541-0 • Hardback • May 2017 • $45.00 • (£29.95) 978-1-4758-3542-7 • Paperback • May 2017 • $22.00 • (£14.95) 978-1-4758-3543-4 • eBook • May 2017 • $20.50 • (£13.95)

An Attitude and Approach for Teaching Music to Special Learners, 3rd Edition

MUSIC EDUCATION • SPECIAL EDUCATION SOBOL Elise S. Sobol “In this new and updated edition, Dr. Elise S. Sobol addresses the most recent developments in music pedagogy for students with special needs. In the process, she makes an essential text even more relevant.” —Thomas MacFarlane, PhD, music education administrative coordinator, An international handbook of inspirational wisdom for teaching music universally to enhance the learning Department of Music and Performing Arts Professions, New York University Steinhardt School of Culture, Education, and Human Development

“Elise S. Sobol’s new edition of her book lives up to its title of ‘attitude’ and ‘approach’ to music for potential in children of all ages, backgrounds, and capabilities, An Attitude and Approach for Teaching Music to children with special needs…an encyclopedic work bringing professionals truly up to date in valuing

and meeting these children’s needs.” AN ATTITUDE AND APPROACHFOR TEACHING MUSIC TO SPECIAL LEARNERS THIRD EDITION —Jerrold Ross, dean emeritus, School of Education, St. John’s University, New York; Special Learners is a most accessible relevant reference to facilitate lifelong student learning. It is equally useful chair, Arts Education Committee, Department of Education, New York City Public Schools

“Reaching beyond the great work of her two previous editions, Elise S. Sobol gifts the music education community once again by sharing her experience and insights gained from the continually evolving practice of for music educators and classroom teachers, administrators and curriculum designers, instructional leaders in teaching music to children with disabilities in the public school setting. In doing so, Sobol serves as a catalyst in our work as music educators to expand our efforts for inspiring students of all abilities to become lifelong music learners and lovers. A must-read for anyone wanting to learn more about teaching music to students with disabilities.” —Stephen M. Shore, EdD, clinical assistant professor, special education, higher education, and parents and caregivers. Backed by research and driven by author’s passionate commitment Adelphi University, New York; author, educator, consultant, musician, and presenter on issues related to autism and special education to affect a better global future for our children, text revisions include updates in educational law, criteria for “In this time of rapid change in the demographic, legal, and technological landscapes surrounding the field AN ATTITUDE of music education and special needs, this third edition of An Attitude and Approach for Teaching Music to Special Learners is an indispensable resource for music educators. Pioneering music teacher and teacher AND APPROACH FOR educator Dr. Elise S. Sobol draws on her extensive experience and highlights the latest developments and designating disability categories, accommodations, standards, definitions, trends, and notice of the significant innovations to provide music educators with the habits of mind and teaching strategies that they need to reach all of their students.” —Rhoda Bernard, EdD, chair, music education, and director, TEACHING MUSIC TO Autism Spectrum Programs, Boston Conservatory at Berklee SPECIAL LEARNERS societal strides made in the visibility and educational expectations of our students with developmental disabilities, ELISE S. SOBOL, EdD, teaches special education courses in the music education departments of New York University Steinhardt School of Culture, Education, and Human Development; LIU Post College of Arts, Communications and Design; and Brooklyn College Conservatory of Music of the City University including those with autism spectrum disorders. Classroom-tested inclusive music teaching and critical thinking of New York. Recently retired from the Nassau BOCES Department of Special Education, Rosemary Kennedy School for Students with Autism and Developmental Disabilities, she has more than 36 years of THIRD EDITION experience in pre K–secondary in general and special education. strategies impact student success across the curriculum to help students meet grade-level expectations for

ELISE S. SOBOL English Language Arts, science, social studies, and mathematics. FOREWORD BY ALICE M. HAMMEL 800-462-6420 • www.rowman.com Cover image © iStock.com/bubaone Pages: 198 • Trim: 6 1/4 x 9 1/2 978-1-4758-2840-5 • Hardback • May 2017 • $60.00 • (£39.95) 978-1-4758-2841-2 • Paperback • April 2017 • $30.00 • (£19.95) 978-1-4758-2842-9 • eBook • April 2017 • $28.50 • (£18.95)

Playing the Soprano Recorder: For School, Community, and the Private Studio, 2nd Edition Lois Veenhoven Guderian Written for general music classes, group and private instruction, and self-learners, Playing the Soprano Recorder provides teachers and students with a sequential and musical approach to learning Western music notation and soprano recorder playing. In addition, each lesson provides opportunities to apply, in creative ways, the notation and concepts they learn and also to support the development of creative thinking and the tools needed for composing music in Western notation. Pages: 352 • Trim: 8 1/2 x 11 978-1-4758-3870-1 • Spiral-bound • October 2017 • $40.00 • (£24.95) 978-1-4758-3871-8 • eBook • October 2017 • $38.00 • (£24.95)

To Order: Call 1-800-462-6420 or go online at rowman.com NAfME members save 25% “We have the power to pave our own path to success.” — Brian McDaniel

★★★ WALKING IN STUDENTS’ FOOTSTEPS, PAVING THE PATH TO SUCCESS “I walk from my students’ houses to Brian McDaniel, a California Teacher school so I know what their journey to school is like.” Let that sink in for a of the Year, builds strong relationships to moment. While developing strong relation- ensure his students win at school and life. ships is essential in music education,

BY STEPHEN HOLLEY how many of us can we say we’ve gone Grey; Brittany Photos (l to r) by courtesy of Brian McDaniel.

42 Teaching Music JANUARY 2018 three years old, his mother was shot nine times in the front yard of their home, but survived. At 11, his father committed suicide. As a teenager, he and his brothers were placed into foster care due to an abusive stepfather. Upon returning to their home, there was another incident of gun violence, and McDaniel’s family, minus the o end- ing stepfather, found themselves homeless. Although McDaniel found school to be dicult—often arriving dirty, hungry, and angry—he also found it to be a safe refuge from the streets. McDaniel credits several teachers with, quite literally, saving his life. Little did he know at the time that those experi- ences, as tragic as they were, would help him connect and mentor students in his community. In the years to come, McDaniel would go on to teach in the communi- PAVING THE PATH TO SUCCESS ty where he grew up, earn to this extreme? While we might have his Ed.D., be named one of general knowledge of a student’s life ve California Teachers of outside of school, and how that might succeed in any profession, much less the Year for 2018, and be California’s a ect their in-school performance, teaching. As a young boy growing up 2018 National Teacher of the Year who among us has actually walked in in the Coachella Valley of California, Nominee. the footsteps of our students? he endured more than his fair share of McDaniel’s classroom at Painted

Photos (l to r) by Brittany Grey; Grey; Brittany Photos (l to r) by courtesy of Brian McDaniel. Brian McDaniel was a long shot to su ering and heartache. When he was Hills Middle School (PHMS) in Desert

nafme.org 43 Hot Springs, California, In his  rst success at includes gifted and grant writing, McDaniel talented students, English secured $35,000 for new Language Learners, tubas, euphoniums, and students with special drum line equipment. needs, students from “Today, grant writing, socioeconomically donations, fundraising, disadvantaged families, partnerships, and sponsor- and historically low ships are the lifeblood of achievers. Choosing to my program.” With music serve in a Title I school, he program budgets being founded The Regiment slashed, McDaniel wants music program, a student- to “change the notion that led music organization that teachers are at the mercy serves as a safety net for of budgets. We have the students, helping them to “I TURNED TO GRANT WRITING WHEN I power to pave our own overcome the trials of FELT THAT I EXHAUSTED ALL OTHER path to success” beyond school and life. Serving traditional fundraising OPTIONS. IT WAS NOT DAUNTING AT ALL over a third of the student means. Grant writing, population, The Regiment BECAUSE I KNEW MY KIDS NEEDED THIS. donations, and partner- strives to improve school EVERY GRANT WAS A POSSIBILITY FOR A ships with local organiza- climate and academic BETTER LEARNING ENVIRONMENT.” tions and national music performance by living up manufacturers, coupled to their motto of rising “Beyond All McDaniel states that his “goal has with fundraising, helps put the power Expectatio ns.” been, and will always be, to provide for of the pocketbook back in the hands of When McDaniel arrived at PHMS my students” and that his “biggest gift all teachers regardless of their subject in 2014, he had already been a member to give them is hope.” With that in area. McDaniel has been wildly of the teaching community, having mind, and tasked with creating and successful in this area, obtaining over taught instrumental music at nearby equipping a program from the ground $1,000,000 in funding over the last 12 Desert Hot Springs High School since up and with a limited budget, McDan- years, ensuring that every student in 2006. PHMS had experienced several iel focused on securing funding his program can participate at no added challenges over the years, including through grant writing. “I turned to cost. increased enrollment, on-campus grant writing when I felt that I The sense of inclusivity at PHMS is violence, and bullying. McDaniel exhausted all other options. It was not palpable, and the school’s core values of relates starting a new program as daunting at all because I knew my kids responsibility, respect, safety, and similar to “pushing a stalled car in the needed this. Every grant was a possibil- cooperation are exempli ed by middle of an intersection during tra c: ity for a better learning environment.” McDaniel’s e orts. The Regiment is Many people will watch, but only a With his list of needs in hand, described as a “celebrated, award-win- few will help.” McDaniel focused both on how to raise ning, and respected organization the necessary funds and to make those throughout our school and communi- funds stretch as far as possible. He went ty.” Students in The Regiment are held about this in a very strategic manner accountable for grades, behaviors, and that would make anyone familiar with attitudes both inside and outside the purchasing and negotiation tactics classroom. As a result, they tend to proud. He would  rst get multiple bids achieve growth in music as well as from retailers, and then use the high other academics. The music program bids as targets for grants, scholarships, also has the advantage of total faculty and fundraising. Once the funds were buy-in. Not only do faculty support in hand, McDaniel would then contact fundraising e orts and regularly attend

the retailers to get the very best deal. concerts, but every Thursday, faculty Photos courtesy of Brian McDaniel.

44 Teaching Music JANUARY 2018 REGISTER TODAY! 2018 MUSIC RESEARCH AND TEACHER EDUCATION NATIONAL CONFERENCE Atlanta, GA | March 22-24 research.nafme.org wear their Regiment T-shirts and Education’s Positive Behavioral McDANIEL DESCRIBES hoodies in a show of solidarity and Intervention and Support system, has HIS ROLE AS A support for the music program. spearheaded an anti-bullying program The school, in addition to utilizing focusing on creating an inclusive and “CONSTANT SUPPORTER aspects of the U.S. Department of welcoming school community. This AND ADVOCATE FOR MY program works hand-in-hand with the STUDENTS. THEY KNOW I music program, helping to nurture an environment where everyone is AM ALWAYS ON THEIR welcome and students who might not TEAM, EVEN IF THEY ARE “ t in” can nd friends with similar IN THE WRONG. I TREAT interests, foster a support network, and WITH BRIAN McDANIEL EVERY STUDENT IN MY thrive in a school setting. McDaniel What do you know to be true CARE AS IF THEY WERE Q about teaching music that you describes his role as a “constant didn’t know when you started? That supporter and advocate for my students. MY OWN CHILD.” everyone has a place in the music room. Before, I thought music was for the They know I am always on their team, most talented or dedicated students. However, after 12 years of teaching even if they are in the wrong. I treat my responsibilities challenged me, but music I found the best impact was from every student in my care as if they were Phillip rose to the occasion. Witnessing students who might not have played the best, but had the biggest heart. my own child.” Phillip’s transformation from student to If I weren’t a music teacher I McDaniel’s desire to help his maestro was one of the most visible Q would ... I can’t imagine not being a music teacher. However, if I was not, students take on challenges supposedly manifestations of my impact on my I would probably be a Congressman beyond their level of ability, and students.” fighting for the rights of constituents. What’s the biggest lesson you thereby increase their feelings of Through dynamic, engaging, and Q want your students to learn self-con dence, came to the fore one rigorous instruction, Brian McDaniel while in your program? Anything is possible if you are willing to fight for it. evening during a musical performance. has brought about positive change to The music education profession He relates the story, “I was conducting the community of Desert Hot Springs. Q would be better if … It was val- ued, assessed, and funded to the same the musical You’re a Good Man Charlie Even with numerous stories of success standard as mathematics and English. Every child should have a holistic edu- Brown to a full house. After the show, a from his students as they grow into cation with music being a foundational drunk driver crippled my conducting con dent adults, McDaniel recalls the subject. What have you learned about arm when he rear-ended my car. The greatest gift he received from teaching: Q students and parents through doctors warned I might never conduct Helping his mother realize her dream your work? Many student and parents do not see their own value. All students again. Panic loomed. Upon hearing of attending college and becoming a have genius within them; it’s our job as educators to allow that genius to grow. this, Phillip, a 12th-grade alto saxo- nurse. Even though he lives in the What advice would you give to a phonist, jumped into action so the desert, McDaniel’s understands well Q teacher trying to start a program show could go on. For the next three the concept of a rising tide lifts all similar to yours? Fight for every inch. Hold onto your dream. Be bold, un- nights, Phillip became my arms, boats. “Every day, I tell my students, apologetic, and rage against the forces that oppose your success. The wall will leading the band in his Sunday best ‘Together we will rise, together we eventually crack, and opportunities will while receiving verbal cues into his will win, and will forever be remem- pour in.

earpiece. Trusting a student to take on bered.’” Photos courtesy of Brian McDaniel.

46 Teaching Music JANUARY 2018

workshop

String practice journals, hip-hop in the classroom, and more.

the children, and taught them to GENERAL MUSIC play antara, chuli, malta, and Teaching the toyos zampoñas,” remarks Musical Cultures Schleifer of the range of pan- of the Andes pipes. The students also learned about Andean utes—the quena The musically-rich cultures of and quenacho—as well as the Andes Mountains can make stringed instruments such as the for valuable additions to your charango, ronroco, Venezuelan general music classroom. For quatro, and guitar, and percus-

students whose families hail Panpipes and Andean flutes sion instruments like the bombo, from the region, learning about chajchas, and cajon. In addition this music can be of particular interest. styles with which these students became to learning about the instruments, “It only makes sense to expand the acquainted included “huayno, bailecito, students were able to create their own. general music curriculum to include the and cueca rhythms and tunes,” says “Part of our curriculum for the children music and culture of the many coun- Schleifer. “My colleague, Marco to understand the construction of the tries from which they came, including Hernandez, is a master Andean musician instruments included building a Mexico, Guatemala, Chile, Venezuela, who has spent much time in the Andes, ve-tube, pentatonically-tuned antara, Argentina, Peru, Bolivia, Ecuador, and and was able to share his personal and in the second session a 13-note many of the other countries of the observations and experiences of living, chromatic malta zampoña.” Andes and South America,” says playing music with, and absorbing the And the students didn’t just learn Kenneth G. Schleifer, a retired elemen- rich music, comida, and sociological about and build instruments—they tary instrumental music teacher who culture of the Quechua, Aymara, and performed with them as well. “We taught at Rehoboth Elementary School Mestizo Andinos.” found that the third–fth-grade students in Rehoboth Beach, Delaware. For oth- There is a rich variety of recorded were very eager to learn to play their er students, the knowledge can increase music that can be shared with students. own constructed antaras and zampoñas,” understanding and appreciation of the In the Rehoboth program, “We remarks Schleifer, but were more cultures of their classmates. introduced our students to the recorded successful on the other instruments that Rehoboth Elementary’s program— music and concert videos of the original were purchased through a grant. “We which was conducted after school—was masters of Andean music including Los performed ve pieces in our program open to students from grades three Kjarkas, Illapu, Bwiya Toli, Inti-Illima- showcase evening, and then on the through ve. “The curriculum worked ni, Quilapayún, and other inuential spring concert program for our school.” well with all of the students, but was individual artists,” says Schleifer. For Kenneth Schleifer’s list of particularly suited for the fth-grade Andean music encompasses a wide helpful online resources, please visit

students,” notes Schleifer. The musical range of instruments. “We introduced bit.ly/MusicoftheAndes. —Susan Poliniak Photo from iStocks.com/Cameris.

48 Teaching Music JANUARY 2018 BRASS & WOODWINDS

Pairing Beginners Physical ability and aptitude can with the Best play as big a role in instrument choice as Brass Instruments personal preference. Helping a student select the best brass instrument to play is often just as much

a function of physical ability and Caption aptitude as it is personal preference. Dan Mullen, director of bands at Beverly Hills Intermediate School in

Pasadena, Texas, says, “At any instru- Mullen continues, “ThereCaption are a STRINGS ment tting session, the rst thing I do number of physical characteristics I am with every student is check his or her looking at as well. Fuller lips are much String Student ability to match pitch with the voice. more successful on low brass but a full Practice Journals This is an essential skill if the student is bottom lip is often great on horn. What can practice journals accomplish going to be placed on horn or trom- Straight teeth are certainly a plus. for string students? Quite a lot, accord- bone. The next step in the process is to Braces are much more di cult on ing to Margretta Williams, instrumen- have the student blow air out of the upper brass. Body size certainly plays a tal music teacher at Apple Grove center of the lips so we can work role in the tuba selection, as the student Elementary School in Fort Washington, towards vibrating the mouthpiece. I tell must be physically able to handle the Maryland. For practice journals to be of them to say the word ‘sham’ and then case and hold the instrument properly. use, she says, “Students must connect blow air while thinking ‘poo.’ I model Arm length is a factor for trombone as a with their purpose. Their use must be this rst. The use of the word ‘sham- student with very short arms will relevant to their work in the class.” poo’ helps shape the face correctly and struggle with pitch accuracy in the Students should bring their journals to shows the students how to blow the air. longer positions.” every class session. They should set up Ideally, I’m looking for a  at chin, a Despite our best e orts, at some their journals as shown by the teacher. bottom lip that stays  at against the point in the year a beginner may need For example, seven days per page, noting bottom teeth, corners that stay against to switch to a di erent instrument. each date of the month, with a weekly the canine teeth, and air coming out of Mullen says, “The most common re ection at the bottom of the page. the center of the lips,” says Mullen. example of this is when a child is Properly used, practice journals are “I rarely place the mouthpiece on the struggling to be in the correct partial bene cial at every stage of a student’s lips for the student because I want this on the trumpet. If several months have learning. “During lessons,” says to be a natural process. I tell the student gone by and a child is playing low C Williams, “they can note which to wet his/her lips, and that while they and below, trying him/her out on low sections, measures, or ngerings they are blowing air to bring the top lip brass is de nitely a consideration. need to focus on in the week. To keep down slowly to just touch the bottom Sometimes, just a while on the large track of their work, students can use the lip. I say that I want to hear air rst, and mouthpiece helps the then sound. I usually start with the child get the correct trombone mouthpiece rst, as I have feeling, and they can found it is the easiest for most students return to the trumpet to make a sound. The trumpet mouth- successfully. Many times, piece is usually more successful once the the child gets such a sense students have created sound on a larger of relief that they are now Properly used, practice mouthpiece and, in my experience, on the right note and that journals are starting with the trumpet mouthpiece it’s ‘easy’ that the change benefi cial at every stage usually results in tension and other should be permanent.” of a student’s learning.

Photos from top left: istock.com/RodrigoBlanco; istock.com/sihuo0860371; istock.com/walterbilotta; istock.com/Amarita. Photos from top left: istock.com/RodrigoBlanco; istock.com/sihuo0860371; unwanted e orts to make a sound.” —Chad Criswell

nafme.org 49 “Before even playing a note, there are several details a student must do to set themselves up for success and achievement on the fi eld.” — Jim Gist journals to document assigned home- work and to plan and log their daily practice.” On a daily basis, “Students can learn how to use their practice time more e ciently by journaling. This helps them to listen more e ectively during the lessons, as they also take notes during the lesson. They can refer to the one another. Select students can read healthy spinal cord. If you were to look notes later at home when practicing.” exemplary writing from their journal at yourself in a mirror from a side point At the end of each week, the entries at concerts. According to of view, position your body so your ears journals provide an excellent opportu- Williams, “The interactivity of the are in line with your shoulders, your nity for self-re ection of their practice. journaling builds a strong sense of self shoulders are in line with your hips, Even writing one or two sentences can for most children. They are happy to and your hips are in line with your be helpful. If the orchestra period is share their journals.” —Michael Adelson ankles. Next, determine the proper su cient, this can be done as a class- drum height for each student (stand or time activity. carrier height must be the same). To Finally, practice journals help give PERCUSSION determine the correct height of your students a large-scale perspective. “At drum, the slope of the angle from your the end of the school year, students Drumline: The upper arm to your forearm should be have a picture of themselves as they Importance of approximately 95 degrees. When grew in understanding and their the Warmup playing a drum, you should feel as mastery deepened. They can review the Given the time constraints of a typical though the sticks or mallets are falling feelings they experienced as they marching band rehearsal and perfor- into the head, not crushing it. This learned to play the instrument.” Indeed, mance season, it is essential for a analogy should help a student avoid a this long view need not be limited to director to maximize their rehearsal high-velocity, pounding stroke while one year. As Williams relates, “Some of time as e ciently as possible. In warming up. Let the weight of your my students were with me from the addition, because of the amount of hands and sticks do most of the work as fourth grade through the eighth grade. rehearsal/sectional time that the the student allows each stick to freely They marveled at how much that was drumline typically puts forth—often rebound back to their original starting academically meaningful in their lives double the number of rehearsals as position.” was documented in their journals.” compared to the woodwind and brass Stick Control: For the Snare Drummer Williams emphasizes that teachers sections—it is critical for each student by George Lawrence Stone is a classic can add to the relevance of journals by percussionist to “warm up,” and method that challenges players to “being intentional about interacting perform with the least amount of perpetuate a consistent subdivision with the journals as part of the instruc- physical tension as possible. Doing so through a variety of sticking variations. tional time.” For a  ve-minute activity, on a daily basis can help prevent The goal is to work together to students can pair o and discuss their overuse injuries like tendonitis and maintain an even and consistent sound, practice logs. It can be particularly carpal tunnel syndrome. hand to hand, regardless of the sticking useful to take ten minutes at the end of “Before even playing a note, there changes. Below are three concepts that a lesson and discuss what is most are several details a student must do to Gist recommends to his students as they important to practice based on the day’s set themselves up for success and warm-up and control various sticking lesson. “This really helps in sectional achievement on the  eld,” states Jim combinations. work,” observes Williams. Gist, assistant band director and • Be very aware of the timing of Indeed, practice journals can be percussion specialist at North Forney each hand as it comes out of each quite versatile pedagogical tools: High School in Forney, Texas. “First, sticking pattern. Teachers can use photos of sculpture, let’s discuss posture. It is important for • Individually isolate each hand to dance, and paintings as prompts for all players to practice correct posture to further your understanding of the journaling. This can help students not only de ne uniformity of the concept of each exercise and focus on

consider how the arts are all related to drumline, but also to maintain a the sound that is being produced. Photo courtesy of Jim Gist.

50 Teaching Music JANUARY 2018 • Work exercises at a variety of stick in their seats working on rhythm or ties to move and speak and react and heights and tempi. Notice the small solfège exercises independently,” she process. When we stand at the front of changes that need to be made in order notes. “This sets the tone that we will be the room and make all of the decisions, to maintain continuity. —Steve Fidyk learning every minute of our time we are ignoring the fact that we have real together and that they have the power to human beings in front of us who also learn independently.” have valid ideas and opinions.” This CHORAL AND VOCAL Once the rehearsal is underway, approach can cause a power struggle Harding has noticed that one teaching between the choral director and students. Classroom strategy that can contribute to behavioral “When we build relationships with Management in the problems “is when the director monopo- students and create an environment that Choral Rehearsal lizes all of the decision-making and feels like a family, where everyone “Be safe and Be respectful. I’ve found music-making. Students need opportuni- matters, we are more likely to have a that these two rules cover everything I need to make for a safe and productive learning environment without micro- managing my students.” These ground rules make up part of the classroom management philosophy of Ann Harding, who teaches middle school vocal performing arts at P.K. Yonge Developmental Research School at the University of Florida in Gainesville. Problems can often stem from the director being out of touch with the needs of the student in that moment. “Building relationships with students and allowing opportunities for students to tell you what they need to learn in that GOOD TEACHING moment can help the rehearsal move DOESN’T HAPPEN forward,” remarks Harding. “If there is a behavior issue and you have built good BY ACCIDENT. relationships, students can honestly tell you they need a break or need to change St. Thomas’ Graduate Programs Master of Arts in Certificate seats. If students aren’t understanding in Music Education exist to raise Music Education Programs what you are teaching, they can tell you the standard of music teaching • Choral • Kodály by promoting artistic, intelligent, • Instrumental • Orff Schulwerk instead of staring at you blankly.” reflective and inspired music • Kodály • Piano pedagogy To set the tone for the rehearsal, teaching at all levels. • Orff Schulwerk • Teaching Harding begins with sight-reading. • Piano pedagogy world music No application fee.

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It can be helpful to rehearse with everyone in the front row.

nafme.org 51 classroom full of students that listen to us want to talk. It is developmentally methods to educate our young musicians, and trust us. I also give opportunities for inappropriate to expect them to be quiet how do we include styles that many of my students to give me feedback on my for the entire length of class, so having a our students engage in on a regular basis? classroom management and teaching so way to get their attention again respect- The history and culture of hip-hop is that I can always be sure that I am best fully honors their need to be social.” an outstanding point of conversation, serving them.” —Susan Poliniak particularly in regards to the crossroads of Another rehearsal situation that has sampling and copyright, social justice, and the potential for problems is when the the role hip-hop plays in marginalized director is working with only one section ALTERNATIVES communities, fashion, and entrepreneur- of the group. “I try very hard not to do ialism, among others. Kruse often uses the this, and give students speci c goals for Hip-Hop: Creating in style “as a lens in order to understand work in quick sectionals instead,” the Classroom hip-hop in its sociocultural contexts.” Harding says. “But when I do have to At the University of Illinois at Urbana- Insofar as how educators can grow in work with one section, I try to have my Champaign, Adam Kruse utilizes their knowledge of hip-hop, Kruse relates other sections give most of the feedback, hip-hop music and culture to help his he has found that, “while many music turning it into an opportunity for students understand the social, musical, educators feel intimidated by their lack of reection and teaching students how to and educational bene ts of this hip-hop knowledge, they can often make self-assess.” wide-reaching genre. use of their own musicianship to at least Other classroom management Kruse employs hip-hop in the have some success with hip-hop music.” strategies by Harding include the classroom in a variety of ways, including Developing greater inclusivity in music following: education and our pedagogies also • “Try to rehearse with lends the added bene t of stepping everyone in the front row. We into the shoes of our students. “I rehearse in an arc, standing up to hope that having at least a taste of allow for students to move and for success with hip-hop might make me to see everyone. (No hiding!)” music educators hungry to keep • “Keep calm. Take a break trying and keep learning from and before you speak. If something with their students.” happens that you don’t know how Kruse continues, “My hope is to handle, stop teaching and stand that by challenging themselves in “When learning to freestyle, we start perfectly still. Take the time to with just improvising end rhymes at this way, they will move into the end of a measure.” —Adam Kruse gather your thoughts before their teaching careers, open to responding. This will help you avoid creating verses, beats, and fostering a ways of being musical that might be saying something that you regret or better understanding of hip-hop culture. unfamiliar to them. If they can do this, wielding empty threats that diminish “When learning to freestyle, we start and hopefully honor the many ways your image as a fair and reasonable with just improvising end rhymes at the students in their communities are teacher who wants what’s best for their end of a measure, then leading up to end musical, I think they will have a better students.” rhymes with short phrases, then impro- chance of being relevant, responsive, • “If you’re not having fun, neither are vising entire lines and punchlines.” and respectful educators.” your students. Intentionally build in time In addition to his course entitled Through the application of emergent to have fun with your students. Play “Hip-Hop, Schooling, and Music technologies and divergent teaching music games, play team-building games. Education,” Kruse has developed courses styles, music educators will position If your students don’t work well together, on music education technology, popular themselves on the forefront of 21st-cen- teach them how. If they derail every time music pedagogy, songwriting, and tury education models. “I would hope you make a joke, tell them that you want teaching creative digital musicianship. that music teachers might take what they to be able to make jokes, but that they “My hope is that these courses oer new can learn from hip-hop and adapt it to have to be able to come back.” perspectives for my students who are their own settings in ways that are • “Establish a respectful, non-verbal overwhelmingly school musicians versed respectful to the culture, responsive to way to get students’ attention if they are in large performing ensemble traditions.” their communities, and relevant to their

talking. Learning is social and students As we strive to develop new, relevant students.” —Stephen Holley Lamont Holden. Photo by

52 Teaching Music JANUARY 2018 Perform West. Why should musicians Go West? How about the opportunity to challenge yourself both in the classroom and on the stage? As a student of music, you will have a chance to shine as a soloist or as a performer in our many ensembles. Take part in experiential learning at its best as you study with seasoned professionals who are on the cutting edge of music trends. Whether it’s a career in performance, education, or composition you’re after, UWG has a path that will fit your needs.

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Music College of Arts and Humanities

An Accredited Institutional Member of the National Association of Schools of Music HOW DO YOU MAKE AN ENSEMBLE EXPERIENCE OF A LIFETIME BETTER? Add Magic!

The 2018 All-National Honor Ensembles will take place at November 25-28, 2018

• The All-National Honor Ensembles represent the top performing high school musicians in each state across the country.

• Students may audition for the following ensembles: Concert Band, conducted by Dennis Glocke Jazz Ensemble, conducted by Todd Stoll Symphony Orchestra, conducted by Jean Montes Mixed Choir, conducted by Amanda Quist Guitar Ensemble (NEW in 2018), conducted by Michael Quantz • Directors may participate in Professional Development Directors Academies led by renowned clinicians.

• Students and Directors will meet with the nation's top music programs, conservatories, and universities.

• Students can participate in mock auditions led by the U.S. Army Music Program and U.S. Marine Corps Music Program.

Application deadline: May 4, 2018, at 9:00 PM ET Learn more: NAfME.org/ANHE A E TAG S S elementaryBY DEBBIE GALANTE BLOCK

Succeeding in the Urban Music Program Kids, parents, and nonmusic faculty can be valuable advocates.

not teaching the music, and you “Something magical happens in a music class- certainly won’t awaken joy in your room that works well.” —Elizabeth Cooper students. Listen to your students in a way that you probably haven’t. Create space for the song to develop the way it wants to. It forces you to abandon the idea of a perfect performance and instead asks you to grant students ownership.” Getting the children excited about music is how to get parental and community support for the program. “When I am walking to the subway at the end of the day, and I pass kids and parents, the kids are excited to see me. When the parent asks who I am, kids tell them about what they are excited about. Kids singing ‘Doggie Doggie’ at home is SOMETIMES IT MAY SEEM impossible to the program to colleagues and parents. your best advocacy. That’s when parents have a winning music program in an When Cooper began teaching in P.S. will come to you and ask ‘What are you urban school where there can be many 55, not only did she have no instru- doing?’’ says Cooper. “Part of you as a obstacles that go beyond the school ments, she had to share her classroom, teacher wants to throw data at the environment, but Elizabeth Cooper, and not just with other music teachers. parents, but to get support you just have vocal music teacher at the School of While trying not to to get them to experience Higher Expectations P.S. 66, Bronx, infringe on a colleague’s “Kids singing it. Something magical New York, says that if “you trust your space, Cooper thought it ‘Doggie Doggie’ happens in a music music,” hurdles eventually become would be advantageous to at home is your classroom that works well, achievements. ask key teachers to stay best advocacy.” and they have to see it for Within school budgets, there is a lot and see what her classes themselves. Invite parents of competition for money between ne were doing. “When they did, their into the classroom for ‘informances.’ I arts and general education, and getting relationship with me changed entirely. started a choir this year, and it’s the rst an administrator “on board” with music They began to realize the kids are time the school has had one in 20 years. can be dicult. Cooper notes that a big learning language and spatial openness, Parents are excited, so I am hoping to problem in her school is the lack of and they are given higher-order thinking taxi an informance onto a choir perfor- consistency. “For instance, I taught a questions. The music classroom requires mance.” Once parents are in the second-grade class until the last week of vulnerability, teamwork, and discipline.” classroom, “go through the structure of November, then inexplicably they were However, if anything is going to the class. Have the parents play the o my schedule. The kids and I were change in a school, it is important to get games and do the dances. They realize it devastated.” How can a situation like the kids excited about the program. “If is more intense learning than they

Photo from iStock.com/Steve Debenport. Photo from iStock.com/Steve that be changed? It’s all about exposing you sing the correct thing dully, you’re thought.”

nafme.org 55 S TAG E S secondaryBY MICHAEL ADELSON

Brundibár A children’s opera can help teach about the Holocaust and tolerance.

WHAT IS THIS OPERA? It is Brundibár, the nal work of Czech composer Hans Krása before being captured by the Nazis and sent to the concentration camp at Terezín (German: Theresien- stadt). He was eventually murdered at Auschwitz. The opera tells the story of a brother and sister who need to buy milk for their sick mother. However, all of their money is stolen by Brundibár, the evil organ grinder. Finally, all the animals and children band together to get more The cast of Texas Woman’s University’s production of Brundibár poses in front of a photo of the original cast of the opera at Theresienstadt. money and to chase Brundibár away. The allegory is so clear, it is astounding Brundibár, we forgot where we were, this article and some research, I that the work was not censored by the we forgot all our troubles. Music was contacted Hans Krása’s cousin, Edgar, Nazis. Indeed, it was performed 55 part of a resistance against the Nazis. who put me in touch with Ela Stein times in Theresienstadt. Music, art, good teachers, Weissberger.” Thus began an odyssey However, Theresien- “My passion and friends mean survival.” in which Poché- stadt itself was an oddity, is bringing Here begins the long reach Rodriguez visited the Czech Republic, with a large number of music of the opera’s in uence. For befriended survivors, and began to musicians among the me, conducting the Swedish incorporate the lessons of Theresien- prisoners. Claiming it was history to premiere of the work in 1994 stadt in her own teaching of high a “model camp,” the Nazis students. was life-changing, not least school choirs, then at Texas Tech and allowed the Danish Red KELLEY because it was one of the last Texas Women’s University. Cross to visit in 1944. In POCHÉRODRIGUEZ opportunities for three Using Brundibár and the Holocaust preparation, the camp was beauti ed: generations to come together: the as a springboard, she explores essential Flowers were planted. Fake storefronts survivors, myself and my colleagues, questions with students: What does were created. To disguise overcrowd- and the children of the cast. bullying look like? How should we ing, thousands of Jews were deported NAfME member Kelley Poché- respond? What is the importance of to Auschwitz. Those remaining were Rodriguez focuses on approaches to courage, integrity, and teamwork? Says part of a propaganda lm to show what teaching the Holocaust, as well as how Poché-Rodriguez, “My passion is a good life they had. The little that to encourage tolerance and combat bringing music history to students. remains of the lm shows the nale of bullying. An assistant visiting professor This actually makes performances a production of Brundibár. In 2003, of music at Texas Woman’s University more meaningful. You can hear the survivor Ela Weissberger, who played in Denton, her interest in the subject di erence in the music making.” the cat, said, “Only a few of us began in 2001 with Murry Sidlin’s arti- For those who would like to explore survived. I lost many of my friends. cle about the performance of Verdi’s further, Kelley Poché-Rodriguez can Caption

But when we were performing Requiem in Theresienstadt. “Through be contacted at [email protected]. Poché-Rodriguez. Photo courtesy of Kelley

56 Teaching Music JANUARY 2018 THE AMERICAN KODÁLY INSTITUTE AT LOYOLA UNIVERSITY MARYLAND

KODÁLY COURSES ARE OFFERED THREE WEEKS EACH JULY: • Solfa Fundamentals • Kodály Certification Levels I, II, and III • Secondary Choral Track for MS and HS teachers • Level IV Core Education and Research

Apply Today! Courses run July 7-27, 2018 or attend a Free Saturday workshop in January! 4501 N. Charles Street • Baltimore, MD 21210

WWW.LOYOLA.EDU/KODALY Program Information: 240-993-9181 or [email protected] Application Information: 410-617-7741 or [email protected]

HOW WILL YOU DRIVE EDUCATION

Applications and recordings are due Sunday, Jan. 28, 2018. For further details visit: www.navyband.navy.mil/solo_competition.html S S TAG E collegiateBY ANDREW S. BERMAN

Teaching in a Small Rural School Get to know the students, parents, and community—and get them involved.

“People will know a good thing when they see it.” —Stan Johnson

A NEW MUSIC TEACHER’S rst year on the Nebraska, says that “getting to know pool is not an excuse to lower stan- job is one of discovery and adjustment. my students and their families on a dards. “Show them they can be A good music education program will more personal level,” is an advantage of successful,” he says. “There’s a lot of have provided educators-to-be with the small-school environment. The trial and error.” Try new things with lessons on pedagogy, lesson-planning, music teacher can make the program your students, and nurture an environ- and classroom management, and about the community itself, getting ment where making mistakes is OK. possibly even practicalities such as parents and local businesses involved. Once the program is in its groove, budgeting and time management. But “I wish I could’ve been more support from the school and the college may not prepare its charges for prepared for the diversity, demographi- community will follow. “People will the experience of teaching in a small cally, that I see in my school,” reects know a good thing when they see it,” rural school, where resources may be Beck. “Many students fall says Johnson. scarce. NAfME member and 2017 below the poverty line, “Show them One quirk of a small school In-Service Conference presenter Stan and are often discouraged they can be is that kids tend to be involved Johnson shares that numbers can be a by their parents/guardians successful.” in many things. There’s a challenge, but “success breeds success” when beginning band smaller pool of students to €STAN JOHNSON for creative teachers and their students because purchasing an draw from, but the same calls in smaller communities. instrument is not feasible.” She has built on their time are there: arts, sports, and “You have to create the enthusiasm her program around the needs of her so forth. Build relationships with the and recruit to get your program going,” students, providing school-owned coaches: “Remember, they are doing advises Johnson, a retired public school instruments. Beck and her Nebraska the same job you are,” Johnson coun- music teacher with over 45 years of colleague Alex Steinke agree that seled in his presentation at last year’s experience in Nebraska. “Sometimes gradual growth is the right approach. NAfME In-Service Conference. He school budgets aren’t written with “You should try to make the program encourages teachers to harness the pow- music in mind.” He stresses the your own, but it is very important to er of small-group instruction to importance of presenting a positive develop this over time,” says Steinke, maximize the students’ time. Music attitude to students, faculty, and instrumental music teacher at Central programs at rural schools tend to have parents. Maureen Beck, an instrumental City Middle and High Schools in limited access to private instructors, so music teacher at Fairbury Junior and Central City, Nebraska. small groups can give students that

Senior High Schools in Fairbury, Johnson cautions that a small talent intimate learning experience. NE. Photo courtesy of Maureen Beck/Fairbury Public Schools, Fairbury,

58 Teaching Music JANUARY 2018 ENTER THE 2018 NAfME STUDENT COMPOSERS COMPETITION

NAfME is seeking original music written by student composers for featured performance in the 2018 Young Composers Concert, held in Dallas, Texas, and the 2018 All-National Honor Ensembles performances at Walt Disney World. Teachers and students are invited to submit original compositions by students for possible inclusion in the concerts. Students in elementary school, secondary school, college, and graduate school are eligible to submit compositions. Winning compositions may be eligible for cash awards.

Learn more: bit.ly/NAfMECompetitions Application Deadline: March 30, 2018

Association member adjudicators will select a winner in each of the following categories: 1. Grades K-8 2. Grades 9-12 3. Collegiate

• Each entrant must be sponsored by a NAfME 2018 Electronic Music member teacher, or be a NAfME Collegiate member in good standing. Composition Competition • Compositions should be 5 minutes or less and should either be composed electronically or include electronic instruments (vocal and/or acoustic instruments may be combined with electronic instruments)

Entries must be received by March 30, 2018 bit.ly/NAfMECompetitions resources

BOOKS 3 Dance of the Violin Embodiment Experiencing We Were By Kathy Stinson, Illustrated by Dušan Petriˇcić of Musical Music Going to (2017, 32 pgs., hardcover $18.95) Through this Change the book, based on an actual story, students can learn Creativity: Composition that everyone deserves a second chance. As a young The Cognitive in Grades 3–5 World: student of the violin, Joshua Bell finds out about an and Performative By Michele Kaschub Interviews with international competition. He chooses a piece of Causality of and Janice Smith (2016, Women From the music that his teacher suggests may be too difficult, Musical 152 pgs., hardcover 1970s & 1980s but Joshua is determined. At the competition, he Composition $105.00, paperback Southern experiences the usual jitters. Once his name is By Zvonimir Nagy $24.95, eBook price California Punk called, he strides to the stage and begins to play, but (2017, 228 pgs., varies) Through this Rock Scene almost immediately, he makes a mistake. He asks if hardcover $152.00, guide to composition By Stacy Russo (2017, he can try again, and this time the playing is paperback $39.99, techniques for young 312 pgs., paperback impeccable. Annick Press, annickpress.com eBook $35.99) This composers, the authors $16.95) We Were Going look at the interdisci- help teachers connect to Change the World music education to captures the stories of plinary nature of students’ everyday women who were creativity in composi- emotions and activities, active in the SoCal punk tion includes examples provide a creative rock scene, adding an from empirical and roadmap for instilling a important voice to its theoretical research in sense of creative cultural and musical creativity studies, independence in children record. Through music theory and INSTRUMENTS 3 ages 8–11, and offer interviews with cognition, psychology, new ways to promote musicians, journalists, MX88 Music Synthesizer philosophy, and more ($1,299.00) The MX88 is a lightweight and creative intuition and photographers, and portable music synthesizer with 88 full-sized, to examine how the touch-sensitive keys and over 1,000 voices, independent thought. fans, Stacy Russo has including a full concert grand piano. Also included reciprocity of cognition The book includes captured the essence of are authentic re-creations of classic tine and reed and performativity electric pianos and retro tonewheel organs with Sketchpages for students why these women were rotary speaker effect, punchy and percussive clav contributes to our to use as they develop drawn to punk rock and sounds, orchestral strings, woodwinds, pipe organs, brasses, acoustic and electric guitars, understanding of their compositional how their involvement basses, drum kits, and more. The unit features a musical creativity in ideas, lessons, and access in this scene influenced Graded Hammer Standard weighted action that provides realistic acoustic piano touch and composition. Routledge to a companion website. the rest of their lives. response. Special matte black key tops absorb Taylor & Francis Group, Oxford University Santa Monica Press, moisture and remain tactile after extended use. Yamaha Corporation, usa.yamaha.com routledge.com Press, oup.com santamonicapress.com

Please send all media for consideration with photos to “Resources,” 582 North Broadway, White Plains, New York 10603 U.S.A.

60 Teaching Music JANUARY 2018 AUDIO RECORDINGS 3 ACCESSORIES 3 Gending Teaching Beanstalk Just Dance NS Micro Rare: Music to Jack By Twinkle (2017, 9 Universal Children’s Students By Paper Canoe tracks, CD or digital Tuner download $10.00) This Songs & with Special Company (2018, 16 By D’Addario & Co. tracks, CD $14.00, collection of dance hits ($23.22) The NS Games from Needs: for kids from the Micro Universal Tuner digital download $9.99) is a feature-packed A Practical award-winning Bali This modern opera for item that is designed By Brent C. Talbot in Resource Peruvian-American to be seen at any today’s families angle. It includes a By Alice M. Hammell kindie music artist collaboration with references the reversible, multi- Made Taro (2017, 16 (2017, 216 pgs., Twinkle sports a pop color backlit LCD American tradition of display—which makes pgs. [plus other paperback $24.95, sound mixed with a folk music that for ease of use in dark materials], paperback eBook price varies) touch of Broadway belt, environments—and a embraces a powerful $34.95) This collection This supplement to a soupçon of hip-hop, visual metronome in a message, and then compact design. The of children’s folksongs Teaching Music to and plenty of EDM. shifts to include pop dual-swivel clip-on and games from Bali Students with Special Album highlights mount allows for and rock of the 1960s, quick application and includes 14 songs (10 Needs: A Label-free include the original 1970s, and 1980s. removal on any with games and four Approach, Second Edition version of Twinkle’s instrument, while the Beanstalk Jack tells the without) in individual by Alice Hammel and 2015 kindie hit, “Kidz extendable arm familiar story with the provides clear, song booklets, a Ryan Hourigan equips Rock,” and other songs unobstructed views addition of a girl-meets- pedagogical guide, music educators with that riff on positive of the screen. This unit—which is best the understanding boy twist, a tribute to instructions for reading themes ranging from used with acoustic the spirit of optimism, Balinese music necessary to implement dancing through life and electric guitars, notation, a shadow teaching ideas into the and more than a hint of and living in the moment basses, mandolins, banjos, ukulele, cellos, youthful rebellion. Jack, puppet kit, a map of domains of cognition, to making math-time double basses, and Bali, and online access communication, armed with his guitar, fun-time, sailing through other stringed climbs the beanstalk to instruments—includes to illustrations and behavior, emotions, and the solar system, and a built-in piezo videos of Balinese physical and sensory its summit where he her personal affirmation transducer that picks up an instrument’s children playing the needs. Lesson plans meets the giant’s that good manners rock. vibration rather than games, singing the include guides for daughter. He steals A Spanish-language sound. Designed by songs, and pronouncing accommodation and her heart, and they version of the album musicians for musicians, this tuner the words, as well as modification needed for run away to follow will be released in has a wide calibration audio recordings of successful implementa- their dreams. Paper spring of 2018. range (410Hz to 480Hz) for tuning Canoe Records, gamelan. GIA Publica- tion. Oxford University Twinkle Time Records, accuracy. D’Addario & tions, Inc., giamusic.com Press, oup.com papercanoecompany.com twinkleandfriends.com Co., planetwaves.com

nafme.org 61 resources... CONTINUED

ACCESSORIES 3

Lung Trainer Magnet Stand Unit By Lung Trainers LLC ($385.00) This device helps wind musicians and singers to develop better breathing techniques for the sake of optimal performance. The mouthpiece has been designed so the user uses a very focused air stream. A system of changing air pressure and volume ensures STATEMENT OF OWNERSHIP, that the user develops increased breath MANAGEMENT, AND CIRCULATION (Act of August 12, 1970: Section 3685 control. This version is crafted with Title 39, United States Code.) high-intensity neodymium magnets for

Title of publication: Teaching Music. mounting on metal music stands. Lung Publication Number: 1069-7446 Trainers LLC, lungtrainers.com Date of fi ling: October 1, 2016. Frequency of issue: 4 times annually—January, April, August, and October. Subscription price: $10.00 with membership. Snap Cards for Upper Complete mailing address of known offi ce of publication: 1806 Robert Fulton Drive, Reston, VA 20191–4348 USA. Voice Treble Clef, Complete mailing address of headquarters of general business offi ces of the publishers: 1806 Robert Fulton Lower Voice Treble Drive, Reston, VA 20191–4348. Full names and complete addresses of publisher, editor, Clef, and Bass Clef and managing editor: Publisher—Ella Wilcox (Editor): National Association for Music Education, 1806 Robert By Theresa Pritchard ($19.99 each) This Fulton Drive, Reston, VA 20191–4348; Susan Poliniak series of skill-building fl ashcards is a class- (Editor-in-Chief): InTune Partners (Teaching Music), room tool that was designed 582 N. Broadway, White Plains, NY 10603 to help students confi dently Owner: National Association for Music Education. learn to sight-read while having Known bondholders, mortgagees, and other security fun as a class. After years of holders owning or holding one percent or more of total learning which intervals and amount of bonds, mortgages, or other securities: none. patterns are consistently chal- Nonprofi t organization authorized to mail at special rates: The purpose, function, and nonprofi t status of this lenging for emerging singers, organization and the exempt status for federal income tax Theresa Pritchard purposes have not changed during the preceding twelve developed a months. reliable method for simplifying this typ- EXTENT AND NATURE OF CIRCULATION: ically intimidating A. Total number of copies printed (net press run). Average subject. Educators number of copies each issue during preceding twelve months: 57,847 actual number of copies of single issue will fi nd suggestions published nearest to fi ling date: 48,775. for utilizing the cards B. Paid circulation. (1) Mailed subscriptions (outside- in the classroom for county). Average number of copies of each issue during both teaching and preceding twelve months: 55,280; actual number of copies assessing reading of single issue published nearest to fi ling date: 47,093. (2) skills. BriLee Music, Mailed subscriptions (in-county). Average number of copies of each issue during preceding twelve months: 0; brileemusic.com actual number of copies of single issue published nearest to fi ling date: 0. (3) Paid distribution outside the mail including sales through dealers and carriers, street vendors, counter sales, and other paid distribution outside 62 Teaching Music JANUARY 2018 the USPS. Average number of copies of each issue during preceding twelve months: 145; actual number of copies of single issue published nearest to fi ling date: 137. (4) Paid distribution by other classes mail through the USPS: Average number of copies of each issue during preceding SUMMER MUSICAL twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. C. Total paid distribution. Average number of copies of THEATRE INTENSIVE each issue during preceding twelve months: 55,425; actual number of copies of single issue published nearest to fi ling date: 47,230. D. Free distribution (by mail and outside the mail). (1) Outside-county: Average number of copies of each issue Preprofessional Program during preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. with Residential Option (2) In-county: Average number of copies of each issue (students ages 14–20) during preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. (3) Other classes mailed through USPS: Average number of copies of each issue during the preceding twelve July 3 –14, 2017 months: 156; actual number of copies of single issue Application deadline published nearest to fi ling date: 131. (4) Distribution outside the mail: Average number of copies of each issue April 3, 2017 during the preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. E. Total free distribution. Average number of copies of Junior Program each issue during preceding twelve months: 156; actual (students entering grades 4–8) number of copies of single issue published nearest to fi ling date: 131. F. Total distribution. Average number of copies of each July 10 –21, 2017 issue during preceding twelve months: 55,581; actual number of copies of single issue published nearest to Application deadline fi ling date: 47,361. May 15, 2017 G. Copies not distributed (offi ce use, left over, spoiled after printing, and others). Average number of copies of each issue during preceding twelve months: 2266; actual number of copies of single issue published nearest to hartford.edu/hcd/smti fi ling date: 1414. H. Total. Average number of distributed copies and 860.768.4451 undistributed issues for each issue during preceding twelve months: 57,847; actual number of copies of single issue published nearest to fi ling date: 48,775. Percent Paid. (1) Average percentage of copies of each issue during preceding twelve months: 99.72%. (2) Actual percentage of copies of single issue published nearest to fi ling date: 99.72 %. I certify that the statements made by me above are correct and complete.— Adriane Darvishian, Director, NAfME Governance Constituencies

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nafme.org 63 bravo! ✢ BY SUSAN POLINIAK THOMAS DOLBY

MUSICIAN, PRODUCER, AND INNOVATOR Thomas Dolby’s 35-year career is a continuous list of break- through innovations. As an early MTV icon, he blazed a trail for electronic music with his imaginative videos. His synth playing and production have graced the recordings of Foreigner, Def Leppard, George Clinton, and Joni Mitchell, earning five GRAMMY® nominations. And his self-penned “She Blinded Me with Science” became a Top 5 Billboard hit, going on to become an evergreen geek anthem of the 1980s that has popped up in Grand Theft Auto, The Big Bang Theory, and Breaking Bad. Dolby will lead Pea- body’s Music for New Media program, slated to enroll its first cohort of students in the fall semester of 2018. Recently, he held the post of Homewood Professor of the Arts at Johns Hopkins University. Not long ago, he released his first book, The Speed of Sound, on Macmillan/Flatiron Books.

You’re largely self-taught in music—you didn’t really have a mentor. I sang in a choir for a couple of years, and had maybe six months of piano lessons that gave me the basics of music theory, but that’s it.

You published your memoirs not long ago. Can you tell All I can do is us about that? I was approached by a publisher to write a mentor them 21st-century “guru” book, and that sounded dull to me, and point them in but that prompted me to go through my diaries and notes, which were scrolled into Filofaxes and Apple Newtons and the right direction so forth. Back then I had no look at the big picture, so it and be the kind was amusing to see this person bumbling through things of inspiration I like the beginning of MTV. needed when

You’ve been involved in music education for while now, I was their age. teaching at Johns Hopkins. Could you tell us about your new department at the Peabody Conservatory? I have been teaching film music to students at the film and media center that I helped design, but as of next fall I will be teaching a new degree in Music for New Media for composers looking beyond film and TV music. The people who are going to define this area are in high school or college now. All I can do is mentor them and point them in the right direction and be the kind of inspiration I needed when I was their age.

Why do you think music education is important today? Because there are a variety of career paths that creative people would like to be able to follow, but there simply aren’t enough jobs in recording studios, orchestras, and rock bands on tour. Supply and demand is way off the charts. To have a reasonable chance to make a living at what you love, you have to look at different angles. That goes past the orchestra, into genres of music and history, and what I’m doing with cutting-edge media.

Do you have any words of encouragement for music educators? It’s a constant battle, of course. It’s hard to persuade the people who control the budgets that music is a cornerstone rather than in the “nice path” column. That’s the good part of me being at Johns Hopkins where clinical studies are being done on the effects of music educa- tion. Kids do better in all subjects if they have arts and music as part of the curricu- lum. It’s been hard to quantify that, but there are studies being done now to look at the effects of music education. Photo by Larry Canner/homewoodphoto.jhu.edu. Photo by

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