teachingmusicmusicJANUARY 2014 VOLUME 21, NUMBER 4

SECRETS FOR CHOOSING A GREAT MIDDLE SCHOOL BAND REPERTOIRE

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PEDAL TO THE METAL: Music in a HIGH DOUBLEDOUBLE PERFORMANCE LIVESLIVES Curriculum TeachersTeachers addadd fulfifulfi llinglling musicalmusical careerscareers outsideoutside thethe classroomclassroom

1 Teaching Music I October 2012

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_TM_AD_Temp.indd 2 12/3/13 10:07 AM January 2014 Volume 21, Number 4 contentsMusic Education ● Orchestrating Success Music students learn cooperation, discipline, and teamwork.

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2_TOCTM.indd 3 12/5/13 10:48 AM January 2014 contents Volume 21, Number 4 52

18 Technology Wireless microphone technology can Departments benefit the music educator. 24

Letters Workshop Opinions from our readers 8 General Music Adapting instruments for students Advocacy with physical disabilities 44 How can you create a successful advocacy Brass & Woodwinds day in your state? 18 Troubleshooting your clarinet section 44 Research Nonmusical factors can affect an adjudica- Strings Working on the bow arm tor’s rating of your students. 20 45 Percussion Partnerships Strategies for connecting with your The Music Education Policy Roundtable: beginning jazz drummer 46 Who it is and what it does. 22 Choral & Vocal

Sight-Singing: Your Students Can Do It! 46 ff 12 adcli

Alternatives R Composing with the iPad 47 andi ; R

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Secondary rtesy In the age of cell phones, audience u News co etiquette shouldn’t be obsolete. .; 50 nc , I 9 u pbeat Collegiate raphy

Connecticut Music Teacher Is State Music Teacher of the Year … What are some of the best summer jobs g Music Educators Assess the State of Teacher Evalutions … Online for music education majors? 52 hoto Voting for Presidential Elections in January … Learning via P arie NAfME Professional Development Opportunities … All-American Resources M New media and accessories for

Marching Band Drum Major … NAfME Orchestrates a New eanne the music classroom 54 Conference in Nashville … Music Educators Share What They © J : top

Took Home from Nashville BRAVO! rom f 15 NAfME.org A guide to what you can find on the Nafme website Teaching Music salutes conductor, com- poser, and arranger Steven Reineke 58  hotos P

4 Teaching Music January 2014

2_TOCTM.indd 4 12/10/13 12:29 PM FROM THE TOP

_TM_AD_Temp.indd 2 12/5/13 9:59 AM EXECUTIVE DIRECTOR AND CEO Michael A. Butera DEPUTY EXECUTIVE DIRECTOR AND COO Michael Blakeslee EDITOR Nelson Duffl e MANAGING EDITOR OF NEWS Rosalind C. Fehr For a listing of the NAfME National Executive Board, please see our website: nafme.org. Unless specifi cally noted, articles in Teaching Music do not necessarily represent the offi cial policy of the Endorsed) • Master National Association for Music of Music Degree with Education. Kodály emphasis • Graduate, undergraduate and workshop course Teaching Music is created for options • For a complete NAfME by In Tune Partners, LLC course listing, visit [email protected] SL.edu/SummerMusic or CEO Irwin Kornfeld call 800-236-4752 x161. Sponsored by the Franciscan Sisters of Christian Charity PRESIDENT Will Edwards EDITORIAL DIRECTOR Emile Menasché EDITOR-IN-CHIEF Susan Poliniak CREATIVE DIRECTOR Jackie Jordan ADVERTISING MANAGER Bill White PRODUCTION MANAGER Robin Garber BUSINESS MANAGER Barbara Boughton CONTRIBUTORS: Andrew S. Berman, Debbie Galante Block, Chad Criswell, Cynthia Darling, Steve Fidyk, Patience Moore, Cathy Applefi eld Olson, Adam Perlmutter, Keith Powers, Travis Weller

The National Association for Music Education is a voluntary, nonprofi t organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME membership is open to all people engaged in music teaching or other educational work in music. Teaching Music (ISSN 1069-7446), an offi cial magazine of the National Association for Music Education, is issued to members 6 times per year in August, October, November, January, February, and April at an annual sub- scription price of $10. Office of publication: National Association for Music Education, 1806 Robert Fulton Drive, Reston, VA 20191- 4348; 703-860-4000. Produced by In Tune Partners, LLC. Institutions may purchase one volume year of six print or electronic issues for $120. Single copies of issues are $20. A limited number of back issues are available for purchase. Permission requests to reproduce or otherwise use material published in this journal should be submitted to Caroline Arlington at CarolineA@ nafme.org. Periodicals postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offices. POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2013 by the National Association for Music Education. Printed in the U.S.A. Teaching Music is available via electronic databases from most universities and libraries.

6 Teaching Music JANUARY 2014

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

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Title of publication: Teaching Music. Publication Number: 1069-7446 Thinking Outside the Box why not make the parents an Date of filing: October 1, 2013. integral part of the concert Frequency of issue: 6 times annually—January, Spring in the Midwest brings warm- and have them critique the February, October, November, April, and August. performance? Subscription price: $10.00 with membership. er weather, when greenery emerges Complete mailing address of known office of publication: 1806 Robert Fulton Drive, Reston, VA and an excitement for summer 20191–4348. quickly approaches. Spring also Complete mailing address of headquarters of general business offices of the publishers: 1806 Robert Fulton brings with it contest season, when Drive, Reston, VA 20191–4348. Full names and complete addresses of publisher, directors feverishly work to perfect editor, and managing editor: Publisher—Nelson Duffle (Editor): National Association for Music Education, 1806 music being taken to contest. Robert Fulton Drive, Reston, VA 20191–4348; Susan Poliniak (Editor in Chief): InTune Partners (Teaching Having worked my kids tirelessly Music), 582 N. Broadway, White Plains, NY 10603 and squeezed every ounce of Owner: National Association for Music Education. Known bondholders, mortgagees, and other security musicianship into their souls, I holders owning or holding one percent or more of total amount of bonds, mortgages, or other securities: none. began working on all the logistics of Nonprofit organization authorized to mail at special rates: The purpose, function, and nonprofit status of this our upcoming concert where we organization and the exempt status for federal income tax purposes have not changed during the preceding would feature our contest selections, I offered extra credit to any parent twelve months. before we attended the Indiana State who turned in a completed score sheet Extent and nature of circulation: A. Total number of copies printed (net press run). School Music Association contest. at the end of the concert. This was not Average number of copies each issue during preceding twelve months: 56,885 actual number of copies of single As I was writing my program notes as much an exercise for me to gain issue published nearest to filing date: 44,318. B. Paid circulation. (1) Mailed subscriptions (outside- to address the audience, I started feedback as it was a way for the parents county). Average number of copies of each issue during preceding twelve months: 55,495; actual number of thinking about how to to become active and critical copies of single issue published nearest to filing date: 43,372. (2) Mailed subscriptions (in-county). Average explain the contest to them. listeners. It was a way for them number of copies of each issue during preceding twelve months: 0; actual number of copies of single issue They have become accus- Our jobs are to understand and live with published nearest to filing date: 0. (3) Paid distribution outside the mail including sales through dealers and tomed to having sight-read- to teach and the demands that were being carriers, street vendors, counter sales, and other paid distribution outside the USPS. Average number of ing at this concert and are to advocate placed on their children. It copies of each issue during preceding twelve months: 126; actual number of copies of single issue published familiar with the process now. that about was a way to connect the nearest to filing date: 111. (4) Paid distribution by other classes mail through the USPS: Average number of I began writing how our which we are learning that was happening copies of each issue during preceding twelve months: 0; actual number of copies of single issue published students would be assessed on so passionate. in class and relay it in a way nearest to filing date: 0. C. Total paid distribution. Average number of copies of their ability to play in tune that everyone would have a each issue during preceding twelve months: 55,621; actual number of copies of single issue published and perform with balance and blend. I better understanding. nearest to filing date: 43,483. D. Free distribution (by mail and outside the mail). (1) continued going down the state score It comes down to a question of Outside-county: Average number of copies of each issue during preceding twelve months: 0; actual number of sheet, listing important skills. It became educational philosophy. Is our job to copies of single issue published nearest to filing date: 0. (2) In-county: Average number of copies of each issue evident to me, though, that many of the educate only the students who walk during preceding twelve months: 0; actual number of copies of single issue published nearest to filing date: 0. audience would have no idea what I through our doors? Or is it our (3) Other classes mailed through USPS: Average number of copies of each issue during the preceding was talking about and would be responsibility to be ambassadors of twelve months: 180; actual number of copies of single issue published nearest to filing date: 180. (4) counting the bricks on the wall until music to anyone who will listen? Our Distribution outside the mail: Average number of copies of each issue during the preceding twelve months: 0; their child started playing again. How jobs are to teach and to advocate that actual number of copies of single issue published nearest to filing date: 0. could I reach them better? about which we are so passionate. The E. Total free distribution. Average number of copies of each issue during preceding twelve months: 180; actual I decided to create a visual aid that parents loved the new approach, and it number of copies of single issue published nearest to filing date: 180. became a score sheet to put in the is an idea that I will continue with F. Total distribution. Average number of copies of each issue during preceding twelve months: 55,801; actual program. Then the moment hit—that every spring concert in the future. number of copies of single issue published nearest to filing date: 43,663. moment you see in your kids when they —Johann Sletto, Director of Bands, Crown G. Copies not distributed (office use, left over, spoiled after printing, and others). Average number of copies of finally understand what you’ve been Point High School, Crown Point, Indiana each issue during preceding twelve months: 1084; actual number of copies of single issue published trying to teach them. The light bulb lit nearest to filing date: 655. H. Total. Average number of distributed copies and up. If the score sheet could be in the undistributed issues for each issue during preceding Write to us twelve months: 56,885; actual number of copies of program, why not make the parents an Send your thoughts to single issue published nearest to filing date: 44,318. [email protected] or fax Percent Paid. (1) Average percentage of copies of each integral part of the concert and have issue during preceding twelve months: 97.87%. (2) a letter to 703-860-9027. Please include Actual percentage of copies of single issue published them critique the performance? What your full name, job title, school name, nearest to filing date: 98.23%. and the city and state where you teach. I certify that the statements made by me above are better way to learn than by doing? correct and complete.—Adriane Darvishian, Director, NAfME Member Constituencies

8 Teaching Music January 2014

3_LettersTM.indd 1 12/6/13 9:40 AM upNews beatand notes for today’s music educator By Rosalind C. Fehr

Connecticut Music Teacher Takes the Spotlight as State Teacher of the Year John F. Mastroianni, a music One of Mastroianni’s students, Hall arranger, Mastroianni has played profes- teacher at William H. Hall High Student Association president Ethan sionally since he was 15. He has worked School in West Hartford, Connecticut, Swain, told the Hartford Courant that he with artists such as Mel Lewis, the has been chosen as 2014 Connecticut treats all of his students with Vanguard Jazz Orchestra, Gerry Being a Teacher of the Year, and is under respect, kindness, and Mulligan, The Glenn Miller Band, professional consideration for National Teacher of compassion. “You have not Johnny Mathis, Aretha Franklin, musician the Year. West Hartford Public Schools only taught us to be better Natalie Cole, Donna Summer, Tony makes me Superintendent Karen L. List called musicians, Mr. Mastroianni, Bennett, Barry Manilow, and many a better Mastroianni “an extraordinary man, but you have taught us to be more. His compositions have been teacher. musician, and teacher. Evidence of better people,” he said. performed by the Army Blues exceptional teaching is demonstrated Mastroianni believes that one of his Band, the New England Jazz Ensemble, and when students can teach each other jobs as a music educator is to instill a the Tommy Dorsey Orchestra. He and perform without their teacher. lifelong love of music, no matter what the performs with his own jazz quartet and has Mr. M. develops such learners.” form, in his students. “We want music to three albums. “Being a professional Mastroianni was chosen from four be a part of kids’ lives. I think a lot of musician makes me a better teacher and finalists, 15 semifinalists, and more than music teachers like to talk about a being a teacher makes me a better 100 district-level teachers of student going to All-State, and professional musician,” he says. the year. “After watching him that’s great. But that’s not the Mastroianni is the second music with his students and kid I take the most credit for. I teacher named as a 2014 State Teacher (2) interviewing parents, school take credit for the kid who’s of the Year. NAfME member Peter staff, and students, the sitting at the back of the room, Markes, string and Advanced Placement

astroianni selection committee was in who is able to unlock his or her teacher from Edmond North High School,

F M awe. We knew he would be an own love of music. If you really has been named the 2014 Oklahoma ohn J outstanding representative capture that, then I think you Teacher of the Year. The National of for Connecticut’s teachers,” can say you’ve been successful Teacher of the Year will be announced in rtesy

u says Richard C. Brown, vice as a teacher.” the spring of 2014 in a ceremony in the co : president of the Connecticut A saxophonist, woodwind Rose Garden at the White House in Teacher of the Year Council. doubler, composer, and Washington, D.C. hotos P

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5_NewsTM.indd 9 12/5/13 11:31 AM Dates & Deadlines During Nashville Preconference, 2015 U.S. ARMY ALL AMERICAN MARCHING BAND Music Educators Assess the State Band directors can nominate marching musicians and color guard members for the 2015 USAAAMB. The deadline is January 31, 2014. of Teacher Evaluations Nominees must be members of their high school IN OCTOBER, music teachers, fi ne workbooks: the Workbook for Building marching bands, and set to graduate in 2015. arts supervisors, and college and Evaluating Effective Music Educa- nafme.org/marching professors gathered in Nashville, tion in the School Ensemble, and Tennessee, to discuss how teachers the Workbook for Building and Evaluat- 2014 STUDENT COMPOSERS can assess the work of students, and ing Effective Music Education in General COMPETITION NAfME seeks original music from elementary how teachers themselves can be fairly Music. The workbooks are available through graduate school students for the Young Composer Concert at the 2014 NAfME National evaluated. from nafme.org in print and In-Service Conference. The deadline is February The Preconference was held digital (PDF) formats. (Call 15, 2014. in conjunction with the 2013 800-336-3768 to order over nafme.org/scc2014 NAfME National In-Service the phone.) Conference. The NAfME Preconfer- 2014 NAFME MUSIC RESEARCH Glenn Nierman, ence looked at the issue from & TEACHER EDUCATION president-elect of NAfME, a variety of angles: NATIONAL CONFERENCE Registration is open for the 2014 NAfME said that the Association’s • Research issues and trends in Music Research & Teacher Education National Conference, April 10–12, in St. Louis, Missouri. focus on teacher evaluations teacher evaluations Daniel Levitin will present the keynote. is really about “helping • Using technology to evaluate research2014.nafme.org/ teachers to do a better job of students helping teachers to learn.” • Common Core Standards and music 2014 ELECTRONIC Music educators have long noted literacy COMPOSITION CONTEST that the vast majority of school • Reimagined standards, student NAfME seeks submissions for its 2014 Electronic Music Composition Contest. The deadline is administrators come from other assessments, and teacher evaluations April 15, 2014. Entrants must be students of areas of study and are often unfamil- • Music teacher evaluation from a NAfME members or be Collegiate members. iar with what happens in music state perspective. nafme.org/emcprizes classrooms, and are uncomfortable NAfME also has been addressing in performing observations and the teacher evaluation from a policy 2014 NAFME NATIONAL evaluations. standpoint, lobbying lawmakers on IN SERVICE CONFERENCE Mark your calendar for the 2014 NAfME NAfME, with the help of an teacher evaluation issues and also National In-Service Conference, October 26–29, Assessments Task Force headed up encouraging grassroots efforts to 2014, at the Gaylord Opryland Resort in Nashville. by Nierman, has created two address the issue. nafme.org/nisc2014

ONLINE VOTING FOR PRESIDENTIAL ELECTIONS IN JANUARY In January 2014, the National Association for THE DIVISION PRESIDENT-ELECT Music Education will conduct online voting for CANDIDATES ARE: the next generation of NAFME leaders. All • SOUTHERN DIVISION: Andrea Coleman Association members will vote for 2014–2016 (Mississippi) and Sara Womack (Alabama) NAfME National President-Elect. Members in • WESTERN DIVISION: Russ Sperling three divisions will also vote to select their (California) and Paul Watson (Utah) 2014–2016 President-Elect: North Central, • NORTH CENTRAL DIVISION: Judith Bush Southern and Western. Voting for all offices will (Nebraska) and Leyla Sanyer (Wisconsin) open on Tuesday, January 7, 2014 and close at The new offi ceholders will assume their midnight on Wednesday, February 12, 2014. duties one week prior to the date of the National Denese Odegaard and John L. Kuhner are the two ODEGAARD KUHNER Assembly meeting that follows the election. The candidates for National President. Odegaard is National Assembly will next meet in June, 2014 the Fargo (North Dakota) Public Schools’ performing arts specialist. with Glenn E. Nierman taking offi ce as 2014–2016 NAfME National Kuhner is the K–12 music department chairman for the Cheshire President. Nierman, associate director of the University of Nebraska (Connecticut) Public Schools. (Lincoln) School of Music, is currently 2012–14 NAfME President-Elect. Kuhner and Odegaard each shared their visions for the Association’s He is a past president of the NAfME’s North Central Division and of future at NAfME’s National Leadership Assembly which met in June 2013 at the Nebraska Music Educators Association (NMEA). His public school Tysons Corner, Virginia. They also answered questions from the delegates. teaching experience includes work with middle school general music Visit nafme.org/candidates to watch a video in which the candidates and choir, as well as high school band and orchestra. speak and answer audience questions. Nancy E. Ditmer of Wooster, Ohio, is the current NAfME president. PHOTOS FROM LEFT FEHR; : ROZ JEANNEMARIE PHOTOGRAPHY; COURTESY OF JOHN L. KUHNER

10 Teaching Music JANUARY 2014

5_NewsTM.indd 10 12/6/13 9:47 AM All-American Marching NAfME’s Band Drum Major: 2014 Research & Is the Band Ready? Teacher BLAKE MORGAN, a rising senior at Herndon Education (Virginia) High School, is the drum major for Conference the 2014 U.S. Army All-American Marching Band (USAAAMB). His selection was announced at the to Feature Drum Corps International (DCI) World Class Finals Daniel in Indianapolis, Indiana last August. His band BLAKE MORGAN WITH Levitin as director at Herndon High School is Kathleen Jacoby. HERNDON HIGH SCHOOL BAND DIRECTOR, KATHLEEN JACOBY Keynote The 125 high school seniors named to the Speaker band last fall possess exceptional musicianship, (Herndon), so I went for it and luckily I was Registration is now marching achievement, character, and leadership chosen.” In the past, two other Herndon students open for the 2014 National Association skills. They will perform at halftime during the were chosen for the band; both went on to college for Music Education All-American Bowl on January 4, 2014 in San as music performance majors. Music Research & Teacher Education Antonio, Texas. The game will feature the As he looks forward to San Antonio, National Conference. top high school senior football players in I am Blake says his conducting style is “based The Conference will be held April 10–12 at the the country. NAfME is the offi cial selection grateful on the music. Rather than providing a St. Louis Union Station for the Doubletree by Hilton partner of the USAAAMB, and partners with insights beat for marching, I want to make sure Hotel in Missouri. title sponsor, the U.S. Army, Drum Corps they’ve that what the band plays on the fi eld International, and All-American Games. given me sounds like music instead of just sound.” A percussionist and choral student, about Nicholas V. Holland III, associate Blake appreciates the instruction he’s music as director of bands and director of athletic received from Jacoby and Herndon choral well as life. bands at Charleston (South Carolina) director, Dana Van Slyke. “I am grateful for the Southern University, is the director of the insights they’ve given me about music as well as USAAAMB for 2014 and 2015. Holland joined the life,” he says. Blake has aspired to be a part of the USAAAMB staff in 2011 as the piccolo/clarinet NAfME leaders, USAAAMB “since I learned of the band as a instructor. He is an active adjudicator and along with music education researchers freshman. I’m a percussionist, so I planned to clinician of marching and concert ensembles and music teacher audition for that, but I am also drum major here throughout the United States. educators, will be in attendance at the Get updates on the band at nafme.org/marching or the band’s Facebook page at facebook.com/USAAAMB. conference. Award-winning scientist, musician, and record producer Daniel JANUARY WEBINARS Levitin will present the Learning via NAfME Professional INCLUDE: keynote address. Levitin is the author of January 14 ›› “Starting Development Opportunities This Is Your Brain on Strong with Classroom Music, which has been Management,” Dennis THE LEARNING NETWORK is the National Association for Music Educa- published in 19 Granlie tion’s online professional development resource. NAfME’s network languages and spent January 23 ›› “S-Cubed: more than a year on The provides access to real-time and archived webinars. Designed to be Successful Sight-Singing for New York Times Best accessed at home, the webinars also include lesson plans on some of the Middle School Teachers and Seller list. His newest Their Students,” Dale Duncan book, The World in Six most relevant topics in music education. The webinars are led by national- , topped January 30 ›› “Composing Songs best-seller lists in its ly-known experts. An annual Learning Network subscription for all with Your Students: fi rst week of release as Strengthening Bonds While webinars can be purchased for a member price of $49.95. Webinars can be well. Learning How to Compose In addition to the attended live and also are archived on the Learning Network’s Soundtree Together,” Rob Deemer keynote, the confer- site at institute.soundtree.com/nafme. ence will include open NAfME also offers a special institutional subscription rate for an entire school district that provides forums, presentations by key national music professional development for an entire music faculty. In addition, individual webinars also can be purchased education scholars, research poster for $9.95. Coursepacks, collections of NAfME-published articles, and other materials that National sessions, and planning In-Service Conference presenters have chosen as supplements to their sessions are also an option. meetings. For more information Individual webinars and coursepacks can be purchased via the NAFME online Shopping Cart at nafme.org. and registration details, visit research2014. Visit for an up-to-date calendar of Learning Network webinars. nafme.org/webinar nafme.org/ PHOTOS FROM TOP: FEHR; ROZ ISTOCK/THINKSTOCK

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5_NewsTM.indd 11 12/5/13 11:32 AM NAfME Orchestrates a New Conference in Nashville The 2013 NAfME In-Service Conference at the Gaylord Resort and Convention Center in Nashville, Tennessee was a lively event of 1 learning and performance for four days covering October 27–30. Students rehearsed with revered conductors. Teachers made new friends, brushed up on rehearsal techniques, or considered how to 2 integrate drumming or guitar into their music programs. A rousing concert at the Grand Ole Opry by Casey James, Sarah Darling, and the duo Striking Matches opened with a speech from the Mayor of Nash- ville, Karl Dean. Anyone wanting to make music, hear music, discuss music, or learn to teach music “better” found plenty of opportunities to do so at the conference. The following photos offer a glimpse of highlights from the 2013 Conference. And remember: It’s not too early to plan for the next Conference. NAfME heads back to Nashville October 26–29, 2014.

1] Jill McLaughlin and her son Alex, a viola player in the All-National Honor Ensemble Orchestra talked during student check-in. Janine Bergamini, orchestra director and Alex’s teacher at Kingston (New York) High School, said in a school district news story: “Alex is not only gifted musically but has the highest work ethic. He prepares diligently for each playing test, rehearsal and performance.” 2] Music educators got a hands-on guitar experience 3 4 in Glen McCarthy’s “Find Your Inner Rock Star” session. 6 3] During a concert at the Grand Ole Opry House, Nashville Mayor Karl Dean spoke about the vital role music education plays in the school curriculum. 4] Mixed Choir Ensemble students (from left) Aisvarya Chandrasekar, Gurnoor Tucker, Jason Thiagaram, and Sruthi 5 Nanduri, are from John P. Stevens High School in Edison, New Jersey. Brendan Wu (far right), an 7 8 All-National Orchestra student, also attends Stevens. Tucker said that rehearsing with choral conductor Rollo Dilworth and performing a challenging repertoire was “an amazing experience.” Brian Verdi is the orchestra director and Jonathan Meszaros is the choral director at Stevens. 5] Nashville television reporters interview NAfME President Nancy E. Ditmer (left) and Michael A. Butera, NAfME Executive Director and Chief Executive Officer, for stories that aired later than night.

12 Teaching Music January 2014

5_NewsTM.indd 12 12/5/13 11:32 AM 10 15] Members of the Soddy Daisy (Tennessee) High School Symphonic Band hang out after a perfor- mance as one of the specially-invited Tennessee music groups. Eric Majors, the band’s conductor, said that his students enjoyed the experience. 16] Percussionist Cole Insko (center) played in the AHNE Jazz Ensemble, while his parents, music teachers Robert and Shelley, attended the conference. His brother Nathan, a NAfME Collegiate member, also participated. Nathan began student-teach- ing last fall. The four Inskos often perform together. 17] Steve Campbell, music 9 director of the Dancing Drum, led teachers through the “Drumming Up World 6] The NAfME Central stage Music: West African was always a busy place for Rhythms and Songs” session. musicians of all genres. 7] The historic Grand Ole Opry House hosted the 12 Opening Night Concert for the Conference with 8] Casey James, 9] Sarah Darling, and 10] Striking Matches (Justin Davis and Sarah Zimmermann). 11] Getting into the spirit of Nashville. Cowboy hats added a country flair to 11 the All-National Honor Ensemble Orchestra. Miriam Burns, conductor of the McLean (Virginia) 13 Orchestra, was the ANHE orchestra conductor. 12] At Nashville’s Ryman Auditorium, songwriters Gordon Kennedy and Wayne Kirkpatrick shared stories and played their songs for the Songwriters in the Round event. It was sponsored by QuaverMusic. 13] At the Wildhorse Saloon, Shari Nierman and NAfME President-Elect Glenn Nierman celebrate at the Give a Note Foundation Extravaganza. The party was a fundraiser for the foundation. 14] John Blythe demon- strates fixes and preventive maintenance during “Quick and Easy Brass Instrument Repair,” a Music & Arts– 14 15 sponsored session.

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5_NewsTM.indd 13 12/6/13 9:48 AM Conference Musings: Music Educators Share What They Took Home from Nashville In October, music educators from throughout the United States and overseas gathered for the 2013 NAfME National In-Service Conference in Nashville, Tennessee. The conference featured various concerts and a number of special events and performances by the National Association for Music Education’s All-National Honor Ensembles. Back at home, a number of music educators said they also valued the professional development sessions and networking, which provided information that they took back to the classroom.

“The conference as a whole was tremendous.”

James Edwards, director of instrumental and vocal music at Stuart-Hobson Middle School in Washington D.C., discussed the sessions in which he participated: “Each session Advancements in Music Practice and Rehearsal Room “The preconference I attended had in-service days Acoustics This session provided information that will be put I information I could to immediate use as we are about to break ground on a new were extremely use right away. ” arts facility and renovate our auditorium. With the information informative.” and resources gained, I will be able to more effectively guide the Sharon Vaughn, a Kodály Teresa Brown, director of building process to ensure proper acoustics are installed. teacher from W.J. Clinton fine and performing arts for DCI: Marching Music 101 I It was great to be able to interact Primary School in Hope, the Newburgh Enlarged City with so many band directors whose work I have admired over Arkansas, said, “I enjoyed School District in New the years. The discussion about the lack of training present in myself immensely. Each session Windsor, New York, says “I our teacher education programs for students who will need this I attended had information I had a great conference unique skill set was enlightening. I feel strongly that the could use right away. I was experience in Nashville. Being availability of so many experienced band directors to answer especially impressed with the from New York, the precon- questions by our aspiring directors was quite important. Quaver presentation and the ference in-service days were Instrument Repair: Multiple Sessions I Each of these sessions Interactive Music dance extremely informative and provided valuable information on performing basic mainte- session put on by Silver provided me with many nance and repairs. Many of those new skills have already been Burdett. The Dancing Drums resources for advocacy, put into practice with my own inventory. session was entertaining too.” improved teacher evaluation, Edwards added: “The conference as a whole was tremen- Vaughn said she also assessment, and instruction. dous. I walked away recharged. I felt like it was well thought out enjoyed the iPad session “as “The decision to go to and organized.” He also appreciated the opportunity to share we are trying to implement Nashville was based on our experiences with other music teachers. “Networking with other Insight360 here in Clinton district’s initiatives in teacher teachers and resources was a significant part of the conference Primary. There I got ideas on evaluation, incorporating for me. The chance to share techniques, successes, needs, etc. is where I could find funds to common core standards into incredibly valuable. The opportunity for veteran music educators purchase the Quaver curricu- arts education and instruc- to interact with collegiate members will make a lasting impres- lum. As a music educator for tion, and developing assess- sion on their future practice. One of my pet peeves is that we the past 29 years, I find the ments as part of the state work a lifetime gaining this vast array of knowledge and then Quaver program a good fit for regulations for pre- and post- retire, leaving the next generation to reinvent the wheel.” how I teach.” evaluation of students. The conference addressed each of these initiatives and allowed Conference attendee Terry Twitty teaches instrumental music in Cincinnati “The conference Public Schools. “I teach in five different buildings. We received most of our me to gain content-specific instruments from the VH1 Save the Music Grant Foundation. I teach 5th- to was great!” 8th-grade band.” In Nashville, he said “I attended several sessions and gained information, rather than taking r (3) feh

helpful information. The conference was great! I met several teachers and z

information from New York o exchanged contact info for future reference.” (State) and molding it to fit into : r NAfME has posted session materials from the In-Service Conference at nafme.org/conresources our instruction in the arts.” hotos P

14 Teaching Music January 2014

5_NewsTM.indd 14 12/5/13 1:38 PM NAfME Nafme.org—the web home for music educators, advocates, and supporters

Music Educators Supporters NAFME COMPLETE THE FORUMS NEW NAFME BOOK CATALOG! OSTINATO CIRCLE! Share strategies, Get your professional library a holiday gift! The NAfME Support music ask questions, and education help your peers. Book Catalog 2013–14 can help you orchestrate success by becoming Find communities a member of of educators inter- in your classroom and career. Hone your professional Give a Note Foundation’s ested in band, skills, improve your teaching, and have a greater positive chorus, higher ed/ Ostinato administration/ effect on your students and community. Many of the Circle—a community research, and of givers who commit orchestra topics. publications described are available either in hard copy or digitally for your to a recurring monthly donation. Your gift will musiced.nafme. Kindle, iPad, or other electronic device. Visit org/forums rowman.com/Catalogs/RLE13NAfME help enhance access to music study in underserved areas. PROGRAMS: Professional Develop- Visit giveanote.nafme. TEACHER EVALUATION WORKBOOKS org to learn more. Share Your NAfME, along with the help of an Assessments Task ment at your Fingertips! MIOSM® Student Force headed by the association’s president-elect The Learning Network is Glenn Nierman, has just released two new tools for Performances music educators and administrators: the Workbook the National Association for Building and Evaluating Effective Music Education Advocates It’s not too late to for Music Education’s in the School Ensemble, and the CHECK OUT create and submit your Workbook for Building and online professional Evaluating Effective Music THE “POLICY” own Student Perfor- Education in General development resource. TAB FOR Music. Both are available at INFORMATION ON mance Video for shop.nafme.org in print and NAfME’s network ✔ Teacher Evaluation consideration as a digital (PDF) formats. You NOW can also call 800-336-3768 provides access to by State featured video on the AVAILABLE! to order by phone. real-time and archived ✔ Charter Schools ✔ Common Core NAfME website during webinars, with lesson State Standards March 2014—Music In March 2014 will receive using the members-only plans on the most ✔ ESEA and Title I ✔ NCLB Waivers Our Schools Month! a prize, to be deter- sheet music and audio relevant topics in music ✔ NAfME’s Policy Teach one or two of the mined by NAfME and a tracks supplied by Hal education. The webinars Research Agenda ✔ Race to the Top songs at musiced sponsor. For details, go Leonard Corporation at are led by nationally- ✔ STEM and STEAM. .nafme.org/concert using to musiced.nafme.org/ musiced.nafme.org/ known experts. the free members-only concert. Questions? concert to teach your January 14 ›› “Starting sheet music and audio Email [email protected] students the great Strong with Classroom Plus tracks, then film your MIOSM concert music. Management,” Dennis students’ performance, Get Ready for Be ready for your own Granlie and submit to NAfME Your Own Concert Concert for MIOSM! Like us on Facebook: January 23 ›› “S-Cubed: facebook.com/nafme ® by January 31, 2014. for MIOSM ! Successful Sight-Singing Follow us on Twitter: The video receiving the March 2014 is just for Middle School @NAfME most views during around the bend! Start Teachers and their students,” Dale Duncan January 30 ›› “Compos- Express Yourself with NAfME Mugs! ing With Your Students: Strengthening Bonds Show the world how you really Not near a computer? feel about music! This item comes While Learning How to You can scan this Compose Together,” QR code with your with chalk. Visit shop.nafme.org. smartphone to visit Rob Deemer. nafme.org.

nafme.org 15

5_NewsWebTOC.indd 9 12/5/13 1:43 PM Classrooms ✢ By Adam Perlmutter

Parents should be encouraged to available to all members of the attend booster group meetings. booster group prior to the A Selection meeting,” so that these sessions of NAfME’s will be as efficient and Online productive as possible. Resources Booster club meetings are • “Upgrade your typically centered around the Boosters”—Advice and a selection of planning of fundraising events. links to resources: Newton has found that the nafme.org/ boosterupgrade best fundraisers are those that • An excerpt from are mutually beneficial to the Music Booster buyer and the seller—for Manual (1989, MENC): nafme.org/ example, the solicitation of boostermanual

tax-deductible donations. Sales • “Join Forces of timely goods such as citrus to Create Super Boosters”—Advice for fruits during the holiday working on district and Creating and school levels: nafme. season have also proven org/boostersupport successful. In planning Running a Music • “Music Teachers fund-raisers, though, New- Discuss the Role Music Booster Groups Play Booster Group town cautions boosters not to (Or Don’t Play)”— take on more than they can Results of a NAfME Valuing parents’ contributions member poll on is one key to success. handle. “Hosting a large event, booster groups: such as a marching contest, can nafme.org/boostergroups These are difficult times for because they are a part of the also be a great source of funds many schools. However, a program. Can you imagine but it can be very time-con- music educator can help his or trying to do a trip without suming for the parents.” her program by establishing a chaperones? We need our It is important that any A successful booster club: a parent-run parents! Get them to believe in funds raised are handled in a organization that supports what you are trying to do for transparent way. Newton says, program is one student activities by helping their children and the support “Fiscal responsibility is in which the kids, create to revenue. will be instantaneous. Allow paramount in the handling of parents, and According to Cheryl them to use their gifts and money for booster groups. director come Newton—who retired in 2012 strengths and always remember They must follow all local, together. from her three-decade career that they are volunteers. Be state, and federal guidelines, at Oakton High School in supportive to them and be and work closely with the Vienna, Virginia—in order to grateful,” advises Newton. school to ensure correct successfully create and run a Another big part of running handling of funds.” booster group, a teacher must a booster group is to have Newton has seen that What are have a clear vision of the frequent meetings—ideally, booster clubs help not just the your best program that is based on a monthly. All parents should be students and director, but also ideas for sound philosophy of music strongly encouraged to attend, the parents. “There was a sense booster groups? pedagogy. This is to be be heartily welcomed, and of pride in accomplishment, Send your letters to presented to the members in a have their contributions knowing that it took everyone [email protected] or fax a letter to lucid way that draws them in valued. A little preplanning is to succeed,” she says. “A 703-860-9027. Please include your full name, without overwhelming them. always a good idea, too. successful program is one in job title, school name, “The boosters must be made Newton says, “The agenda for which the kids, parents, and and the city and state where you teach.

to feel a part of the program each meeting should be made director come together.” istock/thinkstock photo: 

16 Teaching Music January 2014

6_Classroom.indd 1 12/5/13 10:54 AM FROM HERE TO ANYWHERE

BELMONT UNIVERSITY School of Music Audition Dates

UNDERGRADUATE: November 9, 2013 / January 11, 2014 / January 25, 2014 February 8, 2014 / March 22, 2014 (Admission only)

GRADUATE: November 9, 2013 / January 24, 2014 / February 14, 2014 / February 28, 2014

For more information, call 615.460.6408 or visit www.BELMONT.edu/music.

_TM_AD_Temp.indd 2 12/10/13 12:32 PM ✢ Advocacy By Debbie Galante Block The most powerful person in a district is NAfME itself actively the teacher lobbies on Capitol Hill on who lives in the behalf of music education positions and closely monitors same town as education policy in Washing- their school. ton, D.C. The Advocacy and Public Affairs staff works with leaders of the federated state Start associations to bring about Small, Get change. At the NAfME Big Results conference this past October, If a Drive-in Day seems there was panel on drive-in overwhelming, then Illinois Representative Aaron Schock, Oregon Representative take baby steps. Stirring Suzanne Bonamici, NAfME President Nancy Ditmer, and NAfME days that featured four of the up interest in a specific Executive Director and CEO Michael A. Butera on hill day 2013 . district is a way to most progressive leaders in this bring music to the area: NYSSMA, the Pennsyl- forefront. Meredith Huntley, a music teach- vania Music Educators er at the Heath School in Brookline, Massa- Creating an Advocacy Association (PMEA), the chusetts, notes that, Connecticut Music Educators “Often it is a matter of just getting the word Day in Your State Association (CMEA), and the out; that’s true even in Relationships with state legislators are key. affluent districts such Illinois Music Education as this one.” The idea of creating an good start in deciding what Association (IMEA). “They When Huntley was at the Massachusetts “advocacy day”—also known exactly you want to ask for are all in various levels of NAfME convention, she heard her district was as a “drive-in day”—in your when visiting state legislators,” capacity-building,” says Chris considering cutting the state is a good one, but it is says Orloff. “What can you Woodside, Assistant Executive music department in half. “Chris Woodside also a challenge. It’s no really ask them for? Money? Director for Advocacy and gave me lot of advice, as did others from surprise that there is power in No. That’s a dead end. You Public Affairs. “We have seen Massachusetts who numbers, so bringing districts have to quantify the subject a tidal wave of people who also successfully advocated. I did together is key, and choosing a and develop ‘the ask,’ but it has want to do drive-in days after everything they told me leader from a district is to be something the legislator the last national assembly. The to do, and it worked!” Of course, it took a important. “The most power- can realistically do for you. point of our panel was to lot of work and the help of a lot of people. ful person in a district is the This is what you find yourself answer questions, but it is “Music was taking a bit teacher who lives in the same up against when you plan a much more valuable to hear of a back burner to other proposed cuts,” town as their school, because state day.” from their peers.” says Huntley. “Many did not realize how the senator and the assembly- Your school board should One drive-in day should be drastic they could be. I person that represent the be helpful in your planning for just the beginning, according got noisy … until it was clear to people what school also represent them!” the day. You will need to to Orloff. “We are not these cuts were going to be.” She used her says Alan Orloff, chairman of present your case regarding traveling to our state represen- connection to an the New York State School what is to be accomplished, tative to ask for anything individual with The Boston Globe to have a Music Association (NYSSMA) and then it’s time for logistics. monetary. We are seeking story written, and . even spoke on local nc y, I y,

Government Relations Choosing a day for the trip can awareness,” Orloff notes. “Ask h

public access televi- p

sion. When parents, ra

Committee. be more complicated than one the legislators, ‘May I contact g

teachers, and o “While advocacy should be may think, and it is equally you down in our local office community members t Pho a ‘grassroots’ initiative, a lot important to involve your when the budget settles became truly aware of

the proposed cuts, the arie can be learned from county board by presenting to them a down?’ Hopefully, relation- response was enor- M mous. Only small cuts

and teacher organizations first. list of the things you will need ships built during drive-in were ultimately made eanne

to the music depart- : © J Talking with your county to make this day work—e.g., days can lead to successful o ment, and the program t ho

music organization is a very transportation, a day off, etc. advocacy plans.” remained intact. p 

18 Teaching Music JANUARY 2014

7_Advocacy.indd 1 12/5/13 4:49 PM _TM_AD_Temp.indd 2 12/3/13 9:32 AM Research ✢ By Cathy Applefeld Olson

t-shirts, and who seemed to Some Things You display less concentration. The findings have broad Some Can’t Unsee ramifications for general teachers say How Nonmusical Factors Affect performances, particularly they want to Adjudicators’ Ratings of High School when it comes to auditions, be able to Vocal Performances according to Howard. “Biases see the singer do exist,” she says. “My biggest because it Those blind auditions on be very important to the thought is for schools or other gives them NBC’s The Voice are more than judge. I always wondered, auditioning organizations that just a TV gimmick. Visual ‘How much did dressing up give options of students additional factors play an undeniable role bias their evaluation?’” coming in and live-audition- information. in the evaluation of a musical It turns out that it can bias ing or submitting an audio CD performance. That’s the it quite a bit. For Howard’s or tape. That’s not an even takeaway for Sandra Howard, recent research, 282 high playing field. They need to assistant professor of music at school, undergrad, and pick one [audition method] and Keene State College in Keene, graduate students evaluated stick with it.”  New Hampshire, who solo performances in four conducted a study on the effect audiovisual formats, audio- Tips for Audition and of differentiated performance only, and videotaped segments

Performance Prep ) t

attire and stage deportment featuring different combina- c stra

on adjudicators’ ratings of tions of casual versus formal b ,” ,” a s

high school solo vocal attire, and unfocused body ce

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performances. language versus a more practice filing into the room and onto the r /60/2/166. o

risers, if needed. “Oftentimes they are nt rf “Some teachers say they professional demeanor. being evaluated before they even open e nt l Pe want to be able to see the Performance quality ratings their mouths,” says Howard. “If they look a disorganized walking in, there could be a singer because it gives them were affected significantly by perception that the ensemble is not good.” ub.com/co additional information about soloists’ performance attire and p

1 ge ool Solo Voc h the performance,” Howard stage deportment, and adjudi- Teach controlled body language and sa m. Sc r

behaviors, including how students h says. “In some cases, that can cators’ academic level. Interest- should hold their hands, how to ee j Hig s achieve the best body alignment, f work well for the singer in o ingly, overall, the highest s

and what are the best practices for g n terms of being selected, but in ratings were given to the blind performance body language. Howard i . 166-185. ( at notes that “They may have a lot of s ’ R g p

other cases, the person may auditions. “People were questions. ‘Do I wave to mom?’ No.” rs 2, o r have a beautiful sound but a listening to the same audio that 2 at Have a umbe

physical detractor.” I dubbed into all these different performance n

dress code for Adjudic Howard has been curious video scenarios—the audio was n

your ensemble. o

No budget for rs olume 60, about the topic for years. same no mater what, but the If possible, o t v

matching videotape your c “When I was a singer in high blind auditions got consistently uniforms? No a students in l F problem. Having a

performance, ic uly 2012,uly school, and then when I taught higher ratings,” she says. s the students J and spend time , mu

in high school, there would be Results for the videotaped dress in a uniform reflecting on n color can do the the recording.

points-driven categories and segments were predictable: trick “so the ed No ducation t audience can get 4 E then a general box for com- Higher ratings also went to immediately past Selec the visuals and f ments. A lot of times students students who were dressed in o listen to the t would receive comments from performance attire and music.” ec

3 Eff esearch in Music e R judges that said, ‘Thank you demonstrated focus and eye Model good performance h behavior yourself.

for dressing up.’ That’s not one contact. Lowest marks were ce: “T 5 r Sou of the criteria, but it seemed to given to those in jeans and Journal of

20 Teaching Music January 2014

8_Research.indd 1 12/5/13 1:45 PM SESAC-21 TeachMusic_8.187x10.875_SESAC-21 TeachMusic_8.187x10.875 11/21/11 3:35 PM Page 1

Prepare them for launch As a Performing Rights Organization, we understand the impact music educators have on the careers of young musicians. That’s why we’re proud to provide teachers everywhere with free classroom-ready educational materials that will prepare their students for a future in the music business. You’ve taught them how to create music, now teach them how to succeed in their music career! Visit sesac.com/edu to receive these invaluable tools. It’s our way of saying thanks for all you do.

You know your music. We know the business.

_TM_AD_Temp.indd 2 12/3/13 10:35 AM Partnerships ✢ BY KEITH POWERS I don’t believe there is a law of diminishing returns here.

NAfME ASSISTANT EXECUTIVE DIRECTOR CHRISTOPHER WOODSIDE streamline it.” That one-o EXPLAINS THE WORK OF THE MUSIC meeting was just the beginning. EDUCATION POLICY ROUNDTABLE TO CURRENT HILL DAY 2013 ATTENDEES. “In 2011, we did that,” MEMBERS Woodside says. “NAfME and OF THE the American String Teachers ROUNDTABLE Association made substantial ➔ American Choral Directors nancial contributions, and Association now we’ve grown to 27 ➔ American Orff-Schulwerk members, including groups like Association NAMM and the GRAMMY ➔ American School Band Directors Foundation. We plan a Association legislative agenda on a regular ➔ American String Teachers basis. It’s an empty space that Association needed to be lled.” The 2013 ➔ Chorus America legislative recommendations ➔ Drum Corps International included provisions for ➔ Education The Music Education germane teacher evaluations, Through Music ➔ Gordon Institute for Policy Roundtable support for research into the Music Learning eld of music education by the ➔ GRAMMY A consortium of organizations advocates Foundation U.S. Department of Education, for the greater good of music education and ➔ Guitar & requests for funding through Accessories takes its message to Washington. Marketing the Elementary and Secondary Association IT’S NO SURPRISE to learn that law of diminishing returns Education Act (ESEA)–autho- ➔ iSchoolMusic.org politics and funding for music here—more organizations rized programs, an increase in ➔ J.W. Pepper ➔ League of American education often go hand-in- would make us more e ective.” school-day accessibility to Orchestras hand. Thanks to leadership Woodside notes that, music programs, and measures ➔ Music for All ➔ Music Publishers work by NAfME and the “About two-and-a-half years to ensure sequential, stan- Association American String Teachers ago, we conducted a scan of dards-based music education in ➔ Music Sales Group Association (ASTA), more than policy work. A lot of institu- charter schools, consistent with ➔ Music Teachers National two dozen concerned music tions were doing advocacy public schools. Association education organizations now work on music and the arts, The Music Education Policy ➔ National Association for speak with one voice when but what was problematic was Roundtable will hold a Music Education they want their priorities fully that they were speaking a lot teleconference strategy meeting ➔ National Association of understood on Capitol Hill. of di erent languages. There in January. “At that point we Music NAfME and ASTA are was some confusion on Capitol will review the legislative Merchants ➔ National founding members of the Hill on what they wanted. We agenda, and review the needs of Association of Music Education Policy convened a group of fteen or the eld,” Woodside says. He is Music Parents ➔ National Music Roundtable, a consortium that so organizations in the encouraging other organiza- Council has grown to 27 organiza- summer of 2010, and we came tions to consider supporting the ➔ Organization of American Kodály tions—“and there are probably away with a burst of energy for Roundtable. Any group Educators a hundred groups in the niche advocating as a collaborative. representatives wishing to learn ➔ Percussive Arts Society areas and sub elds who could That meeting was a one-o , more about the Roundtable ➔ Phi Mu Alpha join us,” says Chris Woodside, but we communicated should email Woodside at Sinfonia ➔ Quadrant Arts NAfME’s Assistant Executive regularly after that, and there [email protected] or investigate Education Research Director, and the de facto was such a strong appetite to online at advocacy.nafme.org/ ➔ The Recording Academy spearhead of the Roundtable. formalize the mission and the-music-education- ➔ VH1 Save the Music

“And I don’t believe there is a goals that we began to policy-roundtable. Foundation PHOTO: © JEANNEMARIE PHOTOGRAPHY, INC.

22 Teaching Music JANUARY 2014

9_Partnerships.indd 1 12/6/13 9:49 AM It’s time to start a Tri-M Music Honor Society chapter.

Strengthen your school’s Music. Honor. And Society. Starting a Tri-M Music Honor Society chapter will help show the value of your music program to the school. It will also benefit your students by allowing them to:

Build an impressive record for college e Grow as leaders in music e Serve their community e

Ready to start a chapter? Follow these easy steps:

1. Visit nafme.org/tri-m to download your chapter activation form or call 1-800-336-3768. Send in the activation form with your chapter activation fee ($50-$125 based on the 2. size of your school)

3. Receive a packet from NAfME with a guide to start your chapter – and get going!

_TM_AD_Temp.indd 2 12/2/13 2:41 PM Technology ✢ By chad criswell

The Wonderful World of Wireless Microphones Wireless mics are easier to use than ever, and can be a great boon to the music educator.

As music teachers, we are regularly Kassner also says that classroom expected to work with and maintain all wireless systems can be of great benefit kinds of audio devices, from classroom when dealing with students with special stereo systems to large public-address needs. “I was fitted with a wireless systems. Although wireless audio was mic headset that transmitted short once quite complicated to use, new distances to a student with limited technologies and simplified setup hearing ability. It strengthened sounds options have turned finicky wireless enough so she could participate in audio systems into educational tools music class as if her hearing was in the that are relatively simple to use. normal range. After a quick sound Tips for Getting the Many teachers are now beginning to check to make sure she could hear, I Most out of Your realize just how useful wireless mics pretty much forgot I was wearing it and Wireless Microphones and amplification systems can be. “The went about the lesson as usual, except I There are three basic types of micro- simple act of amplifying your voice tried to keep my lips visible for her to phones that are commonly used today: with a wireless mic can do wonders for also read.” lavalier, cardioid, and super-cardioid. helping students in the room hear and Lavalier mics clip to the clothing of the How Wireless Microphones performer or to the performer’s Work (and How They’ve instrument, while headset mics hook Improved) over the ear and rest beside the per- Companies such as Sennheiser, former’s mouth. There are also tradi- Audio-Technica Audio-Technica, and many others tional, handheld wireless mics which ATM350CW, which comes with a now sell wireless microphones that take can be carried normally or mounted on special mounting gooseneck for the guesswork out of what was once a a microphone stand. Wireless manu- attaching to an instrument. fairly complicated setup process. There facturers sell many different models of are three parts to any wireless micro- mics, most of which can be plugged phone system: a transmitter (usually in into the same belt transmitter pack. understand you without causing you to the form of a belt pack), a microphone In solo vocal settings, there are a strain your voice in the process.” Says that plugs into the transmitter, and a Sennheiser MKE2 Kirk Kassner, a retired music educator receiver that plugs into your room’s lavalier model mic together with an from Washington State. “I found sound system. Most newer models EW122 transmitter microphones very useful in rehearsals. provide easy, one-button or fully-auto- If I didn’t use the mic, my voice would mated setup options where the units be shot by the end of the day. Even will automatically search for and find though my students were trained to pay the best wireless frequency for your attention and keep noise to a minimum, particular venue. This, along with the with that many bodies in a room, the use of multiple antennas on the ambient noise level is challenging to receiver, prevents most instances of speak over and be heard succinctly.” signal loss.

24 Teaching Music January 2014

10_TechTM .indd 1 12/4/13 10:11 AM wireless mics can open up pulled by the clothing it will not pull multipurpose microphone solution. possibilities in performance and in your classroom. the mic and cause it to make noise Most of the current crop of wireless against the shirt.” He suggests making a microphone systems operate in the loop around a button or something 500–600mHz range. Ciaudelli recom- similar so that the wire doesn’t get mends that any potential new purchases pulled too tightly as the performer of UHF-based wireless mics be limited moves. to those models that work in the When dealing with handheld mics, 500mHz range due to potential changes remember that—just as with corded that may be made by the Federal mics—they have different pickup Communications Commission (FCC). patterns. Cardioid and super-cardioid These changes may eventually make microphones pick up sounds directly in the older 600mHz gear illegal to front of the mic or slightly off to its sides. This is great for filtering out crowd noises or limiting the mic to one instrument, but if the performer holds the mic incorrectly it may not be able to pick them up properly. No amount of adjustments at the mixing board will be able to fix that. number of reasons to prefer headset Audio-Technica System 10 mics. First among these is that the Purchasing Considerations wireless system closer the mic is to the source of the For general vocal or instrumental operate. At the same time, Boss points sound, the better the quality of that applications, Ciaudelli recommends out that some manufacturers such as sound will be. Joe Ciaudelli, Spectrum using their Sennheiser MKE2 lavalier Audio-Technica are avoiding this Affairs Correspondent for Sennheiser, model mic together with an EW122 potential problem by moving up into notes that “If you have a lapel mic you transmitter and receiver for best the 2.4 GHz spectrum as well as using may get some echo and ambient noise. results. Audio-Technica’s Marketing multiple antennas and automatic A headset mic is better because it is so Director, Gary Boss, suggests their frequency-switching features to further much closer to the mouth.” He suggests ATM350CW, which comes with a reduce the chances of signal loss or that users place the microphone element special mounting gooseneck for distortion. “With our System 10 at the corner of the mouth rather than attaching to an instrument. This mic models,” notes Boss, “if someone turns in front to avoid problems with breath can be combined with one of their on a new device that starts interfering, noises and popping of certain consonant new Audio-Technica System 10 then the unit automatically switches to sounds—for example, “p.” wireless systems for a complete, a different channel.”  Of the three types of microphones, lavaliers tend to be the most problemat- Solutions to Common Problems ic if they are not attached correctly to Distortion and Signal Loss—If gain (volume) levels are set too high, the heir respective companies T the performer. Most lavaliers are system will “clip” the signal, making it sound like the mic is dropping out when it is actually functioning correctly. Begin with the wireless receiver and set the gain just omnidirectional and thus pick up sound below the red line when the performer is singing or playing loudest. Once the from all directions. While this makes transmitter and receiver have their gain adjusted, move on to the mixer and, finally, the amplifier. them very versatile, it also means that Antenna Placement—The human body dampens radio signals significantly. they will pick up room noises and other Make sure that the transmitter pack is not touching your skin during a performance. sounds from around the performer just When using a handheld mic, hold it in the middle, and not the bottom end, as that is where the antennas are located. as easily as from the performer herself. Receiver Placement—Avoid having the antennas of the receiver touch anything Ciaudelli says that “It’s important to made of metal. If your music room has a metal sound cabinet, you may need to dress a lapel mic correctly. Don’t put remove the receivers from it when in use, or use an external antenna.

the mic under a collar or it will sound Battery Issues—In performance situations, swap in fresh batteries for every stuffy. Also, try to create some kind of performance. If you choose to use rechargeable batteries, spend the extra money and get a professional-quality, computerized charger that can condition the

photo top: istock/thinkstock; products courtesy of strain relief so that if the mic gets batteries between uses, making them more reliable and helping them last longer.

nafme.org 25

10_TechTM .indd 2 12/4/13 12:32 PM Lectern ✢ By TRAVIS Weller Choosing

RepertoireWhat important criteria should for Middle factor into the selection of your band literature? School Band

is studied and performed by amateur Before selecting literature for a Travis Weller is a middle-senior high school band director for Mercer Area Senior High School musicians, it may create the perception middle school or junior high in Mercer, Pennsylvania. that it is not serious literature. There ensemble, directors should are many artistic, educational, and establish a personal criteria list for In today’s middle schools, it is import- entertaining pieces found in middle judging quality in music. Bennett ant for directors to choose literature for school/junior high band literature that Reimer suggested in Aesthetics and Arts their ensembles that will nurture the can be considered for study, rehearsal Education (University of Illinois Press, growth of student musicians. We must and eventual performance. 1991, pgs. 330–38) that this list be choose music that allows us to connect Shelley Jagow of Wright State constructed using the criteria of the academic music of the school University in Dayton, Ohio, asserts that craftsmanship, sensitivity, imagination, ensemble with the outside world in while published lists are a place to and authenticity. In a study by research- which our students live. We should also begin this process, it is the responsibili- er Richard Fiese in the Journal of recognize that the music selected for ty of the music director to carefully Research in Music Education (Spring 1991, study must contribute to and enrich the study, assess, and select appropriate pgs. 239–47), nine musical criteria school community. repertoire for his or her band program emerged from the responses given by Numerous lists have been generated (Teaching Instrumental Music: Developing directors regarding their standards for in articles and books of best music for the Complete Band Program, Meredith making qualitative judgments in music. study and performance for high school Music, 2007, pg. 192). Part of that The criteria identified by Fiese attend ensembles. The value of these pieces is process must begin with directors to more specific elements that directors reinforced when they are included in taking the necessary time to develop a can consider in their evaluation process, festival programs and on state lists. personal criteria list for evaluating yet each of them could be placed into There is often little question as to why music at this level. Once that has been one of four “parent” criteria categories those pieces were chosen—their established, directors can begin presented by Reimer. Shelley Jagow has reputation precedes them. identifying important styles, cross-cur- developed a method for determining Middle school band literature does ricular and cross-cultural connections, quality called the “Q Factor” that not necessarily have the same exposure forms, and aesthetic and emotional involves assigning a quantitative value level as do pieces for high school values imbedded in pieces so their to seven different qualitative factors in concert band or wind ensemble. repertoire choices educate, engage, and her book (Teaching Instrumental Music: Because middle-school ensemble music entertain. Developing the Complete Band Program).

26 Teaching Music January 2014

11_LecternTM.indd 26 12/5/13 1:48 PM A wide variety of educational and entertaining literature is available for middle school bands.

While these criteria, aspects, and There are also a number of writers young groups to explore. methods are not exhaustive, they expanding the sound canvas to provide Directors can also consider the broad provide an entry point for directors to excellent contemporary literature that range of multicultural pieces that are consider using in the selection of presents opportunities to explore available when selecting repertoire. repertoire for their younger ensembles. theoretical musical concepts (consider Many multicultural pieces performed There is a wealth of traditional the use of suspensions in “Suspended by ensembles are arrangements or repertoire that young musicians need Animation” by Patrick Burns). David compositions by a Western-trained to experience as it allows them to Wilborn identified a number of musician and are typically set for a develop specific techniques. Ballads different concepts that students might Western instrumental ensemble. In the like “All the Pretty Little Horses” as experience through the rehearsal and December 2000 Music Educators Journal, arranged by Anne McGinty can be performance of music (Teaching Music, (pgs. 23–25, 48), Mary Goetze states used to develop musical expression, April 2001, pgs. 36–40), and the author that stylistic practices of some cultures’ legato tonguing, and phrasing. Marches has provided examples of just a few music cannot be adequately recreated like “Friends of Freedom” by Timothy pieces that contain that concept. Music using Western instruments or Western Loest can be used to develop marcato that includes aleatoric episodes (such as harmonic structure. Goetze doesn’t style, contrasting dynamics and “Snake Charmer” by Randall Stan- suggest that this music should be articulation, and understanding march dridge), vocalization (“Unraveling” by avoided, but says that thorough study of form. Even at the middle school level, Andrew Boysen, Jr.), different textures the culture and seeking out authentic overtures like “Kentucky 1800” (“The Forge of Vulcan” by Michael performances (live ones work best) can (Grundman) or “Carpathian Sketches” Sweeney), elements of other music help inform our choices and our (Jager) offer opportunities for students styles (“The Beatles Forever” arranged instruction, and by doing so create a to stretch and grow by rehearsing and by Eric Osterling), and experimental meaningful experience for the students. presenting an age- and skill-level–ap- timbres (“Whirlwind” by Jodie Directors should also remember to

photo: istock/thinkstock propriate “masterwork.” Blackshaw) are all potential concepts for select music that has important cultural

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11_LecternTM.indd 27 12/5/13 1:49 PM connections to our own country, as it can make connections to subjects like history (such as “The Pony Express” by Chris Bernotas and “Appomattox” by James Hosay). Five years ago, in my own teaching situation, the Senior High Concert Bands at Mercer High School worked on “The Trail of Tears” by James Barnes. At the same time, the Middle School Band (grades 7 and 8) rehearsed “Etowah” by Brian Balmages. Both pieces were used as an entry point so the students could learn about Cherokee culture through a website I had developed that provided examples “Selecting literature of artwork, music, cultural history, and of diverse styles and origins provides even food (mercerbands.wordpress. much-needed variety for the director, com/interdisciplinary-unit). As Joseph students, and audience.” Alsobrook and Michael Worthy suggested in their presentation “Music teachers for their schools in grades Geraldi, there should be opportunities Education in the 21st Century: New 7–12. In any situation, directors need to given to students so they might Rules” at the 2010 Midwest Clinic, in engage in discussions with colleagues of experience emotion in the music. the age of standards-based accountabili- appropriate repertoire for students, in David Whitwell advocates a process of ty, music educators must be diligent in addition to carefully considering their recognizing and exploring emotional their efforts to enrich music perfor- students’ current ability levels. moments in music to assist students in mance with other modes of musical Kevin Geraldi, an associate professor becoming aware of their own emotions action like evaluating and responding of music at the University of North (NBA Journal, 2009, pgs. 43–60). As to music. Carolina at Greensboro, suggests that Whitwell points out, music that is Another aspect to consider in because repertoire can serve as the authentic will allow the students (and selecting literature is having a long- source for a long-term plan, it is very the eventual audience) to perceive the term vision for how the students can important that teachers at all levels have generalized form of the emotion. While develop as musicians. There has been a repertoire list they believe all students there are many excellent choices scholarly writing (e.g., Teaching Music should perform over a period of several available, “Air for Band” by Frank Through Performance in Band edited by years. Geraldi (Music Educators Journal, Erickson comes to mind as a piece with Richard Miles, or Teaching Band and 2008, Issue 2, pgs. 75–79) outlined great emotional depth and expression Orchestra: Methods and Materials by Lynn several aspects for inclusion on a “core that can enable students to make a G. Cooper) devoted to the repertoire list” including formal, deeper connection with their own high school ensemble rhythmic, harmonic, and personal emotions. curriculum devised so melodic creativity; convey Composers, conductors, and educa- that students make the imagination of the tors alike discuss the need for variety in progress over the composer; well-orchestrat- programming and repertoire selec- course of several school ed; balance between tutti tion. Selecting literature of diverse styles years. Middle school and thinner textures; and and origins provides much-needed and junior high programs convey emotional depth. These variety for the director, students, and can be unique situations in criteria for building a repertoire audience. Such simple concepts as tock (2) that some directors see their students list are akin to the criteria set forth by balancing different textures, contrasting s for only one year, others for two or Reimer for judging quality, but they tempos, and identifying major, minor, three years, and still others continue to allow the director to consider more and modal tonalities are ways in which tock/think s see them through high school, as these specific musical aspects. variety in programming can be

directors are the only instrumental Speaking to that last point made by achieved. Other considerations for photo: i

28 Teaching Music January 2014

11_LecternTM.indd 28 12/5/13 10:59 AM educators include having the required instrumentation and equipment, and accounting for the instructional time to teach the work e ectively and e ciently. As Mac Randall wrote in “Powerful Performances” (Teaching Music, February 2008, pgs. 32–36), directors who choose a di erent theme for each of their concerts have been able to achieve variety in their programming choices. With these diverse and sometimes Sonoma State UniverSity complex perspectives in mind, here are MUSIC DEPARTMENT some suggestions for concert themes for middle school/junior high band that NASM-accredited music program housed in the Green Music Center include literature worthwhile for students Bachelor of Music degrees in Jazz Studies, Music Education and Performance to study. Let these ideas be a jumping-o Bachelor of Arts degree in Music/Liberal Arts concentration point for your own creativity with your Symphonic Wind Ensemble, Chorus, Jazz Orchestra, Musical Theatre and more! students and community! Performance opportunities in Weill Hall Voted among the Most Wired and Best Value schools in America (Princeton Review) THEME CONCERT

IDEAS For more information, contact Brian Wilson, Music Department Chair, A NIGHT AT THE OPERA at 707-664-2324 or [email protected] 1801 East Cotati Avenue, Rohnert Park, CA 94928 “William Tell Overture” http://www.sonoma.edu/music (G. Rossini/arr. Balent) https://www.facebook.com/SonomaStateMusic “Night at the Opera” (arr. J. Taylor) “The Phantom of the Opera” (A. Webber/arr. Jennings) AN EVENING OF COUNTRY AND WESTERN MUSIC “Wagon Trail” (Julie Giroux) “Pony Express” (Chris M. Bernotas) “Light Cavalry Overture” (von Suppé/arr. Mark Williams) ALL THINGS ENGLISH “Marching Song” (Gustav Holst/arr. John Moss) Chorale from “Jupiter” (Gustav Holst/arr. James Curnow) “The Beatles Forever” (arr. Eric Osterling) AMERICAN ICONS “American Salute” (Roland Barrett) “Salute to the Duke” (arr. Michael Sweeney) “Sounds of Sousa” (arr. James Ployhar) FRIGHT NIGHT “Ghosts in the Graveyard” (Scott Watson) “Night Flight of the Gargoyles” (Timothy Loest) “Through Darkened Sleepy

PHOTO: iSTOCK/THINKSTOCK (2) PHOTOS FROM TOP: iSTOCK /THINKSTOCK (2); WAVEBREAK MEDIA/THINKSTOCK; ISTOCK /THINKSTOCK (2) Hollow” (Erik Morales)

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11_LecternTM.indd 29 12/6/13 1:19 PM TheThe RenaıRenaı s s sa sa nce nce TeacherTeacher

Lois Hicks-Wozniak solos on saxophone with the Westchester Symphonic Winds Under the direction of Curt Ebersole.

30 Teaching Music January 2014

12_RenaissanceREV.indd 30 12/5/13 1:27 PM Caption The modern music educator has found opportunity and satisfaction by living multiple lives ... all at the same time

By Cynthia Darling

Music educators are a notoriously multi-tasking bunch. In the classroom, they must be steeped in the technique and knowledge of multiple instruments while also attending to the twin gods of practice and performance. Additionally, music teachers often have an active performance life of their own outside of their full-time teaching duties. For most, the decision to engage in outside performance gigs, be they amateur or professional, as well as other music- related activities, is a personal choice. And yet for many, it is not simply a choice: It is, in fact, the necessary inspiration that feeds them and keeps them evolving as educators and as people. This month, we’re taking a look at the double life of the music educator. A few patterns emerge—for one, these educators are busy people. Curt Ebersole (pictured here at the podium), conductor/music director of the Westchester Symphonic Winds in Tarrytown, New York, and on the faculty at The Masters School in Dobbs Ferry, New York, notes that he stayed very busy as the instrumental music director at Northern Valley Regional High School at Old Tappan before he retired from that position. He remarks s er

d that “At one point in my life I was teaching full-time—including four ensembles, marching band, and musical hoto: Dave San Dave hoto:

P theatre—but on Monday nights

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12_RenaissanceREV.indd 31 12/5/13 1:27 PM I played clarinet in the Ridgewood (New Jersey) Concert Band, I had three or four students in my private clarinet studio, I was playing in the 92nd Street Y Symphonic Workshop Orchestra, and I was running a conducting symposium for the Music Educators of Bergen County, Inc.” But even with their busy schedules, professionals speak with great fulfill- ment and passion about their teaching as well as their outside commitments.

Indeed, there seems to be Glen Mccarthy playing Guitar with the band Keltish at the Virginia an increased sense of Renaissance Faire (left), and at engagement from these the helm of the Robinson Secondary School Guitar Ensemble. teachers. Maintaining such full schedules reveals some my school in addition Public Schools in 2007. In his current fancy juggling. There are to being an adjunct role as teacher at GMU, he pursues an inevitable conflicts of teacher at a local active performance life outside of interest that can arise when college. I maintain a teaching, as well as participation in a teacher finds him or herself perform- private studio in the town where I work, administrative roles. He is currently the ing alongside a musician who, the next and one in the town where I live. Plus, chair of the NAfME Council for Guitar day, is their student in school. We’ve at school I have an after-school vocal Education, the chair of the American spoken with, among others, vocalists jazz ensemble, and I am the music String Teachers Association’s Guitar-in- Kyle Weary and Francesca Veglia, director for the all-school musical.” the-Schools Committee and a co-chair guitarist Glen McCarthy, and percus- Francesca Veglia’s position as teacher and clinician for Teaching Guitar sionist Jeff Bush—all of whom are eager for the Sarasota County Schools in Workshops. On the performance side, to pass on their tips for leading a Sarasota, Florida, is nurtured by her he plays in a wedding band and in a musical double (or even triple or active performance schedule. The types contemporary worship service every quadruple) life. of outside performances she participates Sunday. He also plays in an Irish band, The lists of performance and outside in vary from summer programs abroad and even plays in the pit for his wife’s activities each teacher is engaged in are to church performance jobs, as well as performances, as she is a music director instructional in their own right. One performing with the Anna Maria Island at a school. The freedom of not teaching may view these descriptions as guides for Concert Chorus and Orchestra in in a public school has also allowed him how to live a fully-immersed musical Holmes Beach, Florida. She has also to do lobbying for the Virginia Music and teaching life. For Kyle J. Weary, sung with a professional choral group. Educators Association. And, as if that’s vocal music lead teacher at the Barbara Jeff Bush is the director of the not enough, McCarthy is one of 25 Ingram School for the Arts in Hager- School of Music at James Madison semi-finalists—of 30,000 nominees— stown, Maryland, activities include a University in Harrisonburg, Virginia. for the Educator Award presented by the veritable full-time-job’s–worth of Says Bush, “I continue to perform as a GRAMMY Foundation. outside obligations, “I teach full-time at percussionist, but I now spend most of Just how do these teachers do it?

that time playing in community as And what makes this life so fulfilling? Carthy; Pam Sutey Mc opposed to professional ensembles.” What have been The sheer number of activities Glen y of Glen Multiple Roles and s your favorite music jobs outside of McCarthy pursues can make the mind Work-Life Balance the classroom? spin. Currently an adjunct professor of Bush’s position at JMU means that he Send your letters to [email protected] or fax a letter to 703-860-9027. Please music at George Mason University in has administrative as well as teaching from left: Courte include your full name, job title, school Fairfax, Virginia, McCarthy retired duties. For him, the question of how to s name, and the city and state where you teach.

from full time teaching in the Fairfax maintain a work-life or even a work- Photo

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12_RenaissanceREV.indd 32 12/9/13 9:56 AM The Professional and Personal Benefits of a Double Life The ability to seamlessly move in and out of roles is one many teachers speak about. And, while at times a challenge, it seems to add to the novelty and variety in their lives. Francesca Veglia describes the way her outside profes- sional performance schedule compli- ments her classroom teaching and even buys her some credibility with the students. “When I am teaching, I talk about composers and where they are from and where they perform. It is great to tell the kids I’ve been there and sung there. They have a bigger sense of work balance when juggling teaching “Why do I do it? It’s ‘wow!’ It’s the only time you really as well as outside jobs or activities is all get that ‘wow’ from them.” She goes “a matter of priorities,” he says. “I did music. Whether I’m on to say, “When they can see that I not give up the performance side when making it, playing it, am performing as well as teaching, I started working full-time. In some or teaching it, that’s the there’s a little more weight that my circles, I’m known primarily as a core reason I’m doing advice carries for them.” For her, musician—not an educator. Other all of this.”— Glen McCarthy that’s validation more powerful than places, it’s the other way around.” most classroom management Veglia, too, cites the completely to Bush after he became an administra- strategies can bring. different identity she inhabits when she tor. “Now, most important in my role Veglia points out one more is working as a performer. She says, as an administrator, I want to show by-product of all of her outside with a laugh, “I go from one arena to students and colleagues that I am a performing, “I have more connections the next.” In this way, performing can musician—that I can work alongside of to the community as well.” This can, be a way of reminding teachers of the them, as opposed to only working in in turn, feed her teaching, as she has rewards for all of the work they put my role as an administrator that directs intentionally made performance dates into teaching students all day. Yes, resources to and from students and for her student choirs at places in the students can act out and, yes, it can be colleagues. In other words, even though community. “I have been able to have difficult to get them to learn difficult I have responsibilities as an administra- some of my students come in and music, but the performance is the tor, when I’m performing with students perform with my outside groups as ultimate reward of all of these months and even other colleagues, I am a well.” People will take her word that and years of training. This can help the collaborator and work with them, and her student is good if she recommends teacher to keep focused upon this actually listen to the requests of the one for an outside performance. In this musical reward, and he or she can pass musical directors!” For Lois Hicks- way, a beneficial cycle of performance this on to their students. Wozniak, adjunct lecturer of music and teaching emerges. Bush’s reasons for maintaining a cultures of the world at Marist College And yet, while the benefits for one’s healthy outside performance schedule, in Poughkeepsie, New York, and professional identity and life are in addition to his teaching schedule, are concert saxophonist, performance and manifold, the biggest payoff seems professional and personal. He wants to teaching inform and enrich each other. to be personal. McCarthy puts it “demonstrate that I can continue my “When you teach, you’re actively simply, “Why do I do it? It’s music. musical craft even while working engaged and still continuing to learn. Whether I’m making it, playing it, or full-time as a teacher. I want to give my Just the act of explaining codifies your teaching it, that’s the core reason I’m students a model of a lifelong learner.” understanding. It forces you to look doing all of this.” Bush’s comments This became even more important deeper than if you were just performing.” echo McCarthy’s sentiments. “I continue

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12_RenaissanceREV.indd 33 12/9/13 9:56 AM to get incredible satisfaction from partner spends so much time away at Business Tips making music. It invigorates me every various gigs. She advises that teachers for the Music day that I play.” Veglia says of her embarking on such a heavy outside Multitasker performance schedule, “It makes performance schedule “make sure that Glen McCarthy offers not only time management advice but me whole.” they make time for who they’re with.” also business tips. “Here’s one Weary admits that the toll upon the thing that I find interesting: Your best friend’s cousin is Managing the Difficulties teacher is often the toughest: “It’s very getting married, and the cousin says, ‘Hey, I’m Bill’s Such an all-consuming schedule can hard. Everything I do is related to cousin. I hear you play guitar. have its drawbacks. McCarthy does music in some way. I sleep very little, Would you consider playing for my wedding?’ You say, ‘sure grant that having grown children and I have learned to be a taskmaster …’ They say, ‘It’s Nov 24’, and you say, ‘that’s great, and I probably allows him more time for and prioritize.” To make it all work, charge 100 dollars.’ Then they these pursuits than others who are something has to be given up. say they weren’t expecting to have to pay you anything.” He raising younger families. “But I will say While there are some real conflicts of laughs as he describes this scenario, doubtless one he and this,” he notes, “when I first started interest that might occur when a many other musicians have teaching, the salary was so poor, I was teaching professional performs alongside encountered many times over the years, “That’s the fine line teaching five days a week in the students in the performance realm after that people have to look at. How many things are you classroom and taught four days a week school, most of the working teachers going to do for free? You don’t at a private music store and was gigging claim that these overlaps, in fact, enrich ask your plumbing to be done for free.” He is always on the weekends to raise the family.” their interaction with the students in the surprised how many people McCarthy has always been busy, it classroom and in performance. The think musicians will play for free. “That’s the sticking seems. But he describes a life familiar to teacher merely gets to know another point,” he says. But clearly, McCarthy has learned to many music educators at different stages facet of the student and vice versa. Bush negotiate price from the start of their lives. describes one such situation: “The of any engagement, and advocates being up-front Veglia does admit that such a busy director of the performance ensemble, about this from the beginning. teaching and professional performance in his day job, reports to me! Then there schedule can put pressure on one’s is always the chance that a student or But I reflect whenever I have to deal personal life. And it can take a real toll. faculty member will feel that they have with these individuals and make sure Even the most supportive family can greater ‘sway’ with me (as an adminis- I’m treating them as I would anyone else reach its limit when the parent or trator) because they perform with me. in the same situation.” McCarthy deals with similar situations, “I have played with former students.” The way he sees it, “It’s a language and we’re playing music—it’s always fun no matter if it’s adults or students.” In the pit of Little Shop of Horrors, his wife’s production, he’s playing bass. One of his students is playing the guitar part for him. “It’s been very cool for the student. A good learning experience.” Weary concurs, and of working with students in outside performance groups, he says, “I get to see kids in all different lights. I get to see what students are listening to and what is on the horizon.” So, in some cases, these overlaps between the classroom and outside gigs can even add Kyle Weary esy of Kyle Weary conducts his to the educational experience of the t choir at barbara Ingram School student and give the teacher a better o: cour for the arts. t

understanding of the student as a Pho

34 Teaching Music January 2014

12_RenaissanceREV.indd 34 12/9/13 9:56 AM musician and as a person. McCarthy weighs in on the kinds of scheduling con icts that can come up, “The only time I have a con ict of interest is when I’ll have a workshop in Bermuda and can’t get back in time for worship service where I am supposed to perform. This actually happened.” To prevent that, he says, “You have to make sure that everyone’s on the same page [in terms of dates].” That’s generally manageable, but McCarthy does say he has had to institute some SHINE general rules. “My adage is: Whatever’s in adelphi’s department of music  rst on my calendar—that’s the gig I get. If I check my calendar, and I’m B.S. in Music Education | B.S. in Music booked, I’m booked.” This is a smart Adelphi offers its students: rule of thumb for anyone considering Integrated learning through common music literacy skills Interactions with expert public school music teachers performing in multiple groups. Concentration in composition Weary’s trick of the trade is one Distinguished faculty artists Competitive talent scholarships from which many can bene t. He CHI.ADELPHI.EDU passes on some excellent advice that

was also passed on to him: “When I ADELPHI UNIVERSITY PFA.ADELPHI.EDU was student-teaching, my cooperating teacher told me to ‘touch it once,’ meaning to complete each task as it came up rather than shu ing everything around. I probably say to myself ‘touch it once, Kyle’ a hundred times a day.” Conductors Workshop with Rod Eichenberger Master Teacher, Conductor, Innovator Final Thoughts—The Payoff Choral Professor Emeritus, Florida State University In the end, all of these potential Conductors Workshop di culties are minor compared to the Workshop Locations A five-day professional development ultimate payo : the music. Bush best workshop for choral conductors at all levels Alexandria, Virginia articulates the drive behind each teacher July 14-18, 2014 with Rod Eichenberger and their busy schedule, saying, “Make no mistake, I often go to rehearsals Cannon Beach, Oregon Master Teacher, Conductor, Innovator dog-tired, thinking ‘Why did I agree to Aug.4-8, 2014 do this when I could be home with my Professor Emeritus, Florida State University family?’ But at the end of every ChoralFor more information, contact: George Fox University’s rehearsal or concert—bar none—I am Department of Music invigorated, satis ed, and refreshed. As 503-554-2620 much enjoyment as I get from listening [email protected] to music, the feelings are hundreds of Information is also available at A five-day professional development times more appealing by making music. choralconductorsworkshop.com Workshop Locations 1362 11.13 Isn’t that why we all became musicians and music educators—to both feel that workshop for choral conductors at all levels for ourselves and help others get this wonderful experience?” Alexandria, Virginia July 14-18, 2014 nafme.org 35 12_RenaissanceREV.indd 35 Conductors Workshop12/10/13 11:13 AM Cannon Beach, Oregon with Rod Eichenberger Aug.4-8, 2014 Master Teacher, Conductor, Innovator Choral Professor Emeritus, Florida State University For more information, contact: A five-day professional development WorkshopGeorge Fox University’sLocations Department of Music workshop for choral conductors at all levels Alexandria,503-554-2620 Virginia [email protected] 14-18, 2014

InformationCannon Beach,is also available Oregon at choralconductorsworkshop.comAug.4-8, 2014 1362 11.13

For more information, contact: George Fox University’s Department of Music 503-554-2620 [email protected]

Information is also available at choralconductorsworkshop.com 1362 11.13 ىقيسوم muziek muzykamúsica musique音乐 הקיסומ Teaching Music JANUARY 2014 36 13_ESL_Revised.indd 36 12/5/13 2:43 PM AS A SECOND LANGUAGE BY ANDREW S. BERMAN e MUSIC CAN BE A CRUCIAL HELP Musik TO ESL STUDENTS.

STUDENTS ARE GUARANTEED to experi- ence music in your classroom—you are a music educator and it is a room where music is the focus, after all. But music pops up in other classrooms as well. Students may learn to sing the periodic table of the elements. A history teacher música may use tribal chant as the backdrop for a lesson on Africa. These experiences, in turn, can also enrich students' appreciation of music when they're in muzyka your own classroom. The subject of English as a Second Language (ESL) is one that can both 音 楽utilize music for its own purposes, and create a bene cial relationship with music education. Language and music are mediums that permeate all disci- plines—indeed, all aspects of life. Both music and language surround us from birth, and perhaps it is only natural that they should be used in the classroom together. LETTERS AND BACKGROUND: iPHOTO/THINKSTOCK BACKGROUND: AND LETTERS nafme.org 37 הקיסומ 13_ESL_Revised.indd 37 12/5/13 2:38 PM Douglas Wulf, associate professor of cise—for example, transcribing the lyrics linguistics at George Mason University of a song. English reading skills can be in Fairfax, Virginia, notes that music enhanced by having students follow and language are human skills that have along with the lyrics as a song is played. been employed side-by-side throughout There are also motivational aspects to history. “The ancient Vedic texts of using music in the ESL classroom. India were written with a meter so they Within the daunting task of learning an could be sung, and this also made these entire language, or even a single unit full long texts easier to remember,” Dr. of unfamiliar vocabulary words, a Wulf points out. student can focus on learning a song. Pitch, duration, and rhythm are often Amber Moss, assistant choral concepts that must be mastered in both director at Lakeside School District in

disciplines. It is obvious to us as musi- SUZANNE MEDINA'S Hot Springs, Arkansas, has been “ENGLISH IRREGULAR cians how these relate to the study of VERBS TANGO” teaching music to ESL students for music. In linguistics, these components eight years. “Writing is more di cult make up a language’s prosody: attributes language are inextricably linked. The to acquire than speaking for ESL that are outside the realm of grammar concept of culture and language as both students,” she says. “The more we can and vocabulary, yet vital to the mastery sharing a bond and being bound get them to write and use the words of a language. Music and language also together with music is one with which they use when they’re speaking, the have similar structures—the former is most music educators are familiar. more successful they’ll be.” Moss plays broken up into notes and measures, and Indeed, it is one of the foundations for orchestral music (with no lyrics) for her the latter into words and sentences. The teaching the music of other cultures. students and then asks them to visualize term “phrase” is shared by both, and In addition to being a pedagogical what’s happening in the piece and to both use a system of letters to identify tool, music can add an element of fun make up a story in English about it. their smallest written unit. They are also to the ESL lesson. “Learners are able to When it comes to speaking skills, Moss alike functionally, in that both are used attend; it captures their attention,” says teaches songs in their native languages for expression and communication. Suzanne Medina, professor emeritus of rst, and then teaches them in English. graduate education at California State Simple songs with repetition work best. University, Dominguez Hills. Her A song with movement, such as “Head, work with adult students of ESL is a Shoulders, Knees, and Toes,” helps with In the ESL classroom, prime example of how music can the memorization process. music is a crucial aid. enhance the enjoyment of a learning Wulf, similarly, advocates the use of Speci cally, it is a experience. She incorporates music and “jazz chants.” This is a rhythmic signi cant help in the dance into her “English Irregular Verbs memorization of vocabulary. Wulf says Tango.” The presence of music—even that, “Memorizing the dictionary is in the background as students walk impractical. Singing is better. You in—can open students’ minds to remember a word when you can learning and instantly di erentiate the associate it with something: a smell, a classroom environment from the sound.” Music attaches the student to outside world. vocabulary in ways that rote memoriza- Speaking, listening, reading, and tion does not. In song, for example, the writing are the four skills that students text can be infused with an emotional of any language seek to acquire, and context, and therefore will stay with music can have a positive impact on all you longer. “I can sing a song now that of them. The rst two occur naturally I learned in high school French class,” when an ESL student sings and listens as Wulf remembers. He also notes that other students sing English songs. music is an aspect of a society’s culture, Medina o ers that music can be used for and culture is an indelible part of modeling sentence construction and as a language. In this way, music and point of departure for a writing exer-

38 Teaching Music JANUARY 2014

13_ESL_Revised.indd 38 12/5/13 2:47 PM exercise (not singing) in which phrases between student and language acquisi- RESOURCES are chanted in time, and the rhythms tion by choosing music that is familiar. ON THE WEB FOR match the stress patterns of the words. If they already know the song, they MUSIC AND ESL The use of song and jazz chants in the have less distance to travel to learn the Suzanne Medina has made a career out of classroom helps to clarify the vocabu- vocabulary. Popular music uses slang studying and employing music in the ESL classroom. Her website, ESL Through lary used. In regular speech, unstressed and natural pronunciations that can Music, contains relevant articles and free words such as articles can be missed by help students speak more like native downloads for your use: forefrontpublish- ers.com/eslmusic the new English-language learner, but speakers of English. Although there is much anecdotal support in song or poetry everything is articu- Although musical talent and ability for the benefi ts of using music in language instruction, there is as yet no academic lated. Wulf also suggests using songs in may vary, music is the property of every consensus on why this is so. For more on cloze exercises, having students ll in student. It can be accessible to all, just the physiological reasons why music and language work well together, check out the blanks as the song is played. like language. For younger students and these scholarly papers: beginners, music can be an equalizer, • “Neural substrates of processing syntax and semantics in music” by Stefan says Moss. “Everyone is on the same Koelsch: stefan-koelsch.de playing eld when they step into a • “Comparison between Language and A new language is music classroom, because music is a new Music” by Mireille Besson and Daniele Schön: ncbi.nlm.nih.gov/pubmed/11458832 uncharted language to everybody.” In an integrat- territory, so it ed environment, music can be both helps to make the something new for everyone to try and music. With that in mind, many music student feel as comfortable in that new something familiar and comfortable. educators today who nd ESL students land as possible. Moss employs Douglas It’s clear that music can have a useful to be common presences in their own Fischer’s Gradual Release of Responsi- place in ESL studies, but it should never classrooms may nd that, by under- bility model: First the teacher does it, be seen as just an “add on” solely for the standing how music aids in the acquisi- then the teacher and the students do it bene t of other subjects any more than tion of language, language can aid in together, then the students do it language study should be seen as an the acquisition of music. Enhancing a without the teacher, and then the “add on” for music. The learning student’s love for a new language can students do it individually. Group process for these subjects—languages, lead to a greater appreciation of the new singing is less intimidating than both—is linked, and therefore the study culture’s music as well, which can lead individual singing, and when it comes of one can enhance and inform the to greater music explorations in your time for the student to practice alone, study of the other. The conveying of classroom and beyond. Similarly, an audience of one classmate is less ideas through the written and spoken foreign-born ESL students may share threatening than an audience of one word is, at its basis, not so very di erent their own languages and cultures

PHOTOS: COURTESY OF SUZANNE MEDINA (2) teacher. Medina bridges the gap than the conveying of ideas through within the context of the music classroom, thus enriching the academic STUDENTS IN MEDINA'S TESOL COURSE FOR THE experience for all students. Music FOSHAN PROVINCE (CHINA) BUREAU OF EDUCATION teachers may even wish to collaborate with ESL teachers to ensure that both subjects are being positively reinforced within both classrooms—i.e., music study is supported in the ESL class, and language study is supported in your music class. In a similar vein, ESL teachers may be able to help music educators to understand how native speakers of certain languages approach the study of music. This, combined with your understanding of how your non-ESL students learn music, can create a situation in which your entire classroom can bene t.

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13_ESL_Revised.indd 39 12/9/13 9:57 AM Incorporating Music into a HIGH-PERFORMANCE CURRICULUM One music educator in Nashville has made it work—and work well.

RICH RIPANI BELIVES IN BEING CLEAR ON HIS EXPECTATIONS OF STUDENT MUSICIANS.

40 Teaching Music JANUARY 2014

14_Success.indd 40 12/6/13 11:43 AM HIGH-PERFORMANCE CURRICULUM

AKING MUSIC an integral part of a BY CATHY APPLEFELD OLSON high-performance academic curricu- M lum, rather than just adding it in as a ways to have band students be part of the overarching check-the-box elective, can be tricky. But ask Rich mission of the school.” Ripani, director of bands at Hume-Fogg Academic High This is more than just talk: Ripani co-teaches select School in Nashville, Tennessee, and he’ll tell you it’s lessons throughout the year with his Hume-Fogg worth every bit of blood, sweat, and tears. contemporaries, particularly the American studies and Helping Ripani’s cause is the fact that everyone at his foreign language teachers. Crossing academic lines “is an magnet school, from the administration to the teaching important thing to do,” he says. The topic is gaining sta across departments, is on board. “Everyone in the momentum in music teacher circles, and was highlighted building thinks of the music program as integrated,” he in a session at the recent NAfME In-Service Conference.

PHOTOS: COURTESY OF RICH RIPANI (4) says. “I talk with our principal quite often and we  nd Here’s what crossing academic lines looks like in

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14_Success.indd 41 12/6/13 11:43 AM Learning music is much more important to the overall development of a person than almost anything else he or she can do.

action: Hume-Fogg’s German students Ripani’s students at Hume-Fogg are learning about the writer Goethe as have a two-year arts requirement. part of their cultural studies. Ripani’s band students are learning to play “Der become an expectation among parents, says. “Even though a lot of school Erlkönig,” a piece by composer Franz according to Ripani. After nine years at systems around the country seem to be Schubert adapted from a poem by Hume-Fogg, he’s come to a realization: getting rid of fine arts, you will almost Johann Wolfgang von Goethe. “Teaching at the academic magnet never see that in a private school. In “The German teacher brings their school, very few of the students I’m Nashville, that’s how they sell the students to my class and we teach teaching are going to pursue music or school—the athletics and the fine arts. together. She presents it in German for music education as a career. Students Of course they have the English and the German-speaking students, and are here because their parents want history departments, but that’s why then I introduce the music, which is them to focus on higher-level academ- parents are spending their money to Schubert’s interpretation of the text. ics and get into medical school or some Then, we all discuss: ‘How is Schubert other profession like that. But does that using the musical elements to tell the mean they don’t need to study music?

story?’” When students approach the Of course not.” In fact, although the with lesson from different angles, all benefit. state of Tennessee requires one year of Rich Ripani “Obviously, not all the kids in German arts education in high school, Hume- class are in music and not all music kids Fogg students have a two-year arts What do you know to be true take German, but they are all learning requirement, and the majority stay on Q about teaching music that you didn’t know when you started? That about Schubert and how musical for four years. learning music is much more import- ant to the overall development of a elements can be shaped to tell a story.” “It’s important for kids at our person than almost anything else they Not only does an integrated music school to have a well-rounded educa- can do. curriculum benefit the students, it’s tion, which may seem ironic,” Ripani If I weren’t a music teacher I’d … Q Be an anthropologist. That was my first major in college and I still have roots in that area. My PhD is in ethnomusicology, which is the study of music in culture ... a sort of anthropology of music.

What’s the biggest lesson you Q want your students to learn during their time in your classroom? How to be creative adults who can lead a team, work in a creative cooperative environment, and think for themselves.

The music education profession Q would be better if … Everyone simply understood the importance of what we do for young people, and quit creating obstacles for us. Students at Hume-Fogg Academic High School

42 Teaching Music January 2014

14_Success.indd 42 12/9/13 10:02 AM send their kids here.” placement. He has found that being else that makes it so they don’t have Even the best intentions sometimes crystal clear on his expectations helps time to do their music well,” he adds. get mired in scheduling conflicts. with the decision. “I put in writing “But on the other side, I can’t allow “Scheduling is by far the biggest what I expect them to do at the the ensemble to go downhill just challenge” to students staying with the different levels. We have a top group, because some students don’t have music program, Ripani says. “If kids and then one that’s far less rigorous. If time.” Interestingly, very few kids opt can’t get music in their schedule, they you don’t think you have time to for the lower-band placement, Ripani can’t advance with the program.” The commit to that, you might be better off says. “They are over-achieving kids predominance of standardized testing taking this second group and having a and they want to be at the top. But if doesn’t help matters. “Testing puts so good time with it.” they can’t practice, the music’s not as much stress on the kids,” he says. “It really has nothing to do with good. I can’t solve that problem for “These last three weeks of school, I the music, it has to do with everything them, but I try to help.”  have had half of class gone for every rehearsal because of testing.” Speaking of stress, another issue that crops up in schools that place such a high emphasis on academics is pres- sure—both externally from parents and teachers, and internally from the high-achieving student body. “It’s a continual problem,” Ripani says. “These kids want to do really well at their music, and at some of these schools they stay up until 11 o’clock doing homework, and don’t get a chance to practice.” In the end, he suggests striking a balance. “Sometimes, as a director, I think, ‘Gosh, this is just not working.’ Then, I realize they are so swamped with academics. At first I push them to taP, taP make sure they’re not being lazy, and . . . then I realize that sometimes they just (who's there?) can’t get to it.” Ripani recently adjusted the roster for an upcoming band concert, drop- You are! Singing, dancing, playing, and making a difference ping two challenging pieces. The in children’s lives—and in your own. Teach our much-loved students “just weren’t getting there, research-based family and preschool programs, and enjoy the and I found myself being crabby and support of our creative and energizing teaching community. pushing them too hard, so I let go of There’s a workshop near you. the pieces. If I push too hard, they aren’t going to have a good band experience and they’re going to leave. The bottom line is that they have to pass AP physics. If I’m not careful, they’ll say they have to quit band next the joy of family music® year because they just don’t have time.” An open-door kind of guy, Ripani also spends a lot of time helping his students figure out their optimal band (800) 728-2692 • musictogether. com

nafme.org 43

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Working on the bow arm, composing on the iPad, sight-singing, and more

General Music to regular classroom instruments—for anchor tambourines, triangles, and other Adapting example, preparing mallets that, given instruments so that children who don’t Instruments for their narrowness, are too difficult for some have the strength or dexterity can use one Students with students to grip. “Teachers could add hand to play. Nonslip gripping drawer padding through a foam or rubber ball, or liners are another way to keep instruments Physical Disabilities attach them to gloves or a child’s hands firmly in place.” As an increasing number of students with with a strip of Velcro,” she says. “A cuff can All of these modifications allow cerebral palsy, vision impairment, or be worn around the hand; a shortened students to increase their ability to play other conditions enter music classrooms, mallet can then be placed inside the cuff so with the rest of the class, and Butler sees teachers may be at a loss as to how to that children can use the mallet without this as a boon to students with disabling

include them in classroom Instruments conditions. “Most children, including those music performance. To learn can be with disabilities, are highly motivated to modified to about some strategies, we improve grip. play rhythm and other instruments as part consulted Maureen Butler, the of music class. By adapting our equipment music teacher at the Lake Drive to the needs of students with disabilities, School in Mountain Lakes, New we will be helping them succeed as they Jersey. learn to make music. With a little thought, Butler finds that the first research, and planning—and creativity— order of business is having a full we can give these students the opportuni- understanding of the challenges ty to make music alongside their faced by students. The IEP—In- classmates.” —Adam Perlmutter dividualized Education Program, which gripping it. Moreover, some children may describes the individual needs of students benefit by adding weights to the mallets to with a range of disabilities—is a good place increase their sense of movement, giving Brass & Woodwinds to start, and the VSA (stands for Very them better control.” Troubleshooting Special Arts), The International Organiza- For students who have difficulty Your Clarinet tion on Arts and Disability, has some strumming a guitar, large plectrums can be resources in its Adaptation & Innovation in fashioned from heavy plastic. For those Section tler

Making Music program. Butler also who fumble in finding a recorder’s tone The ability of a clarinet section to play Bu

suggests consulting with occupational holes, glitter paint can be added to help together with proper intonation can make reen u a

therapists: “They can give valuable insight direct fingers to the appropriate positions. or break an ensemble, and getting M of about specific conditions our students are To help pupils who are unable to hold an clarinets to play as a team is something y rtes

dealing with and help us come up with instrument in one hand and play it with the that all band and orchestra directors strive u o practical solutions to problems.” other, Butler advises, “Clamps attached to for. We spoke to Raphael Sanders, : C oto h

Butler’s solutions involve modifications a desk, table, or wheelchair tray can help professor of clarinet at the Crane School p

44 Teaching Music January 2014

15_WorkshopTemplateTM.indd 44 12/5/13 11:10 AM parts of the section.” works and to optimize mastery. Markes is On a more individual level, Sanders has also 2012–2013 Teacher of the Year for some suggestions for solving common Edmond Public Schools. intonation and tone problems. “Remember Interestingly, Markes advises students that things like squeaks are an indication and teachers to change their vocabulary of a problem somewhere. Sometimes the when discussing key components of problem is with the student, but some- bow-hold. “I like words like ‘weight’ instead times it is with the clarinet.” Make sure of ‘pressure,’ and bow ‘hold’ instead of that the reed is not too hard or too soft for ‘grip.’ These words embody, for me, a more of Music of the State University of New the player. In some cases, switching to a relaxed feeling.” Markes’ preferred words caption York at Potsdam to get his ideas and different mouthpiece can help as well, promote an easeful sense of control with a insight on how to build a solid section. especially with off-brand instruments. certain amount of “letting go.” This slight “I always tell my kids that you can’t Sanders also suggests teaching that, on shift in perspective can go a long way jump to the sixth rung on the ladder,” says the clarinet, the position of the tongue towards changing a student’s orientation Sanders. “There is no quick fix. To get a needs to be high and forward so as to from that of tension to freedom. good section, you have to start with funnel air into the mouthpiece. Other Increasing awareness of all that goes proper fundamentals and technique.” important fundamental concepts, such as into the use of the bow is perhaps most While many things go into helping a teaching resonance fingerings to help important. Many students do not under- student learn proper intonation, for bring the throat tones into proper tune stand all that is involved in the right arm as Sanders it all begins with listening. “For and simply making the lower lip firm, can they bow. “Pulling a long slow bow (20 or me, the number one thing is that the do wonders for individual intonation more seconds) allows time to focus on students need to know what a clarinet is problems. He also advises placing a small exactly where the arm shifts from using supposed to sound like. They must have a mirror on each music stand in the room so shoulder to elbow, to wrist. It also mental idea of what a good clarinet tone is that a student can refer to it on a regular emphasizes where the shift in bow weight and how to get it.” basis during practice and rehearsal. occurs.” In doing this simple exercise, To reach this ideal tone, Sanders Improving the collective sound of a students can analyze each stage of the recommends modeling—make a point of clarinet section can be a long-term playing the clarinet for your students so process, but if you take the time to instill in they can hear the way the instrument your students proper tone and fundamen- should sound. If you are not comfortable tal playing techniques, many of these prob- with your own tone, then you can play high lems can be solved.—Chad Criswell quality recordings of professional clarinetists and have them try to match that tone. “They may not be able to reach it strings right away but, over time, if they master Working on the fundamentals and techniques of good the Bow Arm playing, their tone will improve.” Sanders also recommends having In the world of strings, much attention is shift and effectively implement the students work together in clarinet choirs accorded to learning left-hand positions transfer. Markes also identifies the thumb

s to help them hear their section as a whole. and increasing left-hand adeptness with as a crucial component of bow hold. “If the lk

fo He believes that this helps them to notes. As a result, bow-arm technique is thumb is not flexible, there is no chance of g g

ou understand the role of each member of the often taken for granted. This month, we’re other fingers/hand/arm parts being d group. “They need to know who to listen turning our full attention to the bow arm, flexible as well.” ock; st to. The seconds need to listen up to the which is a very important part of string-in- This next simple exercise can help hink t principal first clarinet. The thirds need to strument technique. Peter Markes, students see how each part of the bow

ock/ listen up to the seconds, and so on. Expose director of orchestras at Edmond North arm works. “For violinists and violists, st

op: i them to the idea of the Mighty Pyramid of High School in Edmond, Oklahoma, offers standing against a wall to keep the upper t

m Sound, and how in a properly balanced expert advice on isolating teachers’ and arm from moving is a way to encourage fro s

o ensemble the lower parts of the section students’ attention to the bow arm in students to move from the wrist and t

pho need to play out more than the higher order to raise awareness about how it elbow, if moving from the shoulder is a

nafme.org 45

15_WorkshopTemplateTM.indd 45 12/5/13 11:10 AM problem.” Markes warns that “Using a snare drum part is?” musical outlet, school ensemble, and mirror is good, but the student must be Performing in a jazz ensemble requires overall interest level. For instance, if a aware of what a straight bow should look the student to read, provide a firm pulse for student has some experience on drumset, like in the mirror (often posture or position the band, and interpret the written music use this as a platform and opportunity to can create an optical illusion of a straight notation, style, form, dynamics, and compare and contrast a style they’re bow).” Even better than a mirror is articulations. In an instant, a drummer familiar with to a jazz style of historical real-time observation from other students. should take the written part and interpret importance—e.g., bebop playing or “Peer evaluation is another good tech- it to the many surfaces of the instrument. traditional New Orleans swing music.” nique for ‘keeping each other honest.’ Because interpretation is such an import- In your percussion classes, try spending While one student plays, the other can ant element in jazz drumming, it’s essential time each week implementing the observe and correct.” And sometimes, fundamentals of good time keeping, students are each others’ best critics, peppered with simple rhythm and leading to better implementation of independence exercises. Work on Markes’ bow-arm technique. technique conditioning patterns to help The music that is best for bow-arm improve a player’s sound on the ride practice is “slow music that does not cymbal, hi-hat cymbals, and brushes on the heavily demand speed technique of the snare drum. If this way of playing is new for left hand.” This enables all attention to your students, a steady diet of jazz be on the bow. Markes reminds both listening and viewing is essential for students and teachers: “Like any practice, musical growth and continued inspiration. frequent and slow reinforcement are often —Steve Fidyk best.” Consistently and frequently to listen to the music you are performing in incorporating attention to the bow arm in order to gain a better understanding of the

any lesson and rehearsal time is the best musical style and concept. One major Choral and Vocal way for teachers to ensure that students difference between playing percussion in begin to implement better bow-arm an orchestra versus playing drumset in a Sight-Singing: Your technique.—Cynthia Darling jazz ensemble is that in an orchestra, a Students Can Do It! percussionist follows a conductor’s lead, Sight-singing. It’s an activity that fills many and in a jazz band, the drummer leads the students with dread. “They fear that they

Percussion ensemble. To help make a connection with will sing the wrong note and be heard. a student who is just beginning with this They fear ridicule if they sing the wrong Strategies for new way of playing, it’s important to assess note at the right time—when no one else is Connecting with the musical maturity level of the student in singing but them,” says Jolene Dalton Your Beginning question. Gailey, director of choirs at Port Angeles Jazz Drummer “Simply, there are as many approaches High School in Port Angeles, Washington. to connecting as there are students,” says So, what can music educators do to For many middle school and high school Greg C. Holloway, director of percussion alleviate—or even avoid—these fears and percussionists, their first exposure to jazz studies at the Flint Hill School in Oakton, create confident sight-singers? drumming is within the context of a Virginia. “A focused and consistent “I think the way sight-singing is taught traditional, 17-piece, big band rehearsal. teaching approach can produce endless leads into this fear. I don’t teach sight-sing- It’s very common for these students to results. A brief assessment or ‘intake’ of the ing by number or solfège: I teach it by the have experience reading standard snare students’ abilities will provide you with actual note names so there’s a connection notation, and some may even be accus- significant information that you can use to between learning a note as a G and hearing y owa

tomed to reading mallet notation for design a specific program/lesson plan. a G,” notes Gailey. “Otherwise, they learn ll o

marimba or xylophone. However, a Keep in mind that the student is being an extra set of words for what the note is. If C. H g

question that is often raised by students introduced to a new ‘language’—be patient we’re going to be singers as musicians, then Gre of y

who are good readers but new to jazz and always remember to stimulate, I feel we should teach singers to sing and s

ensemble drumming is: “How do I perform motivate, but do not frustrate! Consider sight-read as musicians.” urte o C

:

the written rhythms on my part when they the following: the student’s age, point of This process begins with sight-reading o t

aren’t written exactly as intended, like my musical reference (usually rock drumming), only notes minus accidentals. The names pho

46 Teaching Music January 2014

15_WorkshopTemplateTM.indd 46 12/5/13 1:53 PM read ‘I sight read like a musician.’ I make perform a six-note melody that uses only sight-singing a badge of honor instead of steps, or fi ve steps and one skip. For onerous. It has great opportunities at the distinguishing consonance and dissonance, end of it.” —Susan Poliniak he might pair up two students and have one compose a four-note melody and the other play a countermelody using

ALTERNATIVES consonant intervals before creating a countermelody containing three conso- of the notes are sung on their pitches. “If Composing nant notes along with one that’s dissonant. they’re reading an F, they sing an F. They with the iPad Things can get more complicated when it get the connection with the fi rst space of As students are increasingly tethered to comes to harmonic work. In a typical the treble clef and the sound of the note their smart phones and tablets, some activity, McLean says, he tells the F—they have visual and aural recognition teachers are fi nding new ways to incorpo- students: “Compose a two-chord progres- of the note F,” says Gailey. “I then teach rate these devices into musical instruction. sion with your left hand, and with your them how scales are written, the relation Educators like Matthew McLean, who right hand perform a melody that uses of half steps and whole steps, and the teaches at Little Red School House and mostly chord tones and occasional passing circle of fi fths—we learn all 15 keys in Elisabeth Irwin High School, in New York, tones.” class—and then we sing the accidentals.” New York, use the iPad to explain McLean has used iPads for composing As the students progress through the traditional theory and composition in chamber pieces with traditional instru- more advanced choirs, they also learn to exciting new ways. mentation in grades 5–12, but recom- sight-sing using harmonic minor scales. McLean uses a couple of different mends this approach even for second and Gailey advises making sight-reading apps—playPad and inHarmony—that allow third graders. (You can hear and see the part of the warm-up. “Do some sight-read- his students to explore melodies, chords, scores for several hundred of these ing every day. Short, little, not cumber- and their relationships to the musical staff, student pieces at the site for the Young some, not onerous, not diffi cult—simple, all with playback functionality. For teaching Composers and Improvisors Workshop: beginning exercises where they can have composition, he prefers Notefl ight, a yciw.net) “Nearly everything you’d want a immediate success. It doesn’t take long to program with which notation can be easily middle or high school student to compose use an overhead or write out on a white inputted and shared. He has found that can be accomplished using the iPad,” he board two measures. You can make these apps work together organically. says, adding that the only disadvantage of something up.” She also recommends “Students can begin with organizing sounds composing on this tablet is that it’s easier teaching intervals with song-based to see the full layout of a piece of music on examples. “This is so they have recognition the larger screen of a desktop computer. of what the interval sounds like. There’s a To McLean, one of the biggest advan- wonderful website, if students or teachers tages of composing on the iPad is that the have a hard time thinking up songs: pieces his kids write are not limited by earmaster.com/products/free-tool/ their instrumental technique, allowing interval-song-chart-generator.html.” players of varying levels of profi ciency to In addition to offering further help to participate as equals from the very students—“I hold extra rehearsals during beginning of the semester. “Just as the lunch”—Gailey enlists the help of her section to suit what they hear in their minds before student in visual art class begins on her leaders to fi nd students who may feel having to digest theoretical concepts. This original painting or sculpture from the very frustrated and need assistance. “I’ll ask them experiential approach, of course, leads to a fi rst class,” he says, “the music student in a COURTESY OF MATTHEW MCLEAN who has diffi culty sight-reading certain keys, deeper understanding of the theoretical general music class can now do the same.” and to get together with these students and concepts.” —Adam Perlmutter help them. We also have contests between In terms of specifi c activities, V sections to see who will get through their McLean gives his students a scales fi rst.” Activities like these help Gailey number of prompts to help them Hn to change perceptions and mental approach- explore the building blocks of es to what may otherwise be dreaded. “I music. For instance, he might AN EXCERPT OF A WORK IN PROGRESS BY FIFTH GRADER ALEXA K. , TO BE FLESHED OUT WITH FOUR

PHOTOS FROM TOP: FUSE/THINKSTOCK; made t-shirts last year for my students that instruct the kids to compose and ADDITIONAL INSTRUMENTS.

nafme.org 47

15_WorkshopTemplateTM.indd 47 12/5/13 1:53 PM Visit Us Online at www.lvc.edu/mme

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Master of Music Education

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

• The Master of Music Education (MME) Program enables • Year-round thesis advising scholars to learn new ideas and technologies that can be • Generous transfer policy immediately applied in their classrooms. • Earn your master’s or earn Act 48 credits • Visiting Faculty in Music: Each summer, LVC brings noted • On-campus housing visiting professors to campus from across North America. • Competitive tuition rates • The LVC MME Program is organized to allow for learning • Deferred tuition option from fellow music educators who share personal classroom adventures and resolutions; often leading to networking that • Lebanon Valley College is nationally recognized for its lasts a lifetime. music program and successful graduates; a success achieved through strong student-faculty relationships, personal faculty • The seven-week summer MME course schedule is arranged attention, and premier academics. The Master of Music in one-, or two-week classes so students can earn college Education degree is accredited by the National Association of credits or Act 48 credits. Schools of Music (NASM).

To learn how to get started toward your degree or to take classes toward Act 48 credits, visit us online at www.lvc.edu/mme, call 717-867-6919 or 1-877-877-0423, or email Dr. Marian Dura at [email protected]. Symposium on Creative Thinking in Music: Lebanon Valley College™ | Graduate Studies and Continuing Education June 23-25, 2014. 101 North College Avenue, Annville, PA 17003-1400

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elementaryBY PATIENCE MOORE

Fostering Imagination in the Classroom Students should be given autonomy and motivation.

AS ELEMENTARY MUSIC TEACHERS, we see young imaginations sparkling every day. We are in a unique position to help our students keep that spark, says 52-year veteran of music education Mel Pontious, a former band director throughout the midwest and Fine Arts Consultant for the Wisconsin Depart- ment of Public Instruction in Madison. “Imaginative thought can be cultivated most readily in the music class because it demands imagination.” In 1992, Pontious received a grant that allowed him to contract for a research project, Arts PROPEL, that studied teaching and assessment, and FOSTER IMAGINATION BY INTRODUCING THOUGHTFUL QUESTIONS. continues to this day—teaching that classroom/rehearsal must be positive and cultivated early, along with perceptive- “involves students more actively in supportive; ‘mistakes’ … replaced with ness. Re ection is a habit of mind that their own learning and assessment ‘learning opportunities,’ not only as terms can be introduced by thoughtful fosters imagination.” but as attitudes.” Students work with questions: What’s working? What isn’t? What would this mean for a teacher teachers and peers in an open, nonjudg- What would improve it? Does this when she or he opens the mental environment so that remind you of something? Is this like door for that rst class of “The most the class “becomes a something else you know/do/have the day? Pontious calls for important community of learners. That experienced? Improvisation is a a change in teaching. experience for is the change in teaching.” wonderful way to bring these aspects to “The most important Pontious encourages light as students must remember what experience for students is students is to modeling as well as has gone before, and imagine what is to to realize that their ideas realize that encouraging. “These things come in order to make sense of the are important and that their ideas are are mainly ‘caught,’ not moment, responding instantaneously as they can make valid musi- important.” taught. The teacher must one’s perception and emotion dictate.” cal judgments. This is study the art of asking Change isn’t always easy. “Convinc- MEL PONTIOUS done through the process questions that help students ing other teachers to step away from the of asking—and respecting—students’ think more deeply and that whet traditional instructional paradigm and opinions such as having students give students’ natural curiosity. A degree of give students the autonomy and motiva- input on the learning context and autonomy must provide students the tion to assume responsibility for their formatively assess themselves.” Try choos- freedom to use their imaginations in own learning” can be a challenge. If ing two students to be the audience in a actual problem solving. The ability to teachers encourage these themes in rehearsal and have them critique a section visualize/audiate is a vital tool in their own work, they just might nd

PHOTO: ISTOCK/THINKSTOCK of music played. The climate of the ‘imagining in sound’ and must be their imaginations catching re again.

nafme.org 49

16_Stages_elementaryTM.indd 49 12/6/13 3:04 PM s S tag e secondaryBy Debbie Galante Block

The Sound of One Phone Ringing Technology should not spell an end to silence during performances.

Technological progress can move just don’t do it!” Mincey. Trying to reason with people quickly—so quickly that certain aspects Susan Mincey of Mincey’s Musicians about how their equipment affects the of etiquette can get left behind. As you Studio and president-elect of the concert equipment doesn’t fly either. probably well know, it has always been Macon Music Teachers Association The situation is analogous to listening a no-no to take flash pictures at a says, “It is as though people are hooked to the flight attendant on the airplane, concert; aside from very possibly up to blood transfusions through their Lautzenheiser remarks. “Unless we distracting the performer, it can be digital devices and can’t disconnect make a concerted effort to make parents annoying to other concertgoers. Since long enough to enjoy a aware they are part of a picture-taking and recording have concert or theatre “We are not performance, the become so easy, thanks to those production. It seems to playing music message doesn’t mean ubiquitous mobile phones, many seem be an addiction that the at an audience, much. We only hear to think that manners are no longer public chooses not to we are playing what is relevant to our important, or that the definition of even try to limit.” own survival. For a manners has changed. Teachers can play Similarly, Lautzenheiser music for them.” parent, part of their an important part in reeducating notes that, “New —Tim Lautzenheiser survival is their child’s audiences on etiquette. etiquette is part of the music learning welfare. Parents need to understand that If audiences realize the importance experience. We are not playing music at etiquette is not restriction. We are of their role at a concert, perhaps their an audience, we are playing music for giving you a chance to elevate your “good” manners can become automat- them.” investment in your child. The most ic, which is the goal, according to Tim Aside from distracting lights during important thing to a parent is their Lautzenheiser, vice president of picture taking, laws have not changed. child’s success.” education at Conn-Selmer. “It’s like “Copyright prevents photography Maybe it is time for an infomercial listening to a radio at a funeral—you during performances of plays,” said at the beginning of each show. The audience needs to be reminded that these young performers have worked very hard. “We all have our agendas, but this is their moment in the spotlight and we need to honor that by shutting off all digital devices. If you want your son or daughter to feel their sense of self-worth, then we all have to give up a bit of our time to focus on that and truly support and understand what they are doing,” said Lautzenheiser. Digital devices are a problem everywhere in society these days. As music educators, we can set a good hotodisc/thinkstock

Music educators may need P to remind their audiences of example, and emphasizing concert technology etiquette.

etiquette to parents is a great start. photo: 

50 Teaching Music January 2014

17_Stages_secondaryTM.indd 1 12/5/13 11:05 AM _TM_AD_Temp.indd 2 12/9/13 10:41 AM s S tag e collegiateBy Andrew S. Berman

The Summer Wind—and Brass, and ... Music education majors can benefit from a variety of summer jobs.

Summertime evokes images of beach secondary instrument. Learning a new valuable community organizing umbrellas, barbecues, and long days of instrument also puts you in the right experience and kept him in touch with relaxation by the pool. For music mindframe for creating worksheets and the music education world. For teachers, however, the hot months exercises. “The method books you additional opportunities, the marching between Memorial Day and Labor Day create yourself are the ones you teach band at your alma mater or another area bring back memories of their college the best,” says Minaya. school is probably more than happy to years working at music camps and When asked what aren’t the best let you run sectionals and work with festivals, teaching private summer jobs for aspiring the students. Don’t be afraid to give lessons, and honing their “The method music teachers, Minaya first your time: It will help both them and crafts. As the snow falls books you reflected on his months spent you in the future. outside, we must plan how create in a non–music-related retail Don’t forget that a career in music to cultivate our future job, but then reconsidered education, like one in any discipline, careers during the yourself and said that no job is a waste thrives on networking. Securing your upcoming summer break. are the ones of time—we need money to future job depends on more than just When it comes to you teach live, after all. The best job, of skill and talent, but also being in the building lesson plans, the best.” course, is one that fosters right place at the right time. Showing Hector Minaya says, “It’s your love of music. If you your face in the close-knit music —Hector Minaya all about the format.” can’t find someone to pay you education community can lead to Minaya is the middle school band for doing what you love, there are recommendations, interviews, and job director at Manhasset Public Schools in ample opportunities to work in the field opportunities. The more connections Manhasset, New York, and the lessons as a volunteer. Minaya, for example, you forge, the more you learn about the he gives his students now are models of was the secretary of his local NAfME music education world—and the more the lessons he constructed while (then MENC) chapter, which gave him it learns about you.  working in a private studio during his college summers. “You get a good sense of what works and what doesn’t work.” Teaching private lessons also taught him patience and organizational skills, and developed his love for music education. Helping students achieve their goals was encouraging. “Summer is the best time for professional development,” says Minaya, “because you can concentrate ector Minaya

your efforts where you need to.” This H is why, for a college-age music educa- Minaya’s Marching tor, a job at a music camp or summer Band benefits from his summer music festival is ideal. You can learn job experiences in college.

from other teachers, and focus on a photo: courtesy of

52 Teaching Music January 2014

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nafme.org 55

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The University of Tampa’s music program blends the best of innovation, conservatory rigor and liberal arts inquiry. Study with faculty who are active performers, composers and scholars dedicated to your professional growth. Degrees in: of each part can also be dialed up or down. A variety of songs and music lessons from • Bachelor of Music in Performance the world’s top performers—including • Bachelor of Music in Music Education professors from Berklee College of Music, • Bachelor of Arts in Music Wynton Marsalis and members of the Jazz • Bachelor of Arts in Performing Arts (Musical Theatre) at Lincoln Center Orchestra, and many of New Orleans’ most respected musicians— • Minor in Music are available for in-app purchase. Tutti Dynamics, tuttiplayer.com

The University of Tampa is a private university serving 7,200 students from all 50 states and 130 countries. Tonara UT’s historic riverfront campus is just a short walk from By Tonara (Free app; sheet music avail- museums, performing arts venues and a vibrant downtown able for in-app purchase). Tonara allows arts scene. Tampa Bay ranks among the four largest your iPad to listen to you as you play, communities of musicians and artists in the southeast. show you where you are on the screen, turn pages for you automatically, and even show the tempo at which you are 401 W. Kennedy Blvd. | Tampa, FL 33606 | (813) 253-6211 | [email protected] | www.ut.edu/music playing. The wide selection of scores available via the in-app store is created specifical- Degree Summary ly for the size and • Two year degree resolution of the • Fully or partially online iPad screen. With – coursework can be completed entirely Tonara, you can online OR listen to your prac- Master of Arts – candidates can spend the first year on tice session using campus and complete an area of an intuitive music in Music Education concentration player that follows • Affordable tuition your recording on • Outstanding faculty committed to personal the score itself. interaction with learners You can then send • The cohort model is used, where candidates these recordings progress through the program with the same to others to get feedback. A feature called group of 20-25 other candidates Scribbles is used to mark your music, and For more information, contact • Accredited by both the National Association your comments are grouped into layers 719-587-7621 • [email protected] of Schools of Music (NASM) and The Higher that can be shown or hidden. Tonara, adams.edu/academics/music Learning Commission (HLC) tonara.com

56 Teaching Music JAnuary 2014

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21_Classified.indd 1 12/6/13 11:47 AM bravo! steven Reineke Music Director of The New York Pops

Composer, arranger, and conductor Steven Reineke has been the Music Director of The New York Pops since 2009, but his work hardly stops there. He’s also the Principal Pops Conductor of the National Symphony Orchestra at the Kennedy Center, and Principal Pops Conductor of the Toronto Symphony Orchestra. His many arrangements and compositions have been performed worldwide.

What are your first musical memories?My earliest interests in music started at home. My father was an amateur guitar player and singer. From the time I can first remember until I was about 12 years old, he would sit on the edge of my bed and sing folk and pop songs until I fell asleep.

Do you have any music education heroes? All of the band and orchestra teachers that I had from fifth grade through high school. I know now how much extra time they put into their workdays to help nurture my talents and unrelenting interest in learning everything I could about music.

Do you have a most memorable moment from your musical studies? It happened in college. I was pursuing a degree not only in trumpet performance, but also in music composition. I was one of those people who would see a movie and then come home and play the film score on the piano. It was my great music teacher, Ron Matson, who led me to understand that this was a rare talent—the ability to hear music, immediately see what it looks like in my mind’s eye, and recreate it. It was a huge turning point for me to realize that I had an innate gift to nurture, and a responsibility to share it with as many people as I could.

What has been your involvement in music education and music education advocacy? Since my early 20s, when I began writing arrangements and compositions for high school marching and symphonic bands, I’ve spent lots of time coaching and teaching. That led to becoming a clinician and adjudicator, including being guest conductor for several All-State Honor Bands and Orchestras. Even now with my hectic schedule, I find time to work with school ensembles. I’m also very proud of The New York Pops’ many education programs, including our Kids in the Balcony program An arts that brings students from all five boroughs of New York City to our concerts at Carnegie Hall, and our education PopsEd residencies and concert series, which provide is just as music to students in school systems that have severely important cut or eliminated their music programs. as math Why do you feel that music education is important and science. and should be supported? Music education and arts appreciation are an important part of young peoples’ lives for many reasons, including the development of cognitive skills, fostering creativity and imagination, creating a sense of teamwork, and discipline. An arts education is just as important as math and science, sometimes I think even more so because of the intangible effects that music and the arts have on our souls. ammaro

If you could say one thing to music educators, what would it be? Keep up the great l T

work! What you do on a daily basis truly is vital in shaping young minds. You never ichae know the impact you will have on your students. : M hoto P

58 Teaching Music January 2014

20_BravoTM.indd 1 12/6/13 11:42 AM Save money. Get GEICO. You could get an additional discount on car insurance as a member of the National Association for Music Education.

Some discounts, coverages, payment plans and features are not available in all states or in all GEICO companies. Average Forrest T. Jones & Company savings amount based on national GEICO New Policyholder Survey data through August 2009. Discount amount varies in some states. Discount is not available in all states or in all GEICO companies. One group discount applicable per policy. Coverage is Plan Administrator individual. In New York a premium reduction is available. Government Employees Insurance Co. • GEICO General Insurance Co. (800) 821-7303 • www.ftj.com/NAfME • [email protected] GEICO Indemnity Co. • GEICO Casualty Co. These companies are subsidiaries of Berkshire Hathaway Inc. GEICO Gecko image © 1999-2010. GEICO: Washington, DC 20076. © 2010 GEICO #6389 0713

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