teaching AUGUST 2018 VOLUME 26, NUMBER 1

Give A Note Foundation Music Education Bravo musicmusicJEFF COFFIN! INNOVATOR AWARD GRANT RECIPIENTS Getting the Most out of the 2018 NATIONAL CONFERENCE

Rocking Out with the LAKEWOOD PROJECT A high school program in Ohio challenges students and changes lives.

menc.org 1 BECOME PART OF OUR STORY

The Walt Disney Company was built around storytelling—from the legendary songs of the Sherman Brothers to the toe- tapping choreography in musicals like Newsies. But just as important as our stories are the stories that music educators and their students share when they come to Disney Parks to perform on one of the most magical stages on Earth.

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WDW-18-349988 DYP ADS (CD 8.187X10.875) RV.indd 1 6/19/18 1:26 PM A Letter to Music Teachers

Dear NAfME Member:

You’ll soon be diving into another exciting year of helping students grow and develop through music—unless your school year has already started. You will build your success and that of your students on your training and experience as a professional and on the support of your colleagues and your association, the National Association for Music Education. NAfME support includes many o erings that come from your state association and from the national o ce. A few that you might  nd especially helpful are: • LIBRARY OF CONGRESS (LOC) CURRICULUM UNITS for music teaching in areas including general music, chorus, band, and orchestra, with additional units in the last two categories coming this fall. These lessons, funded by an LOC grant, are free to all who have access to the Internet. See all these free Michael J. Blakeslee NAfME Executive Director and CEO resources at bit.ly/LOCcurriculum . • NAfME ACADEMY, which gives you access to music-speci c professional development at low cost; $20/year buys more than 100 hours of professional development at bit.ly/NAfMEAcademy. • TRI-M® PROGRAMS FOR STUDENT MUSICIANS GRADES 6–12 highlight your school’s music program and give students the opportunity to perform, lead, and serve. These programs are  ourishing at schools around the nation thanks to amazing, dedicated advisors. More information is at MusicHonors.com. • OUR AMPLIFY COMMUNITY enables members to  nd and share professional information on an easy-to-use online platform at community.nafme.org. • 2018 NAfME NATIONAL CONFERENCE, taking place in Dallas, November 11–14, will include focused professional development experiences—divided into “Opuses,” or learning tracks. Learn more by visiting bit.ly/2018NAfMEopuses. You’ll also want to be aware of some other programs that we’re designing to move the  eld forward. We’ve worked with Give A Note Foundation and the Country Music Association (CMA) Foundation on Music Education Innovator Award grants; the  ve teachers receiving this year’s grants are featured in this issue. And, also with the CMA Foundation, 10 of our state Music Education Associations have received grants to help further their advocacy work. And that ongoing advocacy work (covered at nafme.org/advocacy) is key to our collective success. As debates over full funding for education take on new vigor across the nation, we are working to make certain that music education for all students is a reality in all our classrooms. It’s only logical that we do so—you put your heart and mind into working with students every day of the year. You engage in professional development to make that work ever more e ective. We need to work together to safeguard and extend the national, state, and local structures that make your essential work as an educator possible. Photo by Mark Finkenstaedt. Photo by

nafme.org 1 NAfME CORPORATE MEMBERS AS OF AUGUST 1, 2017 MICHAELMICHAELMICHAEL J. J.J. BLAKESLEE BLAKESLEEBLAKESLEE ExecutiveExecutiveExecutiveMICHAEL Director DirectorDirector J. BLAKESLEE and andand CEO CEOCEO Executive Director and CEO CCCHRISTOPHERHRISTOPHERHRISTOPHER WOODSIDE WOODSIDEWOODSIDE ChiefChiefChiefCHRISTOPHER Operating OperatingOperating Officer WOODSIDE OfficerOfficer Chief Opperating Officer LYNN M. TUTTLE EELLALLA WILCOXWILCOX EditorEditor Thank you to NAfME’s corporate members for supporting DirectorLYNN M. of PublicationsTUTTLE Director of Publications CCATHERINAATHERINA HHURLURLBBURTURT music education and music educators! 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Titanic Museum Attraction JACKIEJACKIE JORDA JORDANN Creative Creative Director Director www.makemusic.com titanicbranson.com BILLBILL WHITEWHITE AdvertisingAdvertising ManagerManager Berklee College of Music BILLBILL WHITE WHITE Advertising Advertising Manager Manager Melhart Music MICHAELMICHAEL RR.. VELLAVELLA ProductionProduction ManagerManager berklee.edu Tuxedo Wholesaler MICHAELMICHAEL R. RVELLA. VELLA Production Production Manager Manager MFR Holdings, LLC tuxedowholesaler.com BARBARBBARAARA BOUGHTONBOUGHTON BusinessBusiness ManagerManager Breezin’ Thru, Inc. VABARNESSABARA SM BOUGHTONALL Business Business Manager Manager breezinthru.com The Midwest Clinic Weill Music Institute, Carnegie CCONTRIONTRIBBUTORS:UTORS: MichaelMichael Adelson,Adelson, AndrewAngela midwestclinic.org Hall carnegiehall.org/education CJ.D.OC Allen,N ONTRIAmmerman,TRIBU AndrewBTORS:UTORS: Andrew S. Michael Berman, Michael S. 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www.colbertcreative.com (604) 681-5386 www.colbertcreative.comwww.colbertcreative.com (604)(604) 681-5386 681-5386 August 2018 Volume 26, Number 1 PROMOTINGcontents THE U NDERSTANDING AND MAKING OF MUSIC BY ALL Music students learn cooperation, discipline, and teamwork.

30 GIVING AWARDS, REAPING REWARDS The new Give A Note (GAN) Music Education Innovator Award Grants support music educators who work to draw more students to their programs. From left: Brian Gallagher, GAN Board member Sean Smith, Warren Mize, Ginny Coleman, Chris Gemkow, Ethan Chessin, and GAN Board President Beth Slusher

FEATURES 26 FITTING IT ALL 36 GETTING THE MOST 40 ROCKING OUT WITH 46 LEARNING INA LOOK OUT OF THE NAfME THE LAKEWOOD FROM THE BEST AT HIGH SCHOOL 2018 NATIONAL PROJECT Renowned clinicians SCHEDULING CONFERENCE In 2002, Beth Hankins in the areas of band, PRACTICES Here’s a little preview formed a ground- orchestra, and choir How do high school of the upcoming breaking high school will be leading the scheduling practices NAfME National ensemble that excels, 2018 NAfME Directors’ affect choral music Conference. Get ready challenges, changes Academies. Come for participation among to network and gain lives—and rocks. in-depth study and high school students, valuable information hands-on experience and what can be done at the new Forums at this phenomenal to help them maintain and Opuses! learning opportunity! music as a priority? Cover photo by Alex Belisle Photography. Photo this page courtesy of Give A Note Foundation. Photo this page courtesy of Give Belisle Photography. Alex photo by Cover

nafme.org 5 August 2018 Volume 26, Number 1

contentsThe PS22 Chorus Learning how to play with with Tori Amos vibrato is a multistage process.

49 DISCOVERIES 14 Teaching strategies for more inclusive DEPARTMENTS practices for strings students 24 WORKSHOP A LETTER TO MUSIC TEACHERS General Music From Michael J. Blakeslee 1 Ring, ring—singing phones calling! 48 CLASSROOMS Brass & Woodwinds The PS22 Chorus from Staten Bassoon for beginners 49 Island, New York 14 Strings Teaching vibrato fundamentals 49 ADVOCACY Percussion Greater visibility for your Introducing samba percussion 50 program can translate into greater Choral and Vocal funding down the line. 16 Straw phonation for high school choirs 51 PARTNERSHIPS NAfME corporate partners are gearing Alternatives Nonstandard additions to up for the 2018 National Conference! 18 classical guitar ensembles 52 RESEARCH STAGES What are the Model Cornerstone Assessments? 20 Elementary Music classrooms can provide TECHNOLOGY opportunities for character-building. 55 Apps and more for the choral classroom 22 Secondary How can music educators plan successful 10 and effective composition projects? 56 PRO•FILES Debbie Collegiate Cleveland New NAfME President, What can new music educators 9 Kathleen D. Sanz … do to survive and thrive during their Debbie Cleveland is the first three years? 58 2018 Barbershop Harmony Society/NAfME Music RESOURCES Educator of the Year … Harry New media and accessories E. Price receives the 2018 for the music classroom 60 NAfME Senior Researcher Award … Longtime NAfME BRAVO! member Michael L. Mark Teaching Music salutes Dave Matthews has passed away. Band saxophonist Jeff Coffin. 64 Photos clockwise from top left by Victor Breinberg, by Jackie Jordan, courtesy of Debbie Cleveland. Victor Breinberg, by Photos clockwise from top left by

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KATHLEEN SANZ By Lori Schwartz Reichl

The New NAfME President Measures Up! Kathleen D. Sanz has substantial knowledge of curriculum and assessment development.

KATHLEEN D. SANZ, who officially began Florida Department of Education, and a Instructional Services and co-director of her role as NAfME President in June, is no former chair of the National Consortium the District School Board of Pasco stranger to leadership roles in music for Arts Education Association. Although (Florida) County Curriculum Department. organizations: She has served as president she left us over a decade ago, Hinckley’s From 1985 to 2006, she supervised fine of the Florida School Music Association, influence still shines brightly on Sanz. arts at the K–12 level after serving eight President of the Southern Division of A few days after her years as an elementary music NAfME, and president of the Florida Music husband’s question, she educator. In addition, she Education Association (FMEA), for which enthusiastically accepted the served as a grant evaluator she currently serves as State invitation to run. for the U.S. Department of Executive. When asked to “I plan to Sanz, who Education’s “Professional run for NAfME president, she currently serves Development in Arts politely declined, but her listen to the as President and Education” (PDAE) for the husband challenged her with MEAs of CEO of the June Hillsborough County Public one simple, pivotal question: each state.” Hinkley Center for Schools. She also developed “What would June Hinckley Fine Arts KATHLEEN D. SANZ and received grants from the tell you to do?” A respected friend of Sanz, Education in Tallahassee, President, NAfME Florida Division of Cultural President and CEO, Center Hinckley was a Past President of NAfME, a Florida, was formerly the for Fine Arts Education, Affairs for FMEA, awarded Tallahassee, Florida

Top photo by Bob O’Lary and Debbie Stubing, official photographers of FMEA. Botton photo by Mark Finkenstaadt. of FMEA. Botton photo by and Debbie Stubing, official photographers Bob O’Lary photo by Top former arts education specialist for the Supervisor of Curriculum and annually from 2011 to 2018.

nafme.org 9 From left: Kathleen D. Sanz, • Denese Odegaard, pro les and Mary Palmer

Born in Erie, Pennsylvania, Sanz’s Irish family moved to a large Spanish community in Tampa, Florida, where her elementary school included a number of students who spoke Spanish. Kathleen D. Sanz brings substantial knowledge of curriculum and assessment development to the national level. She served as the project manager for the development of the Sunshine State Standards for the Arts and, as a contribut- students with disabilities. research in music education so that ing author for Silver Burdett, she created Her goals for NAfME are to continue teachers understand their students and listening lessons for elementary music. To the conversation and sensitize members to decision-makers make better decisions; ensure Florida teacher recertification, diversity, poverty, social justice, inclusion, and create more collaborations with Sanz coordinated the development of an and equity and access. “I plan to listen to principals, PTAs, and corporate and online model for teaching fine arts to the MEAs of each state; strengthen academic partners.”

DEBBIE CLEVELAND By Lisa Ferber

barbershop was organic, as it combines “Be who you are and let your two of her long-term loves. “I sang musical theater in high school and gospel voice be heard.” with my family, and barbershop is a Debbie Cleveland is the 2018 Barbershop Harmony Society/ combination, with the characterization NAfME Music Educator of the Year. like music theater and the harmony like gospel.” She also has a special fondness DEBBIE CLEVELAND, the choral director Convention. Cleveland holds for teaching high schoolers. at Gaither High School in Tampa, Florida, a Bachelor of Music degree “They are just beginning to has known since she was in the eighth in vocal music education figure out who they are and grade that the path of music education from the University of South who they want to become, was for her. “I was inspired by a choral Florida in Tampa and a and if I can have any part of director, and the dream never died.” She Master’s degree in educa- that, then I feel like I have has 31 years of experience as a choral tion and curriculum from the given them something director in secondary public schools, a University of Tampa. valuable.” She notes that history of performing worldwide with Joe Cerutti, director of many people keep their high “the BUZZ,” a women’s international outreach for the Barbershop DEBBIE CLEVELAND, school memories for a long championship a cappella quartet, and Harmony Society, says that Choral Director, time, whether positive or Gaither High School, choirs consistently chosen for EPCOT’s in addition to being an Tampa, Florida negative, and she would like Candlelight Processional, the Saint incredible ambassador for a to have a positive influence Patrick’s Cathedral Concert Series in cappella singing, Cleveland is a wonder- on those memories. New York City, and the Florida Music ful choral director who has one of the One way in which she helps make Education Association (FMEA) State most beautiful voices he has ever heard. students comfortable with singing is to He notes that part of why Cleveland is so create a safe environment where successful in bringing the community everyone makes it alright for everyone together is because she is friendly, and else. “The first day, I’ll have them all listen able to laugh at herself and joke with as each person says the word ‘here.’ The other people. “She lives it every day. She next day, they each have to sing the word is an incredibly modest person, and her ‘here.’ On the third day, they sing, ‘I’m students were probably prouder of her here.’ And on the fourth day they sing, ‘I winning that award than even she was.” am really here,’ and so on.”

Cleveland’s gravitation toward She is well aware of the shift that can of FMEA. Bottom photos courtesy Debbie Cleveland. and Debbie Stubing official photographers Bob O’Lary photo by Top

10 Teaching Music AUGUST 2018 Top photo by Bob O’Lary and Debbie Stubing official photographers of FMEA. Bottom photos courtesy of Debbie Cleveland.

Top photo courtesy of Debbie Cleveland. Bottom photos by Lauren Kress. FOR HARRY E. PRIC HARRYFOR E. Following Your BlissaResearcher as heard.” voice be your let and are you who Be ametaphor: as it literally and voice. We use their to use scared be can they “I think says. she now?” and spirit afree were you when school elementary between happened “What self-conscious. become people as over time take place something you care about.’” care you something answer. isn’t the You’vemoney got to pick because love, you what ‘You choose said, my father And teaching.’ and music in I’m interested but you, for it’s not know ‘I said, and down my “I parents sat music. lay his path that in grade 10th around decided and grade, in seventh trombone playing began who Price, says in business,” been always has family “My plans. family’s in his wasn’t exactly in music a career whom was Cornelia Cornelia was whom of one dissertations, doing were who students doctoral of acouple helped also I time. at the of technology Wagner, in charge was who Michael assisting got ajob “I school. through himself putting while took Price to ajob thanks happened education toing music HarryE.Price isthe recipient of the 2018NAfME Senior Researcher award. E PRIC HARRY E. The shift from perform from shift The E , the idea of pursuing ofpursuing idea the - By LisaFerber Kennesaw, Georgia University, State Kennesaw Education, Music and Music of Professor PRIC HARRY E. teach.” I Ilove who because in teaching stayed Ihave but music, Ilove teaching because ateacher care.’Ibecame you that know until they know you what care don’t ‘They but saying, “It’s old an teachers: in teacher preparation from Syracuse Syracuse from preparation in teacher in Tallahassee, adoctorate and University State Florida from both education, in music degrees Master’s and Bachelor holds Georgia, in Kennesaw, University State at Kennesaw education music and ofmusic professor current and (JRME), Education Music in Research of Journal Editor ofNAfME’s Academic former is the who Price, in Syracuse.” her with studying up Interestingly. Iended Yarbrough. E , She offers this advice to budding to budding advice this offers She perception of sound. “We dida “We ofsound. perception the regarding conducting of effect the on Morrison Steve colleague with working curiosity.” been just has He if...’ It’s ‘I wonder Igo, about. Iwonder stuff in, interested I’m stuff “It’s way: this just his passion describes He years. 35 than more for research York. New in Syracuse, University Price has been doing doing been has Price love who Iteach.” teachingin because I music, but I have stayed because Ilove teaching “I became ateacher also says that if people see a fancy afancy see people if that says also is.” Price conductor the expressive how on music ofthe experience rate the They quite high. was music ofthe perception people’s on conductor ofthe effect the that found we And performance. same the had we but music, conducting conductors different had we where study to possibility.” any “You’ve got to open be nafme.org nafme.org 11 “Find something you are excit- ed about. Your dissertation is who you are going to be for at least five years, so people need to find something that excites them.” —Harry E. Price

conductor as opposed to a more placid used to say, ‘Follow your bliss.’ And that’s ‘I’m going to do research and prove that I’m one, the viewer’s perception is affected. what people should do. Find something right. You’ve got to be open to any “Plenty of conductors will say it doesn’t you are excited about. Your dissertation is possibility. There is a difference between a matter. I tend to believe research, and if I who you are going to be for at least five belief and a fact. Be open to all ideas and find research that is different from what I years, so people need to find something all information, not just the information think, I change my thought because I that excites them.” that supports what you think the answer believe in data.” As a tip for researchers, Price recom- should be, because that’s death in Price remarks that, “Joseph Campbell mends, “Don’t start with the answer, like, research.”

would simply smile and say LONGTIME NAfME MEMBER ‘Thanks.’” According to Rabbi Jerry MICHAEL L. MARK PASSES INTO HISTORY Seidler, who gave a eulogy for DR. MICHAEL L. MARK, education.” Mark, “Michael was a teacher emeritus professor and In the words of Richard A. in the Prince Georges County former dean of the Graduate Disharoon, a past president schools in Maryland and was School at Towson University of both the Maryland Music supervisor and director in Towson, Maryland, died Educators Association respectively of music for the May 10, 2018. A leading (MMEA) and the Eastern Auburn and Elmira schools in music education history Division of NAfME, “Three upstate New York. He was an scholar, Mark was a member thoughts come to mind when associate professor at of NAfME for many years, a I’m asked about Michael Morgan State and Catholic well-respected teacher, and Mark. First, his leadership Universities and a professor the author, coauthor, or style. As president of the of music at Towson Universi- editor of numerous books MMEA, he brought his ty for 17 years, becoming and articles on music scholarly approach to D.C.—in a circus band or in a emeritus 20 years ago. education and music history researching and solving pit orchestra for a musical, Additionally, he served as the topics. difficult issues. He had a opera, or ballet ... Michael dean of Towson’s Graduate James Anthony, an quiet but forceful manner was playing in two quartets School for almost 15 years.” associate professor of music that he used while keeping at the time of his passing. Mark leaves a substantial emeritus and a colleague of board members focused on Finally, Michael was the most body of work, including Michael Mark in Towson accomplishing the mission of humble and self-effacing numerous articles for University’s Fine Arts the association. Second, person I have ever met. He publications such as Music Department commented, “I Michael led by example—he never talked about himself. If Educators Journal and will always remember him as believed that music educa- you complimented him on the Journal of Research in a very kind, mild-mannered tors should be active one of his numerous awards Music Education and, among gentleman. He was also performers. You might see or one of the beautifully others, three classic text- extremely erudite and made him at a concert venue in crafted pieces of furniture he books published by NAfME great contributions to music Baltimore or Washington, created in his woodshop, he and Rowman & Littlefield. Top photo by Lauren Kress. Bottom photo courtesy of the Maryland Music Educators Association. photo by Top

12 Teaching Music AUGUST 2018

Classrooms ✢ BY MICHAEL ADELSON

interpretation of it. The most The PS22 Chorus The most on The Today Show powerful thing about music is powerful thing the way it makes you feel. You communicate this feeling with about music your body, while you’re is the way it thinking about technical makes you feel. things like pitch and blend. It’s almost like interpretive dance.” The chorus hit the world stage in 2006. “I wanted to start a blog,” recalls Breinberg. “I got permissions from parents, and began posting videos of our performances. Eventually our videos were noticed by Tori Amos. Her The Superstars of PS22 management reached out and An extraordinary choral ensemble in “IF I WERE IN New York has a strong following online. wanted to meet with us at Sony Atrium in Manhattan. THEIR SHOES” THE PS22 CHORUS of Staten was also an economically- She sang with us and was Gregg Breinberg’s path has been a combina- Island, New York, is no challenged area; parents crying and very moved by it. tion of understanding himself and his ordinary school ensemble. couldn’t a ord to give students Perez Hilton had caught wind ideals—plus the This group of 65 fth-graders private lessons. But it was of this and started posting our self-determination to make it happen. have performed at the 2011 serendipitous that they opened performances. That got us a “I grew up in a musi- cal family. My mom Oscars and have appeared on up a music position and gave cult following on the internet. was a pianist. Both my numerous television shows me the freedom to take the We did a video of ‘Eye of the parents were teachers, and my mom always including Good Morning program in the direction I Tiger.’ Coldplay found our had us kids harmoniz- America and Nightline. They wanted to. I aimed for 65 kids video of ‘Viva la Vida’ and put ing on things like Everly Brothers songs. have performed with artists in the chorus, which is doable it in their newsletter. Between I loved it. Then as an undergraduate at such as Tori Amos and when traveling, but big these two, we went to millions SUNY New Paltz, I Matisyahu, and they count enough for the sound I was of views.” majored in music theory and composi- such luminaries as Stevie looking for. This was going to Breinberg continues, “I tion. I got my Master’s in Music Education at Nicks, Suzanne Vega, and be the focus of my program. want to give them a [path] to Wagner College on Coldplay among their fans. The principal was on board individual expression. I am Staten Island. But after college I really didn’t How did this come about? with this and scheduled things moved by seeing how the kids know what I wanted to do. Eventually, I The chorus was founded in to make time available.” grow through the music. Kids decided to go with 2000 by their director Gregg The chorus’s repertoire is of di erent backgrounds what I knew, and I became an elementary Breinberg, though at the time unusual in that it includes a coming together. In a world music teacher in the public schools. When I he did not anticipate their great deal of pop music in where everyone is at odds, I was a kid, I didn’t have stellar trajectory. Breinberg’s own arrangements. feel 22 has had an in uence.” as much fun in my music class as the kids “After one year, at PS22” Also unusual is his way of You can nd more infor- in the PS22 Chorus are having. When I began says Breinberg, “I realized this making music with the mation about Breinberg and as a music teacher, I was de nitely the right place students. “Our approach is to the chorus on their Facebook promised myself that if I was going to teach for me. I loved the multicultur- perform your way. Move your page at facebook.com/PS22 chorus, I would do it in al aspect of the building; it was a way that I would own way. I control the Chorus/ and at youtube.com/user/ enjoy if I were in their

a cross-section of the U.S. It repertoire; I don’t control their agreggofsociety/featured. shoes.” Lisa Kochman. Photo by

14 Teaching Music AUGUST 2018 DISCOVER THE PATH TO YOUR FUTURE

One of the world’s top music schools, the Jacobs School trains performers, educators, and other professionals who influence music globally. The school presents more than 1,100 concerts, recitals, operas, and ballets each year in world-class facilities.

music.indiana.edu | 812-855-7433 Advocacy ✢ BY DEBBIE GALANTE BLOCK

they don’t know what the hard work looks like. Reinforce Every time you what music brings to the lives prepare for a of children.” performance, it It is important to be aware can be a moment that Title IV, Part A has been of advocacy. appropriated at 1.1 billion for the coming school year. Tuttle notes that this is almost a three-fold increase from the Music educators and students should rst round of allocations. It “blow their own horns” to increase their can be a good idea to contact program’s visibility! your district oce, ask about Title IV, and see if you can get engaged in that planning BeGreater Seen! visibility for your program can process. Make the case for how translate to greater financial support. music can be part of a CHECK OUT well-rounded education. THESE NAFME IMPLEMENTATION OF the Every performance, you can have the James Daugherty, instruc- ADVOCACY Student Succeeds Act (ESSA) kids address the audience. In tional program specialist for RESOURCES! ADVOCACY TOOLS continues in the next school the program book, you can ne arts and distance learning Visit nafme.org/ year, which means there can include comments from for the Davidson Country advocacy to find information on music be a substantial amount of members of your school’s Schools in Lexington, North education advocacy in general, the legislative money available for the arts, administration or school board Carolina, was that state’s agenda, The Advocacy but music teachers need to on why they think music NAfME president when they Bulletin, the Grassroots Action Center, the “blow their own horns,” so to education is important. You received the state advocacy Public Policy Hub, Public Policy News speak. Lynn Tuttle, NAfME’s can even ask them to speak to award at NAfME’s National Center, and a list of Director of Public Policy, the audience to start o the Assembly in 2017. “Recently, Public Policy Coalitions. Research, and Professional show. “Better yet, if they are arts coordinators across North EVERY STUDENT SUCCEEDS ACT (ESSA) Development, says that teachers musicians themselves have them Carolina met, and I shared Visit the Everything need to make everyone in the join in on a piece. This builds several implementation ESSA Page at bit.ly/ EverythingESSA. community aware of what they relationships, so they look at strategies with them, gained do. “Every time you prepare for the programs’ attributes in a from NCMEA’s [North ADVOCACY/PUBLIC POLICY WEBSITE a performance, it can be a di erent way,” says Tuttle. Carolina Music Educators There are a number of advocacy webinars moment of advocacy,” Tuttle With social media being an Association] work with available at nafme.org/ says. “Writing about the important outlet, relationships NAfME,” says Daugherty. “It advocacy/public-policy. Check out the NAfME importance of music education, can be built there as well. Many was a great time of sharing quarterly advocacy webinar series, and or what it is the kids get out of districts encourage teachers to because over half of them did receive free profession- the music program every day, tweet about performances. not have a good working al development recognition. should be part of that perfor- “You can invite parents, knowledge of Title IV.” NAfME ADVOCACY mance book.” So, students’ administrators, and school Teachers can encourage their CONTACTS voices can be heard not just in board members into rehearsals districts to apply for the Lynn M. Tuttle, the performance itself, but also so they can see what the funding by making them aware [email protected] Ronny Lau, in the performance’s program: process is like,” says Tuttle. of their programs, as Daugh- [email protected] Kids can write about what “It’s not the polished work, but erty cautions that districts that Tooshar Swain, [email protected] they’ve learned. If they would a work-in-progress. Many don’t apply for the money will Rob Edwards,

rather speak as part of the folks know magic occurs, but not automatically receive it. [email protected] Photo courtesy of NCMEA.

16 Teaching Music AUGUST 2018 U.S. NAVY BAND 41st SAXOPHONE SYMPOSIUM

Audition for a chance to perform on the High School Honors Recital at the International Saxophone Symposium! Saxophonists may choose either a jazz or classical work. Piano accompanists are provided at no charge. Applications and recordings are due Monday, Nov. 5, 2018. For more information visit: http://www.navyband. navy.mil/saxophone_symposium.html

www.navyband.navy.mil

new sax.indd 1 7/12/2018 11:43:07 AM Partnerships ✢ BY LORI SCHWARTZ R EICHL A SAMPLING OF 2018 SPONSORS NAfME thanks Little Kids Rock student. John Mlynczak, the following for will run a series their support: of hands-on President, says, “This year we workshops are honored to bring together TITLE SPONSOR during the QuaverMusic 2018 National a powerhouse of TI:ME quavermusic.com Conference. presenters to provide a Quaver is the world leader in Pre–K to 8 comprehensive Opus that cov- general music education. ers all areas of teaching with OPUS SPONSORS technology. We most look Tonara forward to our hand-on tech tonara.com Tonara motivates lab where participants can students with goal-oriented tasks and interact with technology and more that encourage talk directly with the manu- them to practice, and manages students, factures about their needs.” assignments, and more. The National Federation of Little Kids Rock littlekidsrock.org High School Associations, Little Kids Rock which has a conference restores, expands, and innovates music Teaming Up for discount for its members, education; trains teachers; and donates o ers online education and instruments and more Music Education so kids can rock! NAfME unites with corporate partners professional development opportunities for music Steinway & Sons for 2018 National Conference. steinway.com directors and administrators. Steinway has been an avid supporter of music NAfME’S NATIONAL CONFER- lives through music.” James Weaver, Director of education, from the ENCES are designed to provide Little Kids Rock is running Performing Arts and Sports, time Doretta Steinway gave piano lessons to hands-on learning opportuni- a series of fun, hands-on notes, “This year the NFHS is their present-day support of music ties for music educators. Ashley workshops that enable looking forward to continu- teacher conferences. Wales, NAfME Business participants to make music to- ing to network with teachers TI:ME ti-me.org Development Manager, says, gether and develop new skills. and organizations to better TI:ME’s mission is to “When sponsors add their Gareth Dylan Smith, Manager music education in the U.S.” assist music educators in applying technology resources and intellectual of Program E ectiveness, says, Steinway & Sons will be to improve teaching capital to the mix, we can “We look forward to engaging attending the conference for and learning in music. National Federation of make great strides in building with teachers and arts admin- its rst time. Kenneth High School Associa- the music education communi- istrators as they are quick to McAleese, Manager of tions nfhs.org ty as a whole.” Here is a understand the value of our Educational Programs, The NFHS writes the rules of competition for sampling of those sponsors. programs in schools and the remarks, “With new pro- most high school sports Quaver’s Marketing learning approach we bring. grams—like our Steinway and activities in the U.S. Manager, Alayna Anderson Teachers and administrators Teacher and Educational PRECONFERENCE says, “We are excited to be the understand the need for Partner (STEP) Program, our FORUM SPONSORS Emerging Leaders: title sponsor for the 2018 change and innovation in new K–12 Steinway Select WURRLY NAfME Conference and music education, and we School/District Program, and wurrlyedu.com WURRLYedu is a know attendees will once enable them to meet that with our Institutional Toolset complete technological again leave inspired and ready need.” of fundraising tools, inventory solution for music educators. to take their newly learned The Technology Institute assessment, and purchase Coffee Keynote knowledge into their class- for Music Educators (TI:ME) programs—we o er a unique Sponsor: rooms! We enjoy learning provides professional develop- educational package with Charms charmsoffice.com what they’re doing in their ment and support to teachers valuable benets to educators Charms Office manages classrooms and hearing how who want to learn more about and schools across the student data, organizes student libraries, tracks

they are transforming students’ teaching today’s tech-savvy country.” inventory, and more. mattjanson.com. Matt Janson Photography, Photo by

18 Teaching Music AUGUST 2018 ININ YOUR YOUR SCHOOL’S SCHOOL’S STORY STORY TRI-M COULDTRI-MCOULD BE BE THE THE MOST IMPORTANTMOSTIMPORTANT CHAPTER Tri-M®CHAPTER is the only national honor society for student musicians in Tri-M® is the only national honor society for student musicians in the country. It highlights your school’s music program and gives the country. It highlights your school’s music program and gives students the opportunity to perform, lead, and serve. students the opportunity to perform, lead, and serve. Besides looking good on a college application, a Tri-M® Music HonorBesides Society lookingchapter goodis easy on to a start, college easy application, to run, and abenefits Tri-M® Music Honoryour Society students, chapter the school, is easy and to start,the community. easy to run, and benefits your students, the school, and the community. Over 2,000 Tri-M chapters already enrich the lives of over 75,000 Overstudents 2,000 throughout Tri-M chapters the country already and enrich around the the lives globe. of over 75,000 students throughout the country and around the globe. START A CHAPTER MusicHonors.comSTART A CHAPTER MusicHonors.com

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® Research ✢ BY SUS AN POLINIAK

remark Burrack and Parkes. They were tested “Each MCA includes editable and revised in materials and aligned scoring schools for more devices/rubrics.” than two years. The MCAs are currently available for second-, fth-, and eighth-grade general music, and secondary-level strands of ensemble, theory, and guitar/ keyboard—all of which are available for free download via bit.ly/UsingModelCornerstone NAfME ASSESSMENT Assessments and include “student RESOURCES work samples from the pilot study To support your work, WhatThe are Ways the Model of the MCAs that illustrate each level of student here are items that can achievement,” note Burrack and help you assess your Cornerstone Assessments? students and will assist Parkes. “The unique and most your administrators in evaluating your music YOU MAY HAVE HEARD frameworks speci cally valuable aspect of the MCAs is program. mention lately of “Model designed to be integrated into the exibility to adjust for The 2014 Music Cornerstone Assessments” instructional processes of dierences in music programs Standards are described at nafme.org/standards. (MCAs), but what are they, school music programs in while assessing each Performance “Putting It All Together: how were they developed, United States schools. They Standard with a common scoring Standards and Assessment at the and how are they applicable address all of the Performance device. This includes a variety of District Level” by to your work as a music Standards that de ne how ensembles ranging from tradi- Denese Odegaard: bit.ly/Standards educator? “The MCAs are students demonstrate the tional ensembles (band, choir, AssessmentatDistrictLevel. assessment tasks and scoring Process Components of orchestra, jazz) to nontraditional Applying Model Cornerstone Assess- devices that can be applied in Performing, Creating, and (such as culturally-varied, ments in K–12 Music: A various settings and reliably Responding in the 2014 improvisational, aural-based, Research-Supported Approach administered to be used by Music Standards. These symbolic notation–based, • Using Model teachers to illustrate what, and research-based assessment tasks creative-based).” Cornerstone Assess- ments: bit.ly/UsingModel the extent to which, students were developed by assessment For those who are interested CornerstoneAssessments. • Book chapters: are applying artistic processes, experts from university music in learning more about the bit.ly/ApplyingMCAs. de ned by the 2014 Music educators from across the application of and research NAfME Academy Standards,” says Frederick country supported by feedback regarding the MCAs, Burrack, ($20/year for nearly 100 hours of professional Burrack, director of the oce from hundreds of music Parkes, and associated researchers development resources) offers a number of of assessment, professor of teachers. They were tested and have an upcoming publication webinars on assessment music education, and chair revised in schools for more entitled Applying Model Corner- topics. See the complete list at bit.ly/NAfMEA. of graduate studies at the than two years with collabora- stone Assessments in K–12 Music: NAfME Evaluation University of Kansas in tion among researchers, A Research-Supported Approach Workbooks are available Manhattan, and Kelly A. teachers, and their students.” (Rowman & Little eld). in hard copy and fillable PDF formats. Visit bit.ly/ Parkes, associate professor and How can music educators, “This publication provides NAfMEshop to purchase, and bit.ly/GMWorkbooks director of student teaching, then, use the MCAs in general descriptions of each MCA with for more information. Music and Music Education, at music and performance associated results and school • Workbook for Building and Evaluating Effective Teachers College, Columbia classrooms? “The MCAs are music teacher feedback from the Music Education in General Music University in New York City. designed for music teachers to pilot study to assist teachers to • Workbook for Building More speci cally, they note integrate their school curricu- understand and use the MCAs and Evaluating Effective Music Education in

that the MCAs are “assessment lum into the assessment task,” in their classrooms.” Ensembles Debenport. Photo from istock.com/Steve

20 Teaching Music AUGUST 2018

Technology ✢ BY CHAD CRISWELL Some apps allow music educators to enter music by hand. The ’Appy Choral Director Just in time for the new school year, here’s a run-down of helpful apps and more for the choral classroom.

THE NUMBER OF APPS, software, and themselves singing dierent parts of the gadgets available for use in the music same song and then overlaying them to classroom continues to grow each year, produce harmony, the Acapella app but nding things that can actually be from PicPlayPost might be a nice t. directly applicable and bene cial to your Russell has been doing a lot more with choral classroom grows more and more video recently, and Acapella helps him dicult as well. Christopher Russell, create special videos with which his director of choirs at Oltman Middle students can practice. “If I’m going to bring up or mute individual parts so School in St. Paul Park, Minnesota, has be gone, I’ll use the Acapella app to that students can have a practice track a helpful list of must-have apps. make a rehearsal track. You can take with or without the part they are multiple videos and overlay yourself.” singing. Another bonus in my opinion Rehearsal Apps n Keynote and PowerPoint (free) is that the app has a very high-quality n forScore ($9.99 plus in-app purchases) Other go-to apps for Russell are piano sound that actually sounds better For daily rehearsals and music manage- slide-based presentation apps such as than many classroom pianos, and it ment, Russell’s ace in the hole is an app Keynote and PowerPoint. By organiz- never goes out of tune.” called forScore for the iPad. “forScore ing your rehearsal using presentation Notion’s big strength remains its remains the must-have app not only tools like these, you can speed up the notation capabilities however, which because of digital music, but also overall rehearsal and maintain focus on make it easy to enter music on a sta, because of the features,”he says. While the goals of the day. “I use them to play it back using synthesized instru- many people know of forScore as a project the day’s warm-ups, display the ment, and export and print that sheet music storage and annotation app, rehearsal order, daily announcements, notation as needed. Russell uses it for there are other options hidden under or anything else that I would normally this purpose as well, and suggests that the surface that can assist with making have to write on a whiteboard. I’ll use users consider investing in the hand- rehearsals much more eective. “You it to play a short YouTube video at the writing plugin for the app. “If you have can create recordings of your rehearsals beginning of class while I am taking an Apple Pencil and one of the newer or performances directly inside attendance and then we go right into iPads that includes Pencil support, forScore, or load other recordings of warm-ups after the video.” Notion’s handwriting plugin lets you the music you are studying into the app put in slurs, accents, and other articula- and use it in many dierent ways. For Notation Apps tions much more easily.” example, on the y, you can transpose n Notion ($14.99 plus in-app purchases) n NotateMe ($39.99 plus in-app into dierent keys, adjust the speed of While many people think of the purchases) and NotateMe Now (free) the recordings, or even make rehearsal Notion app by PreSonus as primarily Getting music into your favorite music loops for students to play along with. being a music notation editor on iOS, it notation program can be a challenge, For our middle school musical, we use can also be used for many other purpos- whether it be on a PC, Mac, or any rehearsal tracks and the entire thing can es. “Notion is wonderful for creating mobile device, especially now that be run o forScore.” practice audio tracks for rehearsals or companies such as Finale have removed n Acapella (free plus in-app purchases) private practice. You can add individual the previously-provided music-scan- If you are a fan of YouTube vocalists parts for each of your sections. Once ning programs from their products.

who record multiple versions of the parts are entered in, you can easily However, with an app called Jackie Jordan. Photo by

22 Teaching Music AUGUST 2018 Miscellaneous Music Apps [free], PreSonus Capture Duo [free], or n What’s My Note? ($0.99) a similar app to record students with “What’s My Note? is a great app for any high delity and edit that audio later, if singer to have on hand,” says Russell. needed.” “You can take a picture of your music n MIDI Dongles and when you touch a note on the Getting music into your device is easier screen it plays the note for you. It’s kind than ever before as well thanks to the of like a notation scanner, but it’s great growth in Bluetooth MIDI dongles that in that it can help someone who doesn’t work with multiple devices. You can play piano to learn their part.” use them to wirelessly connect your n Sight Reading Factory (free) standard MIDI keyboard or other MIDI One app that continues to get lots of device to your iPad, Chromebook, or use from both vocal and instrumental computer. They also have styles that musicians is Sight Reading Factory. work with USB instead of the tradi- Whether using the online version tional round MIDI ports found on older (sightreadingfactory.com) or working equipment. NotateMe, choral educators can quickly directly in the app, Sight Reading and accurately write music by hand or Factory provides an excellent way to scan in multiple pages of full-size sheet practice and develop sight-reading THE MUSTHAVE S music. The app can convert this into a skills. “For teachers who are struggling AMAZONBASICS BLUETOOTH 4.0 AUDIO RECEIVER ($20.00) variety of formats including MusicXML, to teach sight-reading, it’s an excellent Getting audio from your mobile device which can be exported for use in the tool to have available.” Simply select into a classroom sound system used to be as easy as plugging in a basic music notation app of your choice. the instrumentation of the music you headphone cable. The removal of standard headphone jacks (and the There are two versions of the app wish to drill, set the parameters (range, sometimes-dicey Apple AirPlay and available. NotateMe Now is a sin- key, rhythmic diculty), and the Android streaming performance) may mean that you need something a bit gle-stave notation system that includes system will produce a random, logical more robust to get the best sound out the scanning capabilities, but for only melody for the student to sing or play. of your portable devices. Russell suggests that choral ed- one part or instrument. However, with For those who purchase a subscription, ucators invest in a Bluetooth audio NotateMe, you can have multiple staves the app also provides classroom-man- receiver. These devices allow you to stream audio from your portable iOS and scan multiple parts if you invest in agement and assignment features. or Android device directly into a sound their PhotoScore plugin as an in-app system. “Both AirPlay and the Android version of wireless streaming both purchase. While the cost of the scanning Hardware work nicely but can be difficult to use at times. Using Bluetooth, on the other in-app purchase is rather steep, at a hefty On the hardware end of things, the hand, is usually much more reliable.” $70, the quality and accuracy of the variety of useful gadgets continues to Choral directors can use the Bluetooth connection to send any audio—includ- scanned music is quite high and can save expand as well. Here are a two of ing sounds from a metronome, pitch the user lots of time over manually Russell’s favorites. pipe, or music collection—directly to a room’s speakers. When neither entering notes one at a time. n Shure MV88 Digital Stereo Bluetooth nor one of the other wireless n Sheet Music Scanner ($4.00) Condenser Microphone for iOS ($149) options is available, Russell suggests falling back to using a wired cable with In the same vein, the aptly-named The built-in microphones found in a VGA or HDMI adapter for reliability.

Sheet Music Scanner app provides basic most mobile devices are adequate for FORSCORE scanning and MusicXML export making phone calls but often come up As mentioned previously: With variable-speed playback and record- capabilities while also providing some short when there is a need to record ing capabilities, built-in metronome, features that are very handy to have in a high-quality, stereo audio. Russell pitch pipe, PDF converter, multiple library support, and an 88-key virtual vocal music classroom. For an invest- strongly encourages choral educators to keyboard, forScore is like a Swiss Army ment of only $4.00, the app allows you purchase an external microphone for knife for musicians—and especially music educators. “There are so many to scan in a piece of sheet music and this very reason. “I like to use the different features available that I use then immediately play it back using a Shure MV88—which has a lightning almost on a daily basis,” says Russell. “My day would be much harder to get variety of di erent instrument sounds. adapter—and then use TwistedWave through without it.”

nafme.org 23 Discoveries ✢ BY MARGOT MEZVINSKY

Teaching Strategies for More Inclusive Practices "When we for Strings Students embrace diversity, the Here are some insights into teaching classroom strings while embracing diversity. becomes a safe haven and a stimulating environment for learning." —Margot Mezvinsky

MARGOT MEZVINSKY Multi-Language Lesson Plan teaches strings at Braddock Post parts of the lesson plan on the Elementary and Greenbriar East board in a dierent language. Talk to Lamb,” “Mohammed Had a Little Elementary Schools in Fairfax your school’s ESOL teachers, use Lamb,” “Margarita Had a Little Lamb,” County, Virginia. A NAfME Google Translate, and ask students to and so forth. member, she can be contacted at [email protected]. help with translations. In the begin- You can also change the words in ning, students may be hesitant to share pieces to include foods or other items TEACHERS NEED TO BE sensitive to a with the class. They often feel that they from dierent cultures. For example, student’s background, culture, lan- will be viewed as “dierent” from their “Hot Cross Buns” could instead be guage, and traditions. When we peers. After the teacher praises a “Hot Tamales,” “Hot Pot Stickers,” embrace diversity, the classroom student, it soon becomes easier for them “Hot Kabobs,” “Hot Wontons,” etc. becomes a safe haven and a stimulating to express themselves in their native environment for learning. Here are language. Once they see that you will International Night some tips that have helped me in my be asking them regularly how to say Get involved with your school’s work in the 10th-largest school district something in their language, students international night, or start one at your in the United States: Fairfax County, will expect your class to be multilin- school. Teachers can audition students Virginia. We serve a diverse student gual. Since Italian is the universal to perform something from their home population of more than 188,000 language for the Western music world, countries. Students might sing, dance, students. Some 54,000 students receive many students may be able to see how play an instrument, or perform some- classes for English for Speakers of Other their own language is similar. thing unique to their native land. Languages (ESOL). A simple multilingual lesson Organize a buet of international foods When students rst enter the class- segment is available for download as a in the cafeteria made by students’ room, create an inviting environment for PDF at bit.ly/DiscoveriesAugust2018TM. families and others in the neighbor- everyone. Stand at the door and greet Post this on the board, or place the hood. A small group of orchestra them in several dierent languages—e.g., information up using a projector, and students can perform in the hallway as “Hello, Hola, Bonjour, Shalom!” Try to then engage your class. people are entering and exiting. learn “Hello” or “Welcome” in as many A large ensemble or a small group of languages as possible. Your best resource A Multicultural Approach students could learn a piece of music is the class: There may be a Vietnamese Another strategy is to personalize the from one of the community’s ethnic student, a Turkish student, or an Iranian titles of pieces using students’ names. groups to be featured on the program. student who would be pleased to be “Mary Had a Little Lamb” could Students could dress in the traditional asked to teach the class how to greet become, for example, “Akram Had a costumes of their homelands or in

someone in his or her home language. Little Lamb,” “Mariela Had a Little clothing their ancestors might have Bryan Ranharter. Photo by

24 Teaching Music AUGUST 2018 where we are. Whatever brought us all EXAMPLES: here, we need to celebrate the fact that • Great Britain Youth Orchestra in a our country is  lled with great diversity. performance of Holst’s The Planets— Have your students take home the youtu.be/be7uEyyNIT4 Family Background worksheet, which is • Kenyan Youth Orchestra in rehearsal— available as a downloadable PDF at bit. youtu.be/upn1GhI_WIQ ly/DiscoveriesAugust2018TM. Have them • Ho Chi Minh Korean Youth complete it, and then ask them to share Orchestra—youtu.be/lKWB3-KCWq0 their responses over several days in class. • Gustavo Dudamel conducts a Venezuelan student orchestra— YouTube youtu.be/amSqQ5XNaGE YouTube clips can help show our students how music is being performed Multicultural Concerts around the world. The young musicians In your winter and spring concerts, play and teachers shown are good models for pieces of music that originated in your students to emulate. After gathering students’ countries of origin. There is information about your students’ plenty of American and European worn. Decorate the stage and cafeteria backgrounds, show them YouTube music, but search out music from other with ags from all of the countries videos of other states and countries. continents such as Central America or represented. Invite members of the There are many orchestras that are Africa. Method books are now taking community to share in this internation- playing the same repertoire as your into account that our classrooms are al event! school, and there are American schools made up of people of many di erent with diverse populations. There are cultures. Students are interested in all Share Stories youth orchestras all over the United styles of music. The downloadable PDF Since all of us in the United States have States and in places such as Venezuela, at bit.ly/DiscoveriesAugust2018TM di erent backgrounds, discuss your Panama, and Afghanistan. Watch some includes a list of examples from own roots with your classes. Students of these videos as a class, and then di erent areas and cultures. may be surprised that your family is discuss what you see. Students are often made up of several di erent nationali- thrilled to see young people like them Include All of Your Students ties. Give your students an assignment playing an instrument. From this, Perhaps some of these ideas will be a of talking to their parents about their students get ideas on how to improve catalyst for you to think of other ways to roots and asking whether anyone in the on their instruments and observe that, enrich our changing school population family played an instrument. What are in the music world, we are a people of all around the United States. Our the musical instruments native to their every race and religion. schools’ ESOL students bring an exciting country? What are the dynamic to our classrooms. musical traditions in their Playing with Dynamics Your Family Background Makes You Special! Their input can enhance the We mark our music with symbols to play loud or soft. In Western music, we use Italian: Name: ______Where were you born?______f = forte p = piano culture? I have many Ask your parents about their roots. Name the country or countries they came from: learning experience for us How would we say loud and soft in … Mother’s name ______students who are proud to Spanish? ______My mother is from ______all. Moreover, by embracing Arabic? ______Father’s name ______

My father is from ______Korean? ______say their families came Your grandparents: diversity in the classroom, Vietnamese? ______My mother’s parents are from ______Your language? ______from Bolivia, Jordan, or Name of Grandmother ______Name of Grandfather: ______you are teaching a lesson of My father’s parents are from ______Counting Time Signatures Name of Grandmother: ______Name of Grandfather: ______El Salvador. Names of your great-grandparents: tolerance. Students can come We check the time signature before we play a piece of music. My great-grandparents are from______4 3 2 Great-grandmother: ______Great-grandfather: ______By sharing your own 4 4 4 to appreciate more fully Great-grandmother: ______Great-grandfather: ______The top number tells us how many beats there are per measure. The bottom number is the type of note that receives one beat. Do you have a story about how some of your family arrived in the United States? Share it here: ______roots and having the Let’s practice counting in di erent languages: other cultures, religions, ______4 = Beats per measure 4 = Quarter note gets one beat Did anyone in your family play an instrument? You can also include brothers, sisters, aunts, uncles and cousins. Do we have students talk about their this instrument in the United States? Example: “My father plays the zampoña, an Andean pan ute from Bolivia.” languages, and ethnic English: One, two, three, four ______backgrounds, it becomes Spanish: Uno, dos, tres, cuatro ______backgrounds. By making Chinese: Ichi, ne, san, shi Is there a musical tradition in your culture? Example: “My family often sings Italian songs after dinner.” ______Urdu: Ek, do, teen, chaar ______clear that we are all from ______these changes to your ______Your language? ______di erent places and are teaching, you can make your A multilingual lesson segment (left) and a Family Backgrounder worksheet now happy to be living (right) are both downloadable at bit.ly/DiscoveriesAugust2018TM. classes more inclusive.

nafme.org 25 Lectern ✢ BY MATTHEW J. La PINE

Fitting It

AllA Look at H igh School In Scheduling Practices

or two, however, I haven’t been able to • 56 provided a resounding “Yes.” MATTHEW J. LaPINE is the director graduate anywhere near the number of • 17 said that they were “Unsure.” of choral music at Bernards High School in Bernardsville, New Jersey. A students who join in their freshman • 13 said “No.” NAfME member, he can be contacted year. I wondered: “Where are these stu- at [email protected]. dents going? Why aren’t they sticking Disheartened from the results of my with choir?” I began to re ect: “What survey, I was down on myself. Why “DIES IRAE”—the day of wrath, when am I doing that’s driving them away?” don’t these kids like me? Why don’t my judgment is passed. This is the moment students like my class? How can 30 of of truth, when I get nervous each A Proactive Survey 100 respondents not want to continue? year—the time that my high school’s This year, I decided to be proactive. I thought that my students enjoyed guidance department begins the Using Google for Education, I created a being a member of the various choirs at student-scheduling process for the next form that surveyed students about their my school. I thought I was working to academic year. As a choral director in a scheduling plans for the following year. build the choral program. I thought I relatively small, suburban New Jersey The form had some basic questions: was doing well. public high school, this is my “How am • What is your current grade? I was up all night—thinking, I doing as a teacher?” evaluation. • What class (ensemble) are you in? re ecting, praying. Where did I go For the past several years, I have • What voice part do you sing? wrong? So, I sorted more thoroughly buried my head in the sand and • Will you be returning to choir next through the data. pretended that it wasn’t happening. I year? Yes/No/Unsure. (If the answer Of the “No” answers: may have mentioned something to my is “No” or “Unsure,” I ask “Why?” • Three students stated that, while students here and there—something and provide an open-ended text box they enjoyed the class, chorus along the lines of “Don’t forget to for a response.) “isn’t for me.” register for chorus!” I even went so far • Three said they would like to as to remind students to use the words Of the 120 chorus students that I “try other electives.” “I want to make choir a priority in my teach, 98 completed the survey. Of • Six said that chorus would not schedule.” For these years, I’ve seen those who responded: “t in my schedule.” consistent enrollment in my ensembles. • 12 were graduating seniors (several Most students who join choir stay with seniors chose not to take the survey Of the “Unsure” answers:

it throughout high school. The last year since it really didn’t apply to them). • One was afraid to audition for the Samantha Michelle Photography. LaPine. Photos by Headshot courtesy of Matthew J.

26 Teaching Music AUGUST 2018 Why do high school students stop making choir a priority in their schedules?

next level of choir (and doesn’t want remaining: English, math, science, veteran, well-respected teacher who to repeat “freshman” chorus). science lab once or twice per week, recently retired. I mentioned my • Two wanted to try other electives. social studies, and language. What situation to her, stating my concern • 14 did not believe it would “ t into about the last class? Why can’t chorus with so many students citing the my schedule.” be the last class? Why won’t it t? schedule as being an issue. She immedi- ately shared an anecdote from one of Now I could put this information The Pre-College her last years of teaching. Her school into better perspective. Of the 98 Pressure Cooker district was known for having an respondents: Many students take a second science incredible arts program. One student • 12 were graduating (so they shouldn’t course, which doubles the amount of had been in the award-winning be counted). lab required. Other students are taking orchestra program from the time it was • 55 were excited to continue. ve or more AP classes and truly need rst oered in elementary school. At • Three were no longer interested in that last period to be a study hall. the end of his junior year, he decided to singing (which is sad, but it’s an Wondering whether these students apply to a top-tier college early- understandable number). were just using the schedule as an decision, and he was accepted into the • Five wanted to try other electives excuse, I asked the 20 who said the school. To make sure he was prepared (which is, again, sad, but also an schedule was keeping them from for the school, he decided to overload understandable number). responding “Yes.” Unanimously, they his schedule with AP and other • 20 didn’t think chorus would t into all told me that they really love to sing, “academic” courses, and he chose to their schedules. they love being in my class, and they drop orchestra for his senior year. Like want to continue with chorus. So, why most seniors, he was required to submit Wait—20 students are unable to t are students doing this to themselves? his rst marking period grades from his choir into their schedules? How can so Why are they overloading their classes? senior year to the college. Shortly many students be concerned with Where is this pressure coming from? I thereafter, the college called him and tting this class into their schedule? learned that all 20 believed that they inquired why he dropped orchestra in These students have nine periods to ll! needed to do “what’s best for getting his senior year. The student they had One must be their lunch period, and into college.” accepted was a well-rounded student one must be a physical education class. That evening, I happened to be who was committed to academics and Other than that, there are seven classes meeting with a friend of mine: a was also heavily involved in sports and

nafme.org 27 the arts. When he explained that he dropped orchestra to focus on his academics, the school rescinded their o er of acceptance—he was no longer the student they wanted. How could this be? Wouldn’t the school be thrilled that he buckled down and worked extra-hard on his academ- ics? No, not at all. Colleges are looking for students who are involved in school activities other than just academics. Additionally, they don’t want students just to be involved—they want students who have been committed to these activities. According to Je rey J. Selingo, author of There Is Life After College: What Parents and Students Should Know About Navigating School to Prepare for the Jobs of Tomorrow and former editor journalist Fred Thys, in an article for around and look and this big, of The Chronicle of Higher Education, WBUR, Boston’s NPR news station, tough-looking, powerful kid has tears colleges are looking for students to argues that the student mindset has in his eyes. And he gets all choked up “[show the] deep and sustained involve- shifted to making scholastic choices that and says, ‘I just love crew.’” ment, passion, and dedication that they believe will look best on an Flagel wonders why anyone would employers seek.”1 Colleges believe that application rather than choosing a path encourage a student to quit something “well-rounded students typically turn about which he or she feels passionate.3 they love. His advice—and that of into generalists on the job. While Thys quotes an anecdote from Andrew most college admissions directors and jack-of-all-trades were useful in Flagel, senior vice president for students high school counselors—is to do what previous generations, these days and enrollment at Brandeis University: you love.4 students need to be what is known as Andrew Flagel … tells the story of These articles suggest that students ‘T-shaped,’” where the top stroke of the a huge high school student and his should choose an elective or elective “T” reects someone’s deep under- parent who recently walked up to him. area and stick with it throughout high standing of one subject matter while The student was towering over Flagel, school. For the students who truly love the downstroke represents his or her his muscles rippling, a big, tough- to sing in an ensemble, why do they ability to work across a variety of looking kid. His mom, maybe a third feel they need to drop a class for which subject areas. of her son’s height, storms up, they feel passionate in order to overload wagging her nger in Flagel’s face. their schedule with AP and other Learn What You Love “Saying [sic], ‘You need to tell my high-intensity classes? In a recent Money magazine article, son to drop crew because I need him to As stated in a 2015 Ivy Coach certied educational planner Lora do better in his extracurricular and article, “Don’t be ordinary at lots of Block argues that a student should he’s got to take more APs, and that’s things. Be extraordinary at one thing. “spend more time deciding what’s what’s going to get him into college, Ordinary’s boring. Extraordinary’s important to you or what you’re and you gotta tell him it’s about anything but boring. Highly-selective curious about, and what you’re learning debate and about … doing the APs colleges don’t want boring. They want from these activities—and less time and get out of crew.’ And I turn extraordinary.”5 amassing long lists. Colleges don’t care Notes about the ‘whats’ or the ‘how manys’ 1. Jeffrey L. Selingo, “The Myth of the Well-Rounded Student? It’s Better to be T-Shaped.” The Washington Post, June 1, on your activity list. They are more 2016. Accessed at washingtonpost.com/news/grade-point/wp/2016/06/01/the-myth-of-the-well-rounded-student-its- better-to-be-t-shaped/?noredirect=on&utm_term=.a2d5cde42759. 2. “Why Colleges Don’t Want Well-Rounded Students interested in the ‘whys’ and ‘so- (2017). Accessed at time.com/money/4444681/colleges-well-rounded-students/. 3. “‘Well-Rounded versus Angular’: The whats.’” 2 Application Colleges Want to See,” WBUR Radio, Boston, Massachusetts. Accessed at wbur.org/news/2013/12/26/ well-rounded-passion-college-application. 4. WBUR, Boston, Massachusetts. 5. “The Myth of the Well-Rounded Political and higher education Student,” Ivy Coach (2015). Accessed at ivycoach.com/the-ivy-coach-blog/tag/well-rounded-students/.

28 Teaching Music AUGUST 2018 AMPLIFY: 2018 AMPLIFY: 2018NOVEMBER 11-14, 2018 NOVEMBER 11-14, 2018

You can receive 20 hours of #NAfME2018 professionalYou can receive development 20 hours of for #NAfME2018 attendingprofessional an developmentOpus at the National for Conferenceattending an and/or Opus at 10 the hours National ofConference professional and/or development 10 hours forof professionalattending one development of the three Come join us once again in Dallas as we dive deeply into what we two-day Forums. for attending one of the three Comedo as joinmusic us educatorsonce again to in supportDallas as our we students dive deeply each into and what every we day. two-day Forums. • EMERGING LEADERS FORUM: This doPresenters as music educatorsof the following to support topic our areas, students or “Opuses,” each and everywill help day. you • forumEMERGING seeks LEADERS to unite individualsFORUM: This Presentersshare your of own the followingpractice, collaboratetopic areas, orwith “Opuses,” colleagues will helpfrom you across interestedforum seeks in totaking unite the individuals step to sharethe nation, your own and practice,expand upon collaborate your toolkit with ofcolleagues supports, from ideas, across models, serveinterested as a leaderin taking within the step NAfME to the nation, and expand upon your toolkit of supports, ideas, models, andserve its as affiliate a leader within music NAfMEeducation and activities. and activities. associationand its affiliate structure. music Young education professionals,association structure. teachers Young returning toprofessionals, the field, and teachers established returning AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject teachersto the field, will andall walk established away feeling How do we move beyond the podium and include our students as empoweredteachers will to all join walk the away ranks feeling of Howactive do music-makers we move beyond and the leaders podium in ourand ensemblesinclude our as students promised as in thoseempowered who came to join before the ranks and thoseof activeour 2014 music-makers Music Standards? and leaders in our ensembles as promised in currentlythose who working came before to ensure and thosea bright our 2014 Music Standards? currently working to ensure a bright future in music education. AMPLIFY: INNOVATION - Cultivating Innovative Music-Making future in music education. AMPLIFY: INNOVATION - Cultivating Innovative Music-Making • COLLEGIATE FORUM: Collegiate How do we successfully embrace a variety of musical experiences COLLEGIATE FORUM: Collegiate How do we successfully embrace a variety of musical experiences • members will learn what it takes with this generation of students? members will learn what it takes with this generation of students? to be a successful music educator, to be a successful music educator, beyond sound pedagogy and beyond sound pedagogy and AMPLIFY:AMPLIFY: INVOLVEMENT INVOLVEMENT - Engaging - Engaging Diversity Diversity in Music-Making in Music-Making good music-making. Participants good music-making. Participants andand Teaching Teaching willwill notnot only share andand learnlearn from from How do we create a fully inclusive classroom for all learners and and with their peers, but also How do we create a fully inclusive classroom for all learners and and with their peers, but also allall students, students, regardless regardless of of background, background, learning learning style, style, or levelor level of of meetmeet andand network withwith districtdistrict musicalmusical experience? experience? artsarts coordinatorscoordinators and musicmusic programprogram leaders from acrossacross the the AMPLIFY: INSPIRATION - Inspiring Students through Music UnitedUnited States.States. AMPLIFY: INSPIRATION - Inspiring Students through Music CreativityCreativity •• MUSICMUSIC PROGRAM LEADERSLEADERS HowHow do do we we provide provide for for the the creation creation and and improvisation improvisation of music of music FORUM:FORUM: This forum willwill provideprovide throughoutthroughout the the curriculum curriculum – whether– whether an anensemble, ensemble, general general relevantrelevant professional developmentdevelopment music,music, or or music music appreciation appreciation class? class? forfor musicmusic program leadersleaders andand districtdistrict arts coordinators workingworking AMPLIFY:AMPLIFY: TECHNOLOGY TECHNOLOGY - Teaching- Teaching the the Tech-Savvy Tech-Savvy Generation Generation inin thethe K-12K-12 school setting,setting, aimedaimed How do we integrate technology in a meaningful way atat establishingestablishing and growinggrowing How do we integrate technology in a meaningful way networksnetworks of collegial supportsupport thatthat engages engages students students and and provides provides new new opportunities opportunities forfor thosethose in the profession. This This thatthat were were never never before before possible? possible? Presented Presented by by forumforum isis gearedgeared for thosethose inin TI-ME,TI-ME, Technology Technology for for Music Music Educators. Educators. administrativeadministrative roles, builtbuilt withwith insightsinsights andand models fromfrom youryour nationalconference.nafme.orgnationalconference.nafme.org 800-336-3768 colleaguescolleagues – music programprogram 800-336-3768 [email protected] leadersleaders acrossacross the nation.nation. [email protected] From left: Brian Gallagher, GAN Board member Sean Smith, Warren Mize, Ginny Coleman, Chris Gemkow, Ethan Chessin, and GAN Board President Beth Slusher GIVING Awards, REAPING

REWARDS A Note Foundation. Photo courtesy of Give

30 Teaching Music AUGUST 2018 BY ANDREW S. BERMAN The new Give A Note Foundation Music Education Innovator Award Grants support music educators who work to draw more students to their programs.

York Community High School teacher Chris Gemkow helps sophomore Madison Justus find sounds in his music production class.

THIS PAST SPRING, Give A Note Foundation, their eorts to reach students outside of their thanks to the generosity of founding sponsor music programs. The winning programs the Country Music Association (CMA) each drew in students not already enrolled in Foundation, announced ve $4,000 grants to music at their schools. “If you are focused on music educators across the United States as equity, as we are, it is vital that you are part of the inaugural season of their Music identifying innovative ways to serve every Cover artwork from Education Innovator Awards. The goal of child,” says CMA director of community the York Album Project these grants, sponsored by the CMA outreach Tiany Kerns. Kerns acknowledges

. Horne and the Daily Herald Bev Photo by Foundation, is to support music teachers in that music education has a strong tradition in

nafme.org 31 Ginny Coleman and Janet Latham conduct the Wildcat Choir at the annual TCHS Choral Department Showcase Concert.

this country, and part of that tradition is creativity in teachers who need guidance, creating an ongoing cycle of connecting with students in new and di erent ways, and mentorship. “Ultimately,” says Wales, “the goal is to reach adaptability to change. “If you are committed to meeting the more students and to have a more powerful footprint for needs of every student, ensuring all are able to participate, music education.” These ve teachers will present their you must look at additional ways to meet the students where programs at the NAfME National Conference, November they are—reaching them directly and just not waiting for 11–14 in Dallas, Texas. “It’s not just about the successes,” them to seek music out,” she says. The Music Education claries Wales, “It’s also about the challenges.” The grantees Innovator Awards are aimed at that target. “These awards are will eld questions from conference attendees and have the meeting the needs of a teaching eld who are continuing to opportunity to present broadly about their innovations. ask for more resources on behalf of the students they are The conferral of these awards represents an ongoing serving.” collaboration between the CMA Foundation and Give A “What we really wanted to do was create a program that Note Foundation. The CMA Foundation is committed to would have a ripple e ect,” explains Ashley Wales, Director investing in music teachers, and “we believe Give A Note’s of Partnerships and Programs for Give A Note Foundation. mission to highlight, support, and celebrate innovation in the The committee was looking for programs that could be eld complements the work of the National Association for replicated at other schools across the country. “Investing in Music Education, the premier membership for music models that can be shared and implemented throughout the teachers,” shares Kerns. “Our investment will allow Give A country and in other communities is the long-term goal of Note to identify those teachers and ultimately gives the Music Education Innovator Awards,” Kerns adds. The NAfME’s membership the ability to replicate those models hope is that the awardees will become ambassadors to other (or versions of those innovation models) in their communi- ties.” The application process for the Music Ethan Chessin leads a final dress rehearsal Education Innovator Awards began in of a collaboration with January and resulted in 60 submissions the rock band AU, part of the Business of from a variety of regions in the U.S. Music curriculum that received funding from Wales says that this demonstrates that the Music Education Innovator Award grant. “there are so many teachers doing wonderful, innovative things across the country.” Geography was not a factor in the decision-making process, but Wales points out that this year’s winners represent di erent areas of the nation: Washington, California, Texas, Illinois, and Alabama. Another takeaway is that “there is such a need for support. These teachers are struggling with their

programs,” Wales concludes. “There’s so Ross. Taylor Photo by

32 Teaching Music AUGUST 2018 much work here to be done; there’s so much funding to be done.” A committee composed of Give A Note Foundation board members and past award recipients chose the winning programs based on innovation, measurable impact (increased music program enroll- ment, etc.), and how well the program could be implemented in other schools. Five more grants will be awarded to di erent programs in the fall, and the pattern will Musicians in Brian continue with 10 awards granted Gallagher’s Mariachi de la dinastía Ramona per year. “Music teachers are some of the most impressive, resilient, and driven professionals I’ve ever called “All Together Now: Including Children with Severe met,” says Kerns, who found the innovations submitted by Disabilities in Choir.” At TCHS, as with many schools, the award winners compelling and indicative of progress in students with severe disabilities are taught separately from the music education. Of the ve award-winners, three of their rest of the school, and this can have an isolating e ect. programs address the need for and interest in music business Coleman meets the educational and social needs of these instruction in our schools. This need is reected in the students by creating an environment where kids of all makeup of the music workforce. Kerns says, “Our music abilities can sing and learn together. Coleman made the industry is built on creatives, musicians, and business choice of programming popular music for the ensemble as it professionals. Giving students an opportunity to learn more is universally familiar among all of the students; it is also about the business that supports the music community allows easier to teach to students with limited literacy, which is a students who may not have found their passion in the trend among students with disabilities. Coleman incorporates creation of music a place to learn, belong, and work alongside instruments into the repertoire, allowing nonverbal students peers.” the opportunity to participate. One of the challenges of the program is the arrangement workload. This challenge The Award Winners becomes an additional learning opportunity for Coleman’s students who are interested in choral arranging. Students ETHAN CHESSIN , choir director at Camas with and without disabilities are attracted to her inclusive High School in Camas, Washington, was awarded a grant for choir for many reasons, one of which is the opportunity to his “The Business of Music” program. Music teachers like learn and perform in this unique environment. Chessin are nding that students both inside and outside their programs are interested in music business classes. BRIAN GALLAGHER , instrumental music Students become intrigued by, say, sound mixing, and that director at Ramona High School in Riverside, California, leads to an interest in the creation of music itself, which won his grant for creating Mariachi de la dinastía Ramona Wales says is “a perfect learning situation where kids want to after his students expressed an interest in learning mariachi. learn more.” Chessin partners with a professional musician Wales notes that while there is a growing number of maria- who composes a full-length concert, and then the students chi programs in U.S. public schools, “It’s not that easy to work together with professionals to produce it. He also teach.” To get help in o ering his students high-quality brings in a publicist, a talent buyer, and other experts in the instruction, Gallagher reached out to previous Give A Note various aspects of the industry. Students get to see the whole Foundation awardee Ramon Rivera, mariachi director at process rst-hand. Wenatchee High School in Wenatchee, Washington. This is an example of the “ripple e ect” Wales referred to. Mariachi GINNY COLEMAN , choral director at instruction passes from educator to educator through a Tuscaloosa County High School (TCHS) in Northport, network of mentorship helped along with the exposure and Alabama, received her grant for an inclusive choir program support of the grants process. Gallagher is now learning Photo by Laura Williams. Laura Photo by

nafme.org 33 mariachi along with his students and forming new connec- GIVE A NOTE tions with them, and the class is attracting new students, FOUNDATION growing his music program. Wales reports that the grant AND ITS money will help purchase new instruments for the mariachi program. COLLABORATION WITH THE CMA CHRIS GEMKOW , music teacher at York FOUNDATION Community High School in Elmhurst, Illinois, is being Give A Note (GAN) Foundation, which has been recognized for his Music Production Program in which incubated over the past six years by NAfME, has students produce an EP of three to ve original songs. worked with the Country Music Association (CMA) Foundation funding on projects, including the Music Students learn composition, performance, recording, and Education Innovator Award grants and, significantly, a late-2017 study of the status of music education in production, giving them a well-rounded background in our nation’s public schools (bit.ly/USMusicEdResearch). music production. The program has an extracurricular That work provides baseline information that guides the work of GAN Foundation, NAfME, and component called the York Album Project that allows a our partners in better serving music education.

group of students to collaborate on a larger album of original In addition to working with GAN Foundation, NAfME music. The project involves other departments in the school works with many associations and foundations to sup- port music education through investigation, organi- for specialized help, such as the art department to design the zation, professional development, and advocacy. Just this year, the CMA Foundation has given additional cover. Wales adds that students get to keep a copy of the grants to 10 state Music Educators Associations to album so they have “a tangible thing that shows the arc of increase their capacity to advocate for the field. their learning.” Funding was scarce at the start, so Gemkow enlisted the help of a professional audio engineer who was chance to perform original music that they do not have the willing to oer his services and equipment to students at a opportunity to perform in a typical school setting. Currently, discount. Gemkow was also able to fund students who the program funds itself, but this grant and other fundraising couldn’t aord the recording services even at the discounted will support the program’s long-term goals of purchasing DJ rate through another source. The grant will take the nancial equipment to contract DJ services for the school community burden o the students and teacher, and allow the program and beyond. to thrive. “What we’re seeing is there are many ways to reach WARREN MIZE , director of choral studies at students,” Wales reports. “Once they see something that is at East Central High School in San Antonio, Texas, developed their interest level, they want to learn more. All of these the award-winning program. The rst year of the program is programs have shown that.” NAfME, through collaborations a comprehensive survey of the music industry designed to like this one, wants to create a broader, show students what a career in music is like. It exposes them stronger network of music educators to the variety of careers available in the eld. The second helping each other. “If we can be the year is an internship that provides hands-on opportunities in lynchpin for that,” says Wales, “that’s the community based on their area of interest. In the what we want to try program’s “Friday Performance Series,” students have a Stan Renard of to do.” Kerns sees the University of Texas at great promise in the San Antonio music education eld Warren Mize instructs Mize’s students. based on the inspiring work of these ve teachers. “Reading through the incredible accomplish- ments and innovative ideas of the award winners con rms they are ready to move the needle forward so their students can experi- ence a rich, quality, music experience.”

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MOSTOUT OF THE NAfME 2018 NATIONAL CONFERENCE Forums, Opuses, and more! Here’s a short walk-through of some of the highlights of this year’s Conference. BY LISA FERBER istock.com/PeopleImages.

36 Teaching Music AUGUST 2018 “Come with an open mind and anticipate a hands-on and collaborative learning environment.” —JJ Norman

T THE NAfME NATIONAL CONFERENCE runs November 11–14 in Dallas, Texas, and it’s slated to be a highly bene cial event for the music education community. To kick o the festivities, there will be three two-day Forums: Collegiate, Emerging Leaders, and Music Program Leaders. These begin on November 10, and then the ve Opuses—Amplify: Learning, Amplify: Innovation, Amplify: Involvement, Amplify: Innovation, and Amplify: Technology— begin on November 12. The event will also feature other content, including best- practices sessions and poster presentations. JJ Norman, NAfME’s Professional Development Manager, says that the leadership is looking to broaden the pipeline of leaders that are fueling the organization and its aliates, and to encourage diversity. The Collegiate Forum is targeted to help college students become strong teachers. He says, “We realize that there is a lot more to being a music educator than pedagogy. There are managerial things and aspects of professionalism that may not be taught at the collegiate level. And that’s what we’re looking to focus on: the nonmusic aspects, the o-the-podium skills it takes to be a music educator.” He notes that attendees may have questions regarding classroom management or where to go for certain resources—things that could be discussed with a mentor—and these are things that the Collegiate Forum will address. “Come with an open mind and anticipate a hands-on and collaborative learning environment. We are

nafme.org 37 looking for people to make connections that that will be eective toward change. they can build on. The conference has been We are looking at ways we can encourage structured in a way to allow for deeper and invite a diversity in our music teaching understanding and learning by all participants. profession and we want to make sure all All session content within a Forum or Opus students feel welcome if they are inspired will build on itself. All stages of life and stages to be a music teacher.” of a career determine which Forum you will attend, but individual strengths and weakness- Shawn Chastain—executive We are giving es would determine which Opus to attend.” coordinator, ne arts, for the them opportunities Wichita Public Schools in Wichita, Kansas, to reflect on a Lance D. Nielsen, past Professional and immediate past chair of the Council of teacher’s strengths Development Committee Chair for Music Program Leaders (MPL)—is heading and think about NAfME, and supervisor of Music for Lincoln the Music Program Leaders Forum, which where they are Public Schools in Lincoln, Nebraska, is the will provide relevant professional development at their point in leader for the Emerging Leaders Forum. “This for music leaders and district arts coordinators their career.” Forum seeks to unite individuals interested in working in K–12 schools. It is aimed at —Lance Nielsen taking the step to serve as a leader within establishing and growing networks of collegial NAfME and its a liate music education support for those in the profession. “This association structure, or to be a leader within Forum is geared for those in administrative their own school district,” says Nielsen. roles and built with insights and models from “Young professionals, teachers returning to the music program leaders across the nation,” eld, or veteran teachers will walk away remarks Chastain. “The Forum will address feeling empowered to join the ranks of those recruitment and retention of teachers, human who came before and those currently working resources, credentialing teachers, funding, to ensure a bright future in music education.” leveraging resources, and professional develop- Nielsen says that the Forum will address ment for program leaders.” He observes that it subjects such as the characteristics of profes- is a chance for music program leaders to It’s networking, sional leadership, advocacy, work and personal network and receive professional development coming together life balance, how to identify and utilize pertaining to their positions, and hopes that for professional personal leadership strengths, and how to participants will return to their programs with

development, band photographer. Level/FAMU Tony Falk/Lincoln Public Schools; courtesy of Wichita by Cynthia Wehland Photos from top: by advocacy, develop and implement a comprehensive vision advocacy tools to use with their district leveraging of music education. The Emerging Leaders administrators, boards of education, and resources.” Forum will teach the skills necessary to be a superintendents. “We hope to attract people —Shawn Chastain leader within a school district and may even who aren’t current members, but through their lead some participants to consider pursuing consideration of attending the Forum, will leadership roles at the state or national level. soon join NAfME. The Forum provides a “We are giving them opportunities to reect springboard for future MPL profession- on a teacher’s strengths and think about where al development. NAfME has a they are at this point in their career.” He says produced a workbook on evaluat- the organization continues to look for ways to ing eective music education, and invite diversity into the music teaching through the Forum there’s a profession and to make sure everyone has an chance to show that resource equitable pathway. “We will be taking best and discuss common themes practices from across the country and helping such as recruitment and I’m going to inform what is going on at the national level retention of teachers, and emphasize a and the state level with diversity in music leveraging resources that are session that education. We will give everyone an opportu- out there. In the short time promotes music nity to share what some of those social issues we have together, we want to in our schools and how to organize.” are that we are seeing in music education, and take information and give as leaders how we can approach them in a way attendees the tools to network —Shelby R. Chipman

38 Teaching Music AUGUST 2018 within their own state’s community of music collegiates.” Chipman remarks that some REGISTER program leaders. It’s networking, coming of the topics he will discuss are FOR THE together for professional development, related to diversity, equity, and NOVEMBER advocacy, leveraging resources.” inclusion in music education. “I’m 2018 going to emphasize a session that NATIONAL Shelby R. Chipman, who will lead promotes music in our schools and how CONFERENCE the Collegiate Forum, is gearing up to organize.” As the Forum is IN DALLAS, for this exciting event. Chipman is professor of targeted to college students going into TEXAS music and director of bands at Florida A&M in the music teaching profession, Chipman Tallahassee, Florida, and a collegiate advisor says that the Forum will include mock for the Florida Education Association. He interviews and public speaking. “We will help notes that some goals of this Forum include: them prepare for that nal stage, working on The theme of the NAfME maintaining active chapters, helping colle- their social media sites, and other things that National Conference, giates to understand the vision of NAfME, could help or hinder them.” He further notes taking place November 11–14, is Amplify: Lead. providing the opportunity to learn from that the Collegiate Forum will oer topics Engage. Inspire. NAfME formatted this year’s event outstanding presenters/clinicians, establishing such as how to reclaim inactive chapters, based on your feedback. stronger professional relationships with develop a strong and vibrant collegiate Hands-on sessions are based on what you want to teachers and music coordinators, igniting the NAfME chapter on your campus, and get the hear, at more affordable rates. You can earn up to idea of culturally responsive teaching in music most out of professional development as a 30 contact hours of education, and imparting strategies that collegiate student, in addition to covering professional development for attending. promote advocacy in music education. Chapter what colleges may not teach new music Join us this fall in Dallas as we take a deep dive into representatives will lead the way in encourag- educators, such as meeting with supervisors/ leading topics in music ing their members to gain a better understand- coordinators of music programs from around education. The following learning tracks, or ing of the objectives and expectations of the the country, interviewing for jobs (mock or “Opuses,” allow you to organization. “The role of music education is a real) with district arts coordinators and music share your own practice, collaborate and network viable entity,” says Chipman. “Those who program leaders, participating in advocacy for with colleagues from all over, and expand your have the passion for its existence must stand up music education, nding a mentor to learn toolkit of ideas, models, for and be a speaking voice through interac- what it takes to become a successful music and activities. tions with the world. And I hope to challenge educator, and understanding the importance of CHOOSE FROM THESE FIVE TRACKS: and target individuals centered around the attending workshops. • Amplify: Learning— Photo by Matt Janson Photography. Photo by In addition to the Forums and Opuses Teaching Music as a Well-Rounded Subject* referenced above, this year’s conference will • Amplify: Innovation— be further augmented by a Jam Session and Cultivating Innovative Music-Making Happy Hour sponsored by KHS America on • Amplify: Involvement— Engaging Diversity in Sunday evening before the conference kicks Music-Making & Teaching o. After attendees have completed the • Amplify: Inspiration— Inspiring Students through rst day of their two-day Forum, the Music Creativity* • Amplify: Technology— evening will conclude with a drum Teaching the Tech-Savvy circle sponsored by Remo, and a Generation* *MICRO-CREDENTIALS ARE folk dance to be led by John AVAILABLE FOR THESE OPUSES. Feierabend and sponsored by Additionally, three GIA Publications. Attendees preconference Forums are available November should plan ahead and stay for 10–11: Emerging Leaders the best-practice sessions on Forum, Collegiate Forum, and Music Program Wednesday. For the rst time Leaders Forum. at the National Conference, Be a part of the amazing experiences attendees will experience of the upcoming NAfME Conference. Register sessions presented in today at national 15-minute, 30-minute, and conference.nafme.org. 60-minute formats.

nafme.org 39 “My students were very interested in learning more about rock and roll, even though they played classical instruments.” —Beth Hankins

ROCKING OUT

N DECEMBER OF 2001, the Rock and Roll Hall of Fame In 2002, Beth Hankins formed collaborated on a series of workshops that explored the a groundbreaking high school connections between classical music and other styles. Beth Hankins, orchestra director at Lakewood High ensemble that excels, School in Lakewood, Ohio, attended the sessions and came away with a bold idea—to create the world’s rst challenges, changes lives— high school rock and roll orchestra. Hankins remem- and rocks. BY STEPHEN HOLLEY bers, “I talked to my students and colleagues and dreamed up the idea of developing an ensemble to feature strings that was supported by a rock band. The Lakewood Project was formed as a response to my students’ desire to play ‘their music’ on the instruments they love.” The Lakewood Project is a self-conducted ensemble comprised of two electric string quartets, a ten-piece acoustic

40 Teaching Music AUGUST 2018 with THE LAKEWOOD PROJECT string orchestra, and a full rock rhythm section—over 40 they played classical instruments.” The driving idea was to musicians in all. When needed, the group also incorporates explore classical music with a twist: How would Mozart vocalists. The members of this unique ensemble compose, sound today if he were alive and had access to current arrange, and improvise in a variety of musical genres includ- technology and the insight of other genres? ing classical, rock, jazz, funk, pop, metal, disco, and progres- To that end, students are often tasked with creating sive, among others. With Lakewood’s orchestral program arrangements for the ensemble. This is a group e ort, as all comprised of ve orchestras and three string quartets, students in the program work in teams to choose the music Hankins felt that an “outside the box” ensemble would be a they orchestrate, rehearse, and perform. At times, the tting addition to their already strong program. students consult a piano score to help them clarify an odd From a pedagogical standpoint, Hankins realized that she chord, but more often than not, they attempt to transcribe could teach proper string instrument technique while, at the the pieces they learn by ear. Introducing the students to same time, making use of a variety of styles of music both arranging and transcribing is not only an indispensable beyond and including classical music. “My students were very musical skill, but it also helps to convey ownership of the

Photos by Alex Belisle Photography. Alex Photos by interested in learning more about rock and roll, even though ensemble to the students by highlighting and including

nafme.org 41 “their” music. From there, students musical components of a song. Unde- instruments until the organization make decisions on voicings, solos, terred, the young musicians have been could a ord the additional purchases. and often help rehearse the ensemble. quick to establish a shared vocabulary When starting a new program, “I also learned that in order for the in order to create an ecient rehearsal Hankins suggests that a music educator classical musicians to play with the environment. should “surround yourself with people rock musicians, we would have to When asked about gaining support who can help you. I scheduled our rst learn and converse” in a di erent way. for the ensemble, Hankins notes that concert before we could play a song, Therein lies the heart of the mission after conversing with students and and that motivated us to push through of the Lakewood Project—to expand colleagues, she then approached her obstacles, nd solutions, and adjust as the musical horizons of its student administration. After securing their we moved forward.” The Lakewood musicians. approval, she met with the parent body Project performs a number of concerts The ensemble rehearses once a week to pitch the idea. She quickly added each year ranging from on-campus for four hours, plus a one-hour section- their unwavering support to the concerts to the city’s Fourth of July al. Often, Hankins utilizes Lakewood growing list interested and excited celebration, where they regularly Project alumni to mentor the students about the possibilities that this new perform for over 10,000 people. “We and o er real world experience. “I ensemble produced. Hankins then provide the community with a bring back alumni who are working applied for multiple grants and reached three-hour concert that concludes with musicians so that my students always out to alumni, hoping to secure the us performing with the opening of the experience current music trends.” She additional funding necessary to reworks display.” For their on-campus quickly discovered that self-taught purchase the needed equipment shows, Hankins reveals the students musicians, when compared to tradition- including microphones, ampliers, and “turn the pit into a huge dance party as ally-trained musicians, often use a electric violins, violas, and cellos. As for they scream for their friends and sing di erent vocabulary when discussing the rhythm section equipment, the along to the performance.” In the years chord structure, form, feel, and other ensemble used the students’ personal since the founding of the ensemble,

42 Teaching Music AUGUST 2018 “Instead of striving to get ratings, I strive to bring longevity, joy, and independence.” —Beth Hankins

they have gone on to perform at the excellence at all times; however, I do learn how to support their ideas, grasp Cleveland House of Blues, the Ameri- encourage and enjoy an open dialogue how to be open-minded to others’ can String Teachers Association with my students. I encourage my ideas, and are not afraid to try new National Convention, and in the place students to voice their opinions and things. They are always thinking about where it all started—the Rock and provide suggestions.” As part of a how it could be better.” Roll Hall of Fame. continued e ort to involve her students In addition to the aforementioned When asked about her teaching in every aspect of the ensemble, the string groups, the Lakewood High style, Hankins readily admits that she areas of bowings, phrasings, and School music program is home to sets high standards for herself, the ngerings are often considered. “This upwards of 15 ensembles, including students, and the program. “I strive for takes a little longer, but the students band, jazz, and choral groups. The e orts of Hankins and her colleagues have not gone unnoticed. Lakewood High School has been recognized by NAMM as a Best Community for Music Education both in 2017 and

“The Lakewood Project was formed as a response to my students’ desire to play ‘their music’ on the

Photos by Alex Belisle Photography. Alex Photos by instruments they love.”

nafme.org 43 2018. Individually, Hankins was named the Ohio String Teacher of the Year in 2003, and has been nominated for a GRAMMY® Music Educator Award three times. In 2016, she was recog- nized as a quarter nalist, and in 2017 she was named one of the 10 nalists for that honor. Hankins hopes that her students will “learn how to create their own musical opportunities that will last a lifetime.” Over the years, her educational philosophy has changed, in part due to her eorts with both traditional and nontraditional ensembles, which then led to her pursuit a PhD beginning in 2010. Her doctoral research focused on

WITH BETH HANKINS

What do you know to be true Q about teaching music that you didn’t know when you started? Music provides hope, healing, and a safe place for all people. All music impacts humans and should be treasured and taught. If I weren’t a music teacher I Q would … probably be either in the field of law or a performing music professionally. What’s the biggest lesson you Q want your students to learn while in your program? Do your best at all times. You do not have to know ev- erything. Surround yourself with people who can help you find answers so that you can attain your goal. “I scheduled our first concert before we could The music education profes- Q sion would be better if … more play a song, and that motivated us to push music professionals would give back to youth by being present and providing through obstacles, find solutions, and adjust educators and students the bridge that connects the classroom to their real as we moved forward.” world. What have you learned about the learning outcomes of students share, listen, respond, analyze, and Q students and parents through your work? Parents want their children involved in the Lakewood Project and enjoy instead of a series of skills that to be happy, and students want to be how those students kept music in their need to be acquired in order to perform able to experiment and be accepted. Allowing students to explore music and lives once they left her tutelage. As part a piece. This may seem simple, but it develop their musical voice gives them a chance to grow. of her research, Hankins sent out has changed how I teach. Instead of What advice would you give to a surveys to every graduate of the striving to get ratings, I strive to bring Q teacher trying to start a program similar to yours? I would suggest Lakewood Project. Of those who longevity, joy, and independence.” that they not start a program like mine. responded, 90 percent continue to be You can learn more about Instead, see what type of ensemble their students would like to experience and go involved in music as a hobby or career. the Lakewood Project and from there. Each corner of the country has their own unique vibe. Capture it. “I now view music as a language to be Hankins by visiting their website

taught so that people can create, read, at LakewoodProject.com. Hendy. Trish Headshot by Belisle Photography. Alex Photos by

44 Teaching Music AUGUST 2018 THE YOUNG MUSICIAN’S TEXTBOOK

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For more, go to intunemonthly.com/nafme-free-subscriptions “I enjoy traveling across the country, getting to know those in the profession, and collaborating with people who are in the fi eld each day.” —MATTHEW H. SPIEKER

Learning from THE BEST! Renowned Clinicians to Lead the 2018 NAfME Directors’ Academies

CONJUNCTION WITH the 2018 All-National Honor PAULA A. CRIDER, professor emerita of the University of IN Ensembles held in November at Disney’s Coronado Texas at Austin, will serve as leader of the Band Directors’ Springs Resort in Orlando, Florida, NAfME Academy. Following a distinguished 33-year teaching career members will have the unique professional development at all levels, Crider continues to share her passion for making opportunity to participate in academies designed for band, music as a guest conductor, lecturer, clinician, and adjudica- chorus, an d orchestra directors. Three renowned clinicians tor both nationally and abroad. She serves as coordinator for will lead each Academy, sharing their own musical experi- the National Band Association Young Conductor/Mentor ences as well as drawing upon the participants’ expertise. Program, is a senior educational consultant for Conn-Selmer, Attendees will engage in in-depth study, discussions, and Inc., and serves on the Midwest Clinic Board of Direc- hands-on experiences aimed at developing and enhancing tors. She is a past president of both the National Band their skills and understanding as ensemble directors. Register Association and the American Bandmasters Association.

and attend this phenomenal learning experience! During the Academy, Crider will concentrate on pedagogy directors. Photos courtesy of the respective

46 Teaching Music AUGUST 2018 BY LORI SCHWARTZ REICHL and musical artistry with a particular focus on session he calls “The Heart of a Music Teacher,” Spieker will creativity. Her goal is for attendees to see the world touch on the art form of music, and how it inspires us to through new eyes. Crider states, “With over 50 years enrich the lives of children. He notes that his Academy will of teaching at all levels, I will share knowledge be “interactive, with lots of instruments and playing.” For acquired from inspiring mentors and through lifelong younger teachers, Spieker hopes they will walk away with study at the school of trial-and-error!” During many ideas for their bag of tricks. For seasoned teachers, he the Academy, she looks forward to interacting with would be thrilled if they could leave encouraged with “one or and learning from dedicated music educators through- two concepts that are new and perhaps a little bit di erent.” out the nation. “I would like for participants to leave with a renewed sense of the importance of music VICTOR C. JOHNSON will serve as leader of the Choral education. The Academy should serve as a reminder Directors’ Academy. Johnson is in his 17th year of teaching at that, through music, teachers have a profound and the Ft. Worth Academy of Fine Arts in Texas where he serves lasting e ect upon their students. Dedicated teachers as director of the Academy Singers and Academy Men’s of music create the world as it ought to be.” Choir, and is the artistic director of the Singing Girls of Texas. As an accomplished organist, he also serves as minister MATTHEW H. SPIEKER will serve as leader of the of worship and arts at Shiloh Baptist Church in Plano, Texas. Orchestra Directors’ Academy. Spieker has been a As a composer and arranger, his  rst piece was published music educator for nearly 30 years, having taught all when he was only a sophomore in high school. To date, he levels of orchestra and general music in South Carolina has had over 300 octavos published, has won numerous and Colorado schools, and also at the John F. Kennedy composition contests, and has received ASCAP Awards. His Schule in Berlin, Germany. Currently, he teaches at choral works include artistic and accessible compositions for Ball State University in Muncie, Indiana, as an the choral classroom, heartfelt anthems for use in worship assistant professor of music education with an emphasis services, and exuberant and festive chorales for use in concert on string/orchestral education. He also serves as settings. His organ arrangements are set for various levels of conductor of the Youth Symphony Orchestras of East skill and ability. As a conductor, Victor has led reading Central Indiana and is the Chair of NAfME’s Orches- sessions and choral workshops in numerous states and has tra Education Council. “I enjoy traveling across the conducted All-State and Regional Honor Choirs in Califor- country, getting to know those in the profession, and nia, Georgia, Louisiana, Kansas, Kentucky, Missouri, collaborating with people who are in the  eld each Oklahoma, Oregon, and Texas. His own choirs have day,” says Spieker. Within the Academy, he will focus on performed at the Texas Music Educators Association Con- string pedagogy and practical ways of including music vention in 2011 and 2014, as well as the American Choral learning theory in the classroom. There will be a strong Directors Association/Southwest Division Conference in concentration on the importance of a warm-ups, intonation 2016. Victor looks forward to leading a brilliant Academy strategies, and pet peeves of string adjudicators. Through a experience for all participants.

NAfME members will have the unique professional development 2018 All-National opportunity to engage in two days of in-depth study, discussion, and hands-on experiences aimed to develop and enhance the Honor Ensembles participants’ skills and understanding as an ensemble director at the 2018 Directors’ Academies. Each academy— one each Directors’ Academies in band, orchestra, and choral directing—will be facilitated by a renowned conductor-clinician who will share his/her Orlando, Florida, November 26 & 27 experiences as well as draw on participant expertise. CLINICIANS: • Band Directors’ Academy: Paula Crider • Orchestra Directors’ Academy: Matt Spieker • Choral Directors’ Academy: Victor Johnson LOCATION: Disney’s Coronado Springs Resort COST: $99 DEADLINE TO REGISTER: Friday, November 9, 2018 Crider Spieker Johnson Register at nafme.org/ANHE.

nafme.org 47 workshop

Singing phones, samba percussion, straw phonation, and more.

GENERAL MUSIC your older students can be enlisted to students to assess pitch-matching Ring, Ring—Singing help with assembly and decoration, skills. “Have your students sit in a Phones Calling! the latter of which can involve the circle and sing a call-and-response application of colorful duct tape. “I song using their phones. ‘The Tele- What are singing phones and what can think your middle school choir or phone Song’ would be a good option they do for the students in your band students might enjoy helping you since it requires a soloist. This way, general music classroom? “Singing with this task in exchange for some you’ll be able to assess their skills as phones are made from PVC pipe and pizza or doughnuts after rehearsal.” each student takes their turn as the elbow joints, which are then cut and Note that, once these phones are in soloist.” assembled to mimic the look of a use, they do need to be cleaned Partner songs also make for phone,” says Jennifer Hibbard—a regularly. “Singing phones can be eective exercises with the phones.

NAfME-member music A selection “Try pairing ‘Frère educator, author, and blogger at of singing Jacques’ with ‘Three Blind phones yellowbrickroadblog.com. “Origi- Mice’ for a fun and easy partner nally, they were called ‘whisper song,” remarks Hibbard, who phones,’ which are tools used in further notes that rounds such as English-language classes to help “Scotland’s Burning” and students with sentence uency, “Music Alone Shall Live” are enunciation, and volume. In the good options as well. Addition- elementary music classroom, ally, the phones can be used as they can be used to help students with cleaned and sanitized using the same extra incentives during whole-class dynamic control, pitch, and diction.” methods you would use with plastic instruction. “For example, you could She further notes that the activities recorders,” says Hibbard. “You could start by passing phones out to students with singing phones would work best also save yourself time and ask the who are displaying good singing with lower elementary students who cafeteria sta if they’d be willing to posture,” says Hibbard. “This is an are still learning to match pitch, as the run your phones through the dish- easy and quick way to encourage other phones allow students to hear them- washer.” If they are decorated with students to follow suit.” selves clearly. duct tape, however, you may want to Speaking of encouragement, One of the big plusses of singing do a test run with one phone to ensure Hibbard notes that shy students in phones is that they can be made that the embellishment will survive a particular can benet from activities relatively easily by music educators; cycle in the dishwasher. with singing phones. “Consider giving instructions may be found at Hib- In terms of activities in the class- these to your shy students to inspire bard’s blog post on these phones at room, Hibbard recommends that condence while singing alone or in

bit.ly/SingingPhones. She remarks that singing phones can be used with small groups.” —Susan Poliniak Photo courtesy of Jennifer Hibbard.

48 Teaching Music AUGUST 2018 BRASS & WOODWINDS fundamentals such as note and rhythm The ngering chart used is also reading, articulation, and balance. important. Many charts currently Bassoon for Middle school students are usually of a available in many instructional Beginners better physical size for the instrument, publications omit the whisper key. As a director, you know that but starting students at this later Fetters recommends using the nger- balancing instrumentation in age runs the risk that they will ing chart included with Let’s Play your school band program is an fall behind their classmates in Bassoon, a publication distributed by important responsibility. the previously- the Fox Bassoon Manufacturing Depending on your background mentioned Company and available at foxproducts. (both musically and education- musical areas. If you provide com. The site also contains informa- ally), switching students to modi cations for your beginning tional guides on bocals, modi cations needed instruments such as bassoonist—for example, re-writing for small hands, bassoon care, and bassoon, oboe, or tuba can be an Caption parts, allowing them to play their even a contrabassoon ngering chart. exercise fraught with fundamen- band parts down an octave (i.e., to —Peter Perry tal questions and gaps in technical stay in the fundamental range of understanding. Of these instru- the instrument), and beginning the STRINGS ments, the bassoon can be one of student in F major rather than B the most intimidating on which at major (which is a horrible key Teaching Vibrato to start a beginner. Elizabeth for beginning bassoon)—Fetters Fundamentals Fetters, director at Southhampton assures that, “They will catch up “Learning to play with vibrato is Middle School in Bel Air, Mary- quickly!” Additionally, one-on- essential for students at the intermediate land—a professional bassoonist and one attention focused on putting level,” says NAfME member and private teacher with a master’s the instrument together and frequent presenter Michael Hopkins, degree in bassoon performance— allowing students to pack up early associate professor and chair of music has suggestions for starting begin- at the end of class so that the education at the University of Michigan ning bassoonists on the path to instrument can be put away School of Music, Theatre & Dance in overall success on the instrument. correctly can also help set up a Ann Arbor. Hopkins is a double bassist, “We have this tendency to follow successful foundation. composer and conductor who teaches these ‘rudimentary rules’ about who Important to any bassoonist is string techniques and orchestra methods. to start on bassoon. Sometimes we their reed situation, and this is “However,” he cautions, “vibrato is need to throw them away,” says true with beginners as well. Here, not learned in a day. It is a multistage Fetters. Rather than following Fetters advises nding a bassoon process, and it is important that prescriptions such as, “clarinet players resource (for example, a professional teachers plan for this process to take make good bassoonists,” she suggests player or bassoon teacher in the area) place over several months.” When using your personal connections with who can make reeds for your begin- should this process begin? “There are the students in the band to nd ners. These hand-made individuals that love the bassoon; this reeds, as compared to other “Vibrato is not learned in a day.” high interest level can help students to commercially-available —Michael Hopkins overcome the adversities that begin- options, should be softer ners may encounter. Generally, Fetters and more conducive to says that the physical size of the developing good bassoon student can aect their success. It is fundamentals such as sound possible to start bassoon in elementary and articulation. The school (e.g., fourth grade), but hand manufactured reeds size and reach are an issue. Starting available at music stores students this young on the instrument tend to be thick and rigid, can prevent young bassoonists from making them especially falling behind their classmates in dicult for beginners to

Top photo from istock.com/dvs71. Bottom photo by Jackie Jordan. Bottom photo by photo from istock.com/dvs71. Top learning musical and ensemble manage.

nafme.org 49 three prerequisites to consider: The Publications). In the meantime, his became samba,” states Joe Agu, a student should be able to play for at own site (stringtechnique.com) and percussion educator, clinician, and least two minutes without fatigue, be YouTube channel (youtube.com/user/ instrument-designer in Santa Clara, able to demonstrate independence of stringtechnique/) contain a wealth of California. “Samba evolved in Rio de hands (for example, by playing ideas and demonstration videos. Janeiro to become a perfect embodi- four-note slurs), and have well-devel- In addition, Hopkins points to ment of musical expression and dance oped aural skills. Students can other sources. “I highly recommend style associated with Rio’s Carnival demonstrate their aural skills by Gerald Fischbach and Robert Frost’s culture.” playing several songs by ear or by book Viva Vibrato! (Kjos), The Art Samba is rmly rooted in oral tuning their own instruments. of Vibrato DVD (available from tradition and improvisation. African Before learning vibrato on the stringwizards.com), Joseph Kaminsky’s polyrhythms are present in all popular instrument, students can learn what Vibrato from the Ground Up DVD styles that evolved in the Americas, Hopkins calls precursor exercises. (available from suzukiassociation.org/ and they can be felt and heard in “Vibrato motions are similar to store/), Rolland and Mutschler’s classic samba, jazz, and other popular common everyday motions that text, The Teaching of Action in String musical forms. “Samba owes its roots people make with their wrist and Playing: Developmental and Remedial to Bantu linguistic groups originating arm,” he points out. “Simulating the Techniques (second edition) (Alfred in places such as the Congo, Angola, vibrato motion away from the instru- Music Publishing), Simon Fischer’s and West Africa,” continues Agu. ment can help prepare students for violin pedagogy texts from 1997, “Additionally, African spiritualism vibrating on the instrument.” 2004, and 2013 (Edition Peters), and brought to Brazil formed the basis for Cellists and double bassists can Mimi Zweig’s excellent string peda- various chants, vocalizations songs, practice by reaching across the chest gogy website (stringpedagogy.com).” and the drumming rhythms for the with their right arm and placing their —Michael Adelson gods. Listen closely and you will hear right hand on the left shoulder. They the invocation of African deities then make a “C” shape with their left PERCUSSION throughout samba music. Names such hand, place it on their right arm and as Yemanja, Oshun, Olowu are often practice the vibrato motion. Introducing Samba captured in songs sung in the Yoruba Violinists and violists can hold a Percussion language to render emotions and small, egg-shaped shaker in their Samba is a musical genre that rst desires through sound. In the favelas, palm. “Hold the left arm in a position originated in Rio de Janeiro, Brazil, in families traditionally introduce music similar to playing the instrument and the early part of the 20th century. An to their infants to encourage playing shake in a rhythm,” suggests Hopkins. icon of national pride and identity, it is of instruments as a form of emotional A second exercise for them is “knock widely recognized as quintessentially expression.” on the door.” As Hopkins explains, Brazilian. “Africa has a close connec- Modern samba playing is predomi- “Holding the left arm rotated in tion with South America in its forms of nantly in a 2/4 or 2/2 time signature, playing position, pretend you are musical traditions and rhythms. For coupled with vocal choruses sung to a standing in front of a door and example, African slaves brought to speci c batucada rhythm. Historically, knocking on it with the base of the work in the plantations in the early samba was played by string instru- knuckles on the back of your hand. 16th and 17th centuries. The musical ments such as the cavaquinho (a small, This motion can be done with either style they brought into Brazil is what four-stringed guitar that resembles a the arm or the wrist.” Finally, they “I teach samba without can wave goodbye to themselves. music notation.” —Joe Agu “This game is somewhat similar to the knock on the door: Hold the left arm rotated in playing position with the palm toward your face, and wave goodbye to yourself.” This information and more will appear in Hopkins’s forthcoming

book, The Art of String Teaching (GIA Photo courtesy of Joe Agu. Jackie Jordan. Photo by

50 Teaching Music AUGUST 2018 ukulele and is popular in both Brazil ing and demonstrating the Straw phonation can help singers and Portugal) and a variety of semi-occluded vocal tract with certain types of tension percussion. Thanks to in uences by exercise (SOVTE) known as problems. post–World War II American dance straw phonation. This is, bands, samba instrumentation can also “simply put, singing or include woodwind and brass instru- speaking into a straw or a tube ments. Agu notes that his method of that is in air or submerged in teaching samba in the classroom water,” says Jeremy Manter- includes the most popular and nach, a NAfME member and accessible instruments used in the assistant professor of vocal style, which can include drums such music education at the Univer- as the surdo, repique, tarol, and sity of Iowa in Iowa City. “The tamborim, as well as the agogô bell vocal tract includes all the and the chocalho shaker. resonating space between the “When talking about samba as a vocal folds (a.k.a. vocal cords) musical genre, it is important the and where the sound exits (i.e., subject be discussed in a storytelling the mouth and/or nose). format—an African call-and-response SOVTEs include a narrowing musical tradition, which is the and/or lengthening of the language passed down from genera- vocal tract at some point above tion to generation since time imme- the vocal folds.” morial. I teach samba without music The purpose of straw phonation, is a reduction in the phonation thresh- notation, relying on verbal communi- then, is for voices “to recover by old pressure—the minimum amount of cations, ear-tuning, tempo develop- stretching and un-pressing the vocal breath pressure needed to initiate and ment, and hand-eye coordination. folds after long periods of speaking,” sustain vocal fold vibration. Many Our class commences with a live, remarks Manternach. “Generally, researchers have referred to this as 15-minute video show of a samba singers report improved sound and less increased ‘vocal eciency’ or ‘vocal performance to verify individual roles eort during voicing. Acoustic analyses economy.’” in a group setting. This video is used have indicated increased acoustic As for the straw used: The smaller to train the ear by watching how the energy and benets to some measures of the diameter, the greater the pressure. striking of each drum with mallets voice distress.” Although the technique Coee stirrers, with their tiny open- produces rhythms, pitch, melody, can prove very benecial for students ings, create the most pressure, while harmony, and timing development. with certain types of tension problems, Manternach observes that “Soda straws Skill levels are assessed before specic he cautions that “It’s not a silver bullet, (around 6–7 mm opening) create a less instruments are assigned to students. but it’s a research-based strategy for dramatic pressure change. That said, The next step is to hum the note your tool bag that can help to entrain some people have great diculty using using the instruments described more ecient vocal production.” the small straws, especially at rst. The below.” Exercises that can be used with this narrow opening and pressure is To view Agu and his students in technique should look familiar to sometimes uncomfortable and may lead action, visit youtu.be/sMnyRFFAe7Y. singers and vocal educators, and include to extra voicing eort. John Nix —Steve Fidyk “tongue or lip trill, raspberry, sustained recommends starting with a larger straw voiced fricatives, humming, or voicing (e.g., a soda straw) and working down CHORAL AND VOCAL with the lips pursed. Each of these exer- to more narrow straws as the singer cises creates an impedance and a becomes more comfortable with the Straw Phonation for pressure in the vocal tract that assists increased pressure. In the end, my own High School Choirs vocal fold vibration. When the vocal research has indicated that people have You may have seen a video on YouTube folds are moving apart, the pressure dierent preferences.” To create an that is popular with singers, voice pushes them open; when the vocal folds additional increase in pressure, the teachers, and others involved in vocal are moving toward one another, the opposite end of the straw may also be

Photo by Jackie Jordan. Photo by pedagogy—that of Ingo Titze describ- pressure sucks them together. The result submerged in water. Regardless of the

nafme.org 51 straw used, Manternach cautions that three Guitar I classes and about 70 “No air or sound should escape through ALTERNATIVES students. Transitioning from teaching the nose or the sides of the mouth band to guitar took a few years to gain during voicing” and that “students and Nonstandard the proper knowledge and experience,” teachers should simply monitor neck Additions to says Perez. “I chose the classical guitar as muscle activity, as with any singing Classical Guitar our primary instrument and basis for our exercises, as well as their overall e ort Ensembles ensembles. They are easier to keep in when singing to make sure they aren’t tune and easier on the  ngers due to overdoing it.” As educators, we’re always looking for lower string tension, nylon strings last As regards using the exercise with a new and exciting ways to modify our longer and do not break as easily, and choir-full of students, Manternach curriculum to take advantage of our there is a wide variety of music available notes that he often includes the same ever-changing environment. At Freedom today for the guitar ensemble using patterns he uses on lip trills. “I also use High School in Orlando, Florida, classical guitars.” He further notes that, as a guide a YouTube video by Titze director Christopher Perez has developed “It’s gratifying for me to teach, and my and the National Center for Voice and a means of including nontraditional students to perform, guitar ensemble Speech [see youtu.be/0xYDvwvmBIM or instruments in a very traditional setting; music with expanded instrumentation. search for “Titze straw”]. Titze the classical guitar ensemble. Over the We are open to the variety of sounds that recommends varied glides throughout years, the Guitar Program at Freedom exists in guitar ensemble using di erent the range and singing the ‘Star Span- has grown into a comprehensive, instrumentation.” gled Banner.’ But I’ve also used the four-year program that includes three To supplement their ensembles, straw in many other ways, including beginning classes, three audition-based Perez found ways to involve a number having all of my choristers sing their ensembles, and a private study class that of students and, at the same time, respective parts through the straw.” all meet during the school day. “I began diversify the ensemble’s repertoire. —Susan Poliniak teaching in the fall of 2007 with only “Coming from a band background, I Photo by Christopher Perez. Photo by

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52 Teaching Music AUGUST 2018 Freedom High School guitarists high-quality requinto can cost upwards of $1,300 to $2,500. “Less expensive, yet e ective options, will cost $250 to $300. I recommend getting a four- string acoustic bass in the $250–$500 range. Most beginner-line guitars are made fairly well. I look at instrument reviews to check if they are highly rated.” If you’re unable to purchase multiple requinto guitars, Perez suggests placing a capo on the  fth fret of a classical guitar to mimic the tuning, but advises that this will limit was used to the wide range of tone Perez also suggests that adding the the fretboard range. Another option is colors and pitches. I brought the same complementary instruments helps to to restring a classical guitar to A–D–g– mindset to the guitar ensemble.” Perez give the ensemble a “deeper palette c–b–e–a, which is the same tuning as a includes the requinto and acoustic bass with more colors and textures to work requinto guitar. guitars to enhance the overall sound of with.” He also encourages his musicians In terms of literature, Perez the ensembles. “For pop songs I will to try other instruments by rotating the recommends guitarensemblemusic.com add acoustic, electric, and bass guitars, instruments within the ensemble. and forrestguitarensembles.co.uk “From keyboards, drums, and even vocals. I When asked about resources and these sites, the FHS Guitar Program try to be as authentic in instrumenta- acquiring instruments, Perez advises added several quality arranged and tion as I can while keeping the tone and purchasing, as guitars cannot be rented. well-engraved songs to our library.” volume balanced and well-blended.” That said, the cost to purchase a —Stephen Holley

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nafme.org 53 A E TAG S S elementaryBY STEPHEN HOLLEY

Building Better Human Beings through Music Music classrooms can provide opportunities for character-building.

understands that all students have Elizabeth Caldwell teaching a song with areas—both in their musicianship and as accompanying motions to a second-grade class. young people—in which they thrive and others in which they may struggle. In getting to know a new class, she rst identi es areas of both in each student, which enables her to celebrate and build on their areas of strength while, at the same time, developing their areas of weakness. “Creating a classroom where every student is able to explore areas of strength and weakness requires strong relationships. Fostering those strengths and weaknesses bleeds into every aspect of the human experience.” Caldwell notes that these areas of weakness are not something to fear, and she uses them to BUILDING CHARACTER IN STUDENTS struggled with cultural identity, lan- help her students understand that sharing requires fostering a strong student- guage barriers, and high mobility rates. awed ideas often produces the most teacher relationship and cultivating a “This experience helped me to see early creative results, due in part to the safe environment in the classroom. For on in my career the importance of struggles involved to achieve those Elizabeth Caldwell, an elementary relationships to successful and meaning- results. music educator at Helen Street School ful teaching.” In her current position at a As for other methods Caldwell in Hamden, Connecticut, music is a Title I school in Connecticut, Caldwell employs, she recommends circle tool to impart lessons in character. notes that her background in discussions to help students “Developing character permeates international culture is “Developing practice sharing their everything I do as a teacher. Encourag- entirely transferable to a character thoughts and ideas and ing students to explore their own diversity of domestic permeates listening respectfully to strengths and weaknesses in mu- cultures. others. She has also added the sic-making builds positive identity, Over the years, Caldwell everything I jobs of “compliment” and courage, tenacity, con dence, persever- has implemented a number do as a “peacemaker” to the normal ance, and more.” of strategies in an eort to teacher.” student jobs of line leader, Caldwell spent a good deal of her support her student’s clean up, and teacher-helper, childhood living in a rural town in socioemotional needs. “We need to as these encourage the students to Japan. Her rst teaching position was in remind ourselves that we’re in the respect others in the classroom, and an international elementary school in business of teaching humans rst. No coach the students in how to resolve Seoul, South Korea. She notes that her amount of sight-reading ability is going conict. As for “classroom rules,” she has experiences as a student in Japan helped to help a child who cannot live positive- only three; Respect others, respect

Photo by Melissa Ferranti. Photo by her to empathize with her students who ly in community with others.” She things, and respect yourself.

nafme.org 55 GES A T S secondaryBY MICHAEL ADELSON

Planning Effective Composition Projects You provide the parameters—the students provide the creativity.

“I WANT STUDENTS to understand why a “I want students composer does something.” Joel to understand why a composer does Knecht, NAfME member and instru- something.” mental music teacher at Kennedy High —Joel Knecht School in Waterbury, Connecticut, passionately believes that students bene t from comprehending why the notes are on the page, rather than simply playing them. According to Knecht, “The best way to do that is to compose. It is the primary method of musical understanding.” Knecht, in his 14th year of teaching public school, warns that, “In the early stages, it is important to avoid over- whelming the students. Take baby steps, and go slowly. The key is to get them to engage it’s there.’ I don’t They have about two weeks to do the with the material.” “I tell them it’s about want to restrict their assignment. Then they have time to He explains the being proud of what creativity,” says tinker with it, so they do one compo- tonic and domi- you put together.” Knecht. “So, there is sition per 45-day marking period.” nant, and then their an actual checklist of “I’m open with the kids about my assignment is to write eight measures four or ve things they must do. As own compositional struggles,” says of notes from the concert B-at scale long as those things are there, then the Knecht. “I explain why I do what I do; with no harmonies—just melody. They assignment is not about the grade, but I tell them some of the parameters I must start on the tonic. The fourth about creativity. I want them to enjoy use myself. They see me do this; they measure must end on the dominant, it. I tell them it’s about being proud of see me compose. So, they have to and the eighth measure on the tonic. what you put together.” experiment. Try something! Try to be “That way they don’t have to deal with How does one make time for this in fearless!” the composer’s hardest task—facing a class? “I give them 10 minutes to set up. NAfME provides opportunities blank page.” Later he adds require- They write during any extra time they for young composers. Students from ments, such as “we need to hear dotted have during those 10 minutes. That kindergarten to college age may quarter notes at least twice.” way, they can warm up by using their want to enter their compositions in Often the students will jump in instruments to compose. Initially, they NAfME’s Student Composers Compe- with their own ideas: “They will ask, write by hand. Later, we go to the tition or Electronic Music Composition ‘Can I repeat these two bars?’ The computer lab. We use free notation Competition. Information for the answer is ‘Yes!’ ‘Can I do something software available at musescore.org. It’s 2018–2019 competitions can be more?’ ‘Yes! Whatever you write is useful, because during playback they found at bit.ly/StudentComposers and

correct, unless you can’t tell me why can sometimes hear their mistakes. bit.ly/ElectronicCompetition, respectively. Jackie Jordan. Photo by

56 Teaching Music AUGUST 2018 GEORGE N. PARKS LEADERSHIP IN MUSIC EDUCATION AWARD

The George N. Parks Award honors an exemplary music educator who embodies the characteristics and leadership that Mr. Parks showed his students every day.

To nominate a music educator, visit bit.ly/GeorgeParksAward. Submit your nomination by September 7.

Developed by the National Association for Music Education and Music for All, the George N. Parks Leadership in Music Education Award is named for the late George Parks, director of the University of Massachusetts Minuteman Marching Band. Considered a national authority on drum majoring, Mr. Parks led the George N. Parks Drum Major Academy, including at the Music for All Summer Symposium. S TAG E S collegiateBY ANDREW S. BERMAN

The First Three Years What can music educators do to survive and thrive?

“IF YOU CAN MAKE IT through your rst “You teach students fi rst and three [years],” says Elisa Jones, “you’ll music second.” —Elisa Jones hit the biggest milestone of all—that you nally feel like you can do it.” Jones, who teaches grades K–8 vocal and instrumental music at Holy Family Catholic School in Grand Junction, Colorado, likens the rst three years of teaching to trying to build a boat from inside the water. The rst year you’re just trying to stay a oat; the second year you have something resembling a boat. “By the end of your third year,” she envisions, “you hit your stride and you start to feel like you’re sailing.” To get through those rst years, their own personal needs and desires. can run a music program,” she says. Jones recommends a solid classroom “We are so impassioned,” Jones says of “That’s why I got the MBA—so many management plan. “You teach students music teachers as a whole. places to apply those business skills.” rst and music second,” advises Jones. A At the top of Jones’s list of pitfalls to Jones provides milestones to track set of guidelines for avoid is ego. “All other your progress in those rst years. You’ll conduct in the classroom, “Keep your problems stem from that be able to hear your students’ progress in and consequences for not heart open root. You’re not gonna pick their musical achievements, and in following the guidelines, and your ego music that’s too hard unless responses from the school community. must be established before you pick it based on your You’ll also see your progress as a teacher learning can take place. at the door.” ego. You’re not gonna have in the relationships you develop with This sets the tone and creates the problems with other sta members unless your students. By the end of your third environment for learning. it’s about your ego.” Con dence is year, Jones forecasts, “you’ll have a core Jones suggests a focus on depth of important, she points out, but “keep your group of students that has grown over the learning rather than breadth. “Really heart open and your ego at the door.” time that they’ve had you.” The most focus on the fundamentals of musician- Re ecting on her own rst three palpable measure of your progress at the ship.” Foster a teaching model where years in teaching, Jones discovered a end of three years is your self-con dence. you don’t move on to the next topic need for business skills. She’d spent a “You’ll hit your stride.” until the class has achieved some level few years working at a music store, so Elisa Jones is the author of the of mastery of the current one. she was counting on that experience, “Music Ed Mentor Podcast” (distribut- When it comes to work-life balance, but when she started her rst teaching ed through SmartMusic at smartmusic. Jones reminds the new teacher that job, she recalls “there was a lot to com/blog) and The Music Educator’s Guide “This is your career, not your life.” It learn.” To supplement her skills, she to Thrive: The Practical Guide for Creating serves the students well to have teachers went back to school to get an MBA. “If the Lifestyle You Want and the Career You

who take care of themselves and see to you know how to run a business, you Love (available at amazon.com) Media. Facing West Photo by

58 Teaching Music AUGUST 2018 2018-19 I N S T R U M E N T A L I N M U S I C E D U C A T I O N

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BOOKS 3 Kat Writes a Song Growing Music of The By Greg Foley (2018, 40 pgs., hardcover $14.99, Musicians— Latin America Integrated eBook price varies) Kat the kitten has a song to Teaching Music String share in this new picture book. It was a gray and and the in Middle School Caribbean, Player: rainy day, and Kat is stuck indoors, sad because she and Beyond has no one to play with. She writes a song to make Second Edition Embodied Vibration By Bridget Sweet things better and, after perfecting her magic song, By Mark Brill (2018, By Pedro de Alcantara (2016, 206 pgs., she sings it out loud—to her surprise, the rainy 454 pgs., hardcover (2018, 272 pgs., hardcover $105.00, clouds go away! She is so pleased that she goes $160.00, paperback hardcover $99.00, paperback $23.95, around her neighborhood singing her magic song. $74.95, eBook $42.48) paperback $27.95, eBook price varies) A read-aloud for educators, parents, and little ones, This comprehensive eBook price varies) Growing Musicians this story shows that music has the power to bring undergraduate This guide for players works from a positive, friends together and let the sun shine through. Little textbook covers all of all abilities and angle, focusing on the Simon/Simon & Schuster, Inc., simonandschuster.com major facets of Latin aesthetic backgrounds impact that music American music and applies the Alexander classes can have on APPS 3 provides a lively, Technique to the adolescents during challenging discussion practice and perfor- Music Crab their transition from By Eric Zorgniotti (Free, available for iOS devices via couched in an appropri- mance of all string Apple’s App Store and for Android devices via Google child to adult. Based on ate cultural and instruments, and offers Play) Music Crab is a free music-tutor application with which students can learn music notes, the experiences of historical context: The a holistic approach to understand sheet music, and improve sight-reading music educators from a music is a specific skills. The aquatic world of the app allows kids to achieving technical and work with animals such as the crab, tropical fish, variety of teaching response to the era creative freedom. hippopotamus, and jellyfish. Students can choose to settings across the work in French or English, and with the treble or from which it emerges, Dozens of exercises, bass clef, and then let the crab lead them to the first country, it offers a rich evolving from common supported by a level to understand how to read notes. The levels collection of resources become more difficult as the student progresses roots to a wide variety dedicated website with through the app. Eric Zorgniotti, music-crab.com drawn from profession- of musical traditions. 80 video clips, cover als in music education, The companion website the basics of string general education, features over 50 tracks playing, including health, child develop- of streamed or linked left-hand articulation, ment, developmental audio, as well as vibrato, changes of psychology, counseling, student and instructor position, and many and other areas. quizzes. Routledge other techniques. Oxford University Taylor & Francis Group, Oxford University Press, oup.com routledge.com Press, oup.com

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

60 Teaching Music AUGUST 2018 AUDIO RECORDINGS 3 DVDS 3 Fine-Tuning Taught by Sun Is a Star Jump in the Music Is the Clarinet the Students: By Like Father Like Son Puddles My Passion (2018, 14 tracks, CD Section: A Culturally By Steve Elci & Friends Directed by Bert $15.00, digital Shapiro (2018, 72 Handbook for the Relevant (2018, 10 tracks, CD download $10.00) minutes, DVD $25.00, Band Director Pedagogy and $10.00, digital digital purchase Rolie Polie Guacamo- By Brent Coppenbarger Deep Engagement download $9.99) A $19.95, digital rental le’s front man, Frank $2.99) A collection of (2015, 124 pgs., celebration of the in Music Education Gallo, and his father, seven short documen- hardcover $52.00, By Ruth Gurgel (2015, traditional sounds of tary films published veteran children’s to support teachers paperback $26.00, 188 pgs., hardcover American roots musician Lou Gallo, and encourage parent eBook $24.50) music—including ’60s $65.00, paperback team up with Dean and community Clarinets are promi- $33.00, eBook $31.00) music, 12-bar blues, involvement in music Jones to create a education at a critical nent melody instru- country, and more— Within public schools bonafide kindie time in our schools, ments, and a strong Jump in the Puddles is in the U.S., students of super-group. Sun is a this video has been clarinet section can filled with tunes that created to help fill the color are truncating Star includes several gap caused by make the difference are bursting at the their music education songs with a father- budget-cutting of between a good band seams with joyful experiences at higher and-son theme: Some music programs in and a great band. In enthusiasm. This is an schools, and the rates than their white are of a general nature consequent loss of Fine-Tuning the Clarinet album to bring kids and counterparts. Gurgel (“Like My Dad,” “Like the many benefits in Section: A Handbook for families together for a human development presents and analyzes Father Like Son”), while the Band Director, bit of singing, dancing, brought by music. the perspectives of others explore the Viewers can experi- Coppenbarger offers a Gallo family musical clapping, and, of ence the sounds of eight students and range of strategies to scrapbook, including course, jumping. Songs rarely-seen medieval their teacher in a instruments up to the assist the band “She’s a Dog” and include “Teddy Bear,” a pluralistic seventh- experimental music of director, the beginning “Tennis Racket Song.” track that revels in the the 21st century. Each grade choir classroom. clarinetist, and the Other highlights spirit of early rock, and film can be screened individually, and an advanced clarinetist in Through the eyes of the “Supersonic,” which can include the action song average film runs 10 students, music developing a strong “Sharks and Dinosaurs,” be described an minutes with a total clarinet section. Topics teachers gain insight and a cover of “Handle American roots run time of over one hour. It is designed as into interventions that tip-of-the-hat to Cole include embouchure, with Care,” written by an enriching experi- reeds, intonation, and increase and maintain George Harrison for Porter’s “You’re the ence for both adults more. NAfME/ deep engagement. the Traveling Wilburys. Top.” Imagination and children in our world. Pheasants Eye NAfME/Rowman & Rowman & Littlefield, L.F. Gallo Records, lfls. Nation Records, Productions, rowman.com Littlefield, rowman.com bandcamp.com steveelciandfriends.com pheasantseye.com

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nafme.org 63 bravo! ✢ BY SUSAN POLINIAK JEFF COFFIN

SAXOPHONIST Jeff Coffin is a globally-recognized musician, composer, educator, and author. A member of Dave Matthews Band, three-time GRAMMY® winner, and 14-year former member of Bela Fleck & the Flecktones, he has played on countless recordings, fronts his own group—Jeff Coffin & the Mu’tet— founded the Nashville Jazz Composers Collective and Ear Up Records, and is an avid photographer. Even with all of this, he still finds time to teach saxophone and improvisation at Vanderbilt University in Nashville, Tennessee, and has led more than 350 clinics around the world.

You started playing alto sax in grade school. What drew you to music? I always remember “feeling” music as a young kid when I would listen to the radio. I also remember that it didn’t matter the style of Music music—I was into most everything I heard. Music has always made me feel something that I never felt before. It connects me with something that is indescribable, and time seems to stop in the middle of brings us gigs when the moment is just right. great joy,

When did you decide to pursue a career in music? I knew pretty early on, when I started and that joy to play with my band director’s trio the summer after my seventh-grade year. We moved a shouldn’t year after to New Hampshire and actually chose our school based on their music program: stop at Spaulding High School in Rochester. When I was in high school, I went to the Summer Youth Music School at the University of New Hampshire for three years. It was there that graduation. I found my tribe. I’ll always be grateful for the friends and teachers who were part of these very important experiences.

You’re touring with Dave Matthews Band through summer. What’s else is going on in your world? With DMB, we have a new recording that came out June 8, 2018. It’s a killer group of tunes and we are currently on tour support- ing it. I had a duet project, Flight, that came out in early May 2018 with a great Japanese drummer, Tatsuya Nakatani. I also have a standards recording coming out, Shout It Out! Spirit Music … All my recordings are on my record label, Ear Up Records (earuprecords.com). I also work with other groups when not touring with DMB, and there are recordings of each available on Ear Up. I love playing with great musicians and I’m thrilled to get to do it as much as I do!

You’re heavily involved in music education. Can you tell us more about that, and why you teach? I teach because I adore teaching! Teaching is one of the most important things I will ever do. I have been at Vanderbilt since 2015 and it’s a joy to teach there. I love seeing my students, working with them, hearing them improve, and watching that lightbulb go off when we are working on something. I have given well over 300 clinics as well at this point in my career. My goal is to get the group to play at a level they didn’t realize was possible—and I usually succeed!

Why do you feel that music education is important for kids today? It gives students a place to feel accepted, a place that they feel they are relevant and a part of some- thing important. There is teamwork and individuality at the same time. I think playing music should be a lifetime endeavor regardless of whether someone is a professional musician or not. Music brings us great joy, and that joy shouldn’t stop at graduation. Photo by Roxanne Haynes. Roxanne Photo by

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