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April 2018 Volume 25, Number 4 PROMOTINGcontents THE U NDERSTANDING AND MAKING OF MUSIC B Y ALL Music students learn cooperation, discipline, and teamwork.
36 MEET THE ANHE CONDUCTORS! The directors of the five 2018 All-National Honor Ensembles give their perspectives on what makes successful musicians and effective conductors.
FEATURES 18 ACCORDION 22 TEACHERS’ 28 A MGNUM OPUS! 32 FINDING A WAY AT ADVOCACY: VOICES For NAfME’s 2018 FRANKLIN HIGH BRINGING THE RESULTS AND National Conference, Jacqueline Hairston ACCORDION RECOMMENDATIONS Opus Leaders are took a big chance when INTO THE GENERAL What is the status of working to create and she revived the Marching MUSIC CLASSROOM music education in engage music educators Yellow Jackets of The accordion can the U.S. right now, and in five key areas. Meet Franklin High School make a strong—and where are we headed? the Leaders and learn in Stockton, California, festive—addition to The results of a recent about each Opus. and was delighted that your curriculum. study by Give A Note her efforts were met Here’s how to Foundation provide with an outpouring incorporate this important insights— of support from alumni, instrument into the and food for thought. parents, and the music classroom. community. Cover photos by Event Coverage Nashville, eventcoveragenashville.com; Victoria Chamberlin, victoriachamberlin.com; Matt Janson Photography, mattjanson.com. Photo this page by Bob O’Lary. mattjanson.com. Photo this page by Victoria Chamberlin, victoriachamberlin.com; Matt Janson Photography, eventcoveragenashville.com; Nashville, Coverage Event photos by Cover
nafme.org 1 April 2018 contents Volume 25, Number 4
Method choice and classroom setup can ensure success in high school piano class. 56
WORKSHOP General Music Members of Tri-M Chapter 6806 at Teaching the music of the Elizabeth Davis Harlem Renaissance 46 Middle School in Chester, Virginia Brass & Woodwinds Teaching spit-valve etiquette 47 12 Strings Jazz string orchestra fundamentals 47 DEPARTMENTS Percussion Music featuring nontraditional CLASSROOMS and nonspecifi c instruments 48 Tri-M® Chapter 6806 in Virginia Choral & Vocal SPECIAL: works to help a nearby school. 12 Tuning up the middle SUMMER school chorus 49 STUDY 39 ADVOCACY Alternatives Looking for music How is music education faring in the Orff jamming 50 education opportunities appropriations process on Capitol Hill? 14 in the “off season”? STAGES Here is Teaching Music’s DISCOVERIES Elementary annual listing of Integrating students with special needs into a How to build the best summer programs. school band program 16 classroom music centers 55 Secondary Teaching (and surviving) Myra Rhoden (left) 7 high school piano class 56 PRO•FILES Collegiate 7 Myra Rhoden is NAfME’s What questions should you Band Director of the Year … ask in job interviews? 58 Fred Ritter recently retired from the Nebraska public RESOURCES New media and accessories schools … Melissa Salguero for the music classroom 60 is the winner of the 2018 GRAMMY® Music BRAVA! Educator Award™ Teaching Music salutes the late,
great singer Ella Fitzgerald! 64 Melissa Holcombe. Modarressi; by Photos clockwise from top left: courtesy of Jon Schoepflin; Lesley
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1-800-493-6437 • www.wengercorp.com NAfME CORPORATE MEMBERS AS OF AUGUST 1, 2017 MICHAELMICHAEL J.J. BLAKESLEEBLAKESLEE ExecutiveExecutiveMICHAEL DirectorDirector J. BLAKESLEE andand CEOCEO Executive Director and CEO CCHRISTOPHERHRISTOPHER WOODSIDEWOODSIDE ChiefChiefCHRISTOPHER OperatingOperating WOODSIDE OfficerOfficer Chief Opperating Officer EELLALLA WILCOXWILCOX EditorEditor Thank you to NAfME’s corporate members for supporting LYNN M. TUTTLE Director of Publications CCATHERINAATHERINA HHURLURLBBURTURT music education and music educators! MarketingMarketingELLA WILCOX CommunicationsCommunications Editor ManagerManager CATHERINA HURLBURT CCAROLINEAROLINE AARLINGTONRLINGTON Marketing Communications Manager Publications/CopyrightsPublications/Copyrights Adelphi University Forum Music Festivals Silver Burdett/Pearson CAROLINE ARLINGTON music.adelphi.edu forummusicfestivals.com pearsonschool.com/music ABABCopyrights/PublicationsIGAILIGAIL GGYAYAMMFIFI MarketingMarketing CoordinatorCoordinator Alfred Music Galaxy Music Notes Soundtrap AB ForForAB aaIGAIL listinglisting G YA ofof theMtheFI NAfME NAfMEMarketing Coordinator NationalNational ExecutiveExecutive Board,Board, pleaseplease alfred.com galaxymusicnotes.com soundtrap.com seeseeFor ourour a listing website:website: of the nafme.orgnafme.org NAfME.. National Executive Board, please All American Games, LLC GIA Publications, Inc. Soundwaves Recording, LLC ArticlesArticlessee our in inwebsite: TeachingTeaching nafme.org MusicMusic dodo. notnot necessarilynecessarily allamericangames.com giamusic.com soundwaves.org represent the official policy of the represent the official policy of the ALGES Corporation Ginger Snaps Apparel Super-Sensitive Musical String Co. NationalNationalArticles AssociationAssociationin Teaching Music forfor MusicMusic do not Education.Education. necessarily represent the official policy of the algescorp.com and Praise Hymn supersensitive.com National Association for Music Education. American Composers Forum Fashions Suzuki Music USA TeachingTeaching MusicMusic isis createdcreated forfor composersforum.org gingersnapsapparel.com suzukimusic.com NAfMENAfME byby InIn TuneTune Partners,Partners, LLC.LLC. is created for Hal Leonard, LLC InfoInfoTeaching@@intunemonthly.comintunemonthly.com Music Apogee Electronics, Inc. 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BARBARA BOUGHTON Business Manager breezinthru.com The Midwest Clinic Weill Music Institute, Carnegie CCONTRIONTRIBBUTORS:UTORS: MichaelMichael Adelson,Adelson, AndrewAngela midwestclinic.org Hall carnegiehall.org/education J.D.C Allen, ONTRIAmmerman, AndrewBUTORS: Andrew S. Berman, Michael S. Berman, ChadAdelson, Criswell, Debbie Andrew Brightspark Travel La-TikaGalanteS. Berman, S. Block, Douthit, Lisa Stella Ferber, Lisa Chang, Ferber, Steve Chad Fidyk,Stephen Criswell, Debbie brightsparktravel.com The Music Stand West Music Company Holley,LisaGalante Ferber, Joanne Block, Steve Sydney Stephen Fidyk, Lessner, StephenHolley, Cathy Michael Holley, C. themusicstand.com westmusic.com ApplefeldCathyPalermo, Applefeld Olson,Susan Poliniak,Olson,Adam Perlmutter, Susan Jacob Poliniak, Prosek, Susan Lori Buffet Crampon USA WorldStrides Poliniak,LoriSchwartz Schwartz Lori Reichl Schwartz Reichl Reichl Casio America, Inc. Music Together Worldwide worldstrides.org casiomusicgear.com musictogether.com Wurrly, LLC TheTheThe National National National Association Association Association for for for Music Music Music Education Education Education is is is Chamber Music Society of Musicnotes, Inc. a voluntary, nonprofit organization representing a voluntary,a voluntary, nonprofit nonprofit organization organization representing representing musicnotes.com YouthCUE allallall phases phases phases of of of music music music education education education in in in schools, schools, schools, colleges, colleges, colleges, Lincoln Center universities,universities,universities, and and and teacher-education teacher-education teacher-education institutions. institutions. institutions. chambermusicsociety.org National Piano Foundation ActiveActiveActive NAfME NAfME NAfME membership membership membership is is isopen open open to to to all all all people people people pianonet.com engagedengagedengaged in in in music music music teaching teaching teaching or or or other other other educational educational educational CODA Concerts workworkwork in in in music. music. music. 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44 4 Teaching TeachingTeaching MusicMusic Music OCTJANUARY APRILOBER 2018 20172018
pro• lesFeaturing NAfME’s education professionals
MYRA RHODEN By Lisa Ferber
Fayette County High SchoolCaption Band
Participating in a marching band Marching to Success encompasses a variety of skills, and Rhoden adds these in when the students Myra Rhoden is NAfME’s Band Director of the Year are ready. “There is definitely a physical MYRA RHODEN knows how to put it all and four-star generals,” she says. The component,” she says. “In the beginning, together! Rhoden, NAfME’s Band Director sessions were part of the Band Directors’ when we are training the kids, we separate of the Year, is the director of the Fayette Academy she attended that week. She the music and the marching, and we need County High School Band in Fayetteville, learned about the award when it was to make sure they know how to move and Georgia, as well as the school’s fine arts announced during the All-American how to hold their instruments, and have chairperson. For this award, NAfME Awards Ceremony held during Bowl Week good posture. We have fundamentals in partnered with the All-American Marching in San Antonio, Texas. “My family was told marching and in music as well, and we Band, which led to exciting meetings for that I was receiving the award so that we merge them together and create the show.” Rhoden and her family. “We attended a lot could have proper seats that would make it Her path started early. As a child, of sessions and met a lot of two-, three-, easier for me to walk to the Rhoden studied piano as stage. They did a good job well as clarinet. “And we had “Kids all the time will keeping the secret,” she said. to learn how to be graceful, The NAfME member and and we had to have music come back and say, Tuskegee native graduated and gymnastics. My high ‘I’m glad you didn’t let from the University of school band director was Alabama in Tuscaloosa with a very influential and me quit. I’m glad you B.S and an M.A. in music encouraged me to do things encouraged me. It education; she then earned outside the house.” This led her D.M.A. from the Universi- MYRA RHODEN, to Rhoden meeting more was the best decision Director, Fayette County ty of Southern Mississippi in High School Band, people, which had an impact Fayetteville, Georgia
Photo top by Melissa Holcombe. Photo bottom courtesy of Myra Rhoden. Melissa Holcombe. Photo bottom courtesy of Myra Photo top by I’ve ever made.’” Hattiesburg. on her. “I thought it would
nafme.org 7 pro• les
be nice to give back by doing that for my While she has had students who students as well, to explore the world have wanted to quit—or not wanted to through music.” join—because they fear that they can’t She notes that being part of a marching play well or handle the time commitment, band offers skills and areas of satisfaction Rhoden has had plenty of success beyond performing. “It’s how to work convincing them otherwise. “Kids all NAfME Band Director of the together as a team and take the ups and the time will come back and say, ‘I’m Year Myra Rhoden with the downs, and take disappointment, and glad you didn’t let me quit. I’m glad NAfME President learn how to be gracious winners, too. You you encouraged me. It was the best Denese learn how to be people and good citizens.” decision I’ve ever made.’” Odegaard
FRED RITTER By Lori Schwartz Reichl
Fred Ritter conducting at NCDA “I love doing choral festivals, but it’s nothing like the everyday work of teaching. I miss taking music, working it together, and making it performance-worthy.”
recently retired from teaching elementary music in Neligh, Nebraska; and Duane Ritter remained on the farm. Fred Ritter and his wife, Becky— Pursuing His Passions: Faith, an elementary Title I reading specialist— have five children, four of whom received Family, Farm, and Music musical degrees. The oldest son, Jacob, even replaced Ritter as the vocal music Fred Ritter recently retired from the Nebraska public schools. teacher at Columbus High School when his AFTER A REMARKABLE 37-year career, (NCDA) by inviting clinicians to adjudicate father retired. Fred Ritter retired from teaching vocal and inspire young vocalists. NCDA has Ritter served as President of NCDA, music in the Nebraska public schools in since added an All-State Vocal Jazz the North Central Jazz Chair for American 2015. Ritter began teaching in 1978 in the Ensemble to its summer convention. Choral Directors Association (ACDA), and North Platte School District, first at the Ritter is the product of a musical farm most recently as President of Nebraska junior high and then at the family from northeast Music Education Association (NMEA). high school. After 12 years, Nebraska. His father, During his final year of teaching, Ritter was he moved to Columbus High Frederick, is a WWII veteran the recipient of the Cornell Runestad School, where he remained who played trumpet and sang Award for Lifetime Dedication to Choral for the rest of his career. “I bass in a gospel quartet and Music in Nebraska, the 2015 Columbus am most known for starting church choir. Ritter’s mother, Public Schools Foundation’s Educator of one of the first vocal jazz Clara, sang alto in the church the Year Award, and Doane University’s programs in Nebraska in choir, too. The couple had Platt Alumni Music Award for Outstanding 1994,” says Ritter. He also four children, three of whom Achievement in Music. launched the first vocal jazz pursued music. Dale Ritter is In addition to working as a music FRED RITTER, retired festival for Nebraska Choral music educator, Columbus, a band and choir director in educator, Ritter directed several commu- Nebraska
Directors Association Alma, Nebraska; Pat Miller nity choirs; sang with the Pathfinder Ritter. photo courtesty of NAfME. Bottom photos courtesy Fred Top
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Visit bit.ly/NAfMEAcademy to learn more | 1-800-336-3768 Chorus, Nebraska’s premier a cappella He is staying incredibly kiss my daughter and chorus; and sang professionally with the active during retirement. granddaughter good Norman Luboff Choir. When asked what He plays bass on his church morning, and then cut he misses most about the classroom, he worship team and in a local logs into rustic furniture states, “working with the kids, for sure. “oldies” dance band called with my son-in-law.” In That’s why I love doing choral festivals, but Cruisin’. He also serves as a the circle of life, Ritter it’s nothing like the everyday work of disc jockey on occasion continues with the teaching. I miss taking music, working it and is an active choral passionate path his together, and making it performance- clinician and adjudicator. However, on parents prepared for him: faith, family, worthy.” most days he says, “I go out to the farm, farm, and music.
MELISSA SALGUERO By Lisa Ferber From Doc Martens to Banana Pianos Melissa Salguero is the Winner of the 2018 GRAMMY ® Music Educator Award ™.
“IT ALL STARTED with this little Casio gave me a chance to be a University of Bridgeport in keyboard when I was nine or 10 years old,” leader, I knew that whatever I Connecticut. She teaches says Melissa Salguero, NAfME member did with my life, it would be third- through fifth-grade and winner of the GRAMMY Foundation’s to help others.” With the general music and fifth-grade 2018 Music Educator Award. “I got it for Music Educator Award prize band at P.S. 48 Joseph R. Christmas and I did not stop playing that money, Salguero flew Bauer Drake in the Bronx in New thing.” Her dream was to be in a rock band. in for the award night. “She is York City, and she is a member She taught herself how to play the Casio, the kindest and sweetest of Sigma Alpha Iota Interna- her parents got her a guitar, and she wore teacher I ever had, and she tional Music Fraternity. “heavy metal and gothed-out and chains really impacted my life and MELISSA SALGUERO, In 2013, Salguero walked and Doc Martens.” She joined a band and put me on the right course.” general music and band into school to find her desk teacher, P.S. 48 Joseph R. was given the trombone, and eventually In high school, Salguero Drake, Bronx, New York upside down and instruments she was playing Strauss and Sousa was given the baritone horn, missing and broken—acts of marches around the house. which weighs about 15 pounds. “Imagine vandalism that led to her appearance on In fifth grade, she had a pivotal the girl in Doc Martens and JNCO jeans in The Ellen DeGeneres Show. “And the thing moment. “I always wanted to be a leader, the hot sun, like, I don’t want to do that makes me so proud is my students and I was super jealous of the safety pushups. And my parents said, ‘You’re brought me lyrics the next day: ‘You’re not patrols who would raise a flag “I’m an committed to this. Your word is gonna tear us down, ’cause we’re strong/ each day.” Her grades and your bond.’ It was probably the We will rise from the ashes, ’cause we’re behavior weren’t good enough, advocate best decision of my life.” strong.’” People in the community sent her but her teacher, Deborah of talk She holds a B.A. in music story to DeGeneres’s show, and Salguero Bauer, wanted to make her a education from University of found herself in a guest chair, receiving a safety patrol. “In that moment, less, teach South Florida in Tampa and an bevy of instruments and $50,000. when she believed in me and m o re.” M.S. in elementary education at Speaking of the Award, Salguero notes, “I think what grabbed the attention of the Melissa Salguerro directing judges is my unique teaching style where I her students in concert. am not only teaching music: I’m teaching life, science, history, English, math, and it’s all incorporated into every single lesson. So, I’m hooking up bananas to my comput- er and we are playing the banana piano, and we talk about circuitry and how to build a circuit, and that goes into comput- ers, and it all stems from these science experiments. I’m an advocate of talk less,
Top photo courtesy of Fred Ritter. Bottom photos courtesy of Melissa Salguero. Ritter. photo courtesy of Fred Top teach more.”
nafme.org 11 Classrooms ✢ BY DEBBIE GALANTE BLOCK
Members of Tri-M Chapter have found that by helping We have found 6806 in Chester, Virginia that particular group, it raised community awareness, that by helping and it appears the town has that particular surveyed that city school group, it raised building in order to build a community band room.” awareness. Another high-pro le project for the chapter comes in the form of an interdisci- plinary approach to learning about the Oregon Trail. The sixth grade gets together in groups to theoretically travel the Oregon Trail, which is really the community’s GRADUATE Setting out on the cross-country path. Students WITH TRIM! get a pro le. For example: You It’s time to order your Oregon® Trail with are 35 years old, and you have Tri-M Music Honor Society graduation to get ve people to your regalia for your 2018 Tri-M Chapter 6806 destination alive. Along the graduating seniors! Music students in Virginia Pink is the academic way, everyone has to nd food, color for music and the work to help a nearby school. signature color for avoid dysentery, and so forth. Tri-M. This year’s IN 2016, after only ve years as mances where they discuss the The Tri-M students, with a graduation regalia features pink double part of Tri-M, the Elizabeth mission of Tri-M. Most little help from their music honor cords and Davis Middle School’s Chapter performances net between tassels, a white honor teachers, learn several pieces of stole, and medallion 6806 won the Junior Division $300 and $400, and money is m usic such as “Oh Susanna!” with the Tri-M key design. Chapter of the Year. However, raised with yard sales and event that were written during the Visit MusicHonors. the group, based in Chester, concessions as well. time period, and they play at com/shop-online to order online, or Virginia, continues to raise One of the chapter’s spots along the journey. download our printable catalog and the bar. ongoing missions is to help a Another music-related order form. The chapter’s list of Title I city school six miles project has to do with the Tri-M is the only national honor society accomplishments is a long one. from Elizabeth Davis that eighth-grade Tri-M students for student musicians in grades 6–12. It They completed 2,500 service doesn’t even have a band teaching the younger kids. highlights your hours doing basic things like room. “A few years ago, our “About 18 to 20 kids in our school’s music program and gives performing the “The Tri-M group went over and band or orchestra want students the opportunity to Star-Spangled Banner” at did a side-by-side rehearsal to play in the other perform, lead, basketball games and acting as with them, and we have done instrument class and serve. Don’t have tour guides for new students that every year since. Annual- next year. With the a Tri-M chapter yet? and special guests. They’ve ly, we look to get something to help of the Tri-M kids Joining is easy! Visit raised $4,000, which was help progress their band,” and our summer camp, MusicHonors.com to start your chapter $1,500 over their goal, Schoep in said. For example, those that want to learn other in three easy steps! Check out the according to Jon Schoep in, the city school kids had to use instruments will be able to “Chapter Resources” their music teacher and chapter chairs as music stands, so walk right into class and play page for additional information on advisor. The school concerts Chapter 6806 bought new at the eighth-grade level of the membership criteria, are free to attend, but they music stands for them with other instrument class,” says service project ideas, scholarships and
receive donations at perfor- the money they raised. “We Schoep in. awards, and more! photo courtesy of Jon Schoepflin. Top
12 Teaching Music APRIL 2018 It’s okay. You can give them their phones back now.
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Try MusicFirst free for 30 days at musicfirst.com music Advocacy ✢ BY MICHAEL A DELSON We now have seat at the table, but we need to leverage the position and continue our good work.
“Advocacy didn’t stop when we got music included in ‘well-rounded education’ as de ned by the Every Student Succeeds Act. We now have seat ADVOCACY at the table, but we need to UPDATES AND leverage the position and contin- RESOURCES ue our good work.” FROM NAfME What can NAfME members It is more important than ever to be in the do? “Continue to be engaged know about how public by following the news on policy and advocacy can shape your music education policy and funding. program. Visit our At the state and local level, we public policy resources at nafme.org to up your encourage music advocates to advocacy game! The Appropriations take action and urge your state • The Public Policy Hub provides and local decision-makers to explanations of some Process on Capitol Hill of the most impactful make the proper investments in federal policies for How is music education faring? not only music education, but music education, including funding and ON MARCH 23, Congress passed a top legislative priority, and this also overall education funding. opportunities for music bipartisan omnibus appropria- gure represents a 250% And nally, hold members of at every level. • Everything ESSA tions bill for Fiscal Year 2018. increase from last year’s Congress accountable for what contains the latest on ESSA, the latest The details of the bill turned inadequate funding level of they prioritized in ESSA, which reauthorization of out to be very good news, to $400 million. With this is providing all students access the federal landmark education K–12 which NAfME released a funding increase, Title IV-A to a well-rounded education, legislation, the response. It reads, in part: will nally operate as a including music.” Elementary and Secondary Education “The National Association formula grant program for According to Lau, “Grass- Act (ESEA). for Music Education (NAfME) all states, as intended by law, roots is most e ective when it • The Advocacy Bulletin keeps NAfME is thrilled to support Congress’s and will provide numerous happens in a timely and members apprised of the most current FY 2018 bipartisan omnibus school districts with the true appropriate fashion. We developments on appropriations bill. This exibility they deserve to encourage all members and Capitol Hill, at the U.S. Department of spending proposal not only invest in a well-rounded music advocates to visit Education, and about education policy and rejects several of the President’s curriculum that includes NAfME’s Grassroots Action issues in the states. proposed eliminations, but providing access to sequential Center (bit.ly/NAfMEGrassroots) • The Grassroots also provides notable increases and standards-based music to thank Congress for funding Action Center provides the tools to instantly to several key well-rounded education. In addition, this Title IV-A at $1.1 billion and be involved in the federal legislative education programs. We are agreement also would provide providing robust funding for process and reach your most thrilled with Congress’s robust funding for several public education. In addition, Members of Congress to ask them to support decision to provide $1.1 other key well-rounded on the page members will nd music education. billion in FY 2018 funding education programs, including access to our latest advocacy • Join our quarterly advocacy webinars to for the Title IV-A block grant, $15.8 billion for Title I-A, webinar, where we discuss how learn about the federal landscape as well as otherwise known as the $2.1 billion for Title II-A, and Title IV funding can be used to strategies to advocate Student Support and Academic $29.0 million for the Arts in support music education in local at the local level for your music programs. Enrichment (SSAE) grants. Education program.” school districts.” The time is now to get Since the passage of the Every Despite the great news, The full text of NAfME’s in the game to protect and enhance your Student Succeeds Act (ESSA), Ronny Lau, NAfME’s Public statement in support of the music programs achieving full funding for Title Policy Advisor, emphasizes the bipartisan omnibus agreement can through advocacy, and you don’t need to go
IV-A has remained NAfME’s need for continued action. be found at bit.ly/2018omnibus. through it alone! Jackie Jordan. Photo by
14 Teaching Music APRIL 2018 COLLEGIATE ADVOCACY SUMMIT
REGISTER TODAY JUNE 26-28 #NAfMEHD18
BE A FORCE FOR YOUR STUDENTS AND YOUR CAREER!
This is just the beginning of a new day for music education. We must help states, districts, and schools interpret and implement the new law of the land. There’s a lot more work to do!
Don’t miss this opportunity to join us in Washington, D.C., this June, for mentoring and professional development that will empower you to be the advocate you need to be, for yourself, and for your students. Help lead our next steps in this new era for music education. • Go “behind the scenes” as we meet face-to-face with U.S. legislators and their staffs in Senate and Representative offices on the Hill. • Enjoy a wonderful evening reception and awards dinner, as you meet and network with NAfME state and national leaders. • Participate in leadership and advocacy training that you can take back to share with your chapter and use in your career.
NAfME is the established national voice for music education, and we want YOU to be in Washington, D.C., in June for this exciting event. It’s the chance of a lifetime to carry your passion for music education to Capitol Hill. Reserve your spot today!
Learn more at: CAS.nafme.org “Inside the word Discoveries ✢ BY MICHAEL PALERM O teach is ‘each,’ and I believe that no matter the student, no matter the disability, and no matter the challenge, we should give the kid a chance.” Integrating Students with Special Needs into a School Band Program
MICHAEL C. PALERMO is a band director for the May eld City Schools in May eld, Ohio, as well as an adjunct professor in music at Notre Dame College in South Euclid, Ohio. He can be contacted at MPALERMO@may eldschools.org.
IN A POST on a music forum, a friend of e ective calming techniques mine recently described how distraught and may help to deescalate she was when she was told that her students’ tension and fear. teenage daughter, who has played in Music can be either a solo or her school’s band for three years and a group activity. As my friend who as parent, that students with special who has Asperger’s syndrome, was told shared the story of her daughter needs need a place to belong and, for that she did not meet the band direc- implied, nding a group activity in some, the band world can be that place. tor’s performance criteria to continue which a student with autism or other in the band program as a high school special needs wants to participate is Tips for Teaching Special Learners student. Band is the only group activity often a challenge. Thus, encouraging to Play a Musical Instrument in which her daughter has ever shown continued participation in activities • Teach music by ear. Some children an interest. students already enjoy should be a have an amazing ability to hear Hearing this story broke my heart. priority for teachers and parents. something once and repeat it. I had a As a band director for 25 years and a As you read the following sugges- percussion student with high-functioning college instructor for the last 10, I nd tions, keep in mind that you may autism who could do just that: I would this to be an unacceptable attitude and encounter students who are unable to play a rhythmic pattern once, and he an insensitive practice. This situation read, or who struggle with reading. could repeat it perfectly. The kicker: prompted me to share some of the Not having the ability to read words He was mathematically gifted and techniques I’ve picked up to help does not necessarily mean that a student could count the rhythms while playing. keep all students successful in a band cannot read music, but you, the teacher, This can be very helpful when learning program. may have to learn new techniques that parts for group band. Students can prac- Students with special needs are often may initially seem to go against the tice this skill by learning to play a song interested in listening to and learning principles by which you now teach. they enjoy listening to. Success is more to play music. In my teaching, I’ve Understand that these suggestions are important than music-reading skills observed that these activities can be only that—things you can try with with special learners. The ability to play students. In my program, I accept any something by ear or to learn a piece by LINKS SHOWING SUCCESSFUL child and will create accommodations ear can be bene cial for any student. KIDS WITH SPECIAL NEEDS IN and adapt my teaching for any student, For those with disabilities, this activity A MUSIC ENVIRONMENT: including those with multiple disabili- can be a learning tool that can help • youtube.com/watch?v=_0u2Le1IR-8 ties, autism, and behavioral issues. I them advance their musical knowledge. • youtube.com/watch?v=7aTVU6oala8
have always found as a director, as well Band is oftentimes a di cult place for Photos courtesy of Michael C. Palermo.
16 Teaching Music APRIL 2018 Photos courtesy of Michael C. Palermo. • Recognize diverse learning styles. learning diverse • Recognize non-honors student in a in student non-honors a as challenged as not is child honors An way. their thrown are challenges as successful feel to ment environ conducive the have must needs special with students put, Simply ways. multiple in ing rhythm-read as such askill teach to necessary it is learning, to approaches of avariety have students our Because lives. entire their for enjoyment reap can they which music—from play to ability askill—the student every give to ability However, the we have musicians. professional become will students our of all Not styles. learning diverse have students our because we teach way the We change to have the curriculum using math. using curriculum the across teaching we are and successful, be to needs special with students help can practice This rhythms. basic count isolation. isolation. in reading rhythm on • Focus successful. be can students all note-reading, includes also that away in incorporated it is if but learning, rote-style mathematics can be used to to used be can mathematics basic where asubject be to happens just Music learners. of style one of needs the toward geared was music teaching about learned educators music most what but suggestion, this at cringing be may you teacher, amusic you are If rhythms. the above names note the write and music band of rhythms outthe write You notes. can reading than students for easier typically Students with special needs need a place to belong and, for some, the band world can be that place. be that world can band the for some, and, belong aplace to need needs special with Students - Reading rhythm is is rhythm Reading - all kinds. all of students for styles teaching adapt to ways nd to need levels, all at educators We, as environment. education regular your student’s success. success. student’s your in assist further to paper the on notes the You color-code to able be may green. a“C,” see they hear they time every that be would this of example An colors. with notes musical associate to able may be students ofyour • Some values. note teaching when division and subtraction, like addition, math, simple • Incorporate music. ofreading process the scaffold • Slowly concepts. concepts. beat the understand will student abasic-level concept, division the using when but stretch, astrong is signatures learners as well as special learners. learners. special as well as learners younger with success with technique this used Ihave work. does really sion progres the but silly, rather sound may This sta . afull read to able are they until on so and line, another add then note, space other the add notes, two reading master can they When line. one the above just or below just either note asecond add mastered, When note. one the with rhythms the reading practice students Have line. one the on rhythms your note). one be Place will Make your rst sta one line (it (it line one sta rst your Make • Help all students get and stay stay and get students all • Help tasks don’t seem overwhelming. don’t overwhelming. seem tasks broken into small chunks so so chunks small into broken from structures such as practice practice as such structures from organized. organized. special needs often bene t bene t often needs special presented in several ways and and ways several in presented charts, step-by-step sequenc step-by-step charts, The idea of adding time time adding of idea The es (with illustrations), and and illustrations), (with es access to videos that that videos to access clearly demonstrate the the demonstrate clearly easier if challenges can be be can challenges if easier techniques you want to to you want techniques teach. Repetition is is Repetition teach. Students with with Students - - modate those who learn di erently. learn who those modate accom to best youyour do that asking I’m excel; just to ability the with those for lower you standards to asking not Iam instrument? an play to ability the having of gift lifelong the child every give to or musicians, professional be to up grow will who children only train ourselves teachers? ourselves we call why Isn’t eld? that this we into went why Isn’t that chance. a kid the give we should challenge, the matter no and disability, the matter no student, the matter no that “each,” Ibelieve is and teach word the Inside everyone. educate to job our it is but directors, band as we face away. pushed or limited be should one no others, to adanger is student the Unless surroundings. musical these in friends lifelong Young make people enhanced. is character emotional socio astudent’s which in activities are They amusician: becoming about just not are that environments musical are ensembles other and orchestra, choir, Band, learning. their in limited being are students these this, doing by and band, as such classes out of them take to ways with up come have We students. label that lately created avenues many too been have There ensemble. an in participate to able be that. on focus and well, do can student the what Find fully. success instrument an can’t play they that mean not does This positioning. nger perfect or embouchure perfect of capable not simply are children • How important is perfect form? perfect is important • How goal? your is • What Band Directors: Keep in Mind Palermo forhersupport andencouragement. Phelps forthearticle’s inspiration, andTammy NOTE: TheauthorthanksMindiEngdahl
I understand the uphill challenges challenges uphill the I understand should so do to want who kids All Is your goal to to goal your Is Some Some nafme.org nafme.org - - - 17 Lectern ✢ BY JACOB PROSEK
Accordion Advocacy: Bringing the Accordion into the General Music Classroom Accordion Basics While the accordion may seem intimidating at rst glance, it is in fact the U.S. o ered lessons, competitions, quite approachable. Let’s focus on the JACOB PROSEK teaches general music at Westmore Elementary and various large group ensembles piano accordion. There are a variety of School in Lombard, Illinois. An meeting frequently after school. These accordion options, but the piano accordion and harmonica player and ensembles could range from accordion accordion is by far the most popular and a NAfME member, he can be orchestras to marching bands or the most natural t for most teachers contacted at [email protected]. whatever the local market required. (see instrument in photo above). There With the increased popularity of rock are three main components to the A Brief History of and roll and the general market shift instrument: the keyboard (played with Accordion Education away from music featuring the accordi- the right hand), the bellows (which
In her book Squeeze This! A Cultural on, the instrument and these studios generate the airstream), and the History of the Accordion in America, author dwindled. Even with this lack of left-hand buttons. Anyone who has Marion Jacobson states, “The piano popularity, contemporary educators passed their college piano pro ciency accordion was one of America’s most such as Rita Barnea and Edward exam, even just barely, should have a popular instruments between 1938 and Monteiro incorporated the accordion strong command of the right hand with 1963, and in the peak year of 1953, its into their classrooms with enormous very little di culty. sales rivaled those of all the band success. Although the instrument hasn’t Most accordion music for the right instruments combined.” However, had strong popularity in the past among hand is just the melodic line with the the instrument has failed to gain educators, it has the potential for occasional third and fth. The bellows widespread popularity in public schools. solving many of our current problems can seem a bit awkward at rst; The accordion is not included in in music classes. however, many accordionists have orchestra or band, and it wasn’t until relatively recently that alternative ensembles have gained popularity among public school educators. During the accordion boom of the mid-20th century, the most popular way for Americans to learn the instru-
ment was through the studio system Figure 1
(see Figure 1). Small studios throughout Headshot courtesy of Jacob Prosek. ISD. Morris, Pearland Courtney Photos top and far right by Historian for the American Accordionists’ Association. Photo bottom left from the collection of Joan Grauman,
18 Teaching Music APRIL 2018 What I found most useful was the portability of the instrument. Unlike with a piano, I am able to wear an accordion and walk around the room while playing.
the instrument. What I found most useful was the portability of the instrument. Unlike with a piano, I am able to wear an accordion and walk around the room while playing. I am also able to sit on the oor with my kindergarten students while playing the accordion, allowing for classroom management techniques that are not possible with a full piano. Rita Barnea, an elementary music teacher for decades and a professional accordionist, also spoke about the ability to march with compared bellowing to breathing the students. This is a technique I have when singing. Although the action of implemented frequently with my work operation is unique compared to many on steady beat in various Or -centered of having a student pressing a bass instruments with which educators are movement activities. button to play the next song—a fun gag familiar, just remember to follow the In contrast with the electric key- she says she was able to get away with phrasing instincts you learned on your boards many music teachers use, the until they were in third grade! It’s these primary instrument. The left hand accordion is acoustic, so I never have to charming extras that really bring joy Stradella bass system is designed worry about batteries or nding a and engagement into the classroom. around the circle of fths. The center power source. One way that it has made What is perhaps most amazing about bass button is C, the button above is my life easier as an educator is the the accordion is the way in which it G, and the button below is F. Beside instrument’s portability for events such connects with the community. As a the main row of bass buttons is a as eld trips and assemblies. I no longer Chicago-based music teacher living in secondary row of bass buttons pitched need to worry about having the piano the heart of America’s polka belt, I’ve a major third above the fundamental. transported from the music room to the discovered that the instrument has Below those rows are a variety of gymnasium when I can simply carry always been associated in my mind chord options (see Figure 2). If the my accordion with me. It is also ideal with the music of Poland and Central player’s objective is to play music that for eld trips where my prior options Europe. However, I now know that consists mostly of tonic, dominant, and were a cumbersome keyboard or this is by no means the only culture subdominant harmonies, then the relying upon a provided piano. Barnea that cherishes the accordion. I current- instrument’s design is musically has also shared many of her “bits of ly have the opportunity to teach in a logical. Simply play the melody in the business” that simply make using the school with a high population of right hand, play a bass-chord pattern accordion fun. She talks about the joy Hispanic students. The accordion’s in the left hand, and bellow when you would breathe. Figure 2 Bellows c g d a e b f c g d a e b Single The Accordion in Notes the Classroom a e b f c g d a e b f c g After learning to play the instrument, A E B F C G D A E B F C G I immediately brought it into the A m E m B m Fm Cm Gm Dm Am Em Bm F m C m G m Chords classroom for my students. I rst A 7 E 7 B 7 F7 C7 G7 D7 A7 E7 B7 F 7 C 7 G 7 thought it would be a mere novelty, but A E B F C G D A E B F C G the students were truly engaged with Palm 19 popularity in Latin Ameri- Figure 3 tive music ensembles have can music creates a strong been gaining popularity in connection between the recent years, and in the students and the instru- schools that have incorporat- ment. If you talk with ed the accordion into their accordionists and music classrooms, the programs teachers who use the have been met with great accordion in their class- success and optimism. One rooms, you’ll nd that diverse local of the most interesting programs is cultures embrace the instrument. Many found at the H. C. Carleston Elementa- accordionists from New York speak of ry School in Pearland, Texas, under the strong Italian ties to the instru- Brian Berlin. Berlin currently has 30 ment, while in the South, the in uence accordions in his elementary school of Zydeco music is prevalent. One of general music classroom, and teaches my favorite books to use in the full accordion ensemble. While students Traditionally, accordion ensembles have classroom is Mendel’s Accordion by Heidi in other schools learn recorder or guitar, been popular throughout Central Smith Hyde (Figure 3). This book Berlin’s students—more than 300 each Europe, especially in regions with a follows the story of a Jewish East- year—get the opportunity to learn the rich folk music heritage, In Asia, the ern-European accordionist as he accordion in third and fourth grade. instrument has swelled in popularity in immigrates to America at the turn of Although the accordion can be used as recent decades, and is being used with the last century. Through this book, an instrument of cultural ambassador- great success both on its own and as a readers can see how the accordion ship, Berlin has found great success preparation for students of piano. waxes and wanes in popularity up to using it as a tool to teach all kinds of the present day. This immigration story music. Pick up an Accordion! is one to which many of my students At the high school level, individuals Starting an accordion orchestra is have found a deep connection. like Marilyn O’Neil have spearheaded probably not the top priority for the For those who have already begun to initiatives to bring in accordions by average music teacher. If, however, you incorporate the accordion into their means of grants. In O’Neil’s case, the are looking for an instrument that is classroom as an accompaniment grant funding the program is supported relatively easy to learn, highly portable, instrument, one may wonder what the in part by the Arts and Culture and a wonderful way to connect with next step could be. Sprinkled through- Collaborative, Waterbury, Connecticut, your school’s community, then the out the U.S. are a few schools that are Region in partnership with the accordion may be right for you. beginning to implement accordion Connecticut Department of Economic Although purchasing a new accordion ensembles in their classrooms. Alterna- and Community Development, O ce can seem rather expensive, they are of the Arts, and the National Endow- generally no more so than any other ment for the Arts. Through various high-quality band or orchestra instru- workshops with experts, students with ment. Additionally, there is a vibrant musical backgrounds have the chance to market for used accordions. I was able learn the accordion. At the end of this to get my rst accordion from a experience, students will have the colleague in exchange for a bag of opportunity to play their primary band candy. The four student accordions I or orchestra instrument in an accom- use in my classroom were donated plished accordion orchestra. If a student through a local school recycling center. shows particular promise with the Others have found success in procuring instrument, he or she may even have instruments through radio instrument the opportunity to play the accordion drives and arrangements with local with this orchestra. music dealers. Pick up an accordion and It also behooves the budding your favorite three-chord song, and get accordion ensemble director to look ready for your classroom to pick up
outside the U.S. for inspiration. something new! Morris. Photo bottom courtesy of Jacob Prosek. Courtney Photo top by
20 Teaching Music APRIL 2018
TEACHERS’ VOICES Results and Recommendations from “The Status of Music Education in United States Public Schools—2017”
Normal Heights Elementary, San Diego, California
22 Teaching Music APRIL 2018 A SNAPSHOT OF WHERE WE’RE HEADED, AND WHERE WE SHOULD BE GOING By Andrew S. Berman
IN THE FALL OF 2017, Give A Note Foundation published a study that took a close look at music education in the U.S. The study is called “The Status of Music Education in United States Public Schools—2017” and its ndings can be read in detail at bit.ly/MusicEdResearch. This study was funded by the Country Music Association (CMA) Foundation, which is a signi cant ally to Give A Note Foundation and NAfME in their stalwart support of music education. All three collaborated in this e ort to understand “the nature of music teachers’ jobs, working conditions, and contexts as they currently exist in the U.S.,” explains the study’s principal investigator Kenneth Elpus, “with an eye toward understanding how philanthropic e orts to support music education might be most e ectively invested.” Elpus, a NAfME member,
Photo by Russ Sperling. Photo by is an associate professor of music
nafme.org 23 A CLOSER LOOK AT FUNDRAISING The more urban the school, the more vital fundraising is to the survival of the music program. SOURCE: ELPUS K. “THE STATUS OF MUSIC EDUCATION IN UNITED STATES PUBLIC SCHOOLS—2017.” GIVE A NOTE FOUNDATION.
FUNDRAISING ENRICHES FUNDRAISING IS NECESSARY FOR THE MUSIC PROGRAM ADEQUATE MUSIC INSTRUCTION
RURAL CITY RURAL 63% 42% 37 CITY 58%
TOWN/ SUBURBAN EXURB TOWN/ EXURB 60% 30% 70% SUBURBAN 40%
education at the University of reaction was, as is usual for me, a geeky Maryland, College Park. excitement,” admits Elpus. “One thing Preparation for the study began in that surprised me as a music educator early 2016, and it was administered over was that the traditional ways we the course of the 2016–2017 school conceive of music education in the U.S. year. Results were tabulated the are still the predominant ways that San Diego Uni ed School District in following summer and then published students learn in music schools.” Lynn California, and Western Division in the fall. The scope of the survey was Tuttle, Director of Public Policy, President on NAfME’s National broad, covering teacher specialization, Research & Professional Development Executive Board—participated in the the prevalence of traditional ensemble- for NAfME, agreed that “we continue initial focus groups prior to the based classrooms, music curriculum to be fairly traditional. I don’t know if development of the survey. He notes standards, the role of fundraising, access we’re experimenting enough.” Overall, that the study largely con rmed his to professional development, the she said the study results “focused my suspicions: “There’s no silver bullet” for in uence of local leadership, and more. understanding.” Tuttle worked closely combating the issues facing music Data from the survey ranged from with Elpus on the communication of education in this country. expected to surprising. “I’m always the survey results. Russ Sperling—di- excited to analyze new data, so my rst rector of visual and performing arts at THE ROLE OF FUNDRAISING POINTS OF INTEREST FROM THE STUDY “It was sobering to see it brought home • Band and chorus are the most prevalent courses offered in U.S. public high so starkly,” says Tuttle about the schools (reported present by 93% and 89% of respondents, respectively), which are importance of fundraising for e ective followed by a sharp drop in respondents for jazz band (42%), general music (39%), and then orchestra and marching band (36% each). music education. Although a majority • The study shows that more music programs align with the 2014 Music Standards (58%) of respondents reported that (34% of those with a written curriculum guide) than with the 1994 National Standards for Music (11% of those with a written curriculum guide). This gratified “fundraising enriches the music Tuttle, who’d helped shepherd in the acceptance of the 2014 Standards. “The field program,” 42% of respondents said that has been so acclimated to the 1994 standards,” she explains. “I didn’t expect to see that pop in 2017.” fundraising is “necessary for delivering • When asked how respondents would spend an unexpected $10,000 grant, 76% adequate music instruction,” indicating chose to purchase instruments, 48% chose to buy sheet music or method books, 38% opted for performance equipment such as risers or microphones, and 35% would a signi cant subset of teachers who have bring in guest clinicians or composers (respondents were allowed to choose up to three options). Responses dropped below 20% after that. to fundraise to keep their programs functional. This subset includes mostly
24 Teaching Music APRIL 2018 A Hoover High School student the moment he learns he’s getting a scholarship
46th in the nation for education o ering music education to kids as it “What are the spending per student (according to should be o ered?” roles of advocacy Education Week’s 2017 Quality Counts1). The report’s ndings on music In his district and region, this often program fundraising resonated with and philanthropy manifests itself as a lack of general Elpus, who re ects on the time and in relieving the music instruction. In the ensemble energy he spent on fundraising as a fundraising burden classrooms, “The school pays the high school choral director. There was on teachers and teacher and provides the room and a an annual, general fundraiser plus modest budget,” but not much beyond several targeted e orts throughout the making sure we that, he says. Fundraising can be year. He was lucky to have an active are offering music expected for things like travel and group of parents taking the lead on education to kids clinicians, but “we don’t want you those campaigns, allowing him to focus as it should be fundraising for reeds.” more on teaching. Community support Seeing these results, Tuttle wonders is important, but the ultimate responsi- offered?” how districts and school boards bility still rests with the teacher, and —LYNN TUTTLE prioritize ne arts education. As for the though the level of burden varies from gap between urban schools and less district to district, the study shows teachers in urban schools, who make up populated communities, she concedes fundraising in music programs is 58% of the respondents who gave the that the “disparity is here to stay for a ubiquitous in the U.S. latter answer (see the pie charts on page while,” but empowers teachers to do 24). Having taught at a school on the what they can to ensure the gap THE INFLUENCE OF cusp of urban and suburban, Sperling narrows over time. She asks: “What are LOCAL LEADERSHIP knows that some teachers are fundrais- the roles of advocacy and philanthropy “Even superstars struggle without a ing for the basics. He shares the statistic in relieving the fundraising burden on supportive principal,” observes Sper-
Photo by Russ Sperling. Photo by that his home state of California ranks teachers and making sure we are ling. The in uence of principals on the
nafme.org 25 music program—particularly in large, cites the alarming statistic that half of decentralized districts—is paramount. “In a perfect all principals in the U.S. quit after three The study’s executive summary states: years2. This means that music teachers “Often the di erence between a school world, professional have to start from scratch every few with an outstanding music program and development years, making their case anew to a a neighboring school with a faltering or that districts potentially novice administrator. Music nonexistent music program is simply provided for music teachers need to examine how they the principal’s desire to support or view themselves in the advocate role, withhold support for music teaching teachers would Tuttle says. “This might be a and learning.” Elpus testi es, “I know be content-specific not-so-comfortable place to be, but of a large school district near me where and context-relevant it’s part of what we do.” This nding some middle schools have excellent prompts a conversation about what music programs and others have none, and all music tools NAfME makes available (see and the desire of the building principal teachers would nafme.org/advocacy) and what more to have a music program is the only have financial they can do in that vein. The same determining factor.“ Tuttle notes that is true of advocacy support at the state the data about local leaders’ impact on support to attend and federal levels. music programs “strongly came out in relevant music this report, although it’s been trending education ACCESS TO that way.” PROFESSIONAL “Advocacy really comes down to association DEVELOPMENT the local level,” Tuttle reasons. “It’s conferences.” “In a perfect world,” muses Elpus, very important to do state-level work, —KENNETH ELPUS “professional development that districts but truly, decision-making is resting provided for music teachers would be with these administrators.” Further, she content-speci c and context-relevant
26 Teaching Music APRIL 2018 San Diego Unified School District School of Creative and aren’t appropriate or aligned?” she asks. Performing Arts Jazz Ensemble “We shouldn’t do that to students or teachers.” Tuttle doesn’t expect districts to have music-speci c PD at every opportunity, and suggests they consider other PD options for teachers who have di culty accessing music-speci c PD, such as partnering with neighboring districts to pool resources, and NAfME’s own online learning platform: NAfME Academy (see bit.ly/nafmeAcademy).
TAKING WHAT WE’VE LEARNED AND MOVING FORWARD The study covers more than just these three topics, and provides a snapshot of the state of music education that music teachers, supervisors, and organizational leaders can use as a jumping-o point. “The big takeaway for teachers,” Tuttle points out, “is to re ect for a moment and all music teachers would have out-of-district PD shows a more even on their relationship to their principals nancial support to attend relevant landscape: Teachers from all urbanici- and their districts, and understand the music education association confer- ties take advantage of out-of-district role they can play to make sure that ences.” How close you are to that PD at a relatively similar rate (ranging music remains an important part of perfect world depends on how close from 62% to 72%), per the study. what happens in their districts.” Elpus you are to an urban center, according to Sperling concurs that, in rural to adds that this information “can help the study. Most respondents in urban suburban environments, “It can be a teachers, NAfME, and philanthropic and suburban schools (84% and 59%, struggle, unless you have a visionary organizations interested in supporting respectively) attended school- or principal who will send you to a music education gure out where to district-provided, content-relevant NAfME conference.” Tuttle recalls that focus their energies.” professional development (PD), whereas she “certainly heard in the eld a level teachers working in towns or exurbs of frustration with the administration REFERENCES 1Lloyd S. C., & Harwin, A. (2017). “In Latest Look, attended such PD at a rate of 45%, and for making them sit through PD that Nation’s Grade Stays Decidedly Middle-of-Pack,” Education Week 36 (16), 38–40. those in rural communities a low 32% wasn’t relevant to them. Why are we 2School Leaders Network (2014). “Churn: The High (see line graph below). The data on providing learning opportunities that Cost of Principal Turnover.” Connectleadsucceed.org, 2014.
A CLOSER LOOK AT MUSIC TEACHER CITY PROFESSIONAL DEVELOPMENT SUBURB Schools in more sparsely-populated communities have music teachers TOWN/EXURB with lower rates of attending uss Sperling. school/district music-related PD. RURAL SOURCE: ELPUS K. “THE STATUS OF MUSIC EDUCATION IN UNITED STATES PUBLIC SCHOOLS —2017.” GIVE A NOTE FOUNDATION. hoto by R hoto by
P 0 20 40 60 80 100
nafme.org 27 28 “
Teaching Music Music Teaching and engage attendees in key areas. six Opus Leaders are working to inspire For NAfME’s 2018 National Conference, I E L AM OPUS! MAGNU THIS IS T IS THIS hours. “We are trying to focus on topics that are applicable to all music music all to applicable are that topics on focus to “We trying are hours. 12 about for strand Opus one attend to encouraged being are educators music event upcoming year’s this for music, choral teaching about another to seminar music say, ageneral from, go would attendees conferences, previous during While topic. aparticular in level adeeper at engage to participants allow will “Opus”? is what But Opus. the about all engagement—and NSPIRE.” Simply put, an Opus is a longer block of time, similar to a workshop, that that aworkshop, to similar time, of block alonger is Opus an put, Simply EAD. EAD. NGAGE. NGAGE. HE T HE
APRIL 2018 APRIL f NA OF HEME PLIFY: PLIFY: ME ’S 2018 N ’S AT IO
NA L CO L N FERE BY LISA FER NC E. E.
It’s all about all all about It’s all M B
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Photos by Matt Janson Photography, mattjanson.com. nafme.org 29 educators. The content builds on itself, so the breadth and depth you are receiving from one particular Opus is far greater than what you would receive from a 60-minute session,” says JJ Norman, NAfME’s Professional Development and Collegiate Program Manager. The event organizers note that this new approach is about doing a deep dive and giving attendees a strong toolkit. Kristen Rencher, NAfME’s Director of Membership, Strategic Initiatives, and Student Programs, says, “It’s one thing to be in a session and relevant and bene cial to our mem- modes of connecting with kids.” take notes, and it’s another to be bers.” Each Opus has lead facilitators hands-on with other teachers and get On November 10 and 11, preceding and they will start the conference perspective. We are continuously trying the conference itself, there will be three with “Music ED talks,” says Lance to improve and develop content that is forums—Emerging Leaders, Music Nielsen, NAfME’s Professional Program Leaders, and Collegiate— Development Chair and Immediate through which attendees can earn up to Past-President of the North Central NAfME’S 2018 20 hours of professional development. Division. The Music ED talks are NATIONAL CONFERENCE NAfME is creating a justi cation opportunities for the facilitators to set “AMPLIFY: LEAD. toolkit for those who need to prove to the stage and inform attendees as to ENGAGE. INSPIRE.” their employers why it is important which Opus they may want to join. they attend. “The facilitators have generated The 2018 National Conference will take Lynn Tuttle, NAfME’s Director of wonderful ideas and there is a common place November 11–14, 2018, at the Gaylord Texan Resort in Grapevine, Texas. Public Policy, Research, and Profes- thread of how we engage all students • Registration Opens: April 12 sional Development, says, “Research regardless of age, gender, race, or ability • Early Bird Registration Dates: April 2–September 7 has shown that quality professional through music standards, creativity, • Regular Registration Dates: development needs to be related innovative music-making, and technol- September 8–November 2 • After November 2, registration directly to what you do in your ogy,” says Nielsen. The conference also will be available onsite. classroom every day. The Opus setup features standard shorter sessions in can give you time to practice what you which selected clinicians will share best The Conference will focus on the following areas: are learning and how to bring it to your practices in music education. An AMPLIFY: LEARNING—Teaching Music classroom. For example, the Opus additional new component is the “Best as a Well-Rounded Subject Learning track focuses on learning Practices” posters session, modeled after AMPLIFY: INNOVATION—Cultivating Innovative Music-Making about the new Music Standards research conference poster sessions, AMPLIFY: INVOLVEMENT—Engaging regardless of what kind of music teacher where attendees can interact with other Diversity in Music-Making and Teaching you are. My background is instrumen- music educators to share new ideas and AMPLIFY: INSPIRATION—Inspiring Students through Music Creativity tal, but I learn a ton when I’m learning teaching strategies. “We are trying to AMPLIFY: TECHNOLOGY—Teaching with choral educators because they avoid the sit-and-get type of conference the Tech-Savvy Generation teach di erently and they have di erent and really provide opportunities for educators to be engaged Up to 20 hours of professional development credit will be available, with new ideas and to focusing on innovative content that opens doors to the future of music leave the conference with education, timeliness of topics to the lesson plans and strategies field, and practical applications. that they may implement For more information, visit nationalconference.nafme.org. in their classroom to
support all students.” mattjanson.com . Matt Janson Photography, Photos by
30 Teaching Music APRIL 2018
John mlynczAK OPUS LEADERS Amplify: technology TEACHING THE TECH-SAVVY GENERATION How do we integrate technology SHARE THEIR PLANS in a meaningful way that engages students and provides new opportunities that ANNE FENNELL were never before possible? John Mlynczak is leading the Technology Opus called “Teaching the Tech-Savvy Generation,” which is presented in partnership with AMPLIFY: INNOVATION the Technology Institute for Music Educators. He says, “Our focus CULTIVATING INNOVATIVE is using technology in all areas of music education to serve today’s MUSIC-MAKING tech-savvy student or ‘digital native.’ We will include presentations How do we successfully embrace that demonstrate successful lesson ideas on creating and recording music, as well as incorporating live sound and audio production into a variety of musical experiences the classroom. In addition, we will discuss ways to utilize the tech- with this generation of students? nology that students use, such as social media and mobile devices Opus Innovation leader Anne Fennell says, “Within the in order to recruit and retain more students in our music programs. Innovations strand, we will identify, promote, and expand technological proficiency is not a requirement for this opus, as we innovative programs and practices in music education. are focusing more on instructional practices than the technology. innovation in music education is about the process of We will have a music technology lab set up and will include time to teaching for a high level of engagement and learning that play with various music tech products and get hands-on demon- will truly transform both student and teacher. This is about strations from product experts, so everyone will have the opportu- teaching for learning, and to support creative and critical nity to get personalized instruction on technology that is relevant thinking while making deep connections to music. We will for their classrooms.” experience how learners can be a part of the decision-mak- ing and learning process. Traditionally, education has been teacher-centered, but now we know that when a learner co-creates and reflects on knowledge, profound growth oc- CHRISTOPHER AZZARA curs. Through interactive formats, teachers will participate in collaborative conversations and brainstorms to support Amplify: inSpirAtion this innovative approach. Intentional conversations about INSPIRING STUDENTS THROUGH teaching for creative and critical thinking, while developing MUSIC CREATIVITY character dispositions through music, will be the common thread through our work. This innovative work is for all How do we provide for the areas of music education, from all choral to any instrumental creation and improvisation of music ensemble, general to world music, and for all grade levels. throughout the curriculum, in instrumental, We will learn from leaders in the field, share ideas, and apply the ‘how’ of innovative and transformative music education. vocal, and general music settings? We hope you can join us as we co-create the future of music Christopher Azzara will facilitate the Inspiration Opus, which he education and its many possible pathways!” describes this way: “At this Opus, participants will explore the relationships among music listening, improvisation, reading, and composition. With an understanding of how these skills are related, participants will be able to implement sequential curriculum that will help their students learn how to improvise, improve listening JOHANNA SIEBERT and reading comprehension, compose original ideas, and gain a & ARMALYN De La O deeper understanding of literature. Sessions include ‘creativity: Inspiration and Meaning for Music Teaching and Learning,’ ‘Six Amplify: leArning Principles of Music Teaching and Learning,’ ‘Assessing Music Impro- visation,’ and sessions for ‘inspiring creativity and improvisation in TEACHING MUSIC AS A Early Childhood, Elementary Music, and Secondary Music.’” WELL-ROUNDED SUBJECT How do we move beyond the podium and include our students as active music- ALICE HAMMEL makers and leaders in our Amplify: involvement ensembles as promised in the ENGAGING DIVERSITY 2014 Music Standards? IN MUSIC-MAKING Johanna Siebert and Armalyn De La O AND TEACHING guide the Learning Opus, which will offer music educators experiences they might not find in a state How do we create a fully conference. “There is a focus on engagement for all those inclusive classroom for all learners and all connected to music programs—students, teachers, and pro- students, regardless of background, learning gram leaders,” says Siebert. “We will be amplifying the work of music educators with respect to how they can incorporate style, or level of musical experience? the 2014 Standards, meaningful assessment, and instruc- Alice Hammel, who will lead the Involvement Opus, says, “We tional practices for effective teaching and student learning. are going to study race and poverty. In particular, we will focus We hope participants will enjoy the hands-on interactions on the experience of African-American students and students who among presenters and practitioners, and leave with renewed live in poverty as they access music education programs in the inspiration for developing their students’ musicianship. Par- U.S. the opus will include high-profile presenters from K–12 ticipants and presenters will explore the use and relevance and university settings as well as a special presentation by the of the Standards, Model Cornerstone Assessments, and Smithsonian Folkways Institute and a poverty simulation. We are high-yield instructional strategies in supporting high-quality very excited about this unique and dynamic set of experiences teaching, across varied classroom settings.” and invite everyone to attend.” Photos courtesy of Opus Leaders.
nafme.org 31 FINDING A AT FRANKLIN WAY HIGH
Jacqueline Hairston took a big chance when she revived the Marching Yellow Jackets—and then was met with an outpouring of support from alumni, parents, and the community. BY STEPHEN HOLLEY
32 Teaching Music APRIL 2018 ONLY HER SECOND YEAR as the band director at Franklin High School in Stockton, California, Jacquie Hairston Istepped N out on blind faith and, even though the music program was fading, made the decision to bring back the Marching Yellow Jackets. She sent out over 70 yers to interested students, but was disheartened when only about 15 showed up to the rst week of band camp. Not one to be discouraged, Hairston says, “Initially, I felt defeated, but still had to make this a good experience for those who did come. Those 15 students made enough noise during camp that they started getting the attention of others.” Unbeknownst to Hairston, band alumni began to raise support via the Franklin High School alumni page and a dedicated band alumni page on Facebook. Hairston used the social media outlets to introduce herself as the new band director and support began pouring in. By the time school began, the band had upwards of 70 members. Hairston became the band director at the Title I school after years of director turnover. Surrounded by industrial parks and agricultural elds, the school su ered from low morale and
Photo by Stockton Unified School District Community Relations Department. Photo by band numbers were dwindling. “It has been a slow
nafme.org 33 process. The students and the program support of the school, students, and long yellow coats, which perfectly t as had been hurt by the constant turnover parents, Hairston still has to cope with a play on ‘yellow jackets.’” of teachers and was on its last leg. It a variety of issues. In one situation, as From there, the support continued took a lot of proving myself to stu- the band was preparing for their rst to pour in by means of a front-page dents, parents, faculty, and administra- competition, they were still without article in the Stockton Record, continued tion by doing things that let them the most basic of attire—shoes. “Some- alumni and parent support, and know I am in this for the long haul.” one posted on the Northern California performance o ers from the communi- The music program at Franklin High Band Association Facebook page that ty. “The Monday after the story came was a signature program of the school they had a surplus of marching shoes. I out, we received phone calls inviting us for years, but the program struggled jumped at the opportunity to secure to participate in the local Chinese New after Hairston’s predecessor—a longtime, shoes for the students, and wound up Year, Cinco de Mayo, and Fourth of beloved director—retired from teach- driving about two and a half hours to July parades. We were also o ered ing. “A long time ago, music at Franklin pick up about 200 pairs of shoes.” space at a local hall if we ever wanted High School was one of the driving Hairston was able to solve other to hold fundraiser dinners, and it was forces behind the school. Looking di culties through the kindness of requested that we have a concert or through the music library, I found colleagues. “I am thankful to be friends two there.” The wave of support works that would be considered with the director of our ‘rival’ continued as Franklin High teachers, collegiate level, if not high school, who gra- who were band alumni themselves, higher. I can only “I want my ciously allowed us to began sharing stories of the band in its imagine the musician- students to use two of his heyday and o ering their support. In ship and support that sousaphones. terms of alumni support, Hairston it took to be able to become lifelong Another local high states, “We post our fundraisers or produce that level of participants school donated their some of our needs, and these alumni music. The bands and supporters old winter guard work their magic the best they can. traveled to places like uniforms that were Sometimes we end up with a monetary New York, Texas, of music.” donation or a referral for Canada, Japan, and someone who can help others.” us x something.” Now, enrollment is up Stepping out on blind and the school and faith yet again, Hairston community are again started a color guard that excited about the music turned into a winter
program. Even with the guard. “I had them Harmon. Alex Photo bottom by Madrigal Photography. Photo top by
34 Teaching Music APRIL 2018 WITH JACQUELINE HAIRSTON
What do you know to be true Q about teaching music that you didn’t know when you started? As much as you want to be able to discon- nect, you can’t, because you end up caring too much about these kids, who end up becoming like your own children. If I weren’t a music teacher I Q would ... probably be a veterinar- ian, since I have an extremely soft spot for animals. What’s the biggest lesson you asking how to become more involved.” my students, giving them some Q want your students to learn while in your program? That every- Hairston’s educational philosophy is freedoms with the understanding of the thing they do matters to someone. Just like they have to work with others in directly in line with her school’s responsibility behind their actions and band, they have to work with others in learning environment and demograph- how these actions can hurt the group, life. The music education profes- ic. “I believe all students, no matter not just themselves. If nothing else Q sion would be better if … there where they are—their socioeconomic positive happens for them during their was equal access for all students no matter where they are in this country. background or overall ability—should day, I want them to at least have had a Socioeconomic status should not equal forgotten students. have access to music education. I want laugh or a moment where they could What have you learned about to encourage and challenge my be themselves for an hour. If I didn’t Q students and parents through students to listen outside of their get them to not only have a break- your work? Students want to know they are contributing to something. comfort zones so they can begin to through as a musician, but to be Seeing their children proud of the work they are able to accomplish, and that shape their own unique musical tastes relaxed, laugh, or smile at least once in their children are part of something and still be open to other genres. I the day, then I feel like it wasn’t as bigger that makes them happy, leads parents to ask the question, “How can want my students to become lifelong productive a day as it could have been.” I help?” participants and supporters of music.” With the immense growth of the What advice would you give to a Q teacher trying to start a program Franklin High School has an program over the past two years—as similar to yours? If you have a vision for you and your program, go for it. Do interesting student-body makeup, as it well as the continued support of not be afraid to ask for help from others o ers an International Baccalaureate students, parents, administrators, and in and out of your district. They want you to succeed just as much as you do. Middle Years Programme. This enables colleagues—Hairston’s vision for the Hairston to have a mix of ages and program is matched only by the desire perform at our winter concert, and the ability levels with students in grades of her students to build it and continue teachers who attended were on the seven through 12 in her intermediate long held traditions. “I hope to bring edges of their seats, surprised to see and advanced ensembles. This plays the program back to where it used to their students dancing and tossing ags well into her relaxed, yet strict, style of be. I’d like to have students and and ri es.” As the program continued teaching. “The students know I like to performing groups that develop a to grow and gain traction, the parents have fun, but we all know when to passion and an interest in music that stepped up as well to lend a hand when focus on what needs to get done. I trust takes them beyond high school—to needed. “Our parent support is have groups that get to experi- de nitely changing for the ence performing at di erent better. Now that parents have venues and set a standard of seen their students investing in higher level of achievement for the program, and that this is students who will come into the something their children enjoy program. I have always wanted doing, we have more parents to teach high school, and now wanting to help set up carpools, that I am nally here I am going providing lunches during long to ght to turn this program into
Top photos courtesy of Jacqueline Hairston. Bottom photo by Madrigal Photography. photos courtesy of Jacqueline Hairston. Bottom photo by Top rehearsals or competitions, and something.”
nafme.org 35 36
Teaching Music Music Teaching CONDU MEET THE MEET effective. be successfuland what ittakes to perspectives on discover their conductors and Honor Ensembles 2018 All-National music education. batons ofleadersin Florida, underthe Resort inOrlando, Coronado Springs held atDisney’s program willbe experience. The educational musical and comprehensive ensembles area the U.S. These musicians in top highschool represent the Honor Ensembles All-National The NAfME BY LOR BY Let’s meetthe
I
APRIL 2018 APRIL S CH
W ART Z R E I CHL music issharedandcanhelpthe ensemblereachitsfullpotential. leader whocancreateanurturing environment whereapassionfor Montès believes thataneffective conductorisagreat musicianand and detailsthatusingwords gestureswouldnotbesufficient.” is abletofullyexpress oneselfthroughmusicwithsuchpassion nique tothepointofbecomingonewithinstrument.He/she being, acommunicatorwhoiswillingtotake timetorefinetech- all thedoors.” Romel Josephencouraged Montèsby saying, “Cello couldbecomethekey that opens Witbeck, whoinstilledstrict discipline,andyet was funandcreative. Haitianviolinist the HolyTrinity SchoolofMusicinHaiti,hemetonehisfavorite celloteachers,Ariel mentors andconductorssuchasMaitreJulioRacineDr. JohnJost.While attending conductor wasadreamofMontèsbeginningwhenhe12.He wasinspiredby he isthemusicdirectorofTheGreaterNewOrleansYouth Orchestra. Becominga conducting, stringeducationandpedagogycourses,orchestration. In addition, University inNewOrleans,Louisiana. Heconductsorchestral ensemblesandteaches Dr. JeanMontèsisDirectorofOrchestra StudiesandCoordinatorofStringsatLoyola Dr. Jean Montès, Symphony Orchestra Montès notesthat,“A successfulmusicianisasensitive human C TORS!
Photos courtesy of the featured conductors. Dr. Michael Quantz, Guitar Ensemble Dr. Michael Quantz is Professor of Music at the University of Texas Rio Grande Valley and is a pioneer in guitar ensemble curriculum. At the age of 12, he saw Freddie King in concert and was enthralled by the experience of Dr. Amanda Quist, Mixed Choir Dr. Amanda Quist is Associate Professor and Chair of Dennis Glocke, seeing him play the Conducting, Organ, and Sacred Music Department at with such Westminster Choir College in New Jersey, where she also Concert Band conducts the Westminster Chapel Choir and Westminster Dennis Glocke is Director incredible Kantorei and teaches graduate and undergraduate con- of Concert Bands at Penn- ducting. She credits her parents for bringing music into sylvania State University verve; he was her life at an early age, and was first inspired by her high in State College. He con- also inspired by school teacher, Mark Webb, to consider ducts the Symphonic Wind music as a career. She notes that her first Ensemble and Symphonic his guitar college director, Duane Davis, “Changed Band and teaches conduct- my life, as I realized this [music] is what I ing and wind literature teacher, Sam Hendricks, to really wanted to do.” courses. His collegiate become more deeply involved Quist believes that “A successful conductor, H. Robert musician has perseverance, determi- Reynolds, had the most in music. nation, talent, and passion” and that an significant musical impact effective conductor combines the art of on him. “I remember Quantz likes the idea that musicianship with humanity. “You must my first rehearsal in the “Anyone who studies music to love people and the art of collective University of Wisconsin’s music-making. You must also know your score deeply and Symphonic Band rehears- the point that they are commu- be a consummate musician. You must have strong ideas ing English Folk Song Suite, nicating how they feel through about the music based on study and scholarship, but also which I had played in high a deep passion about the people in front of you and their school. Reynolds rehearsed the art is a successful musician.” important role in the creative process.” the piece for five min- utes when I realized that, He insists that clarity makes an though I had reproduced e ective conductor. “There is a most of the huge variety of approaches Todd Stoll, notes and rhythms (gestures types, mannerisms, Jazz Ensemble Williams etc.) which distinguish great Todd Stoll is the Vice President of had written, Education at Jazz at Lincoln Center I had never conductors. But, they all in New York City. He remarks, “I played the was blessed to have parents who music. That communicate an evocative spirit loved music and a community that was the cat- imbued within the music. The valued great music educators.” Stoll alyst for what became my was influenced by his junior high life-long quest to do the mechanical gestures should band director, Hap Ashenfelter, who took him to shows same for my students.” and let him sit next to him while he performed, and his Glocke insists, “Suc- coincide with the needs of the high school orchestra conductor, John Smarelli, who cessful musicians have ensemble to reach the evocative taught him the value of programming great literature and mastered their instrument. demanding excellence. Tom Billing, Stoll’s high school When weak musicians per- goals—some require frequent jazz band director, spoke to him about improvisation and form, one is very aware of swing. His first trumpet teacher, Marty Porter, taught him the instrument; when great and precise signals, while others that music wasn’t just about the notes, “It was deeper, and musicians perform, one is respond very well to more more profound than that.” only aware of the music. According to Stoll, “A successful musician has a com- Once the instrument is sweeping signals.” bination of talent, desire, work ethic, and then a pinch of conquered, the performer something less defined; it’s mercurial and spiritual. It’s needs to have something to something less definable, such as a touch of genius per- ‘say,’ something inside that haps?” He believes that reliability, leadership, creativity, needs to be expressed.” and entrepreneurship add to this, and that “an effective Glocke believes an ef- conductor must be understanding of the material at hand; fective conductor must whether it be the score, the definitive recordings of a be an excellent musician piece, or the makeup of the ensemble.” and have the people skills necessary to work with an ensemble.
nafme.org 37 HOW DO YOU MAKE AN ENSEMBLE EXPERIENCE OF A LIFETIME BETTER? Add Magic!
The 2018 All-National Honor Ensembles will take place at November 25-28, 2018
• The All-National Honor Ensembles represent the top performing high school musicians in each state across the country.
• Students may audition for the following ensembles: Concert Band, conducted by Dennis Glocke Jazz Ensemble, conducted by Todd Stoll Symphony Orchestra, conducted by Dr. Jean Montès Mixed Choir, conducted by Dr. Amanda Quist Guitar Ensemble (NEW in 2018), conducted by Dr. Michael Quantz • Directors may participate in Professional Development Directors Academies led by renowned clinicians.
• Students and Directors will meet with the nation's top music programs, conservatories, and universities.
• Students can participate in mock auditions led by the U.S. Army Music Program and U.S. Marine Corps Music Program.
Application deadline: May 4, 2018 Learn more: NAfME.org/ANHE RESOURCE DIRECTORY 2018 SUMMER Teaching Music’s Annual Listing of Summer STUDY Music Programs and Camps
CERTIFICATION PROGRAMS ...... 42
ELEMENTARY, JUNIOR, AND SENIOR HIGH SCHOOL MUSIC SCHOOLS/CAMPS .. 42
GRADUATE MUSIC SCHOOLS ...... 45
PROFESSIONAL DEVELOPMENT ...... 46
MULTILEVEL PROGRAMS ...... 47
nafme.org 39 RESOURCE DIRECTORY
CERTIFICATION Email: sadorno@fi u.edu Camp. While at camp, students will have PROGRAMS Website: carta.fi u.edu/music/orff-schulwerk the opportunity to play in small ensembles, -level-1-summer-training attend classes, and experience what it is like Appalachian State University This course provides a foundational under- to be a music student at Campbellsville Orff-Schulwerk Program standing of the Orff approach. Participants University. This experience is open to vocalists and instrumentalists. Contact: Lisa Runner will experience and examine teaching pro- cesses and gain skills in performing, impro- Address: 813 Rivers Street, Boone, Cannon Music Camp North Carolina 28607 U.S.A. vising, and composing. Contact: Greg Snodgrass Phone: 828-262-8051 Address: 813 Rivers Street, Boone, Email: [email protected] Samford University North Carolina 28608 U.S.A. Website: conferences-camps.appstate.edu/ Contact: Dr. Larry Hardin Phone: 828-262-4091 adult-programs/orff-schulwerk-teacher Address: 800 Lakeshore Drive, Email: [email protected] -education-courses Birmingham, Alabama 35229 U.S.A. Phone: 205-726-2651 Website: cannon.appstate.edu Orff-Schulwerk Level II is offered July 2–13 Email: [email protected] A three-week music-fi lled retreat in the for individuals who have successfully Website: samford.edu Blue Ridge Mountains of North Carolina, completed an AOSA-approved Level I Cannon Music Camp offers the most course. Orff Extended is offered July 16–20 Orff-Schulwerk Levels I & II. June 18–29, comprehensive course of musical for individuals who have successfully 2018. Certifi cation with Graduate credit instruction in the Southeast, with intensive completed Level III. available. college preparatory work in performance Ithaca College Summer University of Kentucky Orff, and music theory. Music Academy Dalcroze, and Modern Band Music Education Summer Florida State University Contact: Bradley Whittemore Summer Music Camps Address: Ithaca College School of Music, Training Contact: Kerry Smith 953 Danby Road, Ithaca, New York 14850 Contact: Dr. Martina Vasil Address: 122 N. Copeland Street, 203 U.S.A. Address: 105 Fine Arts Building, Housewright Music Building, Tallahassee, Phone: 607-274-3366 Lexington, Kentucky 40506 U.S.A. Florida 32306 U.S.A. Email: [email protected] Phone: 859-257-4900 Phone: 850-644-9934 Website: ithaca.edu/sma Email: [email protected] Email: [email protected] Website: fi nearts.uky.edu/music/education/ The SMA provides a creative and support- Website: summer-training music.fsu.edu/summermusiccamps ive environment for young adults to grow One of the most comprehensive music as musicians and people on campus in Learn how to integrate creative and camps in the country, FSU offers 12 high beautiful Upstate New York. student-centered practices through Orff, Dalcroze, and Modern Band training. school music camps conducted by our The Kodály Institute Professional development hours and professors, alumni, and teachers from the of Kentucky graduate credits are available. nation’s top music programs. Contact: Dr. Michele Paynter Paise International Music Sessions Address: Morehead State University, ELEMENTARY, JUNIOR, Contact: Theresa Kim 340 Baird Hall, Morehead, Kentucky 40351 AND SENIOR HIGH Address: 847 Main Street, Clarion, U.S.A. SCHOOL MUSIC SCHOOLS Pennsylvania 16214 U.S.A. Phone: 606-783-2470 AND CAMPS Phone: 631-405-0166 Email: [email protected] Email: [email protected] Website: moreheadstate.edu/mtd Campbellsville University Website: imusicsessions.org Kodály levels I, II, and III can be taken for Contact: Mr. Corey Bonds Summer programs in New York and graduate credit or professional develop- Address: 1 University Drive, UPO 792, California for children (grades 4–12) in ment; June 25–July 6, 2018 at Morehead Campbellsville, Kentucky 42718 U.S.A. uniquely enriching learning environments State University. Phone: 270-789-5237 that use music to bridge the gap between Orff Schulwerk Level 1 at FIU Email: [email protected] cultures. Website: campbellsville.edu/music/ Contact: Sandra Adorno chambercamp Address: 10910 SW 17th Street, Miami, Florida 33199 U.S.A. Students entering grades 8–12 are invited to join us June 5–7 for Chamber Music Phone: 305-348-7252 Continued
40 Teaching Music APRIL 2018 Go advance your career. 100% Online Master of Music in Music Education
Applying to the University of West Georgia was one of the best decisions I’ve ever made. I easily found UWG among the myriad of online programs. The master’s degree in music was one of a few available completely online, which attracted me. I found the course work to be rigorous and challenging, but manageable for a full-time educator. My professors understood that life gets in the way. They helped wherever they could. I enjoyed the online discussions, which were every bit as vibrant as those in the classroom. The material covered in class was relevant for a growing music educator. I’m glad I chose UWG because my degree has helped me grow professionally and personally for teaching in the 21st Century. I am more equipped to deal with the ever-changing classroom and I look forward to facing new challenges. – William Rhoden
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KODÁLY COURSES ARE OFFERED THREE WEEKS EACH JULY: • Solfa Fundamentals • Kodály Certification Levels I, II, and III • Secondary Choral Track for MS and HS teachers • Level IV Core Education and Research
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HOW WILL YOU DRIVE EDUCATION resources... CONTINUED
ACCESSORIES 3
RESOURCE DIRECTORY Lung Trainer Jazz House Kids—Jazz Top two-week summer jazz program: MagnetMinnesota Stand International Unit House Summer Workshop Perform at Dizzy’s Club NYC and ByPiano Lung Trainers Camp, LLC ($385.00)University This device helps wind musicians and singers to Contact: Chrissy Andrascik Montclair Jazz Festival! Curriculum of Minnesota develop better breathing techniques for Address: 347 Bloomfi eld Ave, Montclair, immerses students in the art of jazz Contact: Kyung Kim the sake of optimal performance. The New Jersey 07042 U.S.A. through workshops and masterclasses Address: 2106 4th Street South, Ferguson mouthpiece has been designed so the user Phone: 973-744-2273 with renowned artists. Hall, Minneapolis, Minnesota 55455 U.S.A. uses a very focused air stream. A system of Email: [email protected] Email: [email protected] changing air pressure and volume ensures Website: jazzhousekids.org Website: z.umn.edu/pianocamp STATEMENT OF OWNERSHIP, that the user develops increased breath MANAGEMENT, AND CIRCULATION The Minnesota International Piano Camp (Act of August 12, 1970: Section 3685 control. This version is crafted with Title 39, United States Code.) high-intensityis a joyous summer neodymium piano magnets experience for for selected talented pianists (ages ten and up) Title of publication: Teaching Music. mounting on metal music stands. Lung led by the University of Minnesota’s School Publication Number: 1069-7446 Trainers LLC, lungtrainers.com Date of fi ling: October 1, 2016. of Music faculty and distinguished guest Frequency of issue: 4 times annually—January, April, August, and October. artists. July 10–20, 2018 Subscription price: $10.00 with membership. Snap Cards for Upper Complete mailing address of known offi ce of publication: North Coast Summer 1806 Robert Fulton Drive, Reston, VA 20191–4348 USA. Voice Treble Clef, Complete mailing address of headquarters of general Band Camp business offi ces of the publishers: 1806 Robert Fulton Lower Voice Treble Drive, Reston, VA 20191–4348. Contact: Marshall Jones Full names and complete addresses of publisher, editor, Clef,Address: and 15200 Bass Ocean View Clef Drive, Smith and managing editor: Publisher—Ella Wilcox (Editor): National Association for Music Education, 1806 Robert ByRiver, Theresa California Pritchard 95567 ($19.99 U.S.A. each) This Fulton Drive, Reston, VA 20191–4348; Susan Poliniak series of skill-building fl ashcards is a class- (Editor-in-Chief): InTune Partners (Teaching Music), roomPhone: tool 707-951-5207 that was designed 582 N. Broadway, White Plains, NY 10603 toEmail: help students confi dently Owner: National Association for Music Education. learn to [email protected] sight-read while having Known bondholders, mortgagees, and other security funNorth as a Coast class. After Summer years Band of Camp is a fi ve- holders owning or holding one percent or more of total learning which intervals and amount of bonds, mortgages, or other securities: none. patternsday camp are that consistently is tailored chal- for fi fth through Nonprofi t organization authorized to mail at special lenging for emerging singers, rates: The purpose, function, and nonprofi t status of this eighth grades. It is located in Crescent City, organization and the exempt status for federal income tax Theresa Pritchard purposes have not changed during the preceding twelve developedCalifornia, a at Crescent Elk School, August months. reliable6th–10th. method Cost: for $100.00. simplifying this typ- EXTENT AND NATURE OF CIRCULATION: ically intimidating A. Total number of copies printed (net press run). Average subject. Educators number of copies each issue during preceding twelve Salem State University months: 57,847 actual number of copies of single issue will fi nd suggestions published nearest to fi ling date: 48,775. forSummer utilizing the Jazz cards Program B. Paid circulation. (1) Mailed subscriptions (outside- inContact: the classroom Nicholas for Giarratani county). Average number of copies of each issue during both teaching and preceding twelve months: 55,280; actual number of copies assessingAddress: reading 71 Loring Avenue, Salem, of single issue published nearest to fi ling date: 47,093. (2) skills. BriLee Music, Mailed subscriptions (in-county). Average number of Massachusetts 01970 U.S.A. copies of each issue during preceding twelve months: 0; brileemusic.com actual number of copies of single issue published nearest Phone: 978-542-6296 to fi ling date: 0. (3) Paid distribution outside the mail Email: [email protected] including sales through dealers and carriers, street 62 Teaching Music JANUARY 2018 vendors, counter sales, and other paid distribution outside Website: salemstate.edu/academics/ the USPS. Average number of copies of each issue during preceding twelve months: 145; actual number of copies of colleges-and-schools/college-arts-and single issue published nearest to fi ling date: 137. (4) Paid distribution by other classes mail through the USPS: -sciences/music-and-dance/programs Average number of copies of each issue during preceding SUMMER MUSICAL twelve months: 0; actual number of copies of single issue -and-workshops-0 published nearest to fi ling date: 0. This summer, start earning your C. Total paid distribution. Average number of copies of THEATRE INTENSIVE An overnight program (day-only available) each issue during preceding twelve months: 55,425; actual number of copies of single issue published nearest to for students in grades 9–12 open to musi- fi ling date: 47,230. MASTER’S DEGREE cians of all abilities. Jazz is the focus of this D. Free distribution (by mail and outside the mail). (1) Outside-county: Average number of copies of each issue Preprofessional Program program. during preceding twelve months: 0; actual number of at the University of Kansas copies of single issue published nearest to fi ling date: 0. with Residential Option (2) In-county: Average number of copies of each issue (students ages 14–20) Salem State University during preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. Summer Music Technology (3) Other classes mailed through USPS: Average number of copies of each issue during the preceding twelve July 3 –14, 2017 Program months: 156; actual number of copies of single issue Application deadline published nearest to fi ling date: 131. (4) Distribution Complete a degree in Contact: Nicholas Giarratani outside the mail: Average number of copies of each issue April 3, 2017 during the preceding twelve months: 0; actual number of CHORAL PEDAGOGY or Address: 71 Loring Avenue, Salem, INSTRUMENTAL MUSIC EDUCATION copies of single issue published nearest to fi ling date: 0. Massachusetts 01970 USA E. Total free distribution. Average number of copies of during threeJunior 3-week Program summer sessions each issue during preceding twelve months: 156; actual each(students June at theentering University grades of Kansas.4–8) Phone: 978-542-6296 number of copies of single issue published nearest to fi ling date: 131. Email: [email protected] F. Total distribution. Average number of copies of each Apply now at music.ku.edu/summer-me-mme-programJuly 10 –21, 2017 issue during preceding twelve months: 55,581; actual number of copies of single issue published nearest to Application deadline fi ling date: 47,361. May 15, 2017 G. Copies not distributed (offi ce use, left over, spoiled after printing, and others). Average number of copies of 42 Teaching Music APRIL 2018 each issue during preceding twelve months: 2266; actual number of copies of single issue published nearest to hartford.edu/hcd/smti fi ling date: 1414. H. Total. Average number of distributed copies and 860.768.4451 undistributed issues for each issue during preceding twelve months: 57,847; actual number of copies of single issue published nearest to fi ling date: 48,775. Percent Paid. (1) Average percentage of copies of each issue during preceding twelve months: 99.72%. (2) Actual percentage of copies of single issue published nearest to fi ling date: 99.72%. I certify that the statements made by me above are correct and complete.— Adriane Darvishian, Director, NAfME Governance Constituencies
nafme.org 3
TheThe Hayes Hayes School School of of Music Music atat Appalachian Appalachian State State University University isis pleased pleased to to host host Website: salemstate.edu/academics/ colleges-and-schools/college-arts-and Silver BurdettBurdett -sciences/music-and-dance/programs Summer Music Institute -and-workshops-0 SummerJune Music18-22, 2018 Institute June 19-23, 2017 An overnight program (day option available) General Sessions: for students in grades 9–12. Open to all Audrey Cardany, SannaGeneral Longden, Sessions: and Maribeth Yoder-White 3 hours of graduate credit available students. No experience required. Maribeth Yoder-White, Audrey Cardany, and Sanna Longden 3 hours of graduate credit available GRADUATE MUSIC Orff-Shulwerk SCHOOLS Orff-SchulwerkLevel II JulyLevel 2-13, 2018 I Central Washington Maribeth Yoder-White,July 3-14, Pedagogy 2017 and Movement University Master of Music Lisa Runner,Level Recorder III Contact: Dr. Bret P. Smith JulyExtended 16-26, 2017 Address: Department of Music, Central Maribeth Yoder-WhiteJuly 16-20,, Pedagogy 2018 and Movement Washington University, 400 E. University SusanLisa Ramsey,Runner, RecorderInstructor Way, Ellensburg, Washington 98926 U.S.A. 33 hours hours of of graduate graduate credit credit available available Phone: 509-963-1548 Email: [email protected] Website: cwu.edu/music/summer -master-music-education A program of three summer sessions on the CWU campus offers a wide range of prac- www.camps.appstate.edu/adult-programs tical course work, giving students tools to become master teachers.
The Kodály Institute at Capital SUMMER Contact: Dr. Sandra Mathias M U S I C Address: Capital University, 1 College and Main, Columbus, Ohio 43209 U.S.A. E D U C A T O R S WORKSHOP Phone: 614-258-9430 FOR K–12 EDUCATORS Email: [email protected] Website: capital.edu/kodaly Three-summers Kodály Certifi cate and Masters Program. Elementary and Choral tracks. OAKE Endorsed. International faculty. Quality program since 1980. Fadi Kheir EARLY Shenandoah Conservatory REGISTRATION ENDS SESSION 1 SESSION 2 Master of Music Education APRIL 30 Contact: Dr. Stephanie Standerfer YOU ARE WHAT DARE TO Address: 1460 University Drive, Winchester, Virginia 22601 U.S.A. YOU PLAY CREATE Phone: 550-535-3469 JULY 11–14, 2018 JULY 25–28, 2018 Email: [email protected] Join music educators from across the country at Carnegie Hall this summer Website: su.edu/conservatory/areas-of-study/ for two distinct weeklong workshops on how to reinvigorate students’ music-education/master-of-music-education/ creativity and musicianship. The SU MME degree is designed for the practicing music educator and features EARLY REGISTRATION: $75 PER SESSION BEFORE APRIL 30
Lead support for Music Educators Workshop is provided by the Brooke Astor One-Year Fund for New York City Education.
carnegiehall.org/MusicEducatorsWorkshop | 212-903-9803 Continued
nafme.org 43 RESOURCE DIRECTORY
study in pedagogy, scholarship, and Phone: 303-492-5498 PROFESSIONAL musicianship. It can be completed in Email: [email protected] DEVELOPMENT three summers. Website: colorado.edu/music/ summer-college-music/summer-mme University of Colorado Arizona State University Our Summer MME degree features a focus Boulder Summer MME Degree School of Music Summer on K–12 pedagogy, elective choices, indi- Music Institute Contact: Dr. Martina Miranda vidualized degree plans, and a compressed Contact: Margaret Schmidt Address: College of Music, 301 UCB, schedule over three affordable sessions. Address: 50 E. Gammage Parkway, Tempe, Boulder, Colorado 80309 U.S.A. Arizona 85287-0405 U.S.A. Phone: 480-965-3371 Email: [email protected] Website: music.asu.edu/summer -music-institute Summer offerings include one-week work- shops, specialized clinics, music graduate courses, Kodály and Orff certifi cation courses, and more. Most workshops and music education courses are available for credit or for non-degree/non-credit profes- sional development clock hours.
International Music Education Summit Contact: Elisa Janson Address: P.O. Box 4357, Grand Junction, Colorado 81502 U.S.A. Phone: 801-884-3534 Email: [email protected] Website: musicedsummit.org The ultimate three-day online professional development for music educators world- wide.
Mississippi Lakeshore Choral Camp Contact: Amy Lee Address: 2419 Highway 13 S., Morton, Mississippi 39117 U.S.A. Phone: 601-594-7573 Email: [email protected] or [email protected] Website: lakeshorechoralcamp.org Choral Camp is a fi ve-day experience for students completing grades 6–12. Teachers get specifi c training and can receive CEUs. Students learn music and perform at the end of the week.
44 Teaching Music APRIL 2018 NAfME Academy Teacher Workshop: Teaching Children Week-long, intensive study in Contact: JJ Norman the Violin stringed-instrument building and repair Phone: 800-336-3768, ext. 233 July 20–23, 2018 with world-renowned instructors: Email: [email protected] violin making/repair, bow making, bow Website: bit.ly/NAfMEAcademy Faculty: Darcy Drexler and Mimi Zweig rehairing/repair, plus cello/bass set-up. Music educators gain access to more than Presented by the String Academy 80 hours of peer-reviewed professional of Wisconsin at the University of MULTILEVEL PROGRAMS development created specifi cally for music Wisconsin-Milwaukee. educators by music educators. Your one- Workshop incorporates philosophies of All-Female Jazz Residency year subscription grants access to content Shinichi Suzuki, Paul Rolland, Mimi Zweig, (Artistic Director, Regina Carter) in the areas of band, choir, strings, and and faculty of the String Academy of Address: 24 Rector Street, general music, as well as content applicable Wisconsin. Pedagogy sessions/individual Newark, New Jersey 07102 U.S.A. for all music educators such as applying for instruction. Phone: 973-353-7058 a job, applying for grants, marketing your Email: [email protected] professionalism, preparing for retirement, University of New Hampshire Website: njpac.org/arts-education-1/ etc. Upon successful completion of an ar- Violin Craftsmanship Institute for-parents-and-students/summer-programs/ chived webinar, you will receive a certifi cate Contact: UNH Professional Young women fi nd inspiration and build of completion valued at one contact hour Development & Training community in this one-week jazz immersion for your professional development needs. Address: 11 Garrison Avenue, Stoke Hall, program. Students refi ne their instrumental G50, Durham, New Hampshire 03824 or vocal skills and work side-by-side with U.S.A. respected jazz musicians. Smithsonian Folkways Phone: 603-862-7380 Certifi cate in World Music Email: [email protected] Pedagogy Website: training.unh.edu/violin Contact: Meredith Holmgren Address: Various locations (West Virginia, Washington, Minnesota, and Indiana) Phone: 202-633-6459 Email: [email protected] Website: folkways.si.edu/ workshops-teachers/smithsonian Earn your MA in Music Education Educators develop a foundation in world in Three Summers music pedagogy and are introduced to an (online with a two-week residency) extensive archive of audio, video, print, and ethnographic resources created to support curricular innovation. Through ensembles, lectures, and active learning, educators become equipped with strategies for using world music in the classroom and connect- ing vibrant local and global musical cultures in their surrounding communities.
The String Academy of Wisconsin Contact: Darcy Drexler Address: P.O. Box 11941, Milwaukee, Wisconsin 53211 U.S.A. Phone: 414-963-4729 Email: [email protected] Website: stringacademyofwisconsin.org/ Grounded in El Sistema principles, our program is a unique programs/teacher-workshop-violin/ combination of online coursework and hands-on learning
cies.sjsu.edu/music
nafme.org 45 workshop
Nontraditional percussion, Orff jamming, and more.
musical characteristics of GENERAL MUSIC Duke Ellington each piece. “Both of these Teaching the works are interpretations of Music of the the people, sights, and Harlem sounds that one might encounter in Harlem during Renaissance this time.” As educators, we strive to Dalio continues, nd new ways of imparting “Individually and as a team, knowledge to our students students re ect and develop while also relying on the research questions and select tried and true pedagogical and analyze short musical methods of the past. Eric themes from the repertoire. Dalio—who has spent a As a class, we co-create a good part of the past two collection of ingredient decades teaching middle cards that illuminate the and high school students in musical concepts, theory, central Brooklyn in New and skills employed to York City—utilizes the compose the repertoire shared history of the Caribbean and each with its own activities that are samples.” Students decide how to West Africa at the crossroads of Ameri- relatable to both musicians and creatively recombine those musical can music. “It is essential that I am nonmusicians alike. ingredients to create and notate an constantly challenging myself to make “The Harlem Renaissance was an original musical idea via the cloud-based sure my students recognize themselves in excellent jumping-o point for a notation program at.io. the curriculum and nd multiple culminating original music production “I made the shift to teaching this way pathways for engagement.” project that charges them with identify- over the last several years. It has been Dalio relied on his experience in ing and musically communicating the extremely rewarding to see students the classroom when asked to serve unique and de ning characteristics of light up as they uncover their brilliance as a contributor for the New York their culture and neighborhoods.” The and get excited about exploring and Philharmonic’s “Young People’s Concert students rst listen to Lenox Avenue by creating music. As a traditional- for Schools: Resource Materials for the American composer William Grant ly-trained band director, it was de - Teachers.” The over 30-page document, Still, a piece written at the height of the nitely a shift in learning to release An African American Legacy: The Harlem Harlem Renaissance. Afterwards, they control, take risks, ask questions, and Renaissance (available for download at listen to Harlem by Duke Ellington, openly make mistakes in front of a
nyphil.org), is divided into four units, paying particular attention to the class.” —Steve Holley of Congress) Gottlieb Collection (Library William P. Photo by
46 Teaching Music APRIL 2018
BRASS & WOODWINDS STRINGS Expectations for Jazz String Expectorations: Orchestra Teaching Spit- Fundamentals Valve Etiquette “Classical orchestral literature is where my heart is,” says Tom Every band director must teach Bowling. A violinist, NAfME brass players not only the member and Chicago native, technique of emptying their Bowling was orchestra director spit-valves, but also the proper Always have at Glenbard South High School a trash can etiquette of this activity. NAfME available. in Glen Ellyn, Illinois, until his member Melissa Nielsen o ers retirement in 2017. “I spent 12 some advice on how to deal with this example, trombone players collecting years performing full-time profession- potentially tricky subject. Nielsen is one the liquid in water bottles. This is an ally with orchestras, opera companies, of the band teachers at Valley Middle opportunity for mischief.” How can one and chamber ensembles across the School in Apple Valley, Minnesota. A prevent this? According to Nielsen, the United States and in Europe. Most of horn player who earned her bachelor’s best thing is to be straightforward. “Talk the music I teach is drawn from the degree in music education from about it in a matter-of-fact way. It’s not great body of classical orchestral Brigham Young University in Provo, gross; it’s just part of what we do as brass repertoire.” However, Bowling also Utah, Nielsen began as a performance players. Explain how condensation major in college. She switched her focus works, asking students to imagine the to education in her junior year. moisture collecting on the outside of a Nielsen recommends that teachers cold glass of water on a hot day.” She approach the topic early. Ideally, this notes that carefully-chosen terminology should be in private or small-group can also help: “Use ‘water’ or ‘condensa- lessons as, in that context, it arises tion’ instead of ‘spit.’” naturally. “In the very rst few minutes Finally, it is important to establish of teaching a brass player, we have them certain routines. For example, before begin with buzzing on their mouthpiece. and after each rehearsal, the students
Eventually, water comes out. We show should empty their spit-valves into a “Playing jazz helps students develop them how to shake it out in the sink.” trash can. (Always have a trash can technical skills and If private or small-group lessons are available.) During rehearsal, students improve intonation.” —Tom Bowling not possible, notes Nielsen, band should never empty their spit-valves into directors should address the topic in any sort of cloth that will then go inside worked on jazz with his school orches- their rst rehearsal. “Set the expectations an instrument case, as mildew can result. tra for over 18 years. from day one. A good plan is to talk Neither should they empty the valves Why jazz for a string orchestra? about this at the end of the rst rehears- onto a tile or wooden oor, as this can Bowling o ers two compelling al. It should take no more than 10 becomes a safety hazard. One ingenious answers. First, “To not o er a jazz com- minutes, so you don’t lose the attention solution is to use a sponge kept inside a ponent in any music program would be of the non-brass players in the band. You Tupperware container. This avoids the to deny students insight into one of the might have to repeat your instructions in risk of spilling the liquid. In fact, the most important musical forms of the subsequent rehearsals, but try to make it container can safely be carried inside an modern American experience. Second, routine enough so that these problems instrument case. (Remind the students playing jazz helps students develop don’t arise in rehearsals.” to regularly run the sponge and contain- technical skills and improve intonation, Music educators must be proactive to er through a dishwasher.) And, of making them better listeners, more prevent the natural tendency of some course, everyone should make sure to thoughtful musicians and, through this, students to see the use of spit-valves as empty their spit-valves before a concert. they become more enthusiastic about
Top photo by Melissa Nielsen; bottom photo from istock.com/nsergeyn. photo by Top “gross.” “Occasionally you see, for —Michael Adelson orchestra.”
nafme.org 47 How can orchestra directors start materials. “Not a lot of people are player shifts by an eighth note. This working on jazz with their students? doing this because it’s di cult to pull creates a continuous series of 12 Bowling o ers some advice. First, “Join o . Certainly, there is no one right rhythmic cycles, nally returning to a rock, blues, or bluegrass band—any way. But if you can get kids doing this, unison to end the piece. Parts can be kind of band—and jam with people. it can really take o and they can doubled or tripled to get more players in Whatever level you’re at, nd people become more complete musicians.” on the action.” O’Banion also recom- and start doing it. You discover what it Tom Bowling is a fount of informa- mends the cult classic, John Cage’s is you don’t know; you will see things tion about literature and resources, both Living Room Music. This quartet through the eyes of a student. This is musical and technical. He can be requires no speci c instruments—the crucial, as the best teachers are those contacted at [email protected]. sounds are largely left up to the creativi- who are struggling to gure something —Michael Adelson ty of the players themselves. You can use out.” Second, assemble your materials; everything from co ee tables and you can start by arranging favorite jazz furniture to empty boxes, co ee mugs, standards. However, Bowling says, PERCUSSION bowls, chopsticks, newspapers and “Although I have done a fair amount of magazines—literally anything you arranging, I can appreciate how it is not (Almost) Anything might nd in a living room. Written in everyone’s cup of tea. It takes a lot of but Instruments four short movements, the second time. Most arrangements took multiple My percussion teacher in college would movement consists entirely of the poetic edits before I would ask students to always say that “percussion” is anything recitation of a poem by Gertrude Stein, perform them in public. If you are not struck, shaken, or rattled to create a and the third movement involves some inclined to put yourself through all that sound. This month’s Percussion sort of ‘melodic’ instrument (whistling, trouble, a possible approach might be to Workshop column is special, in that it recorder, glockenspiel, piano, etc.).” take an existing jazz band arrangement spotlights music featuring nontraditional Another fun specialty piece entitled and rewrite it for strings. For example, and nonspeci c percussion instruments. Co ee Break, written by Mark Ford and trumpet parts can be rewritten for These compositions can make for Ewelina Bernacka, works great for high upper violins. Sax parts go to school and college percussion second violins and/or violas. ensembles. The instrumentation Baritone sax and trombones go calls for ve players using vari- to cellos or basses. Rhythm ous-size paper co ee cups with lids section bass parts might stay the and sleeves. A piece by Chris same. And you will have Crockarell called Rung Again! is ready-made piano, guitar, and scored for a quartet of ladders. The drum parts, saving you a lot of piece requires the use of four time. Once you have the parts A-frame ladders, drumsticks, and entered in a notation program paint paddles. Each of the four such as Finale or Sibelius, you Perform Coffee Break using ladders is set up fully open, upright, various-size paper coffee can change the entire piece to a cups with lids and sleeves. and in a straight line so that each string-friendly key.” player can perform on the rungs Learning how to improvise is also wonderful additions to a traditional while facing stage left. You can check important, “and with string orchestra concert program. out performance and tutorial videos of students it probably won’t happen unless “No sticks—just hands for the Steve this piece at rowlo .com. we are proactive.” Bowling developed a Reich composition Clapping Music,” Composed with the idea that workbook to teach improvisation to states Phillip R. O’Banion, associate rhythmic patterns can be seen and string students, and he points out that professor and director of percussion heard, Ballet for Bouncing Balls is a there is a growing body of literature for studies at Temple University in Phila- creative and fun piece by New York string orchestra that provides opportu- delphia, Pennsylvania. “Reich’s duo for City Opera percussionist Montgomery nities for improvisation. hand-clappers is based on the amenco Hatch. Comprised of the various sound Incorporating jazz into a string traditions of hand-clapping accompani- e ects of balls bouncing on the oor, orchestra curriculum requires work on ment. The pattern, written in 12/8, the piece employs ve players who use a
part of the teacher to create and adapt starts in unison, then changes as one creative display of techniques including Jackie Jordan. Photo by
48 Teaching Music APRIL 2018 dribbling, slapping, juggling, tossing, Boomwhacker City can and bouncing. There is an innate introduce players to element of theater and dance present simple rhythms and throughout, and the rhythmic motives melodic lines. If you are relatively simple and groove don’t have chromatic oriented. The score comes with boomwhackers, try using instructions of suggested staging ideas a ‘timbral’ setup consist- as well. ing simply of various “Row-Lo Percussion also publishes high to low sounds “Creating an environment in which they are able to make mistakes and take risks helps students feel several Bucket Worx (collections of short around the room. Send more comfortable with singing.”—Kelly Conforti pieces for assorted sizes of cans or the students on a sound buckets),” notes O’Banion. “Brooms ‘scavenger hunt’ to nd the best sounds happen? “Sometimes this is due to Hilda is a fun piece that uses six push that can be created from items and students having di culty learning the brooms mimicking one of STOMP’s furniture in and around the classroom.” pitches in a challenging piece. Other classic stage routines. Another great —Steve Fidyk times pitch problems are due to a resource is Murray Houllif, who has student’s changing voice or a student several body percussion pieces like having di culty matching pitch,” says Rockaway and Cajun Country. Percus- CHORAL AND VOCAL Kelly Conforti, a NAfME member and sionists create a drum set by tapping on choral director at Nyack Middle School various parts of their body. Directors Tuning Up the Middle in Nyack, New York. “Sometimes this can have peace of mind knowing that School Chorus can be attributed to the conductor no one will forget to bring their Pitch problems can occasionally derail when he or she focuses only on notes instruments to the performance! For an otherwise strong middle school and rhythms and does not focus on
Photo from istock.com/Highwaystarz-Photography. the youngest students, pieces like choral ensemble, but why does this techniques that can keep a choir in Start a chapter today in 3 EASY STEPS!
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nafme.org 49 tune.” One of these techniques involves technique that involves students repeat- their classmates do not notice it is ensuring that the students are singing ing a section of music. We begin with happening.” with uniform vowels. “Vowels should one voice part alone. Once any incorrect It is this sensitivity to the many be tall with a lifted soft palate, and the pitches are xed and the group is changes that middle school students are corners of students’ mouths should be con dent, we add the next voice part. experiencing at their age that can help a inward as opposed to spread.” She We repeat this process until all voice director to navigate a potentially sticky further notes that exercises in sightsing- parts have joined and are singing the issue while ensuring that the choral ing and solfège can help, but proper section correctly and con dently.” She classroom environment is welcoming and breathing and posture can also keep also notes, “Vocal sirens can help encouraging. “Creating an environment pitch problems at bay. “Through students nd the right note when they in which they are able to make mistakes experience, I have also learned that are singing the notes in the wrong and take risks helps students feel more having students sit too long or stand too octave. Students can slide up or down to comfortable with singing,” notes long can cause my groups to sing out of the proper note using these sirens.” On a Conforti. “Helping students achieve their tune. We try to achieve a balance related point, sectionals, too, can be best sound in a positive manner helps between standing, sitting, and move- useful. “Smaller groups of students allow build trust and helps students and the ment breaks in my classes to avoid this.” the teacher to give much more personal- conductor to achieve success.” —Susan Another helpful technique that ized feedback. It also helps the teacher to Poliniak Conforti recommends is “a layering establish rapport and have better relationships with students,” says Conforti. A choral director can also ALTERNATIVES rehearse incorrect notes with a full section until the students are singing on Orff Jamming pitch. “This can be achieved without For a bit of blues-related fun in the calling out a speci c student.” context of music education, how about However, it is possible that, an some Or jamming? Yes? Right, then: individual singer may be the root of the Let’s get started! issue—or, at least, may be having First o , what are the best age groups signi cant trouble staying on pitch—but for this activity? “Third grade and up is a approaching and xing this problem can great time to tap into a child’s creativity. prove tricky in a group, where a student By this time, they have built on their may feel singled out and embarrassed. musical vocabulary to start applying it on “Instead of pointing out an individual a more advanced level,” says Debbie who is o pitch, nonverbal cues and Degenhardt, a general music, chorus, and proximity can x the problem,” recom- orchestra teacher at Merrimac Elementary mends Conforti. “The teacher can walk School— which is part of the Sachem around the group as students are singing School District—in Holbrook, and an and give the individual a discrete signal adjunct professor at Five Towns College to indicate that a student should be in Dix Hills, all in New York. “However, singing higher or lower than they are. there is nothing wrong with starting Students in middle school are extremely earlier. It’s up to the teacher and the self-conscious. They appreciate this readiness of their students. In third grade, method of personalized feedback because we’ll explore the blues in E on recorder.
JAZZ DEMOCRATIC. SPONTANEOUS. NEVER ORDINARY This issue of Teaching Music includes a copy of the 2018 Smithsonian Jazz Appreciation Month poster. The colorful design shows several jazz greats such as Charles Mingus and Benny Goodman in action. Additional copies of the poster are available free to music
teachers from the Smithsonian Institution at bit.ly/jazzposter. from The Smithsonian Institution. Poster
50 Teaching Music APRIL 2018 Music Kodály Levels I, II and III JUNE 1829, 2018
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INSTRUCTORS: Jeremy Dittus / Eunjin Lee You’d be surprised how much you can do a great opportunity to on recorder once you know how. And it teach them about enhance students’ sight reading skils. The interactivetransfers towhiteboard band and orchestraand get them instru to- transposition to concert Dr. James Frankel is the only drawback to Sight Reading Factory comements up andbeautifully compose; when they they will get love to fourth it keys, and add to their Head of Digital Education for is that it does not automatically assess the Askand your fth students grades!” to use these software note vocabulary in a fun Students earn student responses—a small price to pay titles at home to complete some homework the Music Sales Group,their and chance to In terms of instruments, Degenhardt and organicDirector way. Some of MusicFirst. play He with is mallets for the power of the composition/sight assignments and see how they react. Ask after demon- reading engine. yourselfuses “whatever if they were is allavailable able to successfullyin the students bringan adjunct in their assistant strating profes- their classroom. The beauty of jazz is that there own guitars with the understanding of access the assignments. What went right? sor at Teacher's College,the lesson. MUSIC THEORY AND Whatis a wentlot of wrong? exibility. The They bene say t Carlof using Or Columbiainterest University, of learning where to he teaches LEARNING SOFTWARE freewas and a big low-cost fan of jazz software for that with very yourreason. I coursesimprovise in music and technology create melodies.” in education. Just for metallophone, alto xylophones, alto There are many software titles that do studentsalso allow is that my thestudents investment to bring is their small band He anis on idea the of Board what’s of Directorspossible: Infor her TI:ME own and metallophones, soprano xylophones, things other than notation, music produc- andand the orchestra rewards instrumentscan be great. if they like. It’s is theclassroom, past president she has of aATMI. bass xylophone, bass soprano metallophones, glockenspiels, tion, and performance assessment. Many and unpitched percussion. of these include rich content and assessment The basic gist of Degenhardt’s focused on a variety of music fundamentals, jamming activity begins with a nursery including music theory, music history, and music concepts. Titles such as Auralia, rhyme of your choosing, and the kids Musition, MusicTheory.net, and Focus speaking it out loud as quickly (and as On Sound o er teachers content to use in clearly) as they can, and then in a swing their classrooms outside of performance- rhythm. From there, they speak and play based ensemble scenarios. MusicTheory. the rhythm of the words on unpitched net is certainly one of the most popular percussion instruments, with students free resources and is a great way to engage speaking/playing solos of their own all students with music theory. Part 2 will choosing while the rest of the students explore the downsides to using these free FOR TEACHERS snap on beats 2 and 4. You can then add theory apps, but in many cases the bene ts outweigh the drawbacks. Auralia and in an accompaniment (you on an Musition are fantastic music theory and instrument, or a looping recording of the ear training titles and o er a limited version blues). Next, students can play their “class (AuraliaFirst and MusitionFirst) for a poem” on their pitched instruments with fraction of the cost. Focus On Sound is a set of previously-determined (by you) Plan Share Connect an interactive, media-rich encyclopedia pitches—for example, a pentatonic of musical instruments and terms, and is FOR STUDENTS scale—but beginning rst on only one a great resource for all facets and levels of pitch and working others into the mix music education. Unfortunately, there is from there. Degenhardt notes in particu- no free version of the software, but Music- First o ers a free 30-day demo. Most of lar that she uses a blues progression these resources are perfect for in-class accompaniment in E major, but “the instruction using an interactive white- solos/improvisations are played in E board, but also provide assessments that Learn Play • Record Have Fun minor, which naturally creates ‘blue can be completed by students outside of www.essentialelementsinteractive.com notes’ and creates that sound we know as the classroom with any internet-enabled the blues.” device. This is just the outline of this exercise, FREE and you can come up with your own FINAL THOUGHTS for teachers and students As you can clearly see, there are mountains using Essential Elements variations based on this structure. of software resources at hand for music Band or Strings Books However, Degenhardt notes that, “It’s teachers to use with their students. My 1, 2, or 3 important to plan carefully in advance strong recommendation is that you try Works with these platforms: because the enthusiasm children have, all of them to see what works for you. learning how to play jazz/blues, the Don’t be afraid to try them with your lesson moves incredibly quickly! You students as well. Try opening up incredi- have to be ready, you have to be exible box.com for your students using your and capable of making modi cations on
the y.” —Susan Poliniak Stephanie Volpe. Photo by intunemonthly.com
52 Teaching Music APRIL 2018 THE YOUNG MUSICIAN’S TEXTBOOK MARCH 2016 VOL.13 • NO.6 THE YOUNG MUSICIAN’S TEXTBOOK APRIL THE YOUNG MUSICIAN’S TEXTBOOK 2016 VOL.13 • NO.7 MARCH 2017 MONTHLY
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Centers of Attention What are the building blocks of the best classroom music centers?
have the activity, app, game, or website “The more hands-on the center is and already set up, and students should be the more student-led, then the more informed as to what they are expected successful the students will be.” to do and how to behave. Also, since —Dawn Sloan volume from some centers can be distracting to students in other centers, providing headphones whenever possible can help. Through the years, Sloan has created her own tips and tricks for creating magni cent classroom centers. She recommends that the best centers are often connected to what the students have been learning in class, and that one skill per center is most e ective. These skills can include reading rhythms, identifying pitches, or recognizing ACCORDING TO DAWN SLOAN, a general center, I had a plan, but I noticed that composers. She also emphasizes the music educator at Paulding Elementary some things worked better with smaller importance of maintaining variety School in Paulding, Ohio, “A classroom groups of kids for less time.” Through among the centers by not placing similar music center is a hands-on, student-led, trial and error, she created an equation activities in immediate rotational order. standards-based set of activities or that worked in her music room. If one includes technology, then the next games geared toward individual or Sloan recommends should be hands-on, and so small-group assessment.” Through placing only three or four “Get to know forth. Sloan also suggests centers—also known as stations or students in a group for a your students introducing one new center activities—students can experience, span of ve to six minutes so you know at a time: If there are eight discover, listen, create, and learn music with eight di erent centers. what their centers, then there should while also having fun. “Get to know your students be seven concepts that are Eight years ago, Sloan noticed that so you know what their interests are.” familiar to students. More students in the special needs preschool interests are.” She often groups students than one new center does not allow for class located next to her classroom were by either ability or placing a more the teacher to maneuver through the successfully learning through play. advanced student with a struggling classroom e ciently. “The students looked so engaged, and I student to assist and motivate. “You need Some of the most popular centers that wanted to make that work in my e ective classroom management with Sloan has used or created include a music classroom.” After speaking to the clear expectations and very de ned version of “Busted” and those that preschool and kindergarten teachers spaces.” Depending on your classroom’s utilize boom-whackers, xylophones, or about centers in their classrooms, Sloan design, centers can be separated with pianos. “The more hands-on the center adapted the ideas for musical learning. cones, rugs, signs, numbers taped to the is and the more student-led, then the
Photo courtesy of Dawn Sloan. Photo courtesy of Dawn “The rst time I attempted a music oor, or dot spots. Each center should more successful the students will be.”
nafme.org 55 S GE A ST secondaryBY MICHAEL ADELSON
Surviving High School Piano Class Method choice and classroom setup can help to ensure success.
TEACHING PIANO CLASS tiated learning.” presents its own particular The students each work challenges that di er from at their own pace, and private piano lessons. Modarressi listens to them According to Lesley in turn, providing guidance Modarressi, the main issue is where necessary via a
that if everything is going Lesley microphone that allows her well, there will be a lot of Modarressi to address individual gives guidence di erentiation among to a piano students through their student. students in terms of skill headphones. She does move levels as well as the pace and around the class, but often style of learning. In a piano she will have a student come class, one size does not t up to work at her keyboard. all. Modarressi is now in her “There is more space there,” second year of teaching she says. “and they have to piano at North Side High play out loud for others, School in Fort Wayne, which many are reluctant to Indiana. do.” Although piano class Playing for others is students will become highly important, of course, and in di erentiated, Modarressi Modarressi’s class it consti- recommends starting tutes a signi cant part of everyone in the same place: assessment. “They have with Alfred Music Publish- “With the way my program is playing tests once a week. We ing’s Adult All-In-One Course. set up, I feel like I have a greater also do formative assessment “It is an excellent book for opportunity to make genuine using small, low-stakes starting out, even for students connections with students.” assignments such as practice who are absolute beginners.” worksheets. At the end of the From there, “Students can quickly students work at their own pace. semester their nal exam is a recital in branch out when ready.” She also The physical setup of the classroom the school auditorium, for an audience points out that the book “has excellent also makes a di erence. In Modarressi’s of families and invited friends.” diagrams to facilitate independent class there is a Casio Privia keyboard She notes, “With the way my learning when the instructor is for each student, as well as headphones program is set up, I feel like I have a working with other students.” In that allow them to work independent- greater opportunity to make genuine addition, she recommends the Keith ly. She herself has a Yamaha keyboard connections with students. Having Snell Piano Repertoire books for their at the front of the class. All of the those relationships really helps with variety and the fact that the books are keyboards are connected to a hub, and motivation.” leveled for students of varying abili- she can tune in to listen to any one of Lesley Modarressi can be contacted Caption
ties—a great help in a class in which them. “This greatly facilitates di eren- at [email protected]. Modarressi. Photo courtesy of Lesley
56 Teaching Music APRIL 2018 SUMMERTERM 2018 THE HARTT SCHOOL MUSIC • D A N C E• THEATRE
EXCITING NEW WORKSHOPS FOR 2018 Flute, Clarinet, and SESSIONS 4–5 JULY 23–AUG. 3 3-CREDIT, FULL-DAY WORKSHOPS Saxophone Refresher THE HARTT KODÁLY 8 a.m.–noon (2 Credit, Half-day) CERTIFICATION PROGRAM Andrew Studenski Movement-Based Active Learning John Feierabend, Edward Bolkovac, through Or Schulwerk: Double Reeds Refresher Connie Greenwood, Je Rhone, A Process Developed by Phyllis Weikart 1–5 p.m. (2 Credit, Half-day) Gabor Viragh Scott Switzer Penny Mahoney THE FEIERABEND ASSOCIATION Jazz Pedagogy for Music Educators FOR MUSIC EDUCATION (FAME) Haig Shahverdian SESSION 3 JULY 16–20 First Steps in Music® K–12 Choral Music Teaching 8:30 a.m.–4:30 p.m. Connie Greenwood Edward Bolkovac, Julie Hagen Guitar Basics for the Conversational Solfege™ Beginning Music Teacher John Feierabend Christopher Ladd Conversational Solfege™ Advanced K–12 Choral Music Teaching John Feierabend —NEW! SESSION 1 JULY 2–6 Edward Bolkovac, Julie Hagen (no classes July 4) SESSION 5 JULY 30–AUG. 3 Movement-Based Active Learning 8 a.m.–5 p.m. 8:30 a.m.–4:30 p.m. through Or Schulwerk: Body Mapping for Music Educators A Process Developed by Instrumental Conducting Clinic Kay Hooper Phyllis Weikart—NEW!! Glen Adsit, Edward Cumming Penny Mahoney Rhythmic Workout for Instrumental Music Literacy Music Educators World Percussion and Drum Set Nate Strick Rogerio Boccato Survey for Music Educators School String Fleet Maintenance Ben Toth Blending Pedagogy: Incorporating for Music Teachers General Music Methods in Glen Grigel Children’s Choir Vanessa Bond SESSION 4 JULY 23–27 Diverse Learners in the 8:30 a.m.–4:30 p.m. Music Classroom Heather Wagner Rehearsal Techniques and SESSION 2 JULY 9–13 Score Preparation Low Brass Refresher 8:30 a.m.–4:30 p.m. Glen Adsit, Edward Cumming 1–5 p.m. (2 Credit, Half-day) Haim Avitsur Hartt School Guitar Festival String Refresher—Cello Technique Christopher Ladd, 1–5 p.m. (2 Credit, Half-day) High Brass Refresher Richard Provost Carlynn Savot 8 a.m.–noon (2 Credit, Half-day) Cathryn Cummings Concert Percussion for Best Practices in Music Educators Upper Strings Teaching Around the World in Song and Dance Ben Toth 8 a.m.–noon (2 Credit, Half-day) Lillie Feierabend Piano Tuning I & II Winifred Crock Kenneth Lawhorn A General Music Technologies in the Music Classroom Ukulele Curriculum Miriam Schreiber, Leslie Cohen Ken Trapp SUMMERS ONLY Jazz Pedagogy for Music Educators Band Instrument MASTER OF MUSIC EDUCATION
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Warren Haston PhD, Director, Hartt Summerterm [email protected] 860.768.5526 S GE A ST collegiateBY ANDREW S. BERMAN
The Big Asks What questions should you raise in your first job interviews?
BASIC ADVICE for job interviews: Get Paul K. Fox and there early, bring extra résumés, and be student musicians prepared to ask your own questions. That seems rudimentary, but what questions should you ask, and when in the interview process should you ask them? NAfME member Paul K. Fox, retired member coordinator for the Pennsylvania Music Educators Associa- tion and retired performing arts curriculum leader at the Upper St. Clair school district in Pennsylvania, advises that most hiring processes involve several interviews, and there are appropriate questions for each step. Frequently, the rst interview is a does music follow a xed or rotating nalists for the position. If you left out general screening: An administrator or schedule or assigned time during lunch any questions at the second interview, human resources director meets with periods, or is it held before or after this is your nal opportunity to get you to verify the details of your résumé. school? Questions about the music them in. One of Fox’s favorite questions Here, Fox suggests that questions about student body are also a good choice to hear from a candidate is: “How many professional development opportunities here: What percentage of students are periods are there in the school day?” It wouldn’t go awry here: “As a curricu- involved in music? How many own shows cognizance of the challenge to lum leader, if I thought the their instruments and take get music into the curriculum. candidate wasn’t interested “Be honest private lessons? Fox says Fox advises against asking about in professional development, and say what that you can show yourself salary and bene ts until after you have they wouldn’t advance in you mean.” to be a team player by received an o er. “I have been at the interview process.” asking about opportunities interviews where it was an immediate The meat of the process is the second to assist with extracurricular activities. turn-o ,” he recalls. He also suggests interview, where often you’ll meet with You can set yourself above the other avoiding questions about duties such as a committee that may consist of the candidates by expressing interest in cafeteria, hall, and/or bus. “Ask principal, the department chair, and marching band, the school musical, and questions that demonstrate you are other teachers. At this stage, you may the curriculum-review process. competent, fully engaged, done your also be asked to demonstrate teaching “However, during the entire interview, homework, and really want the job,” or musical ability. Fox suggests that this be honest and say what you mean,” Fox summarizes. Paraphrasing The is a good time to ask more speci c cautions Fox. “If you agree to volunteer Music Man, he reminds all applicants questions: How are music classes to serve in these programs, the princi- that “you gotta know the territory.” Do scheduled? Do you see your students pal will expect you to follow through.” your research, prepare long in advance, every day? Are students pulled out of There may be a nal interview with and the work will pay o —but don’t
other classes for instrumental lessons or a superintendent to decide among the say “pay o ” in your interview. K. Fox. Photo courtesy of Paul
58 Teaching Music APRIL 2018 18 NAfME ad 7x10 4-color.qxp 1/16/18 11:53 AM Page 1
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INSTRUMENTS 3 BOOKS 3 Casio CTX Portable Keyboards Jazz Theory: Mixing Audio: Managing ($259.99–$799.99) The CT-X series of keyboards From Basic to Concepts, Stage Fright: feature the new AiX Sound Source, which allows Advanced Study, Practices, and A Guide for these keyboards to faithfully reproduce the 2nd Edition Tools, 3rd Edition Musicians and appealing sound of acoustic instruments. Users can By Dariusz Terefenko By Roey Izhaki (2017, Music Teachers customize tones using 100 DSP effects that combine (2017, 432 pgs., 570 pgs., hardcover By Julie Jaffee Nagel various algorithms, three system effects, and 10 hardcover $170.00, $150.00, paperback (2017, 232 pgs., equalizer presets. The CT-X700 and CT-X800’s paperback $74.95, $64.95, eBook $58.46) hardcover $74.00, instrument tones are for beginners or advanced eBook $67.46) This This book covers the paperback $19.95, players that need an affordable and portable comprehensive entire mixing process, eBook price varies) instrument, while the CT-X3000 and CT-X5000 textbook is for those from fundamental Nagel unravels the provide additional tones and DSP editing features, with no previous study concepts to advanced mysteries of stage expression pedal inputs, and more powerful speaker in jazz, as well as those techniques. It teaches fright, taking the reader systems. Casio America, Inc. casiomusicgear.com in advanced theory the importance of a on an intensive courses. Written to mixing vision and how backstage tour of the bridge theory and to craft and evaluate anxious performer’s practice, it provides a your mix, and describes Yamaha emotions to explain theoretical foundation the theory and tools YVS-100 why stage fright from music fundamen- used, and how these are happens and what Venova Casual tals to post-tonal put into practice. The performers can do to Wind Instrument theory, while integrating companion website By Yamaha Corporation ($129.99) increase their comfort Like the saxophone, the Venova is a ear training, keyboard features over 2,000 single-reed instrument that sounds skills, and improvisation. audio samples as well in the glare of the different depending on how hard or spotlight. Shedding new soft you blow. The fully chromatic Included are play-along as Pro Tools/Multitrack two-octave range lets you enjoy audio tracks on a Audio Sessions, and this light on how the playing a wide variety of tunes. performer’s emotional Designed to be an inexpensive and companion website, as new edition includes a accessible alternative to traditional well as a workbook, chapter that provides a life is connected to winds, the Venova’s design blends the simplicity of a recorder with the ear-training exercises, cognitive/psychological every other facet of sound of a saxophone. Its ABS resin and an audio compila- overview of aspects their life, the book body is smaller, lighter and more durable than conventional wind tion of the musical related to and affecting encourages a deeper instruments (it’s just 18 inches long examples featured in mixing engineers. Focal understanding of and weighs in at less than half a pound), and you can even get it wet; the book. Routledge Press/Routledge Taylor anxiety when perform- it’s water-washable and easy to Taylor & Francis Group, & Francis Group ing. Oxford University clean. Yamaha Corporation, Taylor & Francis Group, , usa.yamaha.com routledge.com routledge.com Press, oup.com
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60 Teaching Music APRIL 2018 AUDIO RECORDINGS 3 Playing the Democracy Songwriting: Laurie I Like the Soprano in Action: The Strategies for Berkner: The Me I See High School Jazz Musical Self- Dance Remixes By Culture Queen Recorder: Expression and For School, Band Director’s By Laurie Berkner (2016, 14 tracks, CD Creativity Community, and Handbook (2017, 14 tracks, CD $12.00) Culture By Christian V. Hauser, the Private Studio, By David Berger (2016, $12.98, digital Queen’s debut album Daniel R. Tomal, and 2nd Edition 152 pgs., paperback download $9.99) This hits all the right notes Rekha S. Rajan By Lois Veenhoven $49.95) Democracy in album includes Laurie for families and (2017, 200 pgs., Guderian (2017, 352 Action has been Berkner’s most beloved educators bringing up hardcover $70.00, pgs., spiral-bound designed to serve all songs for kids, remixed confident, culturally- paperback $35.00, $40.00, eBook $38.00) high school band into electronic dance aware, and curious eBook $33.00) Written for general directors regardless of songs. Older kids will children while deliver- This book includes music classes, group experience and recognize the tunes, ing majestic affirma- instruction on the core expertise. The author, including “Victor Vito” tions while dancing and private instruction, competencies of who travels to high and “Bumblebee (Buzz across a fusion of rich and self-learners, this songwriting, elements schools around the Buzz),” while preschool- calypso, afrobeat, jazz, text is a sequential of music, and lyrics for country doing clinics ers can boogie to the and hip hop rhythms. approach to learning those who work in a with jazz bands, notes beats. The album Songs include the Western music notation variety of musical that “In this book I am features a variety of and soprano recorder genres, including blues, catchy “Culture technique. In addition to going to tell you exactly country, hip hop, EDM styles, such as the Kingdom Theme,” the a practice/performance my procedure and how gospel, punk, classical, Latin-flavored “I’m soul-stirring “I’m A website, written piano to do it. At first some of alternative, jingles, and Gonna Catch You.” “The Tower of Royal Power,” accompaniments for all these things I say and rock. Features include Cat Came Back” even and the shimmy-worthy 76 pieces are included, do may sound strange writing lyrics, crafting gets an EDM makeover, “Super Shaker Song.” many with optional, or even counterintui- musical compositions, and classic Laurie Jessica “Culture additional instrumental tive, but I have used musical styles, getting a Berkner songs are Queen” Smith helps parts. There are many them hundreds, maybe contract, sustaining a included, bringing children connect with possibilities for inter- even thousands of career, publishers and instant nostalgia to their culture through disciplinary education times, and they work agents, recording, and older listeners and self-affirming songs, and links to other areas for me.” Such Sweet how to survive in the introducing the songs storytelling, and body- within music. NAfME/ Thunder, Inc., music industry. NAfME/ to a new generation. positive dance. Culture Rowman & Littlefield, suchsweetthunder Rowman & Littlefield, Two Tomatoes Records, Kingdom Kids, LLC, rowman.com music.com rowman.com LLC, laurieberkner.com culturekingdomkids.com
nafme.org 61 Performances Live Streamed at livestream.com/wcupa resources... CONTINUED
ACCESSORIES 3
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IN THIS ISSUE, we’re deviating from our usual practice of speaking with a celebrity musician about their experiences and views on music education to cover the close of an important milestone during this Jazz Education Month. April 2018 marks the wrapping-up of a certain yearlong celebration: the 100th birthday of the undisputed queen of vocal jazz, the late Ella Fitzgerald. I’ve been a big fan of the First Lady of Song for many years, and love that she and I have a tiny connection: We share an April 25th birthday.
Ella was born in 1917 in Newport News, Virginia, became the singer for his orchestra. from which she moved with her mother to Yonkers, The year 1936 saw Ella’s first foray into New York. She was known as a youngster who recording, “Love and Kisses.” Two years later, enjoyed playing baseball with the neighborhood she had her first huge hit in “A-Tisket, A-Tasket” (by children in addition to dancing and singing—and, the way, check out the 1942 Abbott and Costello to help supplement the family income, worked as filmRide ‘Em Cowboy for an adorable version of this a runner for local gamblers, ferrying bets and song—you can find the clip on tcm.com). From here money back and forth. on, thanks to this hit that sold over a million copies After her mother died in 1932—and not very and sat on the pop charts for 17 weeks, she was long after, her stepfather as well—Ella hit a rough famous. patch. Her grades fell, she started skipping school, In 1939, Chick Webb passed away and Ella took and eventually she landed in enough the helm of the orchestra, rechristened “Ella trouble with the law to be sent to Fitzgerald and Her Famous Band.” More music and reform school—from which she a failed marriage followed until 1946 when she met made an escape. But just two years bassist Ray Brown while they were both on tour after these personal tragedies, with Dizzy Gillespie. Through Ray, she came to the she happened upon the inadver- greater attention of producer and manager tent break that would change the Norman Granz, with whom she signed. Thanks to course of her life. Granz, she joined the “Jazz at the Philharmonic” In 1934, Ella was given the tour, recorded several albums with Louis Arm- opportunity to perform in the strong, and began working on her “Songbook” weekly Amateur Night held at series. These albums—each devoted to the music of Harlem’s Apollo Theater. a different songwriter or songwriting team—are Originally planning to perhaps her best-known recordings, particularly dance, she made a outside of the realm of jazz fandom. (My personal last-minute decision to favorite? Ella Fitzgerald Sings the Rodgers and Hart sing the Hoagy Carmi- Song Book, although “Reaching for the Moon” on chael song “Judy”—and Ella Fitzgerald Sings the Irving Berlin Songbook also that was that. The notoriously holds a special place in my heart.) tough audience at the Apollo loved her. Many more recordings, television appearances, She was on her path. tours, club engagements, honors, and awards It didn’t hurt that saxophonist—and, followed, including a Kennedy Center Honor, a star later, lifelong friend and collaborator— on the Hollywood Walk of Fame, the National Benny Carter was in the band that Medal of Arts, and an induction into the DownBeat night, as he was able to introduce her Hall of Fame. Eventually, ill health slowed and then to individuals in the music industry stopped her touring and recording schedule, and who could help her career. Eventually, Ella retired to spend time with her adopted son, she crossed paths with the bandlead- Ray, Jr., and her granddaughter, Alice. She passed er and drummer Chick Webb and away at home in California on June 15, 1996. Photo by William P. Gottlieb Collection (Library of Congress). Gottlieb Collection (Library William P. Photo by
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