Teaching APRIL 2014 VOLUME 21, NUMBER 6

›› APRIL IS JAZZ APPRECIATION MONTH! teaching APRIL 2014 VOLUME 21, NUMBER 6

SPECIAL SMITHSONIAN JAZZ POSTER INSIDE musicmusic

Options For SUMMER STUDY 2014

Hawaii’s PHILIP STEINBACHER and his choruses DEFINING MUSICIANSHIP IN THE 21ST CENTURY Wynton Marsalis, Jazz at Lincoln Center, and NAfME

1_TMCover copy.indd 1 3/10/14 10:07 AM QuaverTodayAd_NAfME_Research_ProgAd13.pdf 1 3/6/14 5:28 PM

The Future of Music Education TODAY! ™ Advanced Technology.

“Quaver is light years ahead of any other curriculum publish-publishing company. Updates are made in real time at no charge! Can’t do that with textbooks!” Alex Kayser, Johnson Elementary, Racine, WI Launch your lessons as a seamless classroom presentation with over 2,500 interactive screens.

M Teacher-Friendly.

CM “I love it! My lesson planning has never been easier!” MY Kayla Melton, Simonton Christian Academy, Simonton, TX

CY Over 200 detailed Lesson Plans make it easier than ever to CMY prepare for class, and submit to supervisors. K Seriously Fun!

“It is fantastic! The students consistently remain engaged throughout the lesson, and discipline issues are nearly non-existent!” Julie Mathias, Sullivan’s Island Elementary, Mt. Pleasant, SC Engaged students learn faster and retain concepts longer. After all, learning should be fun! Preview 12 Lessons for FREE! Just go to QuaverMusic.com/Preview and begin your FREE 30-day trial today!

_TM_AD_Temp.indd 2 3/11/14 2:03 PM April 2014 Volume 21, Number 6 contentsMusic Education ● Orchestrating Success Music students learn cooperation, discipline, and teamwork. 40 Russell robinson with his young singers.

30 Wynton Marsalis and the Jazz at Lincoln Center Orchestra

Features

26 The Recorder 30 defining musician- 41 An encore 44 The Song of Choir: A Synthesis ship in the 21st performance in the Island of Singing and century: Jazz at MUsic City, USA A music educator in t

r Instruments Lincoln Center The NAfME National Hawaii has developed Putting soprano and the Marsalis In-Service Conference an innovative and tewa

k S k recorders into the Message returns to Nashville, transformative choir an : Fr :

e hands of young Wynton Marsalis and Tennessee, October program from scratch. g pa singers can improve JALC bring jazz to the 26–29, 2014.

this their abilities in the world through perfor- d an choral realm. mance, education, and

hoto advocacy. r P e v co

nafme.org 3

2_TOCTM.indd 3 3/13/14 1:59 PM April 2014 contents Volume 21, Number 6 63

2o TECHNOLOGY Apps, software, gear, and more for Departments marching band 24 Workshop Letters General Music Opinions from our readers 8 Special: Classic pop and rock in the classroom 58 Summer classrooms Brass & Woodwinds Building a solid low brass section Study 51 A music educator in Florida encourages kids 58 Looking for to stick with their instruments. 18 Strings music education Recruiting and retention in the strings opportunities in Advocacy classroom 59 the “off season”? Education Through Music helps programs in Here is Teaching Percussion ’s annual New York City schools. 20 Organizing and securing equipment 60

Music z

listing of summer Choral & Vocal ale REsearch z programs. Choral conducting tune-up 61 on

Making connections between types of E. G Alternatives of knowledge can improve skills. 22

Activities and repertoire for beginning ivian V of 11 and intermediate guitar class 63 Stages courtesy Elementary ; usic

The creative use of children’s literature in M of the music classroom. 65

Secondary ollege

Using Skype to bring outside clinicians to k C oo News you and your students 66 C

Collegiate ander Jazz for the jazz-novice V of

11 Upbe at music educator 68 Washington’s “Music Matters” License Plates … NAfME Rolls courtesy Out Powerful, New “Broader Minded™” Campaign … Denese Resources ;

Odegaard Chosen as 2014–16 NAfME President-Elect … New media and accessories for arolf GRAMMY® Music Educator Urges Strong Support for All School the music classroom 70 M hris

Music Programs … NAfME’s Collegiate Chapters Demonstrate C : top BRAVO! Work … New Inductees for Music Educators Hall of Fame Teaching Music salutes cognitive from 16 NAfME.org A guide to what you can find on the Nafme website psychologist, neuroscientist, and writer Daniel Levitin 74 hotos P

4 Teaching Music April 2014

2_TOCTM.indd 4 3/11/14 4:10 PM ...THIS IS ANOTHER.

INTRODUCING MEDIA STORAGE SYSTEMS FROM WENGER: SMART, SECURE STORAGE THAT YOU NEW! CONFIGURE TO FIT YOUR NEEDS. PRODUCT

Wenger knows storage – inside and out When it comes to managing your valuable audio/visual and media equipment, we understand how important organization and security are. File cabinets, plastic bins and bookcases were never meant to store the tools of your trade. It’s easy for media storage to become a tangled mess, fast. That’s why we’re introducing a storage system specifically designed for your cables, speakers, stands, electronics, etc. Our new Media Storage is available in fixed cabinets for your storage room, or mobile carts to roll down the hall. And best of all, you can choose the shelves, drawers, hooks and rackmounts that best fit your equipment storage needs.

Check out our online configurator to build your custom storage cabinet today! Choose your size, configuration, color, accessories and mobility at www.wengercorp.com/mediastorage

800-4WENGER (493-6437) www.wengercorp.com

_TM_AD_Temp.indd 2 3/4/14 10:33 AM EXECUTIVE DIRECTOR AND CEO Michael A. Butera DEPUTY EXECUTIVE DIRECTOR AND COO Michael Blakeslee EDITOR Nelson Duffl e ASSOCIATE EDITOR Ella Wilcox MANAGING EDITOR OF NEWS Rosalind C. Fehr EDITORIAL ASSISTANT Caroline Arlington For a listing of the NAfME National Executive Board, please see our website: nafme.org. Unless specifi cally noted, articles in Teaching Music do not necessarily represent the offi cial policy of the National Association for Music Education.

Teaching Music is created for NAfME by In Tune Partners, LLC [email protected] CEO Irwin Kornfeld PRESIDENT Will Edwards EDITORIAL DIRECTOR Emile Menasché EDITOR-IN-CHIEF Susan Poliniak CREATIVE DIRECTOR Jackie Jordan ADVERTISING MANAGER Bill White PRODUCTION MANAGER Robin Garber BUSINESS MANAGER Barbara Boughton CONTRIBUTORS: Andrew S. Berman, Debbie Galante Block, Katie Cole, Chad Criswell, Cynthia Darling, Nelson Dufﬂ e, Steve Fidyk, Patience Moore, Cathy Appleﬁ eld Olson, Adam Perlmutter, Susan Poliniak, Keith Powers

The National Association for Music Education is a voluntary, nonproﬁ t organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME membership is open to all people engaged in music teaching or other educational work in music. Teaching Music (ISSN 1069-7446), an ofﬁ cial magazine of the National Association for Music Education, is issued to members 6 times per year in August, October, November, January, February, and April at an annual subscription price of $10. Office of publication: National Association for Music Education, 1806 Robert Fulton Drive, Reston, VA 20191- 4348; 703-860-4000. Produced by In Tune Partners, LLC. Institutions may purchase one volume year of six print or electronic issues for $170. Single copies of issues are $30. A limited number of back issues are available for purchase. Permission requests to reproduce or otherwise use material published in this journal should be submitted to Caroline Arlington at CarolineA@ nafme.org. Periodicals postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offices. POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2014 by the National Association for Music Education. Printed in the U.S.A. Teaching Music is available via electronic databases from most universities and libraries.

4_MastTM.indd 1 3/12/14 9:42 AM Makes better musicians.

• Solid pedagogy and a clean/clear format create better understanding.

• Instrument-specific (Book 1) and instrument-family-specific (Book 2) Master Class DVDs and MP3 CDs assist in more effective practice.

• Band and String Book 1 are also available in a Director’s Choice customizable version.

• 4 levels are available for String, with advanced level Band coming late Spring 2014!

BOOK 2

AVAILABLE FOR CONCERT BAND, STRING ORCHESTRA, AND GUITAR.

“I just transitioned to Sound Innovations this year. This year’s kids are advancing so much more quickly!” - Amy Best, Southern School District, Fawn Grove, PA

Request a free preview copy*: alfred.com/sisample *While supplies last

_TM_AD_Temp.indd 2 3/3/14 2:11 PM

*While supplies last

alfred.com/sisample

Request a free preview copy :

Southern School District, Fawn Grove, PA

- Amy Best,

This year’s kids are advancing so much more quickly!”

“I just transitioned to this year. Sound Innovations

STRING ORCHESTRA, AND GUITAR.

AVAILABLE FOR CONCERT BAND,

BOOK 2

Spring 2014!

advanced level Band coming late

• 4 levels are available for String, with

customizable version.

available in a Director’s Choice

• Band and String Book 1 are also

assist in more effective practice.

Master Class DVDs and MP3 CDs

instrument-family-specific (Book 2)

• Instrument-specific (Book 1) and

format create better understanding. • Solid pedagogy and a clean/clear

musicians. Makes better Letters

The Many Lives But we musicians still have to of Music Educators make a living in order to eat and Like most musicians and music teachers, pay our bills. And we (society) my favorite music jobs outside of the still have to make sure that the classroom are the ones we don’t get paid tradition of making music learner and educator. I play the violin for. We get something else that is worth continues. So we have to have professionally with the Modesto so much more than millions of dollars. music in our schools. We have to pay Symphony Orchestra, a union orches- In fact, it is the music activities that those teachers to expose children to the tra, as well as other freelance orchestras take place by chance with total sponta- joy of listening to and making the music. in our area. I also play the violin and neity that give me the biggest payback: Science and math are important for the viola with local string quartets at • Playing four-hand piano saving our planet. But it will be a bleak weddings and receptions. My wife and with my son at home existence without the humanities: the I have played at Sunday Mass at Sacred • Jam sessions with both my stories, the dances, the drawings, the Heart Catholic Church in Turlock for sons in their college dorm songs, the plays, the symphonies. Every many years. I play the piano and my • Getting on the piano time I hear about a school district cutting wife sings. We also play for wedding in a restaurant when no one an arts program to save the other and quinceañera Masses at our church else is playing it programs that prep the students for all the and all over our county. • Taking out my clarinet on tests they need to take, I feel like going I have always loved playing music. In an airplane to practice scales right up to the administrator who made spite of a busy teaching and playing before it takes off the decision, pulling out my accordion, schedule, I always come home relaxed and playing a Schubert song or Beatles and inspired after making music. As a tune in his/her face, finishing it up by lifelong learner, I am able to bring my saying, “Now, how are you going to get experience back to the classroom and these kids to know that there is more to share what I have learned and experi- living and learning than taking tests?!” enced with my students. Thank goodness, we still have —Donald Grishaw, orchestra director, enough persons in charge who are John H. Pitman High School, Turlock, CA; trying to protect this basic necessity of [email protected] living: music and the arts for all One Friday before the Winter children. For now, anyway. Errata Recess, a student suggested that we set —Joseph Rutkowski, teacher of music, John In our January 2014 story on creating up the piano and drum set in the school L. Miller Great Neck North High School, an advocacy day in your state, the lobby and play for the students and staff Great Neck, NY California Music Educators Association who show up before school starts. It (CMEA) was incorrectly identified as made such a big hit that we try to do it I wanted to share my “double life” the Connecticut Music Educators every Friday morning. When we don’t, response to Cynthia Darling’s article Association (CMEA), and the Indiana I get all kinds of emails asking me why “The Renaissance Teacher” that Music Educators Association (IMEA) there was no “lobby music” today. If appeared in the January 2014 issue of was incorrectly identified as the Illinois we were getting paid for this, we’d Teaching Music. Music Educators Association (IMEA). spend the money so fast that we’d forget I teach orchestra and Spanish at my We apologize for the error. why we were doing it. We do it, high school. Throughout my 32 years because it connects us to everyone who in the classroom, I have always had a

Write to us ky s

listens the best way possible. The full schedule of professional gigs outside Send your thoughts to l E

students and staff who enter the of school on the violin, viola, and [email protected] or fax s a letter to 703-860-2652. building don’t have to say anything. piano. There is no doubt that all the Please include your full name, job title, But—wow—those big smiles on their rehearsals and performances over the school name, and the city and state where you teach.

faces say it loud and clear. years have inspired me as a lifelong Phylli left: Photo

8 Teaching Music April 2014

3_LettersTM.indd 1 3/13/14 1:59 PM TEACH MUSIC IN A CONNECTED WORLD.

Want to teach music to every student in your school or district using state-of-the-art tools and a platform custom-built

for music education? Now you can. MusicFirst’s innovative Check out new management system gives you complete control for just a our new website! few dollars per student per year. Extend the reach of your classroom and allow students to use their own computer, tablet or phone to learn and create anytime, anywhere.

Use lessons & content from our vast online library Build student portfolios that grow over years of study Enable student and teacher access any time, anywhere Create and grade tests and projects with ease

With MusicFirst it’s simple to teach, assess and inspire your students in a connected world. More at www.musicfirst.com cloud-based tools for music educators

[email protected] • MusicFirst.com • Toll Free: 855-896-3344

_TM_AD_Temp.indd 2 3/12/14 9:53 AM What past July 7- August 1, 2014 participants have Exciting courses offer hands-on activities, practical teaching techniques, & engaging discussions. said: “Top notch, nationally GENERAL MUSIC known clinicians are Sound Connections in the Comprehensive Music Curriculum — Janet Barrett gems!” Dalcroze Eurhythmics: Experiencing Rhythm in Your Whole Body — David Frego Integrating iPads into the Elementary Music Classroom: “Every aspect of the SMI A Course For Elementary Teachers Taught By An Elementary Teacher — Amy Burns experience was first-rate.” Of Stories and Songs: Composing Our Way through K – 5 — Janice Smith and Michele Kaschub “Very practical and Cultivating a Creative Learning Community in the General Music Classroom — applicable classes Kim Yannon with fun and friendly Get Them Moving, Keep Them Moving! — Jan Baker professors constantly keeping your classroom CHORAL MUSIC needs in mind.” Building a Choral Program of Depth and Excellence — Christine Bass Recruiting, Engaging, and Retaining Singers! — Christine Bass “Recharge your musical Choral Directors’ Symposium — Drew Collins battery at SMI!” Topics in Vocal Techniques: The Unseen Instrument — Judith Nicosia Choral Conducting Inside and Out — Amanda Quist What our Master’s INSTRUMENTAL MUSIC Effective Teaching Strategies for the String Class — Kirk Moss students say: Teaching Improvisation with Technology — Michael Fein “For me, this is the single Topics in Instrumental Music Education: Brass Techniques — Daniel D’Addio best path to a graduate Composing and Arranging for School Bands — Scott Watson degree.” Instrumental Repertoire for the Curious Music Educator — Rodney Winther Instrumental Conducting — Rodney Winther “Terrific comprehensive master’s program!” MUSIC TECHNOLOGY Music, Multi-Media, Creativity & Learning — Gena Greher Teaching Improvisation with Technology — Michael Fein Hands-on Integrating iPads into the Elementary Music Classroom: A Course For Elementary Teachers Taught By An Elementary Teacher — Amy Burns Courses! Finale: A Music Teacher’s Best Friend — Scott Watson iPad Music Tech Camp — Stefani Langol Renowned Tech Inspired Music Education! — Stefani Langol Presenting, Practicing, and Performing with iPads — Tom Rudolph Faculty! SmartMusic Applications for Instrumental and Choral Students and Ensembles — Tom Rudolph Enroll before May 16 to Teaching Music in the Cloud — James Frankel (Online) be entered in our weekly Get your Master’s in four Summers @ CCSU! drawing for a Jawbone External Speakcr! All workshops can apply as electives in our Master of Music Education program.

For complete information: www.music.ccsu.edu For comprehensive program brochure: 860-832-3317 Get your Master’s in 4 Summers @ CCSU! or [email protected]

For Master’s degree information: [email protected]

_TM_AD_Temp.indd 2 3/3/14 2:44 PM upNews beatand notes for today’s music educator By Rosalind C. Fehr

GRAMMY® MUSIC EDUCATOR FINALIST HELPS STUDENTS WEAVE MUSIC EDUCATION INTO THE SCHOOL DAY, AND LIFE. Miami Music Teacher Knows How Music Changes Young Lives GONZALEZ

VIVIAN E. GONZALEZ, one of 10 and while I love teaching music and my the opportunity to show each of my fi nalists for the fi rst GRAMMY® children have a passion for music, I also students that they can do and learn Music Educator Award, has produced a believe it is my job to help my students and anything that they put their minds to, as video that was selected to be shown with their parents navigate what can be a long as they are willing to work hard for it. I other Concert for Music In Our Schools confusing educational system.” strongly believe that music teaches Month® videos in March. Featured at A student in the Miami- students more than just music. It Touching the musiced.nafme.org in March, it shows her Dade County Public Schools teaches them discipline, focus, lives of the students singing and playing a patriotic Magnet Programs, Gonzalez persistence, dedication, and students I medley. These videos were a centerpiece began studying the violin at perseverance. It also teaches them teach is my of Music In Our Schools Month , in which age fi ve. At 10, she made her reading, math, science, social favorite part NAfME highlighted the importance of solo debut with the former studies, study skills, abstract of what I do. high-quality school music programs. Philharmonic Orchestra of thinking, aesthetics, and so much A National Board Certifi ed Teacher, Florida. Her teachers included members of more. Music is an art and a way of thinking Gonzalez teaches general and magnet mu- the Miami String Quartet and Pinchas and experiencing the world. Every day I sic students at South Miami K–8 Center in Zuckerman. She attended the Mannes Col- look forward to sharing the world of music Florida. She says that when she looks at lege in New York, the University of Florida, with my students.” her students, “I see myself in them. The Florida International University, and Flori- Gonzalez is part of an active community program that I teach is the same program da Atlantic University. of professional musicians who support one that I went through. Most of my students Gonzalez became a public school another. “The only funding I have for my come from underrepresented music teacher in 1999. “Touch- program is my salary. I know everyone, so populations or a low ing the lives of the students I in our community we barter, we give to one socioeconomic status. That teach is my favorite part of another. I work very hard to get extra was me when I was what I do,” she support for my program.” Gonzalez also growing up. I grew up notes. “Every day I am likes the support she gets from NAfME. poor, extremely poor … given the opportunity to “Belonging to NAFME gives us strength, it Most of my students are positively impact the gives music teachers a voice. It is very new to this country, or lives of the children in my important to join with other music educa-

PHOTOS: COURTESY OF VIVIAN E. GONZALEZ (3) ﬁ rst-generation American, class through music. I get tors in support of good music programs.”

nafme.org 11

5_NewsTM.indd 11 3/10/14 11:58 AM Dates & Deadlines April is Jazz Appreciation Month Each year, we recognize April as Jazz Apprecia- tion Month—a great time to give your students additional opportunities to perform, to build Bruce Caldwell stands before a “Music Matters” display at public support for your jazz programs, and to the February Washington Music Educators conference. entice the next generation of students to take part in your ensembles. NAfME offers a variety of JAM resources.

Advocacy on Wheels: Washington’s nafme.org/jam Visit Jazz at Lincoln Center’s site for even more “Music Matters” License Plates great information and resources on jazz. jalc.org Driving home advocacy. What program, and the remaining funds better way than to have the mes- were available as grants for schools Middle School/Junior High sage right on your car? Wanting to help with music programs that had School National Conference save school music programs from the suffered significant losses. for Choral Music chopping block, a group of Seattle-area A committee of five (two from “Finding the Shoe That Fits”—May 3, 2014 University of North Texas, Denton rock musicians formed a nonprofit chari- MAN, two from WMEA, and a ty called Music Aid Northwest (MAN). school superintendent) examined music.unt.edu/cambiata/ MAN brought the idea of creating several applications and selected specialized license plates to the Washing- two schools to receive funds, 2014 Electronic Composition Contest ton Music Educators Association including the tiny Prescott School. NAfME is accepting submissions for its 2014 (WMEA), asking for help promoting the The committee awarded each of the Electronic Music Composition Contest, which recognizes outstanding compositions and program with the state Legislature and schools $6,500 toward the purchase highlights the effectiveness of music technology distributing the funds raised. WMEA of music and instrument repair. At in the school curriculum. The contest deadline is April 15, 2014. A Collegiate student winner will quickly agreed. Although it took from the Prescott School, the students be chosen, as well as winners from age groups K–8 and 9–12. Entrants must be the student of a 2006 to 2012 for the plates to become a were thrilled to have the chance to NAfME member or be a Collegiate member. reality, MAN and WMEA persisted, and restart their band program. WMEA nafme.org/emcc Music Matters plates hit the road on executive director Bruce Caldwell January 1, 2012. presented the check, and every fifth 2014 NAfME National During that first year, 975 plates were grader waited to thank and shake In-Service Conference sold statewide. Coupled with a donation hands with him. Whether waiting at Mark your calendar for the 2014 NAfME National In-Service Conference. The dates are October from a local automobile dealer, more than a stoplight behind a Music Matters 26–29, 2014 at the Gaylord Opryland Resort in Nashville, Tennessee. The conference will offer $20,000 became available to help school plate or passing one on the street, opportunities to network with peers from across music programs. Purchasers could donate Washington drivers will see that the United States and beyond, with more than 100 professional development sessions, the All-Na- their share to a specific school music Music does Matter. —Bruce Caldwell tional Honor Ensembles, and lots more.

NAfME Rolls Out Powerful, New “Broader Minded™” Campaign Visit BroaderMinded.com to see a nationwide mission to ensure educators, and advocates of why, arguments regarding music why NAfME has reinvented its parents, students, and music exactly, music is in our schools, and education’s unique contribution to advocacy efforts. “Broader educators that it is safe to why music educators got into a high-quality education. Minded™” takes a new look at the advocate for their programs—that teaching music in the first place. Broader Minded cites benefits value of music education and music education programs We look forward to others such as self-discipline, reflective challenges assumptions about its orchestrate success joining in the Broader learning, and emotional aware- oft-perceived supplemental role in based on the inherent Minded campaign ness—skills that allow individuals the curriculum. Broader Minded is benefits of where together the to maximize their personal success essentially NAfME’s platform for classroom music. brain and heart and their contributions to the articulating new arguments that After we roll out demonstrate the workforce. BroaderMinded.com stress the importance of music for the Broader argument for music features an interactive model that every child. Minded campaign education,” illustrates the benefits with stories “The National Association for over the next few Through submitted by students, parents,

Music Education has fundamental- weeks, we will interactions with members, and teachers, and allows users to r h ly reinvented the manner in which continue the march in the months stakeholders, and students, join the Broader Minded e we teach, promote, and conduct and years ahead. Most important- NAfME has recognized the need to movement, access new advocacy music education advocacy,” says ly, through this incredibly uplifting reach beyond traditional materials, and share their own o: F Roz NAfME Executive Director and and long overdue initiative, we’re arguments for music education, stories about the value of music t

CEO Michael A. Butera. “We are on going to remind the nation, music and has articulated new key education. Pho

12 Teaching Music April 2014

5_NewsTM.indd 12 3/10/14 11:59 AM _TM_AD_Temp.indd 2 3/3/14 2:16 PM Denese Odegaard GRAMMY ® is 2014–16 NAfME Music President-Elect Educator DENESE ODEGAARD—Fargo (North Dakota) Urges public schools performing arts curriculum Support specialist and executive director of the North for Music Dakota Music Education Association—is NAfME’s Programs 2014–16 president-elect. Odegaard taught Life is fi nally settling orchestra for 33 years, and has been a board down a little bit for NAfME member Kent member for the American String Teachers Knappenberger, a Association (ASTA) and NAfME. She has been music teacher and choir director at Westfi eld chair of ASTA’s Committee on School Orchestra ODEGAARD Academy and Central and Strings, and twice received their Citation for School, who was For more from Odegaard, visit nafme.org/news. recently named the Leadership. She has been NAfME’s North Central fi rst GRAMMY® Music President, Research Advisor for the 3–5 grade sons. I believe the biggest reason is that they are Educator. He went from teaching choral standards writing team, and a past member of the missing the connections to other music educators students at his school National-State Relations Task Force. who can guide and support them in their new in rural New York to a luncheon in Los Says Odegaard, “I am very profession.... Our Association can Angeles on the day ® honored and humbled to have been OTHER RESULTS nurture new teachers with before the GRAMMY NAfME members in the telecast where he nominated and elected President- North Central, Southern and professional development and received his award. A 20-year member of Elect of NAfME. I have a strong Western Divisions selected provide mentors who will help for 2014–16 include: NAfME, he was chosen passion for music education and them through the challenges for the GRAMMY® North Central award from a group of professional development so I’m Division facing them as they start their 10 fi nalists, all of whom President-Elect: ready to assist Glenn (Nierman, Leyla Sanyer fi rst job. Larger districts are 2012–14 NAfME President-Elect) fortunate to have a mentor Southern and Nancy (Ditmer, 2012–2014 Division program, but what about the rural President-Elect: NAfME President) any way needed. Sara Womack areas in which the music teacher is I was pleased to know that my isolated and teaches the entire Western NAfME involvement didn’t end program? They need to be Division KNAPPENBERGER with the North Central Division six President-Elect: connected with other teachers Russ Sperling are or have been years of service.” who share the same situation in members of the Odegaard noted that new teachers and teacher order to share ideas and teaching strategies. With Association. NAfME supported the retention would be her focii. “One- to-fi ve year technology today, this should be a simple task only Music Educator Award teachers leave the profession for various rea- requiring the time by our veteran teachers.” process throughout 2013 with advocacy resources, and NAfME President Nancy E. Ditmer served on the Collegiate Chapters Demonstrate Excellence award’s Blue Ribbon Selection Committee. NAfME announces the MUSIC PROGRAM— Berea, Ohio; Cumberland Universi- Knappenberger says winners of its annual 1st place: Boise State ty, Lebanon, Tennessee. the attention he received also drew Collegiate Chapter of University. Honorable RECRUITMENT— 1st attention to music Excellence awards. Schools mentions: University of Hartford, place: Baldwin Wallace. teachers and music programs in general, which submitted projects in four West Hartford, Connecticut; Honorable mentions: he feels is greatly Hofstra University, Hempstead, needed. “Music categories: Music Program, University of Montevallo, programs around the Professional Development, Montevallo, Alabama. New York; University of Wisconsin country are always being threatened and Recruitment, and Service. PROFESSIONAL Oshkosh. anything that An advocacy category will DEVELOPMENT— SERVICE—1st place: Elon celebrates the work all music teachers do is be added for the 2015 1st place: Indiana University, Elon, North important.” awards. Each fi rst-place University, Bloomington. Honor- Carolina. Honorable Knappenberger commends NAfME in chapter receives a able mentions: Benedictine mentions: University of Michigan, particular for playing subscription to NAfME’s University, Cumberland, Mary- Flint; California State University, such an important role in advocating for Learning Network. land; Baldwin Wallace University, Chico. stronger music

programs nationwide. PHOTOS CLOCKWISE FROM TOP: COURTESY OF DENESE ODEGAARD; COURTESY OF THE GRAMMY FOUNDATION; COURTESY OF RUSS SPERLING, SARA WOMACK AND LEYLA SANYER

14 Teaching Music APRIL 2014

5_NewsTM.indd 14 3/10/14 11:59 AM Explore John Coltrane’s A Love Supreme During Jazz Appreciation Month

Each April, Jazz Appreciation Appreciation Month poster, which is in Month (JAM) shines a spotlight on honor of the 50th Anniversary of his jazz as both an historical and a living 33-minute masterpiece, A Love Supreme. treasure in the world of American music. The Smithsonian Institution’s National This very special month aims to draw Museum of American History has greater public attention to the extraordi- Coltrane’s original score for this nary heritage and history of jazz and its composition, and will have it on display great and undeniable impor- from mid-March through May tance to American culture. The theme of 2014. The theme for this Musicians, concert halls, for this year’s Jazz Appreciation schools, colleges, museums, year’s Jazz Month is “Jazz Alchemy: A Love libraries, public broadcasters, Appreciation Supreme”—examining how and more are encouraged join Month is “Jazz music can spark meaning and in celebrating Jazz Apprecia- Alchemy: transformation. This year’s tion Month by offering special, A Love poster, shown to the right, is jazz-related programs through- Supreme”— bound into this April 2014 out the month of April. examining issue of Teaching Music. The Smithsonian Institu- how music In the spirit of Jazz tion’s National Museum of can spark Appreciation Month, be sure to American History in Washing- meaning and read NAfME’s interview with ton, DC, leads this initiative transformation. legendary trumpet player and together with a distinguished roster of composer Wynton Marsalis in this issue. federal agencies, nongovernmental In the article, Marsalis discusses Jazz at organizations, and broadcasting net- Lincoln Center (JALC), focusing on its works. This museum operates the world’s jazz education programs. He also speaks most comprehensive set of jazz programs. to the many beneﬁ ts that are being made The legendary saxophonist John available to NAfME members and other Coltrane is featured on the 2014 Jazz music educators.

NAfME offers a variety of jazz resources. Visit nafme.org/jam.

New Inductees for Music Educators Hall of Fame

NAfME announces the latest profession and to provide addition to serving on the original in the movement to replace rote inductees to the Music Educators recognition of the profession’s task force of writers for the Music singing with a music reading Hall of Fame: Carolynn A. most outstanding individuals. It Standards, she was instrumental method, and was instrumental in Lindeman, Benjamin Jepson, and is also an important means of in pursuing many of the MENC establishing music as a curricular John P. Paynter. Jepson and preserving the most notable materials designed to supplement subject in the Connecticut Paynter are being inducted aspects of the heritage of music and explain the National schools. posthumously. The Music education in the United States. Standards. These materials John P. Paynter, of Glenview, Educators Hall of Fame Carolynn A. Lindeman was included publications such as Illinois, died in 1996. He was recognizes and honors music president of MENC, now known Benchmarks in Action, Standard 4 director of bands at Northwest- educators who, through their as NAfME, from 1996 to 1998. In Benchmarks, and the 14-volume ern University from 1953 to contributions, are of such Strategies for Teaching series, on 1996. Best known for his signiﬁ cant stature that they are LINDEMAN which she served as editor. leadership in college bands and considered to be among the most Benjamin Jepson, who died in his work at Northwestern, he was highly regarded leaders in 1914, was from New Haven, a world leader in the community American music education. The Connecticut. He was best known band movement. The Northshore contributions of those inducted for his work in elementary Concert Band is an example of may be in music pedagogy, general music, his elementary the idea, championed by Paynter, scholarship, administration, or general classroom series, and that making music should be a organizational leadership, and leadership in early music teacher part of the lives of people of all must be of lasting value. The Hall organizations. He was prominent ages and professions. of Fame aims to inform the general public of the achieve- For more information on the Hall of Fame visit nafme.org/hof.

PHOTO: COURTESY OF CAROLYNN A. LINDEMAN ments of the music education

nafme.org 15

5_NewsTM.indd 15 3/10/14 11:59 AM NAfME Nafme.org—the web home for music educators, advocates, and supporters

for Music Educators

AND THE WINNERS ARE … Three undergraduate writers, all music education majors, took the top three prizes in the MEJ Centennial Collegiate Essay Contest. Get details at nafme.org/essaywinners. Congratulations to three up-and-coming preservice music teachers with a ﬂ air for writing.

New NAfME LOOK SPEC-TACULAR Book Catalog! THIS SPRING! When spring turns A pair of these shades is a over a new leaf, so must-have for teachers, students, can you. Expand friends, and family this spring! your professional Available in a series of cheery library through colors (lime green, orange, red, books from the pink, and yellow) from the NAfME NAfME Book Store; visit shop.nafme.org. Catalog 2013–14. Take personal steps to orchestrate PROGRAMS: success in your NAfME Job Center classroom and career. Hone your professional A Special Membership for skills, improve your teaching, and have a First-Year Teachers … NAfME’s Job Center features greater positive effect on your students NAfME Collegiate Chapter listings for job seekers in the and community. Many of the publications Advisors, make sure that music education fi eld. Follow described are available either in hard all of your seniors/student @NAfMEjobs on Twitter for instant updates. copy or digitally for your Kindle, iPad, teachers are members of NAfME Collegiate by musiced.nafme.org/careers/job-center or other electronic device. Visit June 30 so that they can take advantage of the rowman.com/Catalogs/RLE13NAfME special First-Year Introductory Membership available to them when they enter the workforce come September! This special rate can mean for Advocates Webinars for Better as much as half off the cost of a typical active Advocate for Music Education Music Education membership! Contact Susan Lambert at [email protected] with any questions. Learning is about more than NAfME’s E-Learning: Take advantage test scores. Check out your of weekly professional development new advocacy landing page, webinars and lesson plans on NAfME’s Get Your NAfME Digital Coursepacks! Broaderminded.com to fi nd Learning Network. Upcoming April Visit shop.nafme.org to fi nd coursepacks on • New advocacy webinars (all at 7 p.m. Eastern Time) topics ranging from band to choral to general messaging include: music. Digital editions are $19.99 each; print APRIL 8TH editions $29.99 each. Some subjects that have • New resources proven especially helpful to teachers include: “What do I do? Where do I start?” • New “Share Your Special Learners in the Music Classroom, • Assessment: A Partnership between Story” platform Part 1 of 2 by Scott Iseminger Student and Teacher • New merchandise. APRIL 15 • Improvisation is Elementary: It’s All “GREATEST HITS!” Adapted Songs About Readiness Join the Broader Minded Movement! and Activities for Special Learners, • Common Core Ensembles: Rehearsing Part 2 of 2 by Scott Iseminger through Listening, Speaking • Strategies for Special Learners: High APRIL 24 for Supporters Introduction to Modern Band, School and Beyond by Scott Burstein Complete the Ostinato Circle! Find the full schedule at nafme.org/learn NAfME Forums Support music Share strategies, ask questions, and help education by your peers. Find communities of educators becoming a interested in band, chorus, higher ed/ member of Give a administration/research, and orchestra topics. Note Foundation’s musiced.nafme.org/forums Ostinato Circle—a community of givers who commit to a recurring monthly Not near a computer? Like us on Facebook: donation. Your gift will help enhance access Plus facebook.com/nafme You can scan this QR code with your to music study in underserved areas. Visit Follow us on Twitter: smartphone to visit giveanote.nafme.org to learn more. @NAfME nafme.org.

16 Teaching Music APRIL 2014

6_NewsWebTOC.indd 16 3/11/14 4:11 PM _TM_AD_Temp.indd 2 3/7/14 1:25 PM Classrooms ✢ By Adam Perlmutter

Jeffrey provide students an opportuni- Cayer uses Retention needs team-building ty to use practice rooms and exercises and to be a more to get additional instruction. I keep collaborative students have a network of local, playing. private music instructors who effort between can provide affordable music director and lessons. And if, after a time, a student. student truly feels that their instrument isn’t right for them, we work together to find one Facts & that allows them to be a Figures successful, contributing Southwest member of the band.” Middle School Orlando, Florida Cayer finds that team- GRADES 6–8 building exercises, such as theory games that encourage ENROLLMENT: Keep Calm and Carry students to work together, can help. “These games involve 908 PERCENTAGE OF On (with Band) students picking teams—brass LOW-INCOME A music educator in Florida helps his against woodwinds, etc.—and STUDENTS: students when the going gets tough. getting up out of their chairs to write answers on the 76% It’s not uncommon for a within the needed instrumen- whiteboard.” ETHNICITY OF STUDENT BODY: student to quit one ensemble tation of the ensemble.” Sometimes a student wishes or instrument to take up Cayer notes that students to leave an ensemble for no 43.1% White another before they’ve given may expect instant gratifica- obvious reason, and it requires the first a proper chance. tion in the classroom, which some sensitivity in order to get 24.7% African American Jeffrey Cayer, band director at goes against the slower pace of inside a student’s head to Southwest Middle School in musical study. “Producing a figure out what’s going on. 24.7% Hispanic/Latino Orlando, Florida, has experi- quality sound on a band Cayer once had a band student ence in negotiating this instrument is not as easy as who refused to participate in 1.3% Asian scenario. “I try to preempt this completing the first level of class. He eventually learned at the beginning by getting Candy Crush. It’s our job as that the student’s unrespon- 5.4% Multiple students placed on the proper educators to break down this siveness was a reflection of instrument so that they have a difficult task into much troubles in her home life. “I let 0.7% American Indian/ feeling of success. I hold a smaller, more obtainable levels her vent a little bit, and then Alaskan Native ‘petting zoo’ where students so that each day the student explained that the band room NUMBER OF are encouraged to try out the will look forward to coming in is a great place to get away MUSIC TEACHERS: various instrument groups and to complete the next task.” He from all of the ‘stuff’ in the can express their interest in a recommends removing real world. She not only 1 particular instrument. Reten- obstacles to band participation: became a successful tuba ENSEMBLES/ tion needs to be a collaborative e.g., providing equipment for player, but also added trom- CLASSES:

effort between director and those who cannot afford it, or bone, euphonium, bass, and student, getting the student on coordinating schedules with guitar to her musical endeav- 7Band: Concert Band, Symphonic Band 1 his or her top-choice instru- leaders of conflicting activities. ors. And she is now a very and 2, Jazz Band 1 ments, as well as something “I am at school before and successful high school band and 2, Beginning Band, Advanced

that is a good fit physically and after my contract time to director.” Beginning Band Rick Runion photo: 

18 Teaching Music April 2014

7_Classroom.indd 1 3/10/14 10:56 AM _TM_AD_Temp.indd 2 3/11/14 3:08 PM Advocacy ✢ By Debbie Galante Block

improve students’ academic If everyone achievement. The music educator often begins on is working ETM’s payroll, where they are together, then mentored, developed, and it is a tour managed throughout the year. de force. Within the first few years, those music teachers are hired directly by schools, and ETM continues to support them. “We teach music because it

Bronx Borough teaches kids to think”, says President Ruben Getting Diaz Jr., working Pauliks. “We believe it also Everyone with a student improves self-esteem and in the Music on Board Technology confidence, but we put our Lab at Middle When ETM partners school 180 in energies into highlighting the with a school, it is a New York City. long-term relationship cognitive development and with administrators, transferrable skills students teachers, and parents. “We work directly with learn in the music classroom.” the principal first, then academic teachers,” ETM educates classroom says ETM director of Music for Music’s Sake teachers in how to recognize programs, Peter Education Through Music Helps New York Pauliks. “Then the City Schools to Establish and Maintain high-quality music education parents have to buy into and the value it brings to a the program. If Music Programs everyone is working child by engaging them in together, then it is a tour de force. If a new Everyone loves music, but student—they build infrastruc- music lessons. They take a principal comes in, then love alone is not going to save ture for sustainability. The kids typical classroom activity, such the teachers and the parents will continue to music programs in the face of need general music as a as close reading, and examine fight for the program. If you don’t target all budget cuts. Education foundation before band and it through a musical lens. three areas, then it will Through Music (ETM) has a orchestra. “We build a music “Close reading is really about never be sustainable.” How are parents different solution—or, rather, a program from the ground up. navigating complex text, and engaged? Every child in an ETM Partner School different way of looking at If a principal does not recog- kids are doing this all the time performs at least twice a music education and express- nize the value in building a in music class,” says Pauliks. year. “It’s not Star Search,” says Pauliks, ing its value. This nonprofit foundation of general music “They may not be playing “but a demonstration of learned skills. When the organization believes that first, we begin there. We Beethoven note-for-note in process is good, the music should be taught for illustrate the impact a founda- fourth grade, but they’re product is good, and parents flock to the music’s sake. tion of general music has on certainly able to navigate the schools to see their kids.” Once ensembles are ETM’s director of pro- academic achievement and score and follow/identify the built in schools, ETM grams, Peter Pauliks, notes student attitudes about school parts.” ETM involves class- hosts “breakfast with the band/orchestra” that good teaching is compre- and work to get principals to room teachers in activities such days—“We call it a ‘concert teaser’”—and hensive and sequential. The see the possibilities.” as these to demonstrate the parent workshops in mission of Education Through Through ETM partnerships, type of learning that occurs in music technology labs they have built. “There is Music is to form long-term school principals and teachers the music classroom. Educa- something very magical partnerships with New York receive professional develop- tion Through Music “catches about seeing a parent sitting alongside their lf City schools to help principals ment on curriculum design, them thinking” as participants child, where the child is o

doing the teaching.” Mar is

establish and sustain school- strategic planning for their identify patterns, infer musical r

To learn more h wide music education pro- music program, and leveraging motifs, and predict dynamic about Education C : Through Music, visit hoto

grams that reach every for the music teacher to markings. etmonline.org. P 

20 Teaching Music April 2014

8_Advocacy.indd 1 3/10/14 10:58 AM _TM_AD_Temp.indd 2 3/13/14 9:46 AM Research ✢ BY KEITH POWERS It’s a new agenda, and a new level of accountability.

about half of choral rehearsal Critical Thinking time was spent in nonperfor- PRACTICAL mance activities and, of that, TIPS FOR Skills in High School only about six percent was spent CHORUS on critical thinking skills. Here are ideas for injecting critical ChoralConnections betweenRehearsals different types “It’s relatively simple,” thinking skills into Garrett says. “We’re trying to choral rehearsals. At the of knowledge can improve skills. root of the practice are get students to make connec- four main concepts: “WE’RE NOT JUST teaching for ability in individuals to think tions between di erent types TRANSFER • Apply musical today. We’re teaching for what for themselves.” of knowledge. In the past, it concepts from warm-up activities to repertoire. happens down the road, when As part of his doctoral was the teachers, and the • Use simple guidelines our students are in leadership dissertation, in 2009 Garrett question remains: ‘How do we to encourage application of knowledge from positions, and they are making took a step back to look at how get this out of the teachers’ one situation to another. the decisions—and not just e ectively critical thinking was heads?’ We want students to be ANALYZE • Outline musical forms. musical decisions,” says being integrated into his own creative in the classroom, to • Investigate the Matthew L. Garrett, associate area of music expertise, choral analyze the music, and to reasons behind a composer’s decision to professor and director of choirs training. By doing extensive transfer that knowledge. set a text to music. • Have students target at Case Western Reserve video evaluation of ve Florida “I did my study ve years their own “trouble University in Cleveland, Ohio. high schools, Garrett was ago, and it takes time to work areas” in musical pieces they are learning. Garrett is making a specialty of surprised to nd that the through the writing and • Involve students by using their own music: what his students do “down percentages of time students publishing process. I’m just Ask what they are the road.” It has to do with spent actually taking part in starting to revisit my ndings, listening to, and what makes a particular song critical thinking—which isn’t re ective thinking activities— but I have a sense that it’s a “favorite.” a new idea in music education, the central focus of critical become more of a discussion EVALUATE • Get students to set or in education in general, but thinking—formed only a point, and that there already is their own goals, and it’s one with increasing fraction of actual classroom a di erence.” have them evaluate if those goals have been relevance to how educators time. Although he teaches in achieved (e.g., have students distinguish respond to the revamped Garrett’s study, “An Exam- Ohio, Garrett does his research good and bad intonation in rehearsals).

Common Core curriculum ination of Critical Thinking in Florida, where his public JOURNAL OF RESEARCH IN MUSIC • Set certain criteria in and the National Standards. Skills in High School Choral school teaching career began. advance by having students listen to “It’s a new agenda, and a Rehearsals,” was published in “The population is exploding high-quality recordings, new level of accountability,” the October 2013 Journal of there, and especially under- and then have chorus members assess their Garrett says. “There is a Research in Music Education. His represented minorities. You’ve own performances. resurgence in developing the basic determinations found that got a lot more diversity.” CREATE • Guide students in Garrett further notes that, concert program “I’m trying to get at what a lot planning, and ask them A BREAKDOWN OF REHEARSAL TIME to justify why they Non-speciﬁ c activities: of us are doing already. Maybe chose certain pieces. Observed rehearsal Critical • Have students behaviors were coded into thinking: critical thinking hasn’t always three categories of 1.57% compose simple nonperformance activity: 6.36% been called the same thing, or sight-reading exercises lower-order thinking, for one another or other critical thinking, and nonspecif- thought of in the same classes. • Use abstractions: ic activity … A signiﬁ cant Performance manner. If students want to positive correlation was time: Create a piece of music found between the be professional musicians, inspired by a piece of amount of time spent in 46.11% sculpture or an idea. nonperformance All non- that’s great. But the skills activities and time spent RESOURCES: performance necessary to acquire musical • The Partnership engaged in critical Lower-order activities: thinking skills. —From the for 21st Century Skills: thinking skills: knowledge can be of lifelong , OCTOBER 2013, VOLUME NUMBER 61, 3, PGS. 303–317 (SEE JRM.SAGEPUB.COM/CONTENT/61/3/303.ABSTRACT) abstract of “An Examination 53.89% p21.org of Critical Thinking Skills in 45.96% relevance, no matter what the • NAfME curriculum High School Choral Rehearsals” resources: musiced.

subject matter.” nafme.org SOURCE: EXAMINATION “AN OF CRITICAL THINKING SKILLS IN HIGH SCHOOL CHORALEDUCATION REHEARSALS,”

22 Teaching Music APRIL 2014

9_Research.indd 1 3/10/14 11:00 AM 12.5 oz. of confidence.

That’s what you get when you pick up our Choralex™ Compact. Solid support in a design so light, you might forget it’s there. Our folder options include removable rings, extra retaining cords, personalized imprinting – even our new Band & Orchestra folder (left) for conductors and instrumentalists. See them and all our singing essentials online. Or call Concert Band & Orchestra Folder is extra-wide for us at one of these numbers. storing and displaying scores. With name card and dual pencil holders. Optional imprinting for logo, instrument or name. Dealer inquiries also welcome.

Small World MUSICFOLDER.com Inc. Toll-free (Canada and USA): 1-877-246-7253 • Telephone and Fax: +1 604.733.3995

Folding Jazz Stand Collapsible Smart Easel XtraFlex Duet 2 Handy Gig Bag Name or logo imprint (604) 681-5386 www.colbertcreative.com

www.colbertcreative.com

(604) 681-5386

Folding Jazz Stand Collapsible Smart Easel Handy Gig Bag Name or logo imprint

_TM_AD_Temp.indd 2 XtraFlex Duet 2 3/3/14 2:37 PM

Small World MUSICFOLDER.com Inc. Toll-free (Canada and USA): 1-877-246-7253 • Telephone and Fax: +1 604.733.3995

holders. Optional imprinting for logo, instrument or name. Dealer inquiries also welcome.

storing and displaying scores. With name card and dual pencil

us at one of these numbers.

Concert Band & Orchestra Folder is extra-wide for

singing essentials online. Or call

(left) for conductors and instrumentalists. See them and all our

personalized imprinting – even our new Band & Orchestra folder

Our folder options include removable rings, extra retaining cords,

Solid support in a design so light, you might forget it’s there.

That’s what you get when you pick up our Choralex™ Compact. 12.5 oz. of confidence. Technology ✢ By chad criswell

Stepping into Tomorrow: Technology and Tools

forToday’s Marching repertoire of apps andBand other software can help with drills, organization, evaluation, and more.

MANY of the same technologies that are are practicing over the summer.” He in use in the music classroom are finding also shares the drill and music files via their way onto the field as well. Here are the band website, social media sites, or just a few of the ways that the targeted through a Dropbox account so that use of tablets, apps, computer software, students can have anytime access to and other gear can breathe new life into their materials and allow them to be as rehearsals and performances. prepared as possible for rehearsals.

Preseason and Pit Rigging the Band Technology Tools Even the band itself gets a performance For many schools, the use of technolo- boost from technology, as the growth gy comes into play long before the of the use of electronics and amplifica- marching band season even begins. A tion in pit ensembles has become more case in point is the Hempfield High commonplace. Jared Daubert, band balance that is experienced by the School Marching Band in Landisville, director at Conestoga Valley High audience. The mixer is synced through Pennsylvania, under the direction of School in Lancaster, Pennsylvania, says a program running on a MacBook Pro. Adam Gumble. “Technology plays an that “We mic all of our pit equipment We then have a wireless network that important role in nearly every aspect of and synths. We have some parent and connects the laptop to the iPad with no our marching band program. During student quartermasters whose job is Internet access needed.” the early planning stages, our staff solely to organize and set up the utilizes Google Docs to stay connected electrical equipment, but the shows are Drilling the Drill and share ideas. Then, we storyboard designed so that they can be performed Many programs now encourage the use the whole show and digitally construct without the electronics if the need of tablets and smartphones over bulky it using notation programs like Finale arises. It might be a little thin, but the binders. Daubert, for instance, is never and drill design software like Pyware. show is not totally dependent on it.” without his iPad loaded with a copy of Since our music For Gumble, the pit A.P.S. MusicMaster Pro, an app via arrangers use Finale, setup goes even farther which he carries all of his drill charts, we then generate into the technological scores, and other important documents. audio files of the realm with the use of a He has plans to expand iPad use arrangements and digital mixer that can be significantly in the coming years. “Our individual parts so controlled remotely via goal moving forward is that the whole that students can have an iPad. “It allows our leadership corps and all of the principal reference material to staff to make adjust- players of the band will eventually have listen to when they ments to the volume of iPads to use during rehearsals.” the front ensemble and For Jon Waters, director of marching Hempfield Percussion Director Danny Mark (Left) any audio samples that and athletic bands at Ohio State and jack Steiner discussing where iPad samples will be directly impact the University in Columbus, Ohio, the triggered in the music. overall ensemble iPad has allowed the band to transform

24 Teaching Music april 2014

10_TechTM .indd 1 3/13/14 11:35 AM kind, allowing opportunities for staff and band members to record clips of Apps for the rehearsals, drill segments, and other Field events that can be used as individual or A.P.S. Music Master Pro (iPad) small-group instructional materials. An all-in-one music tool that includes a sheet music reader, a metronome, a Gumble notes that easy access to tuner, an audio recorder, a timer, and video is essential to his band’s success, fingering charts in one easy-to-use app. apsdevelopmentllc.com “Staff members are able to video Drill Book Next students during rehearsals and give (iPad and Android) An app that imports and displays drill students immediate feedback on their coordinates from a standard PyWare, performance. Likewise, many staff EnVision, or Field Artist drill file. Students can view step-by-step drill members like to create ‘judges’ tapes’ animations on their tablets as needed. during full-ensemble rehearsals that can drillbooknext.com forScore (iPad) be shared with students online (Drop- A well respected sheet music storage box, social media groups, etc.). During and annotation app that allows one to import files into ForScore from championship week, a parent volunteer Dropbox or other sources and allow records the run-through at the end of students to view and write on top of the music. forscore.co each rehearsal. The video is posted on Dropbox (iPad and Android) YouTube and is then dissected during a An app that allows one to share folders of documents and other files Hempfield film session at the beginning of the with students almost instantly. Drill Assistant pages, music, handbooks, and trip Percussion following rehearsal. Students are then Director Jack itineraries can be uploaded to a Steiner (Left) able to process their performance and Dropbox folder from a PC or Mac, and shows student thus be made available to everyone in Varpu Savolainen create goals based on that feedback.” the ensemble. dropbox.com the iPad trigger setup. At Ohio State, Waters uses a ownCloud (iPad and Android) specialized iPad app called Coach’s Eye A free, do-it-yourself Dropbox competitor that allows your tech into a nearly paperless ensemble. “We to give students and leaders very precise department to set up a dedicated file-hosting service on your own used to go through almost half a and instant feedback on their move- server. This is an option that can million sheets of paper annually to print ments and performance. Using the app, provide more control, lower costs, and no limits on storage space. drill charts, music, and other materials they can move forward and backward owncloud.org for the students. With the iPads in use, frame-by-frame through a video’ Coach’s Eye (iPad) we have already saved over $25,000 a allowing them to see minute details Although intended for athletic teams, Coach’s Eye provides a specialized year in paper costs alone.” His program that might be missed with full-speed video camera app that allows a user to instantly move forward or backward now outfits all ensemble members with video. through a video, frame by frame. This school-owned iPads, which are signed is helpful for directors who wish to zero in on problem areas and show out as the responsibility of each student Communication and students exactly what needs to be fixed. coachseye.com for the season. Bearing outdoor use in Management Tools mind, the band is also provided with There are also specialized tools special weather-resistant iPad cases, as that make tedious, nonmusical Other products mentioned in this article: Google Docs: docs.google.com well as shoulder straps that allow the chores much less frustrating—for Finale Music Notation Software: finalemusic.com tablet to hang at the side when not in instance, Charms Office Assis- Pyware: pyware.com use and flipped up easily when needed. tant, which is described as a Charms Office Assistant: charmsoffice.com EnVision: box5software.com These accessories—together with complete management, commu- Field Artist: fieldartistcentral.com several specialized apps (see sidebar)— nication, assessment, and have completely changed the way this financial system package that allows a many other activities. It can produce umble (2) G

m band rehearses and performs. director to manage almost every aspect barcode labels to use on printed music, a d a of a band’s operations in one place. thus allowing students to check out sets Recording and Charms Office Assistant allows a of literature for which they are then

ourtesy of Evaluation Tools manager to track student and parent responsible. The program also provides C Today, almost every portable smart contact information, uniforms, many easy phone, text, and social otos: h

p device has a built-in camera of some fundraising, event scheduling, and media communication options. 

nafme.org 25

10_TechTM .indd 2 3/13/14 11:35 AM Lectern ✢ By Katie Cole

The RecorderA Synthesis of Singing and Choır: Instruments

scious when singing because of cultural practice over the summer, Katie Cole is a music teacher in the Carroll County Public Schools in Westminster, Mary- mores. Students who are not uneasy and they like the healthy land. Questions are welcome and may be directed when singing may struggle with pitch competition of earning to the author at [email protected]. issues because their auditory discrimi- Recorder Karate belts as a nation is underdeveloped: Asking them symbol of their musical “The concert was beautiful—the best to sing is equivalent to asking them to status. (After adding recorders to one yet!” remarked a parent volunteer locate notes out of thin air. Some chorus, the enrollment of boys in my as I passed her in the hallway. I smiled students may have voice damage that chorus has more than quadrupled.) and praised the students’ hard work. It severely limits their range. All of these Students who struggle with pitch or was the day after our Spring Concert, types of students are likely to be even with voice range due to vocal and I’d received several similar com- reluctant to join elementary chorus. damage are able to confidently join the ments from other parents who praised How do we help struggling students group when performing a song. our “fantastic concert.” Meanwhile, in overcome these barriers? One idea is to By its very nature, singing can make the back of my mind, I began to dissect put soprano recorders in their hands struggling students who lack confidence what had made this concert “the best and create a recorder choir. Starting in in their ability feel extremely vulnera- one yet.” third grade and throughout the ble. There is no safety zone between My fourth- and fifth-grade chorus elementary years, students can learn them and the audience—the instrument had always done a good job on past per- recorder basics. By the fourth and fifth is inside of them, and they have to stand formances, but this year we included an grades, they can perform melodies and up straight with their hands by their equal number of soprano recorder songs songs in up to three parts, as well as sides and face the masses. Everything and choral pieces, making the ensemble short canons. hinges on being healthy; if they have a truly a recorder choir. Three pieces had I have found that the majority of sore throat, they miss their perfor- involved singing and playing the students who are insecure about singing mance, and a cold can make their voice recorder alternately. Another parent are not insecure when performing on crack due to excessive swallowing. This came right out and said, “We loved the their recorders. They are able to do isn’t the case with the recorder: students recorders.” short phrases or whole songs as solos in can play through colds, sore throats, In some ways, singing is hard to front of their peers, and the more often and even laryngitis. Sound production teach. Music educators who teach they perform, the easier performing is easy: The instrument is lightweight, general music and chorus often run into becomes. Elementary school boys are and as they play, the students are fully students who experience stage fright often highly motivated to play the conscious that they and their instru- when they sing. Boys may feel self-con- recorder; they ask me for extra songs to ment are two separate things. Mistakes

26 Teaching Music april 2014

11_LecternTM.indd 28 3/10/14 11:04 AM KATIE COLE LEADS SOME MUSIC STUDENTS FROM THE PIANO.

on the recorder are not quite as They will know more notes and will sopraninos, altos, tenors, and even devastating as mistakes made when also be able to develop their fine motor basses. If parents are not musicians or singing. Because of their reduced stress skills in the process. do not have any experience whatsoever level, more upper-elementary students Because third-grade students will be with playing the recorder, they will have greater success with performing eligible for recorder choir in fourth and appreciate being told exactly what to on recorders than they do with singing. fifth grades, it is important to spell out purchase. (I have had to respond to a By combining singing with recorders, what type of soprano recorder they couple of emails from parents who were you can to reach out to a larger need to buy. Some students may show seeking this information.) population of students, and enable more up with inexpensive recorders that play After all of the recorders have first students to have an enjoyable experi- a half-step flat because their recorder is and last names written on the instru- ence when they perform in concerts. longer than the standard recorders. To ment itself and on the case, third-grade prevent intonation problems, recom- students are ready to start playing. Putting It Together mend that students purchase their When teaching recorders to beginners, Although music curricula tend to recorder from a music store in their I use a hybrid of the Suzuki technique mention recorders in third grade, it’s a area. Or, if you want to be even more and traditional music reading. Students good idea for students to have a chance proactive, purchase recorders that learn the notes “BAG” and can play to play recorders in fourth and fifth students can buy from the school store. “Hot Cross Buns” without written grades as well. Apart from providing If you buy recorders in bulk, you will music before they read “BAG” songs on excellent reinforcement of absolute be able to sell them to the students at a the staff. Each time a new note is pitches on the treble clef staff, it allows reduced price. I have found that added, students spend time fingering it music learners to make progress in a Yamaha, Gill, and Angel recorders, and playing it before reading it on the greater depth on their instrument and among others, work well. staff. It is important to create the to have an enjoyable ensemble experi- When sending your recorder comfortable feel of a mother-tongue ence. Obviously, students who play the information letter home to parents, be language, and when students isolate recorder for three years will have an sure to specify that students need a parts of the process, they are more

photo: Christinephoto: Baker easier time playing canons and in parts. soprano recorder. Music stores sell easily able to master the whole process

nafme.org 27

11_LecternTM.indd 29 3/11/14 4:12 PM later. At this stage, as long as they have S’vivonS'vivon SovSov (Dreidel Spin) Spin) the left hand on top and the right HebrewHebrew FolkFolk Song Song thumb behind the fourth hole, they are in good shape. To build your future choir’s ability bb 2 œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ to play memorized music, memory & 4 œ œ œ œ œ œ œ œ œ exercises without the staff are valuable when starting students on recorders. If b 2 & b 4 œ# œ œ œ# œ œ œ œ œ# œ# œ œ œ œ œ œ œ# œ œ you are familiar with cognitive testing, œ œ œ œ œ œ œ you will recognize the digit-span exercise that helps build short-term bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ memory. Instead of numbers, use & œœ œ# œ œ œ œ œ œœ œœ œ# œ œ œ œ œ œ pitches. Start by calling out a pattern of three notes using any of the notes that bb the students know. After calling out the & œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ œ œ œ notes, have the students play the notes When students are first starting to staff, add the stems to the pitches, without a prompt. After they become read the notes on the staff, it’s helpful to indicating specific rhythms. comfortable with three, upgrade the draw a set of noteheads on the staff and It helps to find a visual way to show pattern to four notes, five notes, six point to the notes in the rhythm that students that they are progressing. I use notes, and so on. You can use repeated you want, or have them play written a modified Recorder Karate sequence notes such as B–A–A–B–G–A, etc. To rhythm patterns on different pitches for motivation. For example, they learn develop long-term memory, you can that you call out. Why? Composite three “BAG” folk songs, and I pick one throw in interference patterns: Have music reading (reading pitch and of the “BAG” songs to be the white belt students play one pattern, then a second rhythm simultaneously) is still difficult testing song. Green belt through black one, and then ask them if they can for many third-grade students. If you belt songs change every year, because I remember the first pattern. Or, start separate pitch from rhythm in the very use concert songs as higher-level testing class with a pattern, and at the end of beginning, students are more likely to songs. You can also use stickers and class ask if anyone remembers it. All retain what the lines and the spaces on charts, or whatever else works in your sorts of memory exercises can help the treble clef staff are. After they are situation. students retain what they’ve learned.ake imecomfortable in ife reading the pitches on the From Performing Take Time in Life to Composition In addition to learning songs, third- # j j grade students also compose a piece 4 œ œ. œ œ œ œ. œ œ œ œ. œ œ œ & 4 œ œ œ J œ œ œ using the notes they know that they I was passing by, My fath- er called me in, and he said to me, you better perform in front of the class. When # 4 they get used to performing solos, & 4 Œ w w w w w w playing in an ensemble becomes 3 # much easier. & œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ By fourth grade, soprano recorder œ 3 3 take time in life, people, take time in life, people, take time in life, people, students should be able to play an

3 3 3 octave (from low D to fourth-line D on # the treble clef), and you can select folk œ œ œ œ Œ œ œ œ œ Œ œ œ œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ songs that could be both sung and 3 played for the concert. This is a great # & œ œ œ œ œ œ œ œ œ œ way to incorporate multicultural songs. 3 œ take time in life cause you got far way to go. For the Spring Concert we performed “Shepherd Boy” (Hebrides Islands), 3 3 “Birch Tree” (Russia), “Blackbird” # œ œ œ œ Œ œ & œ œ œ œ œ œ œ œ (Hungary), “Do Lord” (American

28 Teaching Music april 2014

11_LecternTM.indd 30 3/10/14 11:04 AM spiritual), and “Kokoleoko” (Liberia). I the melody of a recorder piece, write pieces memorized. usually pull folk songs out of music out a bass line for the student to play Before group rehearsals start, make books and create my own arrange- (usually the notes G, E, and D, since G or purchase neck straps for recorder ments. Folk songs work well because major is a good key for beginning choir students in order to prevent they can be played and sung, but for recorder players), or provide a simple recorders from dropping during songs that feature the recorder alone, ostinato pattern. If you see that a rehearsals or performances. Some any genre will work. In this past student has memorized the melody, students get distracted and forget to Winter Concert, my recorder choir write a harmony line that he or she can hold onto their recorders. At our dress performed “Frosty the Snowman” with work on to memorize. With recorders, rehearsal, one girl dropped her record- melody and chordal accompaniment all differentiation is easy, and there is an er, and it fell underneath the risers, played by recorders. My students are eagerness to participate because all causing her to frantically scramble to currently working on my arrangement students can feel successful at the tasks retrieve it. Everything stopped as the of Bob Marley’s “Three Little Birds” they are given. students turned to watch her. I learned for voice and recorders with xylophone When choosing recorder choir something from this, as I do from every mistake! Before rehearsals start, I tell I have found that the majority of students recorder choir members to put their who are insecure about singing are not recorders on my desk at the end of class, insecure when performing on their recorders. and I make all of them neck straps out of knotted yarn. If you don’t have the and steel drum accompaniment. They songs, try to find ones with a clear-cut time or the patience to do this, several are also working on “Octopus’s form. Discussing and referring to the music companies sell premade recorder Garden” with voice, recorders, and form of these songs helps the students neck straps with wooden recorder drum set. Geoffrey A. Reynolds and to memorize the music. (For example, holders. Thomas Gottschalk’s article “The the form of “Birch Tree” and of Throughout recorder choir rehears- Exquisite Recorder” (General Music “Shepherd Boy” is “AABB”; and one als, accompany them on the piano. Today, October 2009, Volume 23, form of “Do Lord” is “ABA'C.”) Because their songs are memorized, Number 1, pgs. 31–34) includes several During one class, have students play recorder choir students will be better links to YouTube clips of recorder without looking during the A section, able to listen to what is happening performers playing jazz, Celtic music, but allow them to look while playing around them. Other than giving them a and movie music, such as from The Lord the B section. The following class, tell cutoff at the end of a song, you really of the Rings. them not to look during the playing of don’t have to conduct them: They stay As you coordinate your recorder either the A or the B section. When the together as an ensemble because they are choir, you will have numerous oppor- concert comes, they will have their able to listen to the music as they are tunities for instructional differentia- making it, which is a freeing experience tion. Some students memorize the for them. They’ll also realize that if they music quickly and can play it perfectly. have the music in their heads, they can One girl wrote a recorder accompani- play the recorder anywhere. ment to the Liberian song “Kokoleoko” According to the comments of and did a wonderful job accompanying parents, some students play nonstop at us in our Spring Concert. Others labor home, and their siblings try to hide the with simply getting a good sound on recorder. One parent told me that her their F-sharps. One boy keeps forget- daughter plays the recorder in the ting to put his left hand on top, shower! “Sometimes I have trouble although I have been reminding him playing music on my clarinet, but that about that for two years. There is a never happens with my recorder,” one wide array of ability in any general fourth-grade boy said. By playing in music classroom, and our job is to recorder choir, elementary students can know the abilities of each student well develop musicianship and confidence in enough to help all of them succeed. If themselves. That is the best combina-

photo: Christinephoto: Baker you see that someone is struggling with tion of all. 

nafme.org 29

11_LecternTM.indd 31 3/10/14 11:05 AM MusicianshipDefining

Wynton Marsalis and the Jazz at Lincoln Center Orchestra introduce students and teachers to the importance of jazz.

30 Teaching Music April 2014

12_Jazz.indd 30 3/14/14 2:26 PM BY NELSON DUFFLE EDITOR, TEACHING MUSIC MAGAZINE

MusicianshipIN THE 21ST JAZZ AT LINCOLN CENTER CENTURY: & THE MARSALIS MESSAGE

“BITING” doesn’t even begin to describe how cold it is in New York City on this particular February morning, and it’s obviously having an e ect on everyone. Inside the Columbus Circle o ces where Jazz at Lincoln Center (JALC) is located, Todd Stoll is warm, but he’s thinking about snow, students, and seats as he keeps one eye on the door and another on his watch. “We may have to delay the performance a few minutes if they don’t get here pretty soon,” he considers. As the vice president of education for Jazz at Lincoln Center, Stoll is responsible for (among many other things) getting busloads of elementary school kids from all ve boroughs into Frederick P. Rose Hall for the Jazz for Young People concerts. The weather today isn’t helping, and some of the schools haven’t arrived yet. Stoll is also making sure that his boss has everything he needs before the 10:00 a.m. performance kicks o . They review the new script together and make nal edits. They talk about some of the pieces the orchestra will perform. They wonder aloud where the buses are and when they’ll get there. Todd’s boss is Wynton Marsalis. Marsalis, of course, is the legendary trumpeter and composer who has won countless GRAMMYS®, awards, and accolades throughout his 30+ year career, and who also happens to be the managing and artistic director at JALC. This morning, though, he’ll be focused on leading the 15-piece Jazz at Lincoln Center Orchestra during the concert and teaching a house-full of youngsters about the wonders of jazz.

PHOTO: FRANK STEWART Assuming they show up.

nafme.org 31

12_Jazz.indd 31 3/14/14 2:26 PM MARSALIS/ NAfME INTERVIEW USE A SMART PHONE Finally, the word comes—the students TO SCAN THIS CODE and their teachers are here and are quickly AND WATCH. lling the 1,200-seat hall. The lights go down and a big, illuminated “JAZZ” logo glows brightly above the stage, just like the cultural beacon it’s designed to be. You almost can’t even take your eyes o of it, until Todd Stoll strolls on the stage and, without hesitation, smiles at the audience and says… “Please welcome the Jazz at Lincoln Center Orchestra!”

Energies United: JALC and NAfME First, a little background. Early in 2014, the National Association for Music Education (NAfME) and JALC formally committed to working together to enhance jazz education professional development opportunities and resources for NAfME members and their students. In many ways, the two organizations share a common goal. The mission of NAfME is to encourage the study and making of music by all, while advocating for a “broader minded” and WYNTON MARSALIS: The NAfME Interview more balanced curriculum in public school systems that focuses more on students “Let’s live up to our heritage, but let’s also be di erent. Let’s teach as if the themselves and not just on test scores. cultural life of our nation depends on what we choose to teach—and pick The mission of JALC is to entertain, our content deliberately, comprehensively, and carefully. We need to be all enrich, and expand a global community for about quality education.” jazz through performance, education and Those were the rst words out of Wynton Marsalis’ mouth when I advocacy. The organization and its leaders, asked him if he had a message to share with NAfME members. The man including Marsalis and Stoll, believe jazz is a might have been someone whose records I’ve listened to fervently over the metaphor for democracy. Because jazz is past 25 years but, on this day, he was more of a music educator with a improvisational, it celebrates personal passion than an icon on an album sleeve. freedom and encourages individual expres- “I’ve had the opportunity to listen to a lot of bands in a lot of schools all sion. Because jazz is swinging, it dedicates over the nation,” Marsalis explained. “Some of those teachers put very that freedom to nding and maintaining di cult music in front of their students, and maybe the kids didn’t sound common ground with others. Because jazz is great playing it, but they were playing great music. And that great music rooted in the blues, it inspires people to face taught them so many more things than just their execution of it. adversity with persistent optimism. “The substance of what you encounter in your education determines It’s these synergies that brought JALC how it shapes you. So when you encounter materials that are beneath your and NAfME together as partners. It’s also level of understanding, rather than materials that will lead you to a higher what led Teaching Music editor Nelson level of understanding, you’re being cheated by your education system.” Du e to New York on that frigid February I asked Marsalis to elaborate in terms of jazz programs in public morning to talk with Marsalis about his schools. personal vision for music education, among “Mainly I’m thinking how youth orchestras often have programs where

other things. they’ll play orchestral music like a Sibelius second symphony or a Bartók PHOTO: FRANK STEWART

32 Teaching Music APRIL 2014

12_Jazz.indd 32 3/12/14 10:18 AM _TM_AD_Temp.indd 2 3/6/14 9:35 AM Concerto for Orchestra, maybe a Beetho- ven third or Tchaikovsky fourth symphony. In jazz bands, though, the music they generally play will often be far beneath that level of engagement. When we’re teaching, the kids don’t have to be the Duke Elling- ton Orchestra, but they do need to be exposed to great quality music and shown how to reach further than what they think they can do.” Without a doubt, Marsalis and JALC are

huge proponents of making “quality” jazz JALC’s exhibition, Brubeck Lives On "Dave Brubeck: music available for students and teachers to Jazz Ambassador" features histori- use in classrooms nationwide, and they “I want to introduce you today to a great jazz man cal photographs, invest a great deal of time in helping named Dave Brubeck,” he tells the kids after the scores, programs, and concert overturn excuses like “we can’t learn jazz JALC Orchestra has performed its first number. footage from his remarkable because we don’t have the music” or “I’ve “Everyone say it with me: Brubeck!” life as a composer, bandleader, never taught jazz before and don’t know “BRUBECK!!!!!” they all shout back. and cultural ambassador. where to start.” “Now we’re going to play a little tune that Dave Offering its many resources, JALC is the Brubeck wrote in 9/8 time called ‘Blue Rondo à la Turk.’ See what you largest publishing program for authentic think,” he smiles before returning to the trumpet section in the back row repertoire for jazz bands in the world. to join in with the orchestra. Throughout the show, Marsalis alternates between teaching and playing, explaining how Brubeck got his start in music, getting the kids to clap out various time signatures, and even asking members of the orchestra to stand up and demonstrate certain styles and riffs, such as those created by saxophonist Paul Desmond when he wrote and performed the famous “Take Five” with The Dave Brubeck Quartet in 1959. The performance is both educational and fun—an amazing ride that lasts over an hour—and throughout it all, jazz manages to hold the rapt attention of almost every single child in the hall. Not just the illuminated “Jazz” sign above the stage, but the music itself. Marsalis shares his philosophy on When a NAfME music education with NAfME's member or any teacher Nelson Duffle. signs up for the JALC and NAfME: Strategic Partners NAfME builds strategic Family Concerts, teachers that will be organization’s Essentially Ellington pro- relationships with Middle School Jazz available through direct gram, for example, they automatically partners in our efforts Academy, and an links and on the NAfME to provide members early-childhood jazz website. These will receive access to free charts, online rehearsal with exceptional program, WeBop. include lesson plans, resources. Our recent A signature program suggested teaching guides, videos, and most recently, a mobile agreement with Jazz at of JALC education is strategies, and other app that allows teachers and students to Lincoln Center Essentially Ellington, a jazz education materi- connects NAfME free jazz education als. JALC will also urmi download and play along with the type of members with educa- program for high school support the All-National N

tion resources that will jazz bands. Through this Honor Jazz Band with ott

music Marsalis is referring to. enhance the ability to program, 15 bands are music/charts, two $500 Sc

teach jazz and to selected to travel to Jazz scholarships, and live or rt; Marsalis believes strongly in the compo- a understand the at Lincoln Center in New virtual coaching tew

sitions and legacies brought to us by the jazz importance of jazz as York and participate in sessions. S

part of our collective the Essentially Ellington We are proud to nk a

greats from eras gone by. Just before our r

history. JALC educa- festival and awards recognize Jazz at Lincoln F interview, I watched him demonstrate this tional programs include program. Center as our newest the Band Director JALC will be strategic partner, and firsthand when he personally spent over an Academy, JALC Youth selecting education will work together to Orchestra, Visiting resources for elementa- orchestrate success for hour teaching the elementary students in Band Workshops, ry through high school students and teachers.

Rose Theater all about Dave Brubeck. photos from top:

34 Teaching Music April 2014

12_Jazz.indd 34 3/12/14 10:18 AM _TM_AD_Temp.indd 2 3/4/14 10:31 AM WMDrMENCad2014_Layout 1 1/8/14 1:42 PM P World Music Drumming 2014 Summer Workshops

singing, drums, dance, xylophones of West Africa, the Caribbean, and other cultures

MARSALIS DOING • June 2 - 6 ONE OF THE THINGS - Rapid City, SD HE LOVES ______BEST— TEACHING. • June 9 - 13 - Tampa, FL The Potential and to introduce Marsalis to NAfME’s new ______the Challenge “Broader Minded” advocacy program, • June 16 - 20 Backstage, during our interview, I which had just launched in February asked Marsalis a rather obvious ques- and carries the message that music is - Houston, TX tion, but I wanted to hear his answer essential to a superior, 21st-century - Columbus, OH anyway. education, largely because of the special - Albuquerque, NM “Do you feel that most music qualities and skills it helps instill. Music ______educators fully understand the real allows for deep engagement with • June 22 - 27 potential of what they can bring to a learning, and gives students more - Oconomowoc, WI child’s life, something that goes far opportunities to excel. The program ______deeper than just learning notes on a advocates focusing more on the student, • July 7 - 11 page?” I inquired. rather than his or her test scores. To He took a deep breath, closed his learn more, visit broaderminded.com. - Leesburg, VA eyes, and spoke a little more quietly. “This makes a lot of sense,” Marsalis - Boulder, CO “Yes, I think they do. I think we all said as he looked over the Broader ______understand it,” Marsalis said. “I believe Minded brochure. “I’m glad that you • July 14 - 18 that teachers are touched by music, and folks at NAfME are doing this.” - St. Louis, MO I believe that they want to do a good ______job. I also believe that the system can Deﬁ ning Musicianship in the • July 21 - 25 beat you down. And we’re all in 21st Century: The Marsalis - Boston, MA di erent states of ‘beat-down.’ So we Message ______have to always invigorate. I think Over the last couple of years, Wynton • July 28 - Aug 1 teaching isn’t a profession that you go Marsalis has been spending more time into because you think you are going to examining and de ning his beliefs, - Portland, OR make money. philosophies, and convictions about - Winnipeg, MB Canada “The music teachers that I’ve music education than at any other point ______encountered in the thousands of United in his career. I asked him why now, and Levels 1, 2, 3, Hot Marimba, States classes that I’ve been in—I give we discussed how an individual gets to Kids, Choir & Drums, them an ‘A’ across the grade,” he a certain stage in life where you simply Drumming Up the Fun! declared. “I’m very much a fan of music realize there’s only so much time that Will Schmid, Sowah Mensah, Josh teachers and I have a broad cross-sec- any of us are given, and that it is Ryan,Walt Hampton, Kofi Gbolonyo, tion to base my opinion on. I believe important to identify how you want to Lynn Brinckmeyer, Melissa Blum, + that we just need to bolster each other spend that time. (Marsalis is in good worldmusicdrumming.com up.” health, by the way, for anyone who may

email: [email protected] During our time together, I was able interpret this to mean otherwise.) PHOTO: FRANK STEWART

36 Teaching Music APRIL 2014

12_Jazz.indd 35 3/12/14 10:19 AM For Marsalis, his e orts and com- declares. “John Philip Sousa’s band— mitments are extensive, but he realizes listen to those cornet solos by Bohumir that the time is right to get something Kryl or Herbert Clarke. Then listen to in writing that can, hopefully, help to Louis Armstrong—they could all play. TODD STOLL, VP OF spread the importance of music Let’s be what Benny Goodman wanted EDUCATION, JALC education, and jazz in particular. His us to be, what Duke Ellington wanted written words started out as a keynote us to be. We’re teachers. We have to WHAT DRIVES address, but have since evolved into show our students what quality is JALC EDUCATION something that reaches much farther about, and why it makes up the fabric THERE ARE THREE MAIN BELIEFS THAT FORM THE FOUNDATION OF than that, as I see it. of what we are as a society.” JALC, ACCORDING TO VICE PRESIDENT OF EDUCATION TODD STOLL: After reviewing the paper, I asked One of my favorite lines in the 1. We believe that jazz education is him if I could share it with our message that Marsalis has written good for everybody, regardless of their age, gender, race, or social economic NAfME members and Teaching Music is “substantive music justi es our situation. Our programs reﬂ ect that, readers, and he graciously consented. sacri ce.” from our WeBop program for pre- schoolers, to Swing University, and on He goes on to say, “A lifetime to the work we do at senior centers and JAZZ AT retirement homes. LINCOLN involvement with a profound and CENTER, 2. We believe that teachers need NYC immediate truth of music shapes whom better resources and we’re supplying as we are and compels us to share the best many as possible—most of them for free—from charts in Essentially of what we’ve learned with our Ellington, to Jazz for Young People lessons, to our online Jazz Academy students.” media library, and more. I asked him if those lines aren’t the 3. We believe that having an understanding of jazz history is the neces- core of everything that he’s written sary foundation for teaching and about in this paper. learning about jazz. The music was created by great artists—some of the “That’s the core of LIFE,” he states greatest minds in the 20th century in America—and the information they’ve with conviction. passed on to us is part of a continuum. For Marsalis, music is obviously not It’s all about our heritage. “just music.” It’s embedded in his HOW JALC CAN HELP NAfME You’ll ﬁ nd MEMBERS WITH JAZZ PROGRAMS DNA, just the way it is in so AT THEIR SCHOOLS: the entire many music educators and 1. Sign up for our Essentially Ellington MARSALIS NAfME members who program at academy.jalc.org/ee/. MESSAGE You’ll get access to online resources, In it, he proposes that rightfully believe that their including eight free charts every year, at nafme.org/jalc. rehearsal guides, videos on how to we should all be striving to work is worth far more than rehearse the charts, access to addition- create citizens forever anyone can ever de ne on the al music from previous years, access to regional festivals, and a new interactive engaged with and excited about the surface, or assess through a written test. app that lets students and teachers download and play along with some of arts, not people who “never want to Not surprisingly, when it comes to the music. touch or see their instrument again.” teaching youngsters, Marsalis is also a 2. Take part in our Regional Festivals. You can take your band there for He declares that we are sitting on a believer in discipline and letting kids “comments only.” It’s noncompetitive, treasure trove of homegrown musical learn by failing at times. like sticking your toe in the water with the music. We send out our own pieces and songs and practices that “Let them struggle with music. clinicians and our own judges. They’ll meet with you, give feedback, and profoundly and directly address cultural What’s wrong with being sad (with answer your questions. ideas that de ne us as a country. He their playing)? 3. Watch our concerts online—free. Immerse yourself and your students in suggests that we teach “national “I’m a big sports fan, and we see sad jazz. We stream almost everything identity through music,” and makes a basketball and football all the here at the House of Swing. compelling case for why 20th-century time. Kids out there can’t 4. Explore the curriculum materials Todd Stoll in our new Jazz Academy media music was so vital to the development kick, can’t catch, and is the library—everything from the Vice President of Education history of jazz, to music theory of our American culture that we parents are yelling at Jazz at Lincoln Center. He lessons, to improvisation absolutely cannot let it be lost. ‘yeah, go, go!’— joined the organization in 2011 lessons, to individual after more than 20 years as a instrumental techniques. “Let’s live up to the quality of because we’re all into music educator for Westerville 5. For more info, email Todd orchestra- and band-playing that’s been our kids. But all of a (Ohio) City Schools and as Stoll at [email protected] or call the founder/leader of the (212) 258-9811. Also, visit

PHOTOS FROM TOP: SCOTT NURMI; BRAD FEINKNOPF around for all those years,” Marsalis sudden, the band is sad Columbus Youth academy.jalc.org Jazz Orchestra.

nafme.org 37

12_Jazz.indd 36 3/12/14 10:19 AM and, oh, it’s like there’s a crime that’s was rough when we were playing too. At this point, I get so caught up in been committed! But we were playing. We were playing the unrestrained exuberance and “Nobody’s saying ‘let’s stop playing hard music.’ conviction that Marsalis displays when football’ because these 10- and 11-year- “So, teach your kids that they can talking about everything in the world old kids look sad playing it. They invest REACH. And tell them ‘if you fall of jazz—whether it’s playing, compos- more in it.” short, I’m here for you. But you’ll be ing, rehearsing, or teaching—that I “I remember my own kid was in reaching. We’re going up higher. We’re have to stop for a second to collect my middle school and they played Dvorˇák, going to learn this hard music. We’re thoughts and return to my notes. and I was thinking ‘umm, Lord have going to play this hard piece. We’re Finally, I decide to bring it all back mercy’ because it wasn’t very good. going to practice on this. We’re going to JALC and I ask Marsalis where he But he said ‘well, that was rough’ and I to get better on this. And we’re going sees the organization heading in the said ‘yeah, it was rough, but so what? It to keep going.’” next five years. The man doesn’t hesitate for even a second before answering. “I want all of our concerts to be streamed online, and our concert network to link jazz fans around the world. I want our scores to be available online for people who want to study or play the music. I’d like to see at least 30 or 40 of our albums to be put out. “I’d like to see us nationalize a lot of our education programs like WeBop for little kids. I would like to see people all over the country doing our Jazz for Young People concerts, consolidating our scripts and have other teachers doing it, getting in front of kids with other performers. I would like to see a lot of the things that Todd taP, taP is doing in the education department . . . being nationalized and international- (who's there?) ized. With Essentially Ellington, we have a couple of international rum- blings and I’d like to see that become You are! Singing, dancing, playing, and making a difference even more. in children’s lives—and in your own. Teach our much-loved “And I’d really like to see our Jazz research-based family and preschool programs, and enjoy the Academy resources be built up with support of our creative and energizing teaching community. thousands of videos that people are There’s a workshop near you. putting in of musicians everywhere, so that students can come online to the Academy and really learn from it.” To read Wynton Marsalis’ paper in full, go to nafme.org/jalc. You’ll also find excerpts there from the NAfME video the joy of family music® interview with him, and from the interview with Todd Stoll. To learn even more about Jazz at Lincoln Center and the many resources available for (800) 728-2692 • musictogether. com teachers and students, go to jalc.org. 

38 Teaching Music April 2014 Music Educators Journal/Teaching Music Ad Dimensions: 4.562”w. x

12_Jazz.indd1806 37 Robert Fulton Drive 7.25”h. 3/12/14 10:19 AM Reston VA 20191-4348 (1/4-page vertical) Phone: 800-336-3768 x307 or 703-860-4000 Fax: 703-860-9027 MUSIC EDUCATORS JOURNAL/ TEACHing MusiC AD FEIERABEND ASSOCIATION FOR MUSIC EDUCATION

INTRODUCING The First Biennial FAME Conference Friday July 25 – Sunday July 27, 2014 The University of Hartford Magnet School West Hartford, CT

“Join us for an inspiring weekend – bringing music educators together to experience the joy and exuberance of song and dance, the opportunity to explore best practices in teaching methods, and the benefit of sharing common experiences with colleagues who share a passion for advancing musical learning for all students.” – Dr. John Feierabend

• Learn from experienced music educators who share best practices in finding success using teaching methods such as Dr. Feierabend’s First Steps in Music and Conversational Solfege curriculum

• Celebrate the diverse folk music that connects our musical community span- ning generations—beginning with a conference kickoff Strawberry Social Evening featuring country dancing called by New England Dancing Masters, Peter and Mary Alice Amidon • 1 Graduate Credit is also available through the University of Hartford. Visit www.feierabendmusic.org/conference for complete conference schedule and presenters, special events, conference registration, lodging information and more. ………………………………………………………………………………………………………………

Dr. John Feierabend is considered one of the leading authorities on music and movement development in early childhood. He is the inspiration for the founding of The Feierabend Association for Music Education (FAME). His approach strives for all people to become tuneful, beatful and artful through research based and developmentally appropriate pedagogies that use quality literature. In the summer of 2012 a group of dedicated and like- minded educators honored Dr. Feierabend’s 30 years of innovation with the formation of the Feierabend Association for Music Education (FAME).

Learn how you can become involved in a Tuneful, Beatful and Artful Learning Community www.feierabendmusic.org

_TM_AD_Temp.indd 2 3/4/14 10:28 AM Visit Us Online at www.lvc.edu/mme

Master of Music Education

Lebanon Valley College’s inspirational programs enable K–12 music teachers to improve their skill set and advance their careers. Students can choose from either our traditional 30-hour thesis/project track or the new 36-hour non-thesis track.

• The Master of Music Education (MME) Program enables scholars • Year-round thesis advising to learn new ideas and technologies that can be immediately applied • Generous transfer policy in their classrooms. • Earn your master’s or earn Act 48 credits • Visiting Faculty in Music: Each summer, LVC brings noted visiting • On-campus housing professors to campus from across North America. • Competitive tuition rates • The LVC MME Program is organized to allow for learning from fellow music educators who share personal classroom adventures • Deferred tuition option and resolutions; often leading to networking that lasts a lifetime. • Lebanon Valley College is nationally recognized for its music • The seven-week summer MME course schedule is arranged in program and successful graduates; a success achieved through one- or two-week classes so students can earn college credits or Act strong student-faculty relationships, personal faculty attention, 48 credits. and premier academics. The Master of Music Education degree is accredited by the National Association of Schools of Music (NASM). To learn how to get started toward your degree or to take classes toward Act 48 credits, visit us online at www.lvc.edu/mme, call 717-867-6919 or 1-877-877-0423, or email Dr. Marian Dura at [email protected]. Symposium on Creative ™ Lebanon Valley College | Graduate Studies and Continuing Education Thinking in Music: 101 North College Avenue, Annville, PA 17003-1400 June 23-25, 2014.

2014 band director academy

Jazz at Lincoln Center’s Band Director Academy offers powerful insights into the teaching of jazz and emphasizes hands-on learning and techniques that can be immediately applied to the classroom. Registration begins in February 2014.

mesa arts center jazz at lincoln center mesa, az new york, ny may 28–30, 2014 june 27–30, 2014

jalc.org/bda • [email protected] • 212-258-9810

_TM_AD_Temp.indd 2 3/4/14 2:49 PM An Encore Performance in

Nashville M SA usic City U

NAfME announces a return of the National In-Service Conference to Nashville, TN October 26–29, 2014

HIS FALL, NAfME returns to Nashville, Tennessee for “NAfME Central,” a base of operations sta ed with NAfME the second of three National In-Service Conferences in representatives throughout the conference where you can go to the Music City. This conference is an opportunity for all discuss issues facing music education, ask questions, and just be members to exchange ideas, collaborate, participate in in the middle of it all. NAfME Assistant Executive Director interactive sessions led by fellow teachers, attend perfor- Jane Mell Balek says that NAfME Central is “the heart of the mances, and more. Conference-goers from all over the conference. This space is designed to encourage networking, nation will converge on Nashville, a city that is thrilled to be extending learning, and fun! We will host continental breakfast hosting us once again and has plenty to o er both within and there on Monday and Tuesday, student performance groups, beyond the exhibit hall. The gathering of music educators booths and lounges for our corporate supporters, and our super will take place October 26–29, so save those dates for a fun successful ‘Jam Session’ and happy hour.” and productive conference that’s not to be missed. Read on Simply being in Nashville makes this conference special. to see what’s in store this year. For those new to the In-Service Conference, it’s not your WHEN YOU ATTEND THE NATIONAL IN-SERVICE CONFERENCE, YOU EXPERIENCE MORE PHENOMENAL MUSIC AND PERFORMANCES typical professional convention experience. The event features THAN YOU CAN EVER IMAGINE. PHOTOS: RANDI RADCLIFF RANDI PHOTOS:

nafme.org 41

13_Nashville.indd 41 3/10/14 11:06 AM Our venue, Gaylord Opryland Resort & Convention Center, Veteran conference attendees will note is a premier hospitality complex. It is one of Nashville’s most Simply that the General Session has been beautiful hotels and features a gorgeous, sprawling atrium and being in moved to Sunday. Balek reports that acres of convention space. Should you decide to leave the Nashville other special events will be announced hotel, there are plenty of attractions to see, such as Centennial makes when registration opens on May 1st. Park, which features a replica of the Parthenon. Downtown this And what would a music educa- Nashville is full of music, from concert halls to piano bars and conference tors’ conference be without music? street musicians. NAfME and the Music City are again a The four-day event will be rife with perfect match! special. performances by students, and In June, new national standards for music education are NAfME Central features a performance venue with invited scheduled to be rolled out, and this will be our “Hot Topic” groups playing throughout the conference. Balek says, for the October conference. “NAfME will offer a preconfer- “Small ensembles will be performing in public areas as ence on understanding and implementing the standards, and attendees transition from session to session. The conference teacher evaluation and music assessment,” says Balek. will also include our All-National Honor Ensembles: jazz Registrants can prepare themselves for these topical discus- band, concert band, symphony orchestra, and mixed choir. sions by reviewing the current standards at musiced.nafme.org The All-National Honor Ensembles consist of 670 students under the “Resources” tab. And because music is truly for from our 52 state-affiliated organizations. The students all, we’re also mounting another preconference that will represent the best of the best.” These elite groups will be focus on music for special learners. featured at a special performance on Wednesday at the Another highlight will include the return of the Give a Grand Ole Opry. Note Foundation Extravaganza at the Wild Horse Saloon, an Stay tuned to nafme.org for information on early registra- oliniak event that raised over $4,000 for the foundation last year. tion, which will run from May 1st through August 30th. The P National In-Service Conference is your one aloon: susan susan aloon: chance each year to forge S se se r o

new connections with and H learn from fellow NAfME members across the country. Make sure you include a trip to Nashville for this very special event in your travel

plans this year! Wild Radcliff; Randi photos:  Esteemed guest conductors, innovative workshops, dynamic concerts, and NAfME Central all make for a truly action-packed conference that you don't want to miss!

42 Teaching Music

13_Nashville.indd 42 3/10/14 11:07 AM Residential Programs Institutes Music Horizons • Percussion • Trumpet • Intensive three-week program for classical musicians • Saxophone • Viola currently in grades 9-12 • Trombone • Emphasis on solo performance Programs for Music Teachers in a collegiate environment tHree new saturday worKsHops suMMer Jazz studies with guest faculty • Rigorous two-week program for jazz musicians • Malcolm Bilson • Jim Solomon currently in grades 9-12 • Monica Dale • Designed to enhance improvisational and ensemble skills pLus • Orff Schulwerk eastMan at KeuKa • Dalcroze Eurhythmics • Two weeks of music and recreation on the shores • Practical Vocal Pedagogy of scenic Keuka Lake • Institutes in World Music • For students currently in grades 6-9 • Conducting (Choral & Orchestral)

summer.esm.rochester.edu Email: [email protected] Call: (800) 246-4706 or (585) 274-1400

Summer@ESM14_TeachingMusic_ad.indd 1 2/26/14 10:34 AM

_TM_AD_Temp.indd 2 3/4/14 2:50 PM The Song o f e

PHILIP STEINBACHER DIRECTS THE ISLAND SCHOOL 'OPIO CHORUS IN THE 2012 SPRING CONCERT.

44 Teaching Music APRIL 2014

14_Success.indd 40 3/10/14 10:17 AM At Island School in Lihue, o f e Hawaii, Philip Steinbacher Islandhas created a thriving choral music program from the ground up with the approach that “music is for everyone.” BY CYNTHIA DARLING

OVER THE PAST EIGHT YEARS, Philip Steinbacher has developed an innovative choir program at Island School in Lihue, Hawaii. The result has been nothing short of transformative for students’ understanding of music and of themselves. When Steinbacher joined the Island School faculty in 2006, his process for growing the choruses was gradual: There was a small music program in place, but he was starting his chorus program from the ground up. Since the days of the edgling choral groups and the school’s rst concert, enrollment has grown and is currently at a very healthy 120 students participating in one of those choirs, out of the school's preK–12 enrollment of 365. There are four choral groups: The Alaka’i Chorus, The Keiki Chorus, The ‘Opio Chorus, and the

nafme.org 45

14_Success.indd 41 3/10/14 10:17 AM The Island School Alaka'i Chorus performs at Kaua'i Community College.

Island School Singers. Fifty-nine out of at the Kaua’i Community College Steinbacher’s approach to teaching and 121 high school students sing in the Performing Arts Center, which we fill.” music is noteworthy for his open-mind- Island School Alaka’i Chorus (“alaka’i” Steinbacher’s philosophy underpins ed perspective as well as his warmth. means “leader”). There are 22 out of 90 all of the work he does as an educator. Additionally, he believes in appealing to middle school students participating in “I approach the development of my students’ and audiences’ tastes. “I work the ‘Opio Chorus (“‘opio” means program, and therefore my teaching, hard to maintain the students’ interest— “youth”). The Keiki Chorus is for with a spirit that music is for everyone. and the interest of our audiences as well. fourth and fifth graders So many students, when I’m willing to look for interesting or (“keiki” means “children”). “When I think they first encounter choral unexpected music or arrangements so There are 33 participants out about the day singing, complain that they things feel fresh. I incorporate a great of 49 students in these two cannot sing. I try to help deal of humor into all rehearsals and try grades. Finally, the select that I won’t be them understand that to keep things moving quickly. It’s Island School Singers has a singing with my singing is a skill, a physical challenging, sadly, for many students to total of eight members. students, my activity and, therefore, can stay focused for long periods of time, so Just how did Steinbacher be learned. They don’t I like to keep them guessing. I’ve had heart breaks a create this robust program in come to school knowing students tell me my class is ‘not like any such a short time? Although little.” algebra or Chinese, so they other class they’ve ever taken before,’ the chorus program grew quickly, take classes to learn these things. In the and I see that as a good thing.” Steinbacher was conservative at the same way, they sign up for chorus so The music program has benefited beginning in setting up performance they can begin to learn how to sing. students in many ways. Says Steinbach- her (5)

dates; this allowed the groups time to They may not be accomplished masters er, “Starting a choral program (which, c coalesce. “For the first two years as we at it, but they can progress. Singing— in turn, strengthens the general music teinba got our grounding we performed only that is, music—is for everyone.” program) has broadened the students’ S hilip at small school assemblies and awareness, appreciation, and P Steinbacher events; no major concerts. Our works with 6-8th understanding of music in graders as they first full-scale public concert prepare for an general. Students have been upcoming was held in December 2008 in performance. exposed to styles, forms, and the school’s Main Hall. The compositions they previously concert sold out—so sold out, did not even know existed. in fact, that we actually had These are all academic or parents standing on the outside intellectual benefits, but the lanai, peering between the slats students have benefited in of the jalousie windows in other ways also. They are more order to see the performance. confident, more accomplished,

Since then, we do our concerts and more willing to take risks. photos on previous page and this spread: Courtesy of

46 Teaching Music April 2014

14_Success.indd 42 3/10/14 10:17 AM Steinbacher works alongside teachers All-State choral festival: ‘I love the who are steeped in the state's music and Brahms. It’s definitely my new favorite culture. “We have another music song.’ Does it get any better than that?” teacher at school (locally-born and For teachers starting programs of raised) and a Hawaiian studies teacher. their own, Steinbacher offers words of with Philip Steinbacher As I consider my knowledge of Hawai- encouragement. “First, never give up. It What do you know to be true ian music and culture (even after nine sounds simple, but here’s the secret that Qabout teaching music that you didn’t know when you started? I years) to be limited, I don’t venture I kept reminding myself of: You alone, thought I knew how meaningful music was and how rich the experience of much into that territory. I allow them to as the teacher, know what you are making music in a group could be, but I teach and explore with children the trying to create. Those who resist your never really understood the depth of that until I started teaching music. things they are knowledgeable about, vision do so because they have not been Now I think the mystery is deeper than I know … and I concentrate on the music and exposed to the myriad wonders and skills that I am uniquely able to contrib- benefits that singing in a chorus (or If I weren’t a music teacher I’d … Qbe lost. My life is sometimes so ute. I think it’s a win-win, for the participating in any musical ensemble) insanely busy and overwhelming, but when I think about the day that I won’t students as well as the can bring and, therefore, be singing with my students, my heart teachers. I would say, “I’ve had students they cannot possibly breaks a little. however, that I’m striving tell me my class is understand why you are What advice would you give to a to learn more about the mu- doing what you do. They Qteacher trying to start a program ‘not like any other similar to yours? When I first started, I sic and culture of Hawaii so do not know the journey was completely, entirely overwhelmed class they’ve ever by the prospect of trying to create a that I, too, become more you are trying to take them program where a program did not well-rounded.” on. That’s not their exist. What I learned was that I didn’t taken before,’ and have to win the war in one battle, but Perhaps the greatest fault—they just haven’t simply had to make sure I kept one I see that as a tribute to the success of the been there. So, dig your good step ahead of the students at all good thing.” times. Rome, as they say, was not built program comes in the form heels in, and move forward in a day. of comments from his students. Stein- with the knowledge that you are doing What’s the biggest lesson you Qwant your students to learn bacher shares two stories that point to something good for your students, for during their time in your classroom? true success. “After our recent Christ- your school, for your community, First, that music is for everyone. Period. Second, offering others the mas concert, I got the following email and—at the risk of sounding overly opportunity to experience real feelings and emotions through our music-mak- from the mom of a ing is one of the most important things Steinbacher infuses fourth-grader, who just humor into rehearsals and we as humans can do. performances to engage the sang in his first chorus students—and the audience. The music education profession concert: ‘I just wanted to Qwould be better if … music itself were valued more. There are still times send you a really quick when I must battle those who see music as fluff or extracurricular, and thank you for such a I’m put in a position where I’m more or less expected to “understand” that beautiful concert last night. sports or algebra are clearly more It was the first time I have important and my work should take a backseat to these more viable pursuits. attended. Joshua really loves chorus and truly What have you learned about Qstudents and parents through enjoys you. Last night your work over the past years? They’re human, just like me, and while driving home, Joshua sometimes there’s some friction, but I said, ‘I think tonight was try never to put them out of my heart. The vast majority of them come more fun than going to Disneyland!’ I sentimental—for humanity as a whole. around when there are conflicts, and a little patience and time goes a long love that story.” Steinbacher also Never give up. Second, be patient. It way. Without them? No program. No recounts another story that illustrates takes far longer than you might expect. program, no you! how classical music can become part of Had I known when I started that it They are more open and willing to students’ everyday parlance. “My other, would take this long to achieve the level express their emotions.” The payoff goes recent favorite story is the remark from of success I’d envisioned, I never would well beyond the music classroom. the freshman boy (new to music, have started the adventure. This is true Teaching in Hawaii presents an singing, or chorus this year) who of all of life’s great experiences, right? interesting context for music education. remarked on our way back from the Be patient and don’t give up.” 

nafme.org 47

14_Success.indd 44 3/10/14 10:17 AM _TM_AD_Temp.indd 2 3/5/14 4:14 PM _TM_AD_Temp.indd 3 3/5/14 4:14 PM SUMMERTERM 2014

SESSION 1 JUNE 30 – JULY 4 SESSION 3 JULY 14 – JULY 18 SESSION 5 JULY 28 – AUGUST 1 INSTRUMENTAL INSTRUMENTAL CONDUCTING Baroque and Before— Concert Percussion Instrumental Conducting Clinic: Teaching Early Music for Strings Ben Toth Glen Adsit and Edward Cumming Emlyn Ngai Folk Instrument Performance INSTRUMENTAL Teaching Beginning Strings & Band Jeff Rhone World Percussion and Drum Set Survey Matt Aubin Piano Tuning I & II for Music Educators Enhance your Teaching through Ken Lawhorn Ben Toth Keyboard Harmony ALL DISCIPLINES AND LEVELS Woodwind Refresher Pete Woodard Blending Pedagogy: Incorporating General Dan Higgins Exploring Jazz Improvisation Music Methods in Children’s Choir ALL DISCIPLINES AND LEVELS Kris Allen Vanessa Bond NEW! Body Mapping for Music Education ALL DISCIPLINES AND LEVELS TECHNOLOGY Kay Hooper An Introduction to Orff Pro Tools I Folk Dance Around the World Penny Mahoney NEW! Gabe Herman Lillie Feierabend TECHNOLOGY Guitar for the Classroom Teacher SESSION 4 JULY 21 – JULY 25 Teaching Composition to Middle and Chris Ladd NEW! High School Students CONDUCTING /COMPOSITION Ken Steen Learn to Teach Composition and Refine Your SESSION 4 &5 JULY 21 – AUGUST 1 VOCAL Conducting Through Graphic Notation Soundscapes THE HARTT CHORAL CONDUCTING INSTITUTE Inspiring Good Vocal Technique Glen Adsit and Michael Colgrass Ed Bolkovac and Stuart Younse Cherie Caluda INSTRUMENTAL THE HARTT KODÁLY CERTIFICATION PROGRAM Band Instrument Maintenance for Wind Educators John Feierabend, Jeff Rhone, SESSION 2 JULY 7 – JULY 11 Glen Grigel Ed Bolkovac, Gabor Viragh INSTRUMENTAL Percussion Know-How for Music Educators THE FEIERABEND ASSOCIATION Hartt Guitar Festival: Ben Toth FOR MUSIC EDUCATION (FAME) Christopher Ladd, Richard Provost, ALL DISCIPLINES AND LEVELS First Steps in Music® Jason Vieux Gordon’s Music Learning Theory John Feierabend Brass Refreshe Clark Saunders and Ken Trapp Conversational Solfege™ Beginning: Matthew Aubin Music and Movement: Partners in Education John Feierabend Rhythmic Workout for Music Educators Lillie Feierabend and Patti Mascetti Conversational Solfege™ Advanced: Rogério Boccato Special Learners in the Music Classroom John Feierabend School String Fleet Maintenance Heather Wagner for the String Educator TECHNOLOGY Glen Grigel Finale and SmartBoard: The Hartt School Summerterm is recognized TECHNOLOGY Partners in a 21st C. Music Classroom as one of the finest summer programs in the Introduction to Music Recording Ken Steen and Miriam Schreiber NEW! country. Hartt’s nationally and internationally Justin Kurtz VOCAL/CHORAL acclaimed faculty provides students with a ALL-DISCIPLINES AND LEVELS Jump Start Your Choir diverse and innovative curriculum. Connections, Creativity, and Expressiveness Edward Bolkovac and Stuart Younse through Music Janet Barrett NEW! Summers-only Master of Music Education/Graduate Professional Development Credits Rich Traditions and New Creations: Earn your MMusEd over the Summer! Hartt’s 36 – 41 credit graduate Music Education Dance, Song, Storytelling and Literature program can be completed in three summers with emphases in Kodály, Pedagogy, in the Music Classroom Choral or Instrumental Conducting. Flexible course requirements to meet your Peter and Mary Alice Amidon professional development needs and goals.

_TM_AD_Temp.indd 2 3/3/14 2:18 PM Resource directory

22 014 014 SummerSummer StudyStudy Teaching Music’s annual listing of summer music programs

Certificate Programs ...... 52 Continuing Education ...... 53 Elementary, Junior, and Senior High Music Schools/ Camps ...... 53 Graduate Music School...... 55 Multilevel Programs ...... 56

Professional Development ...... 57

nafme.org 51

15_SummerStudy.indd 40 3/12/14 1:49 PM RESOURCE DIRECTORY

CERTIFICATE PROGRAMS Baldwin Wallace University Michigan State University Anderson University Contact: Herbert Marshall Contact: Cynthia Taggart Contact: Beth Doub Address: 275 Eastland Road Address: School of Music, 209 Music Address: School of Music, Theatre, City/State/Zip: Berea, OH 98052 Practice Building and Dance, 1100 E. 5th Street Email/Phone: [email protected]; City/State/Zip: East Lansing, MI 48824 City/State/Zip: Anderson, IN 46012 440-826-8518 Email/Phone: [email protected]; Email/Phone: [email protected]; GIML Professional Development Levels 517-432-9678 800-619-3047 Courses: Elementary General Music Level GIML Professional Development Levels Orff Schulwerk Certiﬁ cation, Levels I and 1, Instrumental Music, July 21–August 1, Courses: Early Childhood Music Level 1, II, Orff Curriculum and Technology, Lisa 2014. Faculty: Jennifer Bailey, Richard June 16–27, 2014; Cynthia Taggart and Sullivan, Cyndee Giebler, Sarah Hassler, Grunow, Kathy Liperote, Herbert Marshall. Jennifer Bailey, instructors. Jenny Handshoe; Dalcroze Eurhythmics, Minnesota Band Director’s David Frego, Marla Butke. Association Contact: Peter Haberman Address: 901 South 8th Street City/State/Zip: Moorhead, MN 56562 Email/Phone: [email protected]; 218-299-4875 MBDA Summer Teaching Symposium, August 6–8, aligned with All-State at St. Olaf College. The STS is designed for band Summer Graduate Studies in Music Education directors teaching at all levels. Summer 2014 Summer GraduateSummer Studies 2014 in Music Education Rhode Island College Join your colleagues!Summer Enhance 2014 your teaching! Contact: Denise Guilbault Join your colleagues!Summer Enhance 2014 your teaching! Address: 600 Mount Pleasant Avenue Texas TechJoin offers your an colleagues! innovative summer Enhance Masters your inteaching! Music Education, City/State/Zip: Providence, RI 02908 Texas Tech offers an innovative summer Masters in Music Education, providing two-week intensive classes followed by projects due in August. Email/Phone: [email protected]; providing two-week intensive classes followed by projects due in August. TexasClasses Tech offers offered an live innovative or via video-conferencing. summer Masters in PhD Music available. Education, 401-456-9517 Classes offered live or via video-conferencing. PhD available. GIML Professional Development Levels providing two-week intensive classes followed by projects due in August. Classes offered live or via video-conferencing. PhD available. Courses, July 21–August 1, 2014: Classes offered live or via video-conferencing. PhD available. Elementary General Music Level 1, For more information or to apply, visit music.ttu.edu or Instrumental Music. Faculty: Diane Lange, For more information or to apply, visit music.ttu.edu or contact Dr. Janice Killian at [email protected] or 806-834-2010. Michael Martin. contact Dr. Janice Killian at [email protected] or 806-834-2010. For more information or to apply, visit music.ttu.edu or contact Dr. Janice Killian at [email protected] or 806-834-2010. Technology Institute for Music Educators (TI:ME) Contact: Mike Lawson Address: 7503 Kingwood Court City/State/Zip: Fairview, TN 37062 Email/Phone: 615-870-9333 TI:ME offers music technology courses and a level 1 and level 2 certiﬁ cation program at locations around the country and online by distance. See ti-me.org for information. University at Buffalo Contact: Jennifer S. McDonel Address: 503 Baldy Hall City/State/Zip: Buffalo, NY 14260 Email/Phone: [email protected]; 716-645-4035 University at Buffalo Summer Music Education Institute: gse.buffalo.edu/org/ SummerMusicEd/. Hosting GIML Profession- al Development Levels Courses, July 7–18, 2014: Elementary General Music Level 1, Instrumental Music, and Piano. Faculty: Marilyn Lowe, Michael Martin, Jennifer McDonel, Heather Shouldice.

52 Teaching Music APRIL 2014

15_SummerStudy.indd 41 3/12/14 1:50 PM July 21–August 1, 2014: Early Childhood Ohio Wesleyan University Music Level 1. Faculty: Heather Kirby, Contact: Christian Howes Wendy Valerio. Address: 61 S. Sandusky Street City/State/Zip: Delaware, OH 43015 University of Delaware Email/Phone: [email protected]; Contact: Alden Snell 614-332-8689 Address: Amy E. DuPont Music Building Creative Strings Workshop and Festival: City/State/Zip: Newark, DE 19716 Learn and perform jazz, improv, ﬁ ddle Email/Phone: [email protected]; styles, and more with some of the world’s 302-831-6895 leading players and teachers. This year’s GIML Professional Development Levels program will be hosted at Ohio Wesleyan Courses: June 23–July 3 (including Satur- University. day), 2014. Early Childhood and Instrumen- tal Music Level 1; Richard Grunow, Anna Preston, Natasha Sigmund, David String- ELEMENTARY, JUNIOR, ham, instructors. AND SENIOR HIGH MUSIC SCHOOLS/CAMPS CONTINUING EDUCATION Colorado State University Bemidji State University Contact: Jennifer Clary Address: 1400 Remington Street, 1778 Contact: Angie Gora Campus Delivery Address: 1500 Birchmont Drive NE, #4 City/State/Zip: Fort Collins, CO 80524 City/State/Zip: Bemidji, MN 56601 Email/Phone: [email protected]; Email/Phone: [email protected]; 970-491-3603 218-755-2851 College Preparatory Music Academy: June An anthropological, cross-cultural, four- 1–4, 2014. A training ground for advanced day workshop on the history and devel- high school students. An opportunity for opment of West Africa. Includes hands-on one-on-one rehearsal, performance, and drumming, dancing, singing, batik fabric design, jewelry, storytelling, and cooking. (Continued) Music Arts GuineA June 24-27 Bemidji State UniverSity www.bemidjistate.edu/academics/summer — 218-755-2851

A member of the Minnesota State Colleges and Universities system, Bemidji State University is an affirmative action, equal opportunity educator and employer. BSU COMMUNICATIONS & MARKETING 14-206

nafme.org 53

15_SummerStudy.indd 42 3/12/14 1:50 PM RESOURCE DIRECTORY

interaction with CSU faculty as the group explores the world of chamber music and Come to Our Open House challenging ensemble repertoire. Indiana University Summer Music Clinic Saturday, April 12 at 1 pm Contact: Eric Smedley Address: Department of Bands, Indiana University Jacobs School of Music, Summer Graduate Classes 1201 East Third Street City/State/Zip: Bloomington, IN 47405 • Two, Four Week Classes Email/Phone: [email protected]; 812-855-1372 • Affordable Housing & Tuition The IU Summer Music Clinic is a dynamic • Call for a brochure or go to ftc.edu to learn more! musical experience focused on orchestra and band performance. Current eighth- through 12th-grade students can register Accredited by *NCATE *The National Council for Accreditation of Teacher Education at music.indiana.edu/precollege/summer/ We offer undergraduate and graduate degree programs music-clinic/. in Jazz/Commercial music with concentrations in: Manhattan School of Music Contact: Camp MSM Address: 120 Claremont Avenue • Music Education • Composition/Arranging • Music History • Music Performance City/State/Zip: New York, NY 10027 • Music Technology • Choral Conducting • Musical Theatre • Music Business Email/Phone: [email protected]; 917-493-4475 Set on a college campus in the heart of New York City, Camp MSM is a residential camp (with a day camp option) that provides intensive musical instruction in musical theater and instrumental music for students ages 11–17. University of Dayton Contact: Dr. Minnita Daniel-Cox Address: 300 College Park City/State/Zip: Dayton, OH 45469 Email/Phone: [email protected]; 937-229-3936 631.656.2110 305 N. Service Road Dix Hills, New York 11746 www.ftc.edu The Vocal Performance Institute is a week- long program for high school–aged singers • AUDIO RECORDING TECHNOLOGY • BROADCASTING • BUSINESS • ELEMENTARY TEACHER EDUCATION• FILM/VIDEO • JOURNALISM that takes place June 23–June 27. Students • MASS COMMUNICATION• MUSIC TEACHER EDUCATION • MUSIC BUSINESS • MUSIC PERFORMANCE • THEATRE ARTS experience college music curriculum and work with fabulous resident artists from the University of Dayton, Dayton Opera, and the Human Race Theatre. Workshops that include audition techniques, stage comportment, introduction to the voice (and more!) are combined with daily voice lessons and regular master-classes to complete a power-packed week of inspiration and learning. This institute is a wonderful experience for those planning to major in music or those who simply love to perform and want to learn more. Both resident and commuter participants are welcome. University of Illinois Contact: Nancy Boaz Address: 1114 W. Nevada

54 Teaching Music APRIL 2014

15_SummerStudy.indd 44 3/12/14 1:50 PM City/State/Zip: Urbana, IL 61801 Email/Phone: [email protected]; 217-244-3404 We provide middle school and high school students age- and level-appropriate musical opportunities. Students may participate in large ensemble-based camps or specialty camps that focus more on individual musicianship and chamber music ensemble opportunities.

GRADUATE MUSIC SCHOOL Seattle Pacifi c University Contact: John Kuzmich, Jr., and Paul Endorsed) • Master Lukasiewicz; CJ Gardica as Guest Lecturer of Music Degree with Address: 13888 W. Place Kodály emphasis • City/State/Zip: Golden, Colorado 80401 Graduate, undergraduate and workshop course Email/Phone: [email protected]; options • For a complete 303-598-4524 course listing, visit Via remote synchronous videoconferencing SL.edu/SummerMusic or and on-location in Denver, Colorado, for call 800-236-4752 x161. Sponsored by the Franciscan Sisters of Christian Charity graduate college credit. Offers nine summer music tech workshops for music educators. Five are for college graduate level credit and four are free 1 and 2 workshops. See kuzmich.com/E-Blast1.pdf for details. TI:ME 1A Music Technology: Electronic Instruments, MIDI Sequencing. July 7–11 (fi v e days), 8:00am–4:00pm. Graduate college credit. TI:ME 1B Basic Skills: Software, Communications & Digital Media. July 14–18 (fi v e days), 8:00am–4:00pm. Graduate college credit. TI:ME 2B Interactive Internet Authoring. July 21–25 (fi v e days), 8:00am–4:00pm. Graduate college credit. TI:ME 2C Integrating Technology into the Music Curriculum. July 28–August 1 (fi v e days), 8:00am–4:00pm, Graduate college credit. Power-User Synthesis: From Scanning Sonoma State UniverSity to Notation to Customized Creativity MUSIC DEPARTMENT & Beyond (The Ultimate Experience in Technology). June 23–27, 8:00am–4:00pm. NASM-accredited music program housed in the Green Music Center Graduate college credit. Bachelor of Music degrees in Jazz Studies, Music Education and Performance Mastering Music and its Courseware. June 30–July 1 (two days). Free; no college credit. Bachelor of Arts degree in Music/Liberal Arts concentration Essentials of Music Theory. August 4 (one Symphonic Wind Ensemble, Chorus, Jazz Orchestra, Musical Theatre and more! day). Free; no college credit. Band-In-A-Box AutomaticAccompaniment Performance opportunities in Weill Hall Generator. August 5 (one day). Free; no Voted among the Most Wired and Best Value schools in America (Princeton Review) college credit. Superscope Technologies Digital Record- ing System. August 6 (one day). Free; no For more information, contact Brian Wilson, college credit. Music Department Chair, at 707-664-2324 or [email protected] 1801 East Cotati Avenue, Rohnert Park, CA 94928 (Continued) http://www.sonoma.edu/music https://www.facebook.com/SonomaStateMusic

nafme.org 55

15_SummerStudy.indd 45 3/12/14 1:50 PM RESOURCE DIRECTORY

Shenandoah Conservatory July 28–July 30: Developing the Indepen- Texas Tech offers an innovative summer Contact: Jeffrey Marlatt dent Musician. Clinician: Carol Krueger. Masters in Music Education, providing two- Address: 1460 University Drive July 31–August 1: Choral Conducting Tech- week intensive classes. Classes offered live City/State/Zip: Winchester, VA 22601 niques. Clinician: Carol Krueger. or via video-conferencing. Email/Phone: [email protected]; 540-545-7349 Texas Tech University University of Colorado Summers Only, Master of Music Education School of Music Boulder College of Music Contact: James Hodgins Contact: Dr. Martina Miranda designed for the practicing music educator, Address: 2624 18th Street Address: 301 UCB June 23–July 18. City/State/Zip: Lubbock, TX 79409-2033 City/State/Zip: Boulder, CO 80309 June 27–28: Successful Classroom Strate- Email/Phone: [email protected]; Email/Phone: [email protected]; gies through the Orff-Schulwerk Process. 806-834-4829 303-492-5498 Clinician: Anne Keith. Summer MME degree focused on Pedago- gy in Music Teaching: Flexibility, classroom projects, music electives (conducting, musi- FOR MIDDLE AND HIGH SCHOOL cology, technology). See musicedatcu.org for program and in-state tuition information. University of Dayton GET YOUR STUDENTS Contact: Dr. Linda A. Hartley Address: 300 College Park Drive, Depart- IN TUNE WITH THE WIDE ment of Music City/State/Zip: Dayton, OH 45469-2946 WORLD OF MUSIC! Email/Phone: [email protected]; 937-229-3232 In Tune Monthly is Offering summer graduate courses specif- “The Young Musician’s ically designed for the in-service music ed- Textbook” and the ucator. The majority of courses are offered perfect enrichment through distance learning. tool for band, orchestra, Valley Forge Christian College choral and general Contact: Floyd Richmond music students. In Tune Address: 1401 Charlestown Road keeps them reading City/State/Zip: Phoenixville, PA 19475 about music and uses Email/Phone: [email protected]; a broad mix of contem- 610-917-1434 Earn an MM in music technology in two porary and traditional years or three summers, or take music content to reinforce technology courses for professional devel- the virtues of practice, opment. Topics include digital audio, video, performance, creation, multimedia, notation, production, sound, collaboration and GarageBand, iPad, and TI:ME certiﬁ cation. appreciation. See vfcc.edu/musictechnology. MULTILEVEL PROGRAMS

USERNAME

Teacher’s Message About Us Home Bottineau HS Music ts Assignmen Central Washington >> The online destination for Videos Photos Events

BOTTINEAU HS OUR EVENT Daily Music News WINS MAKEOVER! CALENDAR Powered by intunemonthly.com In Tune Ultimate Music Room Makeover University JANUARY 8, 2009 presented by Peavey Electronics It was a pitch dark and stormy morning—snow stormy that is— ■ Carrie Underwood and 1 when In Tune’s intrepid team set out on the 80-mile drive from Chris Brown Top Win- Minot to Bottineau, North Dakota (near the Canadian border), to ners at People’s Choice 3 Carrie Underwood award Bottineau High School and music teacher NancyFOR MOREOlson Awards: this year’s In Tune Ultimate Music Room Makeover presented and Chris Brown were 5 by Peavey Electronics. Our best array of gear yet donated by awarded two People’s Peavey, Buffet Crampon, Pearl, Roland, No- Choice Award trophies last tion and Pro-Mark was artfully displayed in night. Contact: OUR PHOTOS Julie Lyonn Lieberman ■ Rascal Flatts Calls On 1 Fans To Design People’s Its New Album Cover: choice winners, Rascal Flatts, needs you to design 1 the cover for its new album OUR STORIES 5 Unstoppable. Bottineau Music Takes modo Off modo lorer irilla ■ Guitarist Scott Von Upcoming Spring Trip : Au- Heldt Launches His OUR FOCUS FOR 5 feu feumsectecing essnis modolorer irilla feui. et ilit, Audiobook for Free connis modo lorer irillaexer feu in feumsectecing ullaorem dolut essnis. alit wnis diobook, Mind Over Metal FEBRUARY Winter Concert Address: 400 University Way available free for a limited FINGER PRESSURE time through Scott Von Bassist and teacher Gary Willis shows how control- modololorer irilla feu feume modo lorer irilla feu feumsectecing essnis modolorer irilla feui. umisi. Heldt’s offi cial website. ling fi nger pressure can improve tone. irilla feu feumnis eumrper auguerat aut OUR VIDEOS GUITAR CHORD FINDER Auditions iustrud nsenis modolorer irilla feu feumsandit prat. The good and the strange cillam, quism odiam Looking for sweet harmonies or new and inven- Duisiam vullaore feuis acidui i. tive discord? This nifty piece of internet excellence New Band Members allows you to put in any imaginable key and shows vullaore feuis acidui erosto diat odiam vullaore feuis the fi ngering for playing those chords on guitar. From acidui erosto diat wissi. CLICK HERE TO HEAR THE ... Gibson.com. BENDING BASICS City/State/Zip: Ellensburg, WA 98926 In Tune is teaming up with Epiphone Guitars to pro- List vide video lessons, stories from the In Tune Monthly

ListeningMusic for Musicians

l Site Map Email/Phone: [email protected]; l Teacher’s Message l About Us l Home l Assignment l Videos l Photos Events 203-304-1238 Strings Without Boundaries: Where FOR MORE INFORMATION about In Tune student magazine 21st-century techniques meet creativity and sets (print or electronic for iPad), books, teacher guides, and style. Faculty includes Darol Anger, Randy listening CD (free with an order of 30 or more subscriptions), Sabien, Julie Lyonn Lieberman, and Geof- call 914.358.1200 x310, fax 914.741.1136, or e-mail frey Castle. [email protected]. To view a sample issue of In Tune, please go to the website www.intunemonthly.com. Georgia State University Contact: Julie Lyonn Lieberman Address: 75 Poplar Street NW

56 Teaching Music APRIL 2014

15_SummerStudy.indd 46 3/12/14 3:22 PM City/State/Zip: Atlanta, GA 30302 MIDISchoolhouse Teaching Guitar Workshops Email/Phone: [email protected]; Contact: Michael Moniz Contact: Robert Sulkow 203-304-1238 Address: PO Box 525 Address: 875 West 181st Street, # 2D Strings Without Boundaries: Where City/State/Zip: Greenland, NH 03840 City/State/Zip: New York, NY 10033 21st-century techniques meet creativity Email/Phone: [email protected]; Email/Phone: [email protected]; and style. Faculty includes Martin Nor- 603-431-3033 212-795-3630 gaard, Matt Turner, Julie Lyonn Lieberman, This is our 18th Summer Music Technol- Teaching Guitar Workshops gives school Bruce Molsky, and Raimundo Nilton. ogy Institute offering innovative courses music educators the tools, skills, and knowl- throughout New England that focus on edge to start a classroom guitar program. San Francisco helping you implement technology into Visit guitaredunet.org to learn. Conservatory of Music your teaching. Contact: Laura Reynolds, Summer Programs Manager Address: 50 Oak Street City/State/Zip: San Francisco, CA 94102 Email/Phone: [email protected]; FOR ELEMENTARY AND MIDDLE SCHOOL 415-503-6254 Summer Music West offers select programs for the young musician seeking a stimulating WANT TO BRING and supportive summer experience based on the traditions of Conservatory training. MUSIC ALIVE FOR YOUR Lawrence University STUDENTS? Contact: Julie Lyonn Lieberman Address: 711 E. Boldt Way SPC 14 City/State/Zip: Appleton, WI 54911 Band directors, Email/Phone: [email protected]; choral directors, 203-304-1238 and general music Strings Without Boundaries: Where teachers have 21st-century techniques meet creativity and style. Faculty includes Randy Sabien, used Music Alive! Brian Wicklund, Julie Lyonn Lieberman, for over 33 years, and Matt Turner. to engage students and focus their ThisWorldMusic attention on an Contact: Jeremy Cohen Address: 5A Wigwam Hill Drive ever-expanding City/State/Zip: Worcester, MA 01605 range of musical Email/Phone: [email protected]; subjects. 617-833-5207 Study drumming in Africa this summer!

>> The online destination for Bottineau HS Music Award-winning accredited short-term pro- Events Photos LOGIN Daily Music News Videos Powered by intunemonthly.com Assignmen USERNAME JANUARY 8, 2009 ts BOTTINEAU HS Home ■ Carrie Underwood and Chris Brown Top Win- WINS MAKEOVER! About Us ners at People’s Choice In Tune Ultimate Music Room Makeover Awards: Teacher’s Message grams for students and professionals. Learn Carrie Underwood presented by Peavey Electronics and Chris Brown were 1 awarded two People’s It was a pitch dark and stormy morning—snow stormy that is— Choice Award trophies last when In Tune’s intrepid team set out on the 80-mile drive from night. Minot to Bottineau, North Dakota (near the Canadian border), to award Bottineau High School and music teacher Nancy Olson ■ Rascal Flatts Calls On 5 this year’s In Tune Ultimate Music Room Makeover presented Fans To Design Its New by Peavey Electronics. Our best array of gear yet donated by Album Cover: Peavey, Buffet Crampon, Pearl, Roland, No- choice winners, People’sRascal tion and Pro-Mark was artfully displayed in Flatts, needs you to design the cover for its new album more at Unstoppable. FOR MORE 3 thisworldmusic.com/GhanaTours. ■ Guitarist Scott Von Heldt Launches His OUR EVENT Audiobook for Free CALENDAR diobook, Mind Over Metal : Au- available free for a limited time through Scott Von Heldt’s offi cial website. OUR FOCUS FOR FEBRUARY FINGER PRESSURE 1 Bassist and teacher Gary Willis shows how controlling fi nger pressure can improve tone. OUR STORIES Bottineau Music Takes Off GUITAR CHORD FINDER CLICK HERE TO HEAR THE ... The good and the strange 5 Upcoming Spring Trip 1 Looking for sweet harmonies or new and inven- feu feumsectecing essnis modolorer irilla feui. et ilit, OUR PHOTOS tive discord? This nifty piece of internet excellence connis modo lorer irilla feu feumsectecing modo modo essnis.lorer irilla allows you to put in any imaginable key and shows the fi ngering for playing those chords on guitar. From Winter Concert Listening Gibson.com. modololorer irilla feu exerfeume in modoullaorem lorer dolut irilla alit feu wnis feum- 5 sectecing essnis modolorer irilla feui. umisi. Music for MusiciansList BENDING BASICS In Tune is teaming up with Epiphone Guitars to pro- Auditions vide video lessons, stories from the In Tune Monthly iustrud nsenisirilla modolorer feu feumnis irilla eumrperfeu feumsandit auguerat prat. aut Duisiam vullaore feuis acidui i. New Band Members vullaore feuis acidui erosto diat odiam vullaore feuis PROFESSIONAL cillam, quism odiam acidui erosto diat wissi.

OUR VIDEOS

Events l Photos DEVELOPMENT l Videos l Assignment l Home l About Us l Teacher’s Message Centrum Foundation— l Site Map Arts & Education Contact: Gregg Miller Address: 223 Battery Way, Fort Worden State Park, PO Box 1158 City/State/Zip: Port Townsend, WA 98368 FOR MORE INFORMATION about Music Alive! Email/Phone: [email protected]; student magazine sets, books, teacher guides, and listening CD, 360-385-3102, ext. 109 call 914.358.1200 x310, fax 914.948.4045, or e-mail musicalive@ Educators are often assigned jazz intunepartners.com. To view a sample issue of Music Alive!, classes despite a limited background. please go to the website musicalive.com. Gain valuable knowledge and clock hours by working with outstanding faculty. Details at centrum.org/jazz.

nafme.org 57

15_SummerStudy.indd 47 3/12/14 1:51 PM workshop

Retention in the strings classroom, choral conducting tune-ups, and more

General Music For teaching vocal performance provide the most energetic setting. Tinter Using Classic Rock through pop music, especially with his says, “Trying to recreate all of the sounds and Pop Music in the elementary students, Tinter first took care of a pop record is almost impossible in the Classroom to point out the differences between head classroom, but using these solutions really and chest voice, as rock musicians do not helps flesh things out. I’ve also created Black Sabbath might seem like an unlikely necessarily engage in good vocal practice. sequences on workstation keyboards to choice of repertoire for the classroom, but His kids then learned how to sing along simulate a pop recording.” Jim Tinter has found the work of this hard with pop vocalists while not aping certain Tinter found that, as kids learned a rock group—and classic rock and pop in potentially harmful techniques. “I would body of classic pop and rock songs and general—goes a long way toward engaging not allow my students to belt, to force really “got inside” the melodies and music students. “Using good quality pop their voices to sing loudly in a chest voice, instrumental riffs, they developed a good music can be invigorating for students or to make their voices gravely like some vocabulary for improvising on classroom because they are familiar instruments. “I have a brilliant clip of some with it and can easily relate students playing ‘We Will Rock You,’ to it,” says Tinter, a improvising on soprano and alto recorders composer, clinician, and and drums”—in the process, making the publisher who is retired classic by Queen rock in all new ways. from Holly Lane Elementa- For further information and an ry School and Parkside overview of how Tinter used popular Intermediate School in music in the classroom, see: Westlake, Ohio. recorderman.com/pdf/AreYouasHip.pdf. In teaching popular —Adam Perlmutter Rock can be used music, Tinter often relied as a springboard on student input. The for other musical subjects. music was used as a Brass & Woodwinds springboard for teaching other aspects. pop singers such as Steven Tyler,” says Low Brass 101: For instance, one of his fourth-graders Tinter. “They came to understand that, Building a Sound learned to play Black Sabbath’s “Iron Man” when singing a pop song, we might not in the key of E minor. “In that key, I sound exactly like the recording.” Foundation recognized an opportunity to teach kids As for playing pop and rock in the A solid low brass section is one of the key how to play alternate B on the recorder. classroom, Tinter tended to use either ingredients of a good concert band ck sto

When I asked the rest of the class if they prerecorded accompaniments or play the ensemble, but how do you create a solid nk thi wanted to learn it, it was unanimous,” says guitar or keyboard himself—or have a low sound and fill it with competent / use Tinter, adding that often parents, too, were student guitarist supply backing for other musicians? We spoke with Thomas Zugger, : F

excited by this choice of materials. instrumentalists in the classroom, to professor of trombone and euphonium at photo

58 Teaching Music april 2014

15_WorkshopTM.indd 58 3/10/14 10:30 AM still be able to move. At the same time, I am the American String Teachers Association constantly working to release any tension (ASTA), Phillips offers his time-tested tips that they have in their arms and body. on how music directors can best recruit for They have to be relaxed.” their string programs and maintain their These techniques can help guide an numbers once they get them. existing low brass student toward a good For any healthy, new string recruiting tone, but what do you do when your low initiative, teachers must create a brass section is understaffed to begin demonstration that can draw in interest- with? When it comes to switching in a ed students and parents. Says Phillips, musician to play low brass, Zugger says, “I “The most effective recruiting demon- don’t switch from brass to brass, but stration is where kids recruit kids and working with low brass students on the instead I go with someone who uses air in a there’s hands-on experience. It is best art of playing on the similar way. Trumpet players are used to a when kids get to touch the instrument mouthpiece is key. lot of resistance. When you switch them to and feel it in their hands: something Capital University in Columbus, Ohio, to tuba they tend to try to recreate that that’s participatory.” get his suggestions on how to build a resistance in their own body.” Often, a fledgling a string program does strong, cohesive, low brass section. Bearing this in mind, Zugger notes that not have enough of a basis to implement Zugger’s primary focus when working he often looks to a clarinet, flute, or sax this type of demonstration. In this case, with a low brass section is on wind and the player to take on a lower instrument. He Phillips advocates using outside, experi- art of playing on the mouthpiece. “I think notes that, in his experience, the best low you should tell kids that you are ‘playing brass players come from clarinet players A good recruiting strategy involves the mouthpiece,’ rather than saying the who have a big, almost overpowering giving students hands-on experience. word ‘buzz.’ If a new student thinks of it as sound in the low range but have trouble buzzing, then that is the sound they will over the break. Flute players tend to do get: tight, constricted, and buzzy.” The goal well if they have a good low sound in changing the terminology here is to get a combined with a tendency to overblow the student to open up the airway and really high end. Similarly, sax players can be think about the amount of air they are successful candidates if they tend to putting through the instrument. At the overpower the standard reed—if they use same time, Zugger has three main goals a ton of air but haven’t mastered the art of when doing any kind of mouthpiece work. controlling it. —Chad Criswell “First, we want them to realize if they are getting the right pitch or not. Once they have some control, we move on to strings controlling and smoothing out a wobbly Recruiting and pitch. Finally, when they can control the Retention in the sound and make it steady, we can move on to trying to develop some color in the Strings Classroom tone.” Recruiting students for string music enced players to model the string To work on developing tone quality, programs comes with its own set of instruments to prospective musicians. an

d Zugger notes that he doesn’t speak much obstacles and rewards, and the retention Senior citizens in town, players from a or J about embouchure. “I talk about wind. of these newly recruited students can be community orchestra, or students from ie k c Most embouchure problems tend to be even more challenging. For a breakdown of local universities are often available to k; JA wind problems, and they fix themselves if the key steps in both of these processes, come in to demonstrate instruments. “The stoc k the student supports the tone with enough we turned to music educator Bob Phillips, big key to the recruiting demonstration is thin / air. Tension in the body will become who built string programs in Heritage not to do it by yourself. There’s power in com . tension in the sound. I talk about good Elementary School, Saline Middle School, numbers.”

hotos playing posture being freedom of motion, and Saline High School in Saline, Michigan. Communicating the details of a new : P not a rigid body position. When a student Now director of string publications for string program is most crucial in determin-

photos is seated and playing properly, they should Alfred Music Publishing and president of ing a program’s success. “To get kids

nafme.org 59

15_WorkshopTM.indd 59 3/10/14 10:30 AM excited, you have to have a way to get the work within a school’s course scheduling specific place where it is stored between information out to parents and as many timeline, “Every year, I would want to know rehearsals. This may sound like a simple sources as possible: letters, websites, what date counselors/administrators are detail, but it is, however, a crucial one. videos or DVDs. Make use of all forms of going to be talking about scheduling for Having dedicated space for your percussion social media or local media, even school next year. You want to get to the kids gear will enable you to clearly see if an websites and parent newsletters. I would several weeks beforehand. That can be instrument is missing, broken, or needs encourage teachers to create a website or done proactively.” adjustment. attach themselves to the school or music He also advises that teachers “have a “My first task as band director was to department website.” Whatever the mode, drop-out procedure or process, especially find out what belonged to the school and the new program should have a section for at the elementary level. Talk to these kids to secure space to store everything,” frequently asked questions (FAQs). “What and find out what they’re thinking and states Joshua Richardson, director of are the sorts of objections that a parent feeling, and ask hard questions. Informa- bands at South Charleston High School in might have to a string instrument? The tion is not good or bad—it’s what it is. Ask South Charleston, West Virginia. “I spent FAQs should answer those questions questions such as ‘How did you proactively, before the parents ask them.” feel about the class?’ and ‘Are Interestingly, Phillips notes that “those you progressing?’ One import- answers are sometimes broad-based and ant reason kids drop out is sometimes local answers.” because they don’t feel they are For a new program, the most important being successful.” goal should be to maximize students’ For more tips on recruitment learning and ability to master a few songs. and retaining, Phillips offers a The percussion Says Phillips, “During the first year, the great source for practical and instruments for Joshua beginners have to gain enough skill that useful advice on recruiting in Richardson’s musicians are they can buy into the power of what music the DVD series he created with well organized. has to offer.” Teachers need to consider the Bob Gillespie, String Clinics to speed of acquisition of skills. “Here’s the Go. “The first DVD in that series is called several days physically cleaning up and issue: time on task. It is much easier to ‘The Art of Recruiting.’” —Cynthia Darling organizing the classroom, and then took retain kids if you see them every day rather inventory of every instrument and piece of

than once a week. The faster they are Percussion equipment that was in the room. Storing is gaining skills, the more likely they are to a challenge because there isn’t much room stay. The work-to-reward ratio is higher.” The Security available—my band room is only 50'×30'. In addressing how to handle retention and Organization My first classroom rule is not to touch any once a string program has been started or of Percussion musical equipment without the consent of established, a music department must Equipment the teacher. I make it very clear to the change its perspective. “Retention is music appreciation students who I teach something that happens all year long. It’s Band and orchestra directors are consis- that these instruments cost money, and not a one-day event. It doesn’t matter how tently confronted with responsibilities that without proper care and knowledge, they good the recruiting is if you don’t back it range from score prep to creating fundrais- could inadvertently break something. If up with really high-quality teaching.” ing opportunities for upcoming trips. One they break this rule and damage some- As these new groups are being detail that is often ignored is the organiza- thing, I hold the student responsible for developed, Phillips advises teachers to talk tion and maintenance of percussion the cost of repair or replacement.” to students about the next year. “There equipment. What are some good strategies One helpful tip to maximize teaching n should actually be a discussion about being for staying organized and avoiding damage space is to minimize the amount of floor in the group next year, and the teacher and theft? One essential element is space used for storage. Richardson ichardso R a

should help the students make that accurate record-keeping. This includes the suggests the following approach: “I took u osh

decision.” He also suggests that teachers physical organization of each piece of gear every percussion instrument (except J of “bring in older groups to talk about what via a hard copy or computer system, timpani) and arranged them in a way that rtesy

they’re doing at the next level to show the detailing the equipment at your disposal only uses 15'×8' of space in one corner of u co younger students what they will be doing.” and where it is located. Each instrument the room. I then drew up a diagram of how :

Phillips advises that music directors from your section should have its own everything fit together and took a picture photo

60 Teaching Music april 2014

15_WorkshopTM.indd 60 3/10/14 10:30 AM of the storage area. I pasted the picture NAfME’s National Choral Advisory BAUMAN BELIEVES THAT onto the diagram and copied it for every Council. “A lack of confi dence in the leader “THE GESTURE SHOULD ALWAYS REFLECT THE percussionist in the program. Each student of a group reveals itself in many ways, from DESIRED SOUND.” knows that I expect each instrument and conductors who simply follow their groups, piece of equipment to go back to that same unable to effect any expression or musicali- place. I ask that the percussion section ty, to those who try to control too many leader reinforce this after each rehearsal. aspects of the performance. Conductors We also have a Percussion Workstation must be confi dent in their ability to convey (by Wenger) that holds all of our hand meaning with an effi ciency of gesture, and percussion and accessories. Inside, each avoid trying to give too much information drawer and shelf is labeled as to what goes to the ensemble.” where. All mallets go in mallet bags Several technical problems, then, can hanging on our marimba and xylophone, and timpani mallets are stored on the other side of the room with the timpani. Besides the physical storage of things, I also keep an inventory of every piece of equipment in the band room. Each item is summer categorized by the type of equipment with brand name, model, and serial numbers (when available). The current condition of 2014 the item is also noted. Students who borrow a school-owned instrument must complete an instrument loan contract Graduate Courses and Workshops before the instrument leaves the school.” Online options available. To help protect your percussion equipment, it is important to note that the band/orchestra room doors must be For more information: locked when you’re not teaching in that go.udayton.edu/graduatemusic space. Although this may sound simplistic, or contact Dr. Linda A. Hartley at [email protected] it is something that can be easily forgotten, and the simple act of locking your room can go a long way towards preventing theft and vandalism. —Steve Fidyk Conductors Workshop with Rod Eichenberger CHORAL AND VOCAL Master Teacher, Conductor, Innovator Professor Emeritus, Florida State University Choral Conducting Choral Tune-Up Workshop Locations A five-day professional development workshop for choral conductors at all levels Alexandria, Virginia Even experienced conductors may fi nd that July 14-18, 2014 bad habits creep into their technique on Cannon Beach, Oregon occasion. To remedy this, a review of basics Aug.4-8, 2014 may prove helpful. “I feel that one of the

primary tenets of conducting is that the For more information, contact: gesture should always reﬂ ect the desired George Fox University’s sound,” says Jeffrey Bauman, professor of Department of Music 503-554-2620 music, director of choral and vocal [email protected] activities at Young Harris College in Young Information is also available at

PHOTO: COURTESY OF JEFFREY BAUMAN Harris, Georgia, and Chair-elect of choralconductorsworkshop.com 1362 11.13

15_WorkshopTM.indd 61 3/10/14 10:30 AM center on “over-conducting” musicians in terms of the beat. “For example, it is all too common, especially in beginning conductors, to start a piece of music by conducting through an entire bar in preparation, even if the song begins with a piano introduction. A single preparatory gesture should convey all the necessary musical information to the entire ensemble,” notes Bauman. “Another common conducting mistake is to subdivide the beat for the group when they should be doing it themselves. Even experienced conductors often find themselves subdivid- ing unnecessarily, leading to a lack of clarity in tempo and style.” One very straightforward way to improve one’s technique may be to mind The University of Tampa’s music program blends the best of one’s posture. “Musicians are by and large, innovation, conservatory rigor and liberal arts inquiry. Study sensitive, insightful human beings. with faculty who are active performers, composers and scholars Especially when they are tuned in to a dedicated to your professional growth. conductor visually, they will react to every Degrees in: aspect of that person’s body language,” remarks Bauman. “Try conducting a • Bachelor of Music in Performance passage of music with your group twice • Bachelor of Music in Music Education with same musical intention: Once with • Bachelor of Arts in Music very poor posture and once with perfect • Bachelor of Arts in Performing Arts (Musical Theatre) posture. Notice not only the difference in • Minor in Music the sound of the group, but in the resulting posture and energy level of the members of the ensemble.” The University of Tampa is a private university serving Bauman further suggests that working 7,200 students from all 50 states and 130 countries. in front of a large mirror and recording UT’s historic riverfront campus is just a short walk from museums, performing arts venues and a vibrant downtown rehearsals from the ensemble’s point of arts scene. Tampa Bay ranks among the four largest view can provide insights into one’s communities of musicians and artists in the southeast. conducting technique. Additionally the 401 W. Kennedy Blvd. | Tampa, FL 33606 | (813) 253-6211 | [email protected] | www.ut.edu/music Georgia Music Educators Association sponsors a program called the Large Group Performance Evaluation, whereby the skills of individual students, ensem- Degree Summary bles, and music educators can be assessed • Two year degree • Fully or partially online in terms of sight-reading and performance – coursework can be completed entirely online OR ability. “In Georgia, there is an opportunity Master of Arts – candidates can spend the first year on campus and complete an area of at Large Group Performance Evaluation in Music Education concentration • Affordable tuition for a student conductor from the choir to • Outstanding faculty committed to personal be evaluated by the sight-reading judge. interaction with learners • The cohort model is used, where candidates This means extra work for the teacher in progress through the program with the same group of 20-25 other candidates preparation for the event, but it can be For more information, contact • Accredited by both the National Association 719-587-7621 • [email protected] of Schools of Music (NASM) and The Higher rewarding both for the student and the Learning Commission (HLC) adams.edu/academics/music teacher.” Even the act of readying a student for an activity such as this can be

62 Teaching Music April 2014

15_WorkshopTM.indd 62 3/10/14 10:31 AM beneficial for a director’s technique. repertoire. Among the resources she “There is an old saying that says ‘you don’t recommends are Hal Leonard’s Essential MUSIC EDUCATION really know anything until you teach it.’ I Elements for Guitar ensemble series, AT THE BOSTON CONSERVATORY know that since I began teaching conduct- which offers something for every ability ing several years ago, I find myself level in many styles; the catalog of the spending a lot more time conducting in French publisher Les Productions d’OZ WHERE MUSIC MATTERS front of a mirror.”—Susan Poliniak (productionsdoz.com); and ClassicalGuitar School.net. Outside of these sources, she Programs offered: takes things into her own hands. “Often, I Alternatives Master of Music in Music Education write or arrange compositions that with Initial Licensure Ensemble Activities specifically fit the needs of my students.” In a classroom with mixed ability levels, Master of Music in Music Education and Repertoire for non-Licensure program the Beginning and it can be challenging to engage advanced students without overwhelming the others. Graduate Diploma in Music Education Intermediate Guitar This is where Goldberg’s arranging skills with Initial Licensure Class come in handy. Her variations on the Shaker melody “Simple Gifts,” for example, Learning the guitar is often a solitary activ- includes five different parts covering high ity, but it doesn’t have to be. Even a and low positions, extended techniques: beginning student can benefit from partici- “There’s a satisfying part for everyone from pating in a guitar ensemble, thus enjoying a the beginning to the experienced guitarist.” sense of musical camaraderie similar to that experienced by their peers in band, orchestra, or choir. “Performing in an ensemble is a good introduction to the joy of making music in a group,” says Julie Goldberg, HANDS-ON CLASSROOM TRAINING who is an assistant professor of guitar at VanderCook College UNIQUE AUTISM PROGRAM of Music, in Chicago, Illinois; OPPORTUNITIES teaches guitar class at James R. 18-MONTH DEGREE TRACK Doolittle Jr. Elementary School Goldberg creates compositions that (Chicago); and directs the Chicago Commu- fit the needs of her students. SUMMER AND EVENING CLASSES nity Classical Guitar Ensemble. “The guitar At other times, Goldberg has her students become part of a musical team.” intermediate students create their own Goldberg has all of the students in her compositions and arrangements—a guitar classes begin playing in ensembles process that brings theory and improvisa- as soon as possible. Using Sonia Michel- tion into the picture, to say nothing of Apply by April 1 son’s New Dimensions in Classical Guitar for specialized guitar techniques. “The student Children method (Mel Bay), she directs ensemble pieces might start with a fixed For more information: elementary and middle school students in chord progression and basic strumming Rhoda Bernard, Ed.D. P: (617) 912–9104

ollege of Music learning pieces by ear with music that she pattern. Using scales practiced in class,

C [email protected] customizes for ensemble play. She says, “I students will then improvise/compose www.bostonconservatory.edu/musiced ook C add harmonies with the three-string G and melodies and add countermelodies and C chords and/or open-string ostinatos. A harmonized lines. Once the melody is set, few students play tambours, or percussive the accompaniment pattern can be varied, 100% JOB PLACEMENT techniques on the guitar.” and harmonics, tambours, and rasgueados IN THE MUSIC EDUCATION Goldberg’s intermediate students work can be used to fill out the compositions.” FIELD IN THE LAST DECADE.

photo: courtesy of Vander from the standard guitar ensemble —Adam Perlmutter

nafme.org 63

15_WorkshopTM.indd 63 3/10/14 10:31 AM Put your students in the spotlight. THE 2014 NAfME ALL NATIONAL HONOR ENSEMBLES

The 2014 All-National Honor Ensembles are an exciting opportunity for a select group of high school musicians. If you already have students chosen for the All-State and NAfME’s division ensembles, this is your chance to showcase your school’s talent. The program takes place October 26-29, in conjunction with NAfME’s 2014 National In-Service Conference in Nashville, Tennessee. Deadline to submit nominees is May 16. DON’T MISS THE OPPORTUNITY TO SEE YOUR

STUDENTS SHINE ON THE HISTORIC GRAND OLE OPRY HOUSE STAGE! A NAfME RECRUITING PARTNER

To sign up, or for more information, visit musiced.nafme.org/all-national-honor-ensembles.

NAFME45592 NatlHonorsEnsembleAd_M.indd 1 2/25/14 3:41 PM _TM_AD_Temp.indd 2 3/5/14 3:25 PM a e tag S s elementaryBy Patience Moore

Sing Me a Story The creative use of children’s literature in music classrooms can engage students.

Lori Gray’s mother didn’t tell her to clean up her room—she sang to her to clean up her room. She also sang when telling her a story, so it’s no wonder that Gray, a singer and chair of the music education department at the University of Montana in Missoula, is drawn to singing texts of children’s literature in her teaching. “Stories always seemed to come to life for me through music,” says Gray. “I discovered that if students could connect their understanding of a musical concept to a character from a book, or a musical response in relation Lori Gray urges teachers to read and sing energetically to the plot, they could easily remember to bring the experience to life for students. the lesson and transfer the knowledge to new musical experiences,” says Gray. have some listening analysis and to have can be freeform or an assigned form). “I usually start a new lesson or a review students describe the music and why it Allow the students to share their composi- lesson with a book to get them excited is appropriate for a mouse. Then I tions.” about the concept. Mortimer, The would share the book and have students For teachers new to this activity, Napping House, We’re Going on a Bear do the movements and vocal explora- Gray emphasizes the serious benefits of Hunt, and other children’s stories have tion for the characters while I read.” being silly. “I would urge teachers to phrases that repeat, phrases that are easy Other lessons start with reading and put aside their fears of looking or to sing with a melody, or characters to take off from there. “After exploring sounding silly. The story and the which sounds and movements can be the sounds in Clang! Clang! Beep! Beep! experience will only come to life for added.” Listen to the City, put students into small students when the teacher energetically One of Gray’s favorite lessons comes groups and let each group decide a reads or sings the story and adds drama from The Napping House. “I ask students to category of sounds, sounds that go through character voices and student move like each of the characters in the together (e.g., transportation, animals, participation. I remember stories falling book (move like flat during my student teaching, a mouse, etc.). “Stories always seemed to come to because I was embarrassed and thought I might choose life for me through music.” —lori gray the kids would laugh at me and not pay music that sounds appropriate for a playground sounds, etc.). Have the attention to the lesson. Once I truly mouse and have them move to the students choose several of the sounds invested my energy and commitment to music. I might mix up the music and and find a way to represent the sound sharing the story in a fun and musical see if they can identify which character visually on paper. Ask the students to way, I discovered that students were they need to move as, based on the create a composition by organizing the fully engaged and would beg for

photo: courtesy of Lori Gray music. That’s a great opportunity to sounds on their papers in a pattern (this additional stories.” 

nafme.org 65

16_Stages_elementaryTM.indd 57 3/10/14 10:35 AM s g e a S t secondaryBy Debbie Galante Block

Experts over the Internet Online conferencing brings clinicians to your classes without breaking the bank.

IT’s no secret that technology can of the features of my iPhone 5 is that I Once the technology situation has been sometimes be a real cost-saver. For can create a mobile hotspot. I use the figured out, it’s time to find clinicians. example, Skype, FaceTime, and similar Wi-Fi signal from my phone and link it Doerffel advises coming up with three systems can bring a clinician into your to my computer to use lists. “The first list is people classroom for a fraction of the cost of an Skype or FaceTime. It “Why not that you associate with or in-person visit. essentially bypasses the steal the people who may be across “It can be cost prohibitive to fly in or firewalls and is my pre- idea of video the town from you but can’t even drive experts to your school. Not ferred way to do it because conferencing get to your rehearsals.” The only is it costly to the district, but the my computer is the only second list is of professionals clinician is potentially expected to take device using that Wi-Fi from the with whom you have a an entire day off of their regular job” signal at that time, so I business working relationship. The says Mark Doerffel, director of instru- don’t have any buffering world for third is your “dream team,” mental activities at Grand View issues,” says Doerffel. “If a for which Doerffel recom- University in Des Moines, Iowa. “Why school’s firewalls don’t music mends that, “If you are not steal the idea of video conferencing prohibit Skype or Face- classes?” playing a piece by a contem- from the business world for music Time, hooking into their —Mark Doerffel porary composer, send them classes? Not only is it cheap, it’s a way to Local Area Network (LAN) is truly the a message. Many composers are open to get instant feedback for your students.” best option because of the available this. They want people to enjoy their Doerffel notes that there are some speed that a LAN can provide.” work as much as possible.”  hurdles to overcome first. “If you have With skype, clinicians a tiny condenser microphone, it might can provide instant not produce the best quality sound. So, feedback to your students. I use a Blue Microphones ‘Yeti’ USB microphone. You could even use their ‘Snowball’ microphone. Both are designed to record live music. That way, the clinician is going to get an even better representation of what my group sounds like without any distor- tion that a built-in condenser microphone might give. I record a lot of my rehearsals for reference using my laptop, my USB microphone, and a program like GarageBand or Audacity.” Another potential obstacle is a school’s Internet firewall, which may prohibit access to some forms of use. However, Doerffel has discovered one

way to get around this problem. “One photo:Wavebreak Media/thinkstock

66 Teaching Music APRIL 2014

17_Stages_secondaryTM.indd 58 3/10/14 10:35 AM INTHE HEARTOF CHICAGO... DEPAUL SCHOOLOF MUSIC JOIN US SUMMER 2014 Kodály: Levels 1, 2 & 3 June 16 - 27 Instructors: Donna Gallo, Franklin Gallo, Crystal Henricks, Aileen Miracle and Julia Shaw Orff: Levels 1, 2 & 3 July 21 - August 1 Instructors: Vera Flaig, Cyndee Giebler, Sarah Hassler, Holly Mullenix-Stack and Lisa Sullivan

Working teachers enjoy tuition discounts & receive CEU credits. Register online: http://music.depaul.edu

celeb rate in sp ate in mont ir icip hly in art co g p nf er le en a n l i n e r e c d s s o s o u e e c e r c r c e s c s a a l a l s n d a n o Join. Participate. Advocate. d r

w g

a e n b i

i z n

s o n s The National Network for Music Education Advocacy Needs You!

Tap into the SupportMusic Coalition resources to keep music education strong.

Join the network today at www.supportmusic.com!

5790 Armada Drive • Carlsbad, CA 92008 • 760.438.8001 • www.nammfoundation.org

SMCoalitonCallhalfBW.indd 1 7/24/13 10:08 AM

_TM_AD_Temp.indd 2 3/11/14 10:08 AM s S tag e collegiateBy Andrew S. Berman

Jazz Performance for the Uninitiated How do you build your ensemble, and what should you expect from them?

Whether you’re nuts about it or it’s need to be persistent in prodding the patterns and batons is incongruous with just not your cup of tea, jazz is still a formalized music education community the style. Kay suggests becoming significant part of the musical land- toward mandating functional and familiar with the Thad Jones Orchestra scape, and jazz ensembles are prevalent ear-based music-making in everyone’s (e.g., on YouTube) for examples. Jazz in many school music programs. The collegiate training.” conductors employ a verbal count-off jazz novice music educator should be To learn jazz, immersion is key, and and highlight beats—e.g., snapping on ready to take on a jazz ensemble when Kay suggests frequent two and four. You can step in needed. listening sessions. The next “Like speech, for tempo changes, but “Improvisation is kaleidoscopic: step is to jam with simple imitate first, “constantly insist that players Same glass pieces, but always different improv tracks. He recom- internalize and subdivide patterns,” says David Kay, who is part mends playing written-out and then time.” A particular challenge of the music faculty at University solos, such as those in Jim personalize for the new jazz teacher is School in Cleveland, Ohio and the Snidero’s books, along what you’ve working with the rhythm Interlochen Arts Camp in Interlochen, with recordings. “Like copied.” section. One important step Michigan. He notes that, while classical speech, imitate first, and is to introduce them to —DAVID KAY musicians interpret the notes on the then personalize what different grooves—swing, page, jazz musicians not only interpret you’ve copied.” Kay also emphasizes the funk, bossa nova, etc.—and help them but also compose. Jazz education is importance of authenticity: “Know to understand the elements of each. important because it hones one’s ability where the style parameters of classical It’s important to give your students to improvise. “If a highly-trained music and non-classical music, includ- room to make mistakes. Maintain a classical musician freezes when asked to ing jazz, differ.” relaxed environment. “Avoid saying, play ‘Happy Birthday’ off the cuff, such Jazz conducting is different from ‘These are the wrong notes to use here.’ training must change,” says Kay. “We traditional conducting; the use of beat Ultimately, all twelve notes work when used with understanding, so to use the term ‘wrong notes’ sets up the wrong mindset for the novice,” says Kay. Also, start your students off with limited sets of notes to jam on. Opportunities to learn jazz performance should not be passed over, as you never know exactly what the future holds. “You’ll probably end up having to direct a jazz or improvising group in your career. It behooves music education students to enhance their own musicianship in this dimension of hoto music-making to better serve their P David Kay believes that music educators should take advantage of students,” insists Kay. “Besides, it can be opportunities to learn about jazz.

great fun—nothing wrong with that!” photo: JWD 

68 Teaching Music april 2014

18_Stages_collegiateTM.indd 60 3/10/14 10:34 AM

SOM-Teaching Music AD-o-0214.indd 1 3/6/14 10:26 AM

Music Educators pursue your passion. > MASTER OF MUSIC EDUCATION (Summers Only Program) June 24 – July 19 Contact: Dr. Jeffrey Marlatt, [email protected] SUMMER WORKSHOPS > THE CHORAL TEACHER CONDUCTOR Dr. Deen Entsminger June 28 – June 29 > MUSIC FOR STUDENTS WITH SPECIAL NEEDS Dr. Alice Hammel July 12 – July 13 > NATIONAL JAZZ WORKSHOP > DEVELOPING THE INDEPENDENT MUSICIAN June – July 12 Dr. Carol Krueger > CONTEMPORARY COMMERCIAL MUSIC VOCAL PEDAGOGY July 24 – July 26 July 13 – July 22

CEUs and College Credit Available > NATIONAL WIND AND PERCUSSION WORKSHOP Contact: Dr. David Zerull, [email protected] July 14 – July 19 Learn more. 800-432-2266 | www.su.edu/summerworkshops

_TM_AD_Temp.indd 2 3/11/14 2:43 PM resources

DVDs 3 Books 3 The Man with the Violin Just for Fun: Raising Beyond By Kathy Stinson, Illustrated by Dušan Petricˇić Children’s Musical Kids: Sound: The (2013, hardcover, 36 pgs., $19.95). Songs for College and This picture book is based on the true story of A Guide for renowned violinist Joshua Bell who famously took Guitar Parents (Sec- Career Guide his instrument into the Washington, D.C. subway Arranged by Dick ond Edition) in Music system to give a free, anonymous concert as a Sheridan (2013, By Robert A. Cutietta Technology paperback, 84 pgs., busker. Many commuters rushed by him, but only (2013, paperback, 296 By Scott L. Phillips $16.99). This book for seven stopped to listen for more than a minute. Au- pgs., $24.95). Raising (2013, paperback, 222 both beginner and thor Kathy Stinson’s story reminds us to stop and Musical Kids takes pgs., $24.95) This text is novice musicians is full appreciate the beauty that surrounds us, and parents through topics for anyone who wants of music to be played by Dušan Petricˇić’s illustrations demonstrate the such as assembling a to build a career in children, as well as by power of music. The book includes a postscript listening library, music technology. parents who want to explaining Joshua Bell’s story, and an afterword by matching a child’s Structured as a strum and sing these Joshua Bell himself. Annick Press, annickpress.com personality with an resource for college great songs along with instrument, and finding and high school their children. Match- musical resources in instruments 3 students, high school ing ukulele, mandolin, your community. career centers, Moog Etherwave Theremini and banjo books are Educator Robert university placement By Moog Music Inc. ($319). The Theremini fuses the available in this series experience of performing with an instrument you Cutietta explores the centers, and libraries, don’t actually touch, with a sound engine derived for multi-instrument, features and benefits of from Moog’s synthesizer, Animoog. Assistive pitch Beyond Sound reflects musical explorations. quantization allows each player to adjust the elementary and on recent technological instrument’s level of playing difficulty, and a built-in The songs include such secondary school tuner supplies real-time visual feedback of each advancements, and children’s classics as note as it is played. The presets allow you to select programs, and shows includes an in-depth from 32 wave or wavetable-based patches, set and “Ring Around the recall a specified playing range, and more. Recessed how parents can work consideration of over Rosie,” “Bingo,” “London in the top of the Theremini is a compact speaker for with the schools to 200 schools that offer private rehearsal and quick setup. Silent rehearsal Bridge is Falling Down,” is also possible via the front panel headphone jack. provide the best music technology, “Go In and Out the For live performance and gestural control, the rear possible programs. music recording, music panel features two line-level audio outputs, a pitch Window,” “Itsy Bitsy CV output with selectable range, and a mini USB Throughout the book, industry, and music Spider,” “Frère Jacques,” jack for MIDI I/O and connectivity. Moog Music the author emphasizes business programs. Inc., moogmusic.com “She’ll Be Coming the joy of participating Various jobs in related ‘Round the Mountain,” in music for its own fields are described. and many more. Alfred sake. Oxford University Oxford University Music, alfred.com Press, oup.com Press, oup.com

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

70 Teaching Music april 2014

19_ResourcesTemplateTM.indd 62 3/10/14 10:42 AM Accessories 3 Apps 3 Refining Improvising iQ5 Stereo Vox Mibblio By Mibblio (Free; Sound: and Soloing Microphone Soundbox story-songs available A Practical in the Pocket By Zoom Corporation Mini for in-app purchase). ($99.99). The iQ5 is a Vox Amplification Ltd. Mibblio is an inter- Guide to By Richie Cannata and active storybook Sean J. Kennedy compact stereo ($199.99). This mobile, app that showcases Synthesis condenser microphone multipurpose amplifier “mibblits”—illustrated (2013, paperback with story-songs that invite and DVD, 32 pgs., $14.99). for lightning-equipped can be run via an AC children to read, sing, iOS devices. Its rotating adapter or batteries and jam along. Some Synthesizers Richie Cannata—long- mibblets are based By Brian K. Shepard time saxophonist with capsule allows it to be (six AAs will give you on familiar children’s used vertically or about seven hours of songs—“The Wheels (2013, paperback, 264 Billy Joel, among on the Bus,” “On Top pgs., $35.00). Refining others—has teamed up horizontally to record operation). It works of Spaghetti,” and so with your device in with electric guitars, forth—whereas others Sound follows the with accomplished are original composi- process of synthesis drummer Sean either portrait or basses, keyboards, tions, such as “Monkey landscape position, mics, and audio Jones,” “Gordon, the from the raw materials Kennedy to create this Puppy Scientist,” and of sound waves through book/DVD package thus ensuring that the players—in fact, an “The Mashed Potato audio is recorded with instrument, mic, and Monster Gang.” The the various stages of that can stretch your mibblets feature the refinement process, improv skills. You can the correct left-right audio player can be performers such as Lucky Diaz and the to the final polishing of stereo orientation. The used simultaneously. play along with band Family Jam Band, Hot sounds with audio tracks engineered so capsule contains two The Mini includes four Peas ‘n Butter, Ben effects. Each chapter elements including a built-in effects and 11 Rudnick & Friends, you can be the soloist. The Bandana Splits, focuses on a particular In the Pocket offers nine directional “mid” mic to amp input types, as well The Third Wheel aspect of the synthesis capture audio from the as a tuner for use with Band, Grammy-win- pieces in various ning drummer Marty process, and contains styles—all notated with front and a bidirection- an instrument connect- Beller, Grammy-nom- guided projects that al “side” mic to pick up ed to the guitar jack (“E” inated mandolinist melodies, chords, and Andy Statman, and focus on the topics of scale forms—each with ambient sounds from note only). The Center many others. Children can jam along with the chapter. The a theory worksheet for the sides. The iQ5 can Cancel effect can Mibblio’s keyboard, material includes many additional study. The be used with most iOS minimize the volume of “strum pad,” and per- examples and illustra- DVD features play- apps that support input a vocal or solo part cussion instruments, as well as discover tions and over 40 along tracks, and a from an external mic. A from a music source new instrument com- interactive demonstra- video discussion with headphone jack enables connected to the AUX binations by muting and soloing individual tions on the book’s background and playing direct monitoring IN input to obtain a audio tracks, building companion website. tips for each piece. during recording and “minus one” setup. Vox layers of a song, and more. Apple’s App playback. Zoom North Amplification Ltd., Oxford University Carl Fischer Music, Store, itunes.com/ Press, oup.com carlfischer.com America, zoom-na.com voxamps.com appstore

nafme.org 71

19_ResourcesTemplateTM.indd 63 3/10/14 10:42 AM resources... CONTINUED SOFTWARE 3 Breezin’ Thru Composing By Breezin’ Thru Inc. (Subscription plans vary; see website for details). Breezin’ Thru Theory is designed to be used interactively by students on the Internet. Based on a ﬁ ve-step system for learning, the core product is an online E-Binder that has 26 chapters of

scaffolded content that supports curriculum goals for grades 5–12. The drills are Summer 2014 auto-assessed, giving students instant University of Michigan feedback, helping them build mastery, and Professional Development freeing up marking time for teachers. It also has games that are linked to the E-Binder content. A SMART board teacher’s companion is offered as well. Breezin’ Thru Inc., breezinthrutheory.com

Choral Conducting Symposium: June 16-20 Sibelius 7.5 Band Conducting & Pedagogy Workshop: June 22-27 By Avid Technology, Inc. (Pricing varies; Michigan String Workshop: June 26-28 see website for details). The latest version of Sibelius provides new features such as accelerated navigation with a new Timeline window, more expressive playback with the redesigned Espres- music.umich.edu/adultprograms sivo 2.0, enhanced collaboration and distribution of scores through sharing and social media (scores can be shared through email, uploaded and published on ScoreExchange.com, or shared as video or audio ﬁ les on YouTube, Face- book, and SoundCloud), and full Scorch TheThe HayesThe Hayes Hayes School School School of ofMusic Musicof Music is ispleased pleased is pleased to tohost: host:to host: TheThe HayesThe Hayes Hayes School School School of Musicof Music of Musicis pleasedis pleased is pleased to host:to host: to host: app integration (scores can be exported SSililvevSeilver rB Bru urBdruderetdtte tSt Sut umSmummmemer rMe Muru Musiscics Iic nIns Intsittsitututitetue t e directly to Scorch on iPad for interactive SilveSilveSilver Br uBrr uBdreudtretdt eSt tuStmu Smmumerem Mure Mur sMuicsic sIn icIns tsInittuitstuitet uet e playback, performance, and publishing). JuneJuneJune 16 16 - 20, 16- 20, -2014 20, 2014 2014 JuneJune 16June 16- 20, -16 20, 2014 - 20,2014 2014 Avid Technology, Inc., avid.com GeneralGeneralGeneral Sessions: Sessions: Sessions: Sanna Sanna Sanna Longden, Longden, Longden, Lynn Lynn LynnBrinckmeyer, Brinckmeyer, Brinckmeyer, and and Maribeth and Maribeth Maribeth Yoder Yoder -YoderWhite-White-White GeneralGeneralGeneral Sessions: Sessions: Sessions: Graduate credit available. SannaSanna SannaLongden, Longden, Longden,Graduate LynnGraduate Lynn Brinckmeyer, Lynn credit Brinckmeyer, credit Brinckmeyer,available. available. and and Maribeth andMaribeth Maribeth Yoder Yoder-White Yoder-White- White GraduateGraduateGraduate credit credit available. credit available. available. OOrfrOff-frS-Sfcf-Schhuculhwlweuelwerkrk r k LeLveeLevle IIvel I Il IIO OrfrfO-Sffr-Scffhc-Suhclweuhlweulwerkr k r kMa MasMtseatres Crt elaCrla sCssl as s s LeLeveveLel IIlve II l II MaMastMaesrte Csrtla Cesrla sCs las s s JulyJuly 7July -7 18, - 718, - 2014 18, 2014 2014 JulyJuly 21July 21 - 25, 21- 25, -2014 25, 2014 2014 Maribeth YoderJulyJuly-White 7July - 7 18, ,- Pedagogy18,7 2014 - 18,2014 2014 & Movement JulyJuly 21July 21- 25, -21 25, 2014 - 25,2014 2014 MaribethMaribeth Yoder Yoder-White-White, Pedagogy, Pedagogy & Movement & Movement KonnieKonnieKonnie Saliba Saliba Saliba, Instructor, Instructor, Instructor MaribethMaribethMaribeth Yoder YoderLisa -YoderWhiteLisa- WhiteRunnerLisa Runner-,White Pedagogy Runner, Pedagogy, Recorder, ,Pedagogy Recorder, Recorder & Movement & Movement & Movement KonnieKonnieKonnie Saliba Saliba Saliba, Instructor, Instructor, Instructor LisaLisa RunnerLisa Runner Runner, Recorder, Recorder, Recorder Graduate credit available for Level II. GraduateGraduate credit credit available available for Level for Level II. II. www.music.appstate.eduGraduatewww.music.appstate.eduGraduatewww.music.appstate.eduGraduate credit credit available credit available availablefor Level for Level forII. Level II. II. www.music.appstate.eduwww.music.appstate.eduwww.music.appstate.edu

72 Teaching Music APRIL 2014

19_ResourcesTemplateTM.indd 64 3/10/14 10:43 AM Ad Place

Best Prices On Quality Music Instruments stores.ebay.com CHOIR & BAND FOLDERS Music Instruments - Director Approved We manufacture for the world & STANDS, RISERS, FOLIOS, & can deliver in days not weeks. MORE @ DISCOUNT PRICES! Logos/crests/names imprinted. Band Music - Solo & FREE MUSIC PRODUCTS CATALOG Ensemble Music 1-800-598-5383 Low Internet Pricing – Instant Delivery www.valiantmusic.com PennywhistlesForSchools.com www.pdfbandmusic.com The Recorder Alternative!

Jamey Aebersold’s World-Famous SUMMER JAZZ WORKSHOPS HaMaR Percussion Publications COMBOS, MASTER CLASS, THEORY, JAM SESSIONS theory for choirs www.hamarpercussion.com Choose from 2 week-long sessions. Reproducible, modular, flexible. June 29th - July 4th or July 6th - July 11th FREE SAMPLE. Call 1-812-944-8141 or visit www.theory4choirs.com www.summerjazzworkshops.com To Place an ad

Specs & Requirements Rates: Publication MENC Classified, $2.80 per word CHORAL SIGHT-READING Issue/Run April 20% DISCOUNT ON Release April 2014 Display classified, $73.00 per column inch MATERIALS Cost n/a CHORAL MUSIC Reproducible. Free Samples. Size Professional2.25” x 1” Service - All Publishers Deadlines: Bleeds n/a www.UniversityMusic.com Masterworks Press: 800-300-9229 Safe Area n/a April 18—June Music Educators Journal Color B&W (800) 858-3000 www.MasterworksPress.com June 27—August Teaching Music Send ads to: www.gottrypercussion.com Band Teachers Music Educators Journal and Teaching Free percussion resources Free podcast Music at [email protected], Quality percussion literature www.themusicedpodcast.com or call 914-358-1200, ext. 302

NAfME members who attend a Teaching Guitar Workshop this summer will be eligible to receive: • Three Graduate Credits. • A new guitar, numerous method books, and accessories. • An unforgettable, five-day, professional-development experience taught by award-winning clinicians.

For more information visit www.GuitarEduNet.org or email [email protected] Workshop locations are subject to change.

21_Classified.indd 1 3/10/14 10:46 AM bravo! Daniel J. Levitin

cognitive psychologist, neuroscientist, and writer Daniel Levitin is the keynote speaker at the 2014 NAfME Music Research and Teacher Education National Conference in St. Louis, Missouri in April. Levitin is the McGill Professor of Psychology and Behavioural Neuroscience at McGill University in Montreal, where he runs the Laboratory for Music Cognition, Perception and Expertise. He is also a record producer and musician.

We’ve been reading your work and are just amazed. How do you do all of this? I like my work, it’s true. And I’m now the Dean of Arts and Humanities at Minerva, which is planning to be a new top-tier university based in San Francisco. For the time being, I’m doing that alongside my McGill position.

What types of things are you doing at Minerva? I’m designing an undergraduate curriculum. We are admitting our first pilot class of students in the fall. One of the things we’re doing is coordinating the program between sciences and arts and humanities and computational studies, so that every student gets equal exposure to all of these different aspects. I don’t think the humanities and the arts And you have a new book coming out this year. It’s called Organized Mind. The subtitle is Thinking Straight in the Age of are simply a nicety or a Information Overload. It’s about how the brain luxury or a leisure activity. organizes the world around us—how we remember They’re fundamental and categorize it. and essential for human Were you surprised by the reaction to your first book This( Is Your Brain on relationships and Music)? I was surprised when we sold 1,000 copies of the book. When we got up human society to flourish. to 100,000, I was astonished. We’re now at 1,000,000.

Do you have any advice for our teachers who are striving to help kids learn music and stick with it? That’s really the nut of it, isn’t it? Some kids are intrinsically motivated because they like music so much and they like the act of creation. Other kids are doing it because their parents asked them to, or they’re being forced to. There’s a middle group of kids who are motivated and doing it because they like it, but have poor self-discipline. That’s something we can and should train. I think we have a responsibility to do that.

Any practical recommendations? Teachers should incorporate real music into their lessons, if they’re not already. Listen to music with students so you can point out things they hadn’t noticed in some popular tune, and point out the connection between your lessons and what’s going on in the music. Deconstruct it.

Have you had much involvement with formalized music education advocacy? I’ve met with teachers in New York and California and with Canadian Ministers of Culture from all 11 provinces to talk about the importance of the arts. I had a residency at the Library of Congress where I talked to members of government and told them that we who teach music have gotten squeezed out of K–12 education and I think it’s a tragedy.

With all the research you’ve done, have you ever gone back and seen conclusions you’ve made and decided they needed to be oa r o

revised? I certainly have. We used to think, with Williams syndrome for example, that [those afflicted] had unusual musical abilities C io én

and later had to retract that when we found out that they didn’t. But that’s the nature of science. Science is constantly revising. Truth s : Ar

is provisional. We don’t talk about the truth. We talk about the weight of evidence. And the weight of evidence can change. o t o Ph

74 Teaching Music April 2014

20_BravoTM.indd 1 3/13/14 11:34 AM _TM_AD_Temp.indd 2 3/7/14 9:27 AM Same Inspirational Experience Di erent Approach

e Experience Is Just As Incredible. It’s the a ordability that’s unique.

Exceptional Performance Venues Web-based, Complimentary Virtual Director’s Meetings Prior To The Festival Superior Attention To Detail By Experienced Music Educators Cancel Up To 60 Days Before The Festival And Receive A Full Refund Of Festival Fees No Application Or Group Fees Online Account Access On Stage Clinics Three Nationally Known Adjudicators Plan Your Trip On Your Own Or Use Any Travel Planner

Performance Dates Are Available Online At www.festivalsofmusic.com | 800.323.0974 | [email protected]

Proud Corporate Member

_TM_AD_Temp.indd 2 3/4/14 11:46 AM