teaching OCTOBER 2015 VOLUME 23, NUMBER 2

A SMALL Makingmusicmusic Your BUT Classroom Go MIGHTY Music How to Program engage your students with the music “POP” of today

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28 Teachers and students alike can rock out and learn with pop music! FEATURES 24 TEACHING SINGERS 28 POP AND ROCK GOES 32 EL SISTEMA TODAY 38 SMALL SCHOOL, TO READ THE PROGRAM! José Antonio Abreu’s BIG EFFORT, Instructing students in Pop music connects creation has taken GREAT SUCCESS the art and techniques instantly with many root in the U.S. and Alexandria Hanessian’s of sight-singing can reap students. How can continues to grow small but mighty middle many rewards in your music educators use through programs such school program thrives choral rehearsals and it in their classrooms as the Corona Youth in Spencertown, beyond. to increase student Music Project and New York. engagement? Juneau Alaska Music Matters. Photo by Little Kids Rock. Photo by

nafme.org 1 October 2015 Volume 23, Number 2 Student composers contents (far left and right) work with teachers Conductor Marin Alsop 56 at Williamsville East works with students in High School. the OrchKids program.

DISCOVERIES 12 The large brass choir 20 DEPARTMENTS TECHNOLOGY Technology for orchestra classrooms 22 LETTERS Opinions from our readers 6 WORKSHOP General Music CLASSROOMS Interdisciplinary reading 42 A program in New York requires students to Brass & Woodwinds create one composition each year. 12 Tips for creating a great saxophone tone 43 ADVOCACY Strings The Elementary and Secondary Education Assessment in the strings classroom 43 Act 14 Percussion Building a taiko drum ensemble RESEARCH 44 Can preparatory exercises help students Choral & Vocal with melodic dictation? 16 Effective warm-ups for high school choirs 44 PARTNERSHIPS Alternatives Be Part of the Band! 18 Building instruments with your students 45 10 STAGES Elementary Native American music in the classroom 47 Secondary High school band students— NEWS compose! 48 Collegiate UPBEAT 8 News on the 2016 All-American Marching Band Nonverbal communication on Creating a the podium 50 Cohesive Ensemble … NAfME Announces Candidates for 2016– 2018 National President-Elect … National Core Music Standards RESOURCES Move from Theory to Practice … NAfME recognizes Tri-M® Chapters New media and accessories for for Outstanding Work … 2015 National In-Service Conference … the music classroom 52 Drum Major, Musicians Announced for 2016 All-American Marching Band … Special Learners Preconference … 2015–2016 School Year BRAVA! Calendar … NAfME’s Back-to-School Teacher Resources Teaching Music salutes conductor

Marin Alsop 56 Julia Cardillo/Drum Corps International. photo by from top left) courtesy of Stephen Shewan, Johns Hopkins University, (clockwise Photos by

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The National Association for Music Education is a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME membership is open to all people engaged in music teaching or other educational work in music. Teaching Music (ISSN 1069-7446), an official magazine of the National Association for Music Education, is issued to members four times per year in August, October, January, and April at an annual subscription price of $10. Holds 4 Office of publication: National Association for cellos & bows Music Education, 1806 Robert Fulton Drive, Holds 20+ Reston, VA 20191-4348, U.S.A.; 703-860- violin/viola/trumpet cases 4000. Produced by In Tune Partners, LLC. Institutions may purchase one volume year of of various sizes and shapes four print issues for $200. Single copies of issues School District POs accepted. are $30. A limited number of back issues are available for purchase. Permission requests to Please mail to: reproduce or otherwise use material published in A&S Crafted Products, Box 26731, Elkins Park PA 19027 this journal should be submitted to Caroline Arlington at [email protected]. Periodicals or scan your PO and email to: [email protected] postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offices. or fax to: 888-831-5464 POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2015 by the To see our NEW Double Bass Rack and National Association for Music Education. Printed in the U.S.A. Teaching Music is available via other racks, go to BandStorage.com 267-626-6123 electronic databases from most universities and libraries.

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Adjudication: A Learning They can’t possibly hear each other, trumpeter, United States Air Force Band Opportunity and, worse, I almost never see any (Ret.); Chambersburg, Pennsylvania; Andrew Berman’s article “Judgment adjustments being made. Softer playing [email protected] Day” in the August 2015 Teaching Music allows better hearing. caught my interest; coincidentally, I The other common problem is Accentuate the Positive! wrote on the same subject for the balance. This is much harder to improve, It was wonderful to see composition NJMEA’s TEMPO Magazine about a since the adjudication is generally taking pedagogy addressed in the August 2015 year ago. I thought a few observations place on a strange stage in a strange hall. issue of Teaching Music. Interviewee would be relevant. It seems to be at its worst among jazz Robert Deemer o ered several helpful I think one of the biggest problems is bands, where the rhythm electronics strategies for teachers encountering the perceived adversarial relationship (bass, guitar, and keyboard) drown out emerging composers, facilitating the between judges and performers. Many the wind instruments. Sometimes, a work of young composers, and seeking younger players seem to think that the change of setup can be of value. I’ve just the right thing to say to students adjudicator is sitting with sharpened heard numerous successful jazz bands tackling compositional challenges. pencil, eager to take o points for every that set up in a Deemer also noted that learning to little squeak or crack. In most cases, compose, just like learning to sing nothing could be further from the or play an instrument, is a process that truth. Students often don’t takes time. seem to realize (or want to Unfortunately, the writer of believe) that the adjudicator is the article closed with on their side; that in reality, “There is no immediate everyone—student, director, gratication in compos- and adjudicator—wants the ing for the teacher or the student.” same thing: They all want While this statement was clearly the group to sound better. “V” formation, with rhythm in intended to emphasize the importance Once students are convinced the middle at the point of the V, and of investing time in composition, it that the adjudicator is there the winds down each ank. This gives seems incongruous to end an article to help them, the whole process becomes everybody a better chance to hear other titled “Accentuate the Positive” with a easier and far less stressful. players and adjust the sound accordingly. sentence so easily construed as negative Nonetheless, in the years I’ve adjudi- Balance in string groups can occasion- when positives abound. cated concert band, jazz band, and ally be improved by moving string basses Compositional gratication does not orchestra, I’ve noticed the same problems to the center of the group. In the rest only in the nished piece that we cropping up almost continuously, and traditional setup, basses and back-stand hear or perform; it can also be found in often in every group in a program. violins can be a whole stage length apart. compositional processes. The act of The rst is our old nemesis, bad Moving basses to the middle allows composition is comprised of hundreds intonation. I think that over the years everyone to hear the bottom a little of smaller actions and decisions, with I’ve talked and written about poor better. each providing opportunities for intonation more than any other Adjudication can be a valuable gratication. Whether the “instant” is problem. And yet, it need not be so. experience for any group or musician. found in successfully placing two notes, Intonation is a skill that can be practiced Just keep in mind that it’s a learning shaping a melody, completing a song, or and improved upon. A simple rst step experience. —John Pursell, Yamaha trumpet drafting the outline of a piece for is to have the band tune pianissimo. artist and clinician; senior ceremonial chamber ensemble, each artistic choice Many’s the time I’ve seen a group take the stage and then begin what they WRITE TO US Send your thoughts to [email protected], or fax a letter to 888-275-6362. We appreciate hearing from you and sharing your thoughts think is the tuning process. After the with your fellow NAfME members. Letters are edited for style and to fit tuning note is given, they all begin to available space. Please include your full name, job title, your school’s name, and the city and state where you teach. honk and blare at a forte level or louder.

6 Teaching Music OCTOBER 2015 is rewarding in its own way. work—but it must also be emphasized examples of how their work could be As teachers empower students to that the student can and should be improved through alternate options. If exercise their compositional capacities in challenged to make the best decision for we have built trust between us, the bringing their own music to life, both the piece. I have no qualms with telling a student will usually agree to experiment discover the potential for wide-ranging composer that they can keep something further and ultimately improve their and continuous grati cations. Indeed, that, in my mind, doesn’t work in their piece. —Rob Deemer, associate professor of grati cation can even be found in piece, but I make sure they understand music composition, School of Music, State composition’s many challenges, as each is why that component of their work is University of New York at Fredonia; ripe with the potential for important ineective and will provide several [email protected] learning—and that is a positive outcome worth accentuating! —Michele Kaschub, professor of music education and coordinator of music teacher education, School of Music, University of Southern Maine, Portland; [email protected]

Rob Deemer Responds ... I very much appreciate both Debbie Galante Block’s article “Accentuate the Positive” in the August 2015 Teaching Music and Michele Kaschub’s follow-up Discover if you qualify for a comments in this issue. Michele is tuition discount at spot-on when she emphasizes the messiah.edu/graddiscounts grati cation that occurs throughout the compositional process. Students can realize amazing grati cation through the Earn your in successful completion of a goal they or their instructor has set out for them as well as through unforeseen discoveries. My comments during my interview with Ms. Block were meant to explain With a music program and faculty reflecting a national how concepts and ideas about composing reputation for academic excellence, Messiah College’s may take time to become integrated into master’s degree in conducting will enhance your ability the young composer’s vernacular; as an effective music educator and conductor. concepts such as precompositional Our program offers: planning, development of ideas, or • Three specialized tracks to • Emphasis on summer and online thinking abstractly about music can advance your education and coursework, designed to fit the indeed take time and teachers have to be career: wind, orchestral, choral schedules of busy professionals patient and “play the long game” when • Graduate-level certificate • Faculty who are experienced working with their students with those (CAGS)in conducting music educators and concepts. conductors and who take I oer one other brief addendum to time to mentor students the article for clari cation’s sake. The Experience the academic distinction of a nationally ranked Christian college. statement “the composer can’t be wrong” NOW ENROLLING is technically correct—the composer 717.796.5061 ultimately gets to decide what is “right” messiah.edu/conducting or “wrong” compositionally in their Online | Flexible | Affordable see anew

nafme.org 7 upNews beatand notes for today’s music educator By Rosalind C. Fehr

Students from Laura Nelson’s class try some of her exercises.

exercise as if they are different ages. Not only does it make everyone laugh, but the WELCOME ABOARD! students can really hear the difference between singing with a young, horizontal ® sound as compared to a beautiful, GRAMMY Music mature, tall vowel sound,” says Nelson. “Another variation is to sing our warm- Educator Quarterfi nalist ups using different emotions, such as anger, sadness, surprise, fear, happiness, Offers Tips on Creating a etc.,” says Nelson. “As an educator, I Cohesive Ensemble strive to make everyone feel welcome and included. When we are in unity and LAURA NELSON—the lower school music teacher, high work together as a team, it can be heard in a beautiful, blended school/middle choral director, and fi ne arts director at sound, and that is our ultimate goal.” Orangewood Christian School in Maitland, Florida—brings The GRAMMY Foundation has chosen 213 quarterfi nalists for many years of teaching experience in public and private the 2016 GRAMMY Music Educator Award™. Of that number, 122 school settings. A NAfME member, she holds a are NAfME members. In all, over 4,500 initial nominations bachelor’s in music education from Florida State were submitted from all 50 states. NAfME congratulates University, and is a two-time quarterfi nalist for the all of these talented, dedicated music educators. Visit GRAMMY for Music Educator Award. Nelson nafme.org and search for “GRAMMY Educator” to see a shares her tips for integrating new students into an list of NAfME-member quarterfi nalists. ensemble at the beginning of a school year. The GRAMMY Music Educator Award was estab- “At Orangewood Christian School, it is always lished to recognize current music educators (kindergar- fun to see new faces in our high school choir at the ten through college in both public and private schools) beginning of the school year. To help our new choir who have made signifi cant and lasting contributions to students feel more comfortable, I pair them up We add goofy the fi eld of music education and demonstrate a with a veteran choir member who can answer any movements, commitment to the cause of maintaining music educa- questions and help them navigate the daily routine. and everyone tion in the schools. Other NAfME-member quarterfi nal- I’ve also found that laughter is a great way to break is usually ists share their tips for creating cohesive ensembles at the ice and help our new students to feel included. laughing nafme.org. Rounds and canons are a fun, easy way to get hysterically A partnership and presentation of the Recording everyone singing, and it creates unity as students by the end. Academy and the GRAMMY Foundation, this award will work together with their ‘team’ to stay on track. —LAURA NELSON be presented at the Special Merit Awards Ceremony & One of our favorites is a round called ‘Little Tommy Tinker.’ Nominees Reception during 2016 GRAMMY Week. We add goofy movements, and everyone is usually laughing Nominations for the 2017 Music Educator Award are now hysterically by the end. We also use our warm-ups to add a being accepted. Visit grammyintheschools.com/programs/gram- little fun and humor to class. One of our most requested my-music-educator-award/faq for more information. The deadline

activities is one in which I ask the students to sing a vocal to nominate teachers for recognition in 2017 is March 15, 2016. (bottom). Tim Kelly Nelson (top), Laura Photos by

8 Teaching Music OCTOBER 2015 NAfME ANNOUNCES TAKE PART IN CANDIDATES PILOTTESTING FOR 2016 18 THE NATIONAL ASSESSMENTS! NAfME is collecting PRESIDENT In July 2015 a select group of music teachers met at NAfME’s Reston headquarters to names for continued ELECT review piloters’ student work, refine the assessments, and identify potential “benchmark” pilot-testing of all In June at the 2015 student work to illustrate the expectations spelled out in the new Standards. elementary MCAs and National Assembly going on to fully pilot meeting in Tysons, which the standards for: included NAfME national, • Ensembles state and division The National Core Music Standards • Guitar/Keyboard/ leaders, President Glenn Harmonizing Nierman announced Move from Theory to Practice Instruments the names of the two • Composition/ candidates who will THE JUNE 2014 PUBLICATION of new National Core Writing Team, says, Theory run for the office • Music Technology of NAfME 2016–18 Music Standards marked an important step in “Consistent with the President-Elect. NAfME’s efforts to provide music educators with all-volunteer process that To request a part in this All active and retired piloting process, visit NAfME members can the tools to develop and deliver effective produced the standards and nafme.org/MCApilottest for a webinar by Scott vote online beginning curricula that meets the needs of 21st-century MCAs, these teachers on the second Tuesday C. Shuler, co-chair of in January 2016. students. generously donated their the Music Standards Electronic ballots will Writing Team. be available January 12, The writing and revision that led to publication time; their travel expenses 2016 through midnight also produced draft Model Cornerstone Assess- were funded by a grant from the National on February 10, 2016. Candidate videos, ments (MCAs) to help music teachers measure Endowment for the Arts. It was my privilege to statements, and biographical informa- students’ Standard achievements. Refined coordinate this effort in collaboration with tion can be found on versions of the MCAs were posted on the NAfME Richard Wells and former South Carolina Arts the NAfME website. Visit nafme.org and website and piloted by dozens of music teachers Assessment Project leader Ching Ching Yap.” search for “2016–18 during the 2014–15 school year. These teachers Researcher teams headed by Fred Burrack of President-Elect.” The candidates are: uploaded students’ work from those tasks to Kansas State University, and A. Kelly Parkes of 5 David Branson, a shareassessment.org. NAfME Deputy Executive Virginia Tech worked with Brian Wesolowski of NAfME Western Division Past President Director and Chief Operating Officer Mike the University of Georgia to analyze scores and and fine arts adminis- Blakeslee says the piloting exercises of the MCAs guide the benchmarking process. “The fall of 2015 trator from the Washoe County (Wyoming) bring the Core Music Standards into the real offers you an opportunity to join other music School District, is currently a clinician for world of the music classroom. “It gives us an idea teachers across the U.S. in helping establish high the Conn-Selmer of what success actually looks like. Ongoing field standards for our profession, by piloting newly Institute. tests are essential to this process.” revised versions of the MCAs in their classrooms,” In July 2015, a group of music teachers met at Says Shuler. Visit nafme.org/MCApiolettest to pilot NAfME’s Reston, Virginia, headquarters to review the standards in your own classroom. piloters’ student work, refine the assessments, To read more, visit nafme.org and search for (left-hand column). and identify potential benchmark student work to “National Core Music Standards.” For a colorful illustrate the expectations in the new Standards. resource for your classroom, see our Core Music Scott C. Shuler, co-chair of the Music Standards Standards Poster at shop.nafme.org.

5Kathleen D. Sanz, a ® NAfME Southern NAfME Recognizes Tri-M Chapters for Outstanding Work Division Past President, NAfME announces its JUNIOR DIVISION and musical achieve- the newest activation is currently Florida 2014–15 Tri-M ® Music WINNERS: ments of middle/junior form. Please note all Music Educators Honor Society Chapter Chapter of the high and high school chapters must pay a $100 Association state of the Year recipients Year: Ranney Middle students, rewards them fee to activate or renew. executive, and president and runners-up. School, Tinton Falls, for their accomplish- Chapter advisors are and CEO of the Center New Jersey ments and service encouraged to renew for Fine Arts Education SENIOR DIVISION First Runner-Up: West activities, and inspires their chapters as soon as in Tallahassee, Florida. WINNERS: New York Middle School, other students to excel possible. On the NAfME Chapter of the Year: The West New York, New at music and leadership. website, you’ll also find Wheatley School, Old Jersey To activate or renew an online Quick- Start Westbury, New York Second Runner-Up: a chapter for the Guide with lots of service First Runner-Up: Her- Chesterfield Elementary 2015–16 school year, ideas and suggestions for ricks High School, New School, Chesterfield, visit nafme.org/Tri-M for fund-raising projects. Hyde Park, New York New Hampshire. Second Runner-Up: NAfME’s Tri-M Music Elizabeth Forward High Honor Society is the School, Elizabeth, international music Pennsylvania honor society that recognizes the academic Photos by Laura Nelson (top), Tim Kelly (bottom). Tim Kelly Nelson (top), Laura Photos by dacorporatephoto.com Documentary Associates, LLC, (top), Fehr Rox Photos by

nafme.org 9 NAfME’s 2015 National In-Service NAfME’S SPECIAL LEARNERS Conference: Empower Creativity PRECONFERENCE: INTERACTIVE, MUSIC PLAYS an important role in brother Karey is a screenwriter AUTHENTIC, AND a complete education. It’s who has worked on films including PRACTICAL collaborative, encourages critical Chicken Run and The Smurfs 2. Please join us for thinking, and allows students to Wayne and Karey are also the NAfME’s Special Learners Preconference, better understand themselves brains behind the hit Broadway “Teaching Students with and the world around them. musical, , which Autism Spectrum Something Rotten! Disorders (ASD),” Discover how you can give was nominated for 10 Tony October 24–25 at the Gaylord Opryland Resort students the inspiration they Awards for the 2014–15 season. and Convention Center need to learn and create in The Kirkpatricks created the music in Nashville, Tennessee, in conjunction with different ways! It’s not too late to and lyrics, and Karey wrote the NAfME’s 2016 In-Service Conference. Registration join NAfME at the Gaylord book along with John O’Farrell. for the Preconference is Opryland Resort and Convention Set in the 1590s, the satirical musi- $150. Clinicians will join K–12 teachers, parents, Center in Nashville, Tennessee, cal centers around two brothers and students with ASD October 25–28, for more than trying to write a play in an era for the sessions. Alice M. Hammel—a well-known 300 innovative professional overshadowed by the most famous music educator, author, Join us at the Gaylord and clinician—will give development sessions emphasiz- of playwrights, William Shake- the opening remarks and ing in-depth learning. Session Opryland Resort speare. close the Preconference. Sessions will include “A focuses include Band, Choral, and Convention Center Other events at NAfME’s Music Curriculum for October 25–28. Individuals with Autism Collegiate, Composition, General In-Service Conference will Spectrum Disorder” by Interest, General Music, Guitar, In-Ovations, Jazz, include the NAfME Young Composers Concert, Stephen Shore and Kaname Ueno; “The Music Program Leader, and Orchestral tracks. In concerts by the All-National Honor Ensembles, Musical Tug of War: short, NAfME’s 2015 National In-Service the Vanderbilt Melodores—the University’s Coaching Students on the Autism Spectrum Conference will “Empower Creativity!” internationally recognized all-male a cappella in Verbal Expression” by Amy Hourigan; “Creating Throughout the In-Service Conference, there group—and the Give a Note Monster Mash a Well-Structured will be opportunities to network with fellow Extravaganza. Classroom for Students with Autism” by Elise music educators from throughout the United Need help justifying your attendance? Hackl; and more. One graduate credit States and beyond. Share ideas! Make new NAfME has put together a Toolkit to help you and/or certificate will be friends! make your case to attend the most exciting and presented to teachers who complete the On Sunday, October 25th, Wayne and Karey inspiring music education conference there is! Preconference. See the Kirkpatrick will give the Keynote Address to open Visit nafme.org/nashville2015, and scroll down to full schedule at inserviceconference. the Conference. Wayne Kirkpatrick is a Grammy® the Justification Toolkit to read more. nafme.org/sessions/ music-education-for-stu- Award–winning songwriter of tunes such as Visit nafme.org/nashville2015 for further dents-with-autism-spec- “Change the World” for Eric Clapton and Conference information and to register for an trum-disorders-asd. Register at nafme.org/ “Wrapped Up in You” for Garth Brooks. His empowering, creative time in Nashville! Nashville2015.

Drum Major, Musicians Announced for the 2016 All-American Marching Band Vitaliy Popovych from Heritage Left to Right: Emily known “Marching Southerners.” High School, Georgia, was Swanson (’15 Drum Major), Since his appointment as named Drum Major of the 2016 Ken Bodiford (’16–’17 Lead director, the band program has U.S. Army All-American Director), and Vitaliy grown in both quantity and qual- Marching Band, accepting the Popovych (’16 Drum Major) ity, and the Marching Southern- shako from Emily Swanson of ers has more than doubled in Kings High School in Kings Mills, the roster of the 2016 size. Ohio, the 2015 Drum Major, at a U.S. USAAAMB. Visit The USAAMB, founded in ceremony during Drum Corps nafme.org and search for 2008 with 97 members, has International’s World Champi- “2016 USAAAMB Band since grown to 125 members: 1 onships in Indianapolis, Indiana. Roster” to see a full list drum major, 24 color guard On January 9, 2016, of band members and members, and 100 marching Popovych will lead the band their music teachers. musicians. during halftime of the U.S. Army USAAAMB following a rigorous The 2016–17 Nominations for the 2017 All-American Bowl. Produced by audition process, receive USAAAMB director is Ken U.S. Army All-American All-American Games, the Bowl all-expenses-paid trips to San Bodiford of Jacksonville State Marching Band open on will feature the nation’s top high Antonio, Texas, for the Bowl at University in Alabama, where he September 1, 2015. For more school senior football players the Alamodome. conducts the Jacksonville State information, visit nafme.org and marching musicians. Band NAfME, the selection University Chamber Winds, and and search for “U.S. Army members, selected for the partner for the band, has named directs the internationally All-American Marching Band.” Photo by Julia Cardillo, Drum Corps International. Photo by

10 Teaching Music OCTOBER 2015 SAVE THE DATE! OPEN NAFME’S TROVE OF TEACHER NAfME’s 2015–2016 RESOURCES FOR THE NEW School Year Calendar SCHOOL YEAR! Be ready for whatever the school year brings OCTOBER 2015 FEBRUARY 2016 you with NAfME in your OCTOBER 1: George N. Parks Leadership in Music FEBRUARY 15: NAfME Student Composers backpack! We’ve Education Award deadline. nafme.org/ Competition deadline nafme.org/programs/ provided a variety of nominations-for-the-george-n-parks-award-are-open contests-calls-competitions/ helpful resources to student-composers-competition OCTOBER 1: NAfME Music Research and Teacher keep you organized and Education National Conference, Call for Proposals prepared for the year deadline. nafme.org/call-for-proposals-2016-music MARCH 2016 ahead: a school-year calendar, Back-to- -research-and-teacher-education-national-conference ® March is Music in Our Schools Month ! School-Night handouts, nafme.org/programs/miosm lesson plan ideas, and %MARCH 16–19: NAfME Music Research more. You’ll want to and Teacher Education National Conference, Westin bookmark the page Peachtree Plaza, Atlanta, Georgia. nafme.org/ mentioned below and community/conferences-and-events check for new resources throughout the year. Proposals: nafme.org/call-for-proposals-2016-music Want a handy -research-and-teacher-education-national-conference Welcome Letter for parents/guardians? APRIL 2016 You’ll find one. There’s also a list of practice JAZZ APPRECIATION MONTH
tips for students of APRIL 15: NAfME Electronic Music Composition different age-groups, Contest Deadline. nafme.org/programs/con- information on how to tests-calls-competitions/nafme-electronic-music be an advocate for your -composition-contest music program, and more. You can also APRIL 15: All-American Marching Band audition manage your Associa- and application deadline. nafme.org programs/ tion membership and u-s-army-all-american-marching-band check out student APRIL 15: Tri-M Recognition of Excellence. performing opportuni- nafme.org/Tri-M ties. The Back-to-School OCTOBER 13: NAfME 2016 All-National Honor web feature also Ensemble applications open MAY 2016 MAY 6: Tri-M Chapter of the Year deadline. includes a printable OCTOBER 25–28: NAfME National In-Service nafme.org/Tri-M School-Year-at-a- Conference, Gaylord Opryland Resort and Glance Calendar, as well Convention Center, Nashville, Tennessee. !MAY 11: NAfME All-National Honor Ensembles as a variety of resources inserviceconference.nafme.org deadline. nafme.org/programs/ in categories including: all-national-honor-ensembles OCTOBER 25–26 National Tri-M Leadership Summit, Gaylord Opryland Resort and Convention Center, Nashville, Tennessee nafme.org/programs/ tri-m-music-honor-society

NOVEMBER 2015 NOVEMBER 1: 2017 U.S. Army All-American Marching Band applications open. nafme.org/ programs/u-s-army-all-american-marching-band NOVEMBER 16: Marine Band Concerto Competition • Back-to-School Night deadline. marineband.marines.mil/About/ • Lesson Plans and ConcertoCompetition.aspx Classroom Tips • Copyright 101 • Tri-M Music Honor DECEMBER 2015 Society® DECEMBER 1: Tri-M Giving Tuesday. nafme.org/Tri-M • Student Performance Opportunities DECEMBER: Tips for Concert Etiquette. • Contests and nafme.org/concert-etiquette-is-for-everyone Scholarships • Music In Our Schools JANUARY 2016 Month® • NAfME In-Service JANUARY 9: U.S. Army All-American Bowl, San Conference Antonio, Texas. usarmyallamericanbowl.com/ • Membership marching-band-about/ • Give a Note JANUARY 12 TO FEBRUARY 10: NAfME Conducts Foundation Elections for 2016–18 National President-Elect JUNE 2016 • Professional Development JANUARY 18: National Tri-M Service Day. JUNE 22–26: NAfME National Assembly, • Advocacy nafme.org/Tri-M Tysons Corner, Virginia • National Core JANUARY 31: Nomination deadline for the 2017 Music Standards NAfME Federated State Association Conferences Army All-American Marching Band. nafme.org/ State MEAs present Conferences throughout the programs/u-s-army-all-american-marching-band/ Visit nafme.org/ year. Photo by Nelson Duffle (top), Howard Rockwin. Illustration from iStockphoto.com. Howard Rockwin. Illustration Nelson Duffle (top), Photo by nafme.org/about/federated-state-associations backtoschool.

nafme.org 11 Classrooms ✢ BY ADAM PERLMUTTER We have pretty much every genre represented.

musicianship [developed through composing] are so FACTS & much more advanced that, for FIGURES me, any little tradeo is a WILLIAMSVILLE EAST HIGH no-brainer.” SCHOOL The highlight of the school East Amherst, New York year is the Poetry, Music, Art GRADES 9 12 & Dance (PMAD) program, STUDENTS: for which a districtwide Approximately committee selects 18 or fewer From left: Student composer Jennifer Rowecamp, Stephen student compositions to be 1,061 Shewan, poet and English teacher performed by students and PERCENTAGE John Kryder, and student OF LOW-INCOME composer Aaron Robertson faculty. A prominent poet is STUDENTS: brought in to read his or her work, setting the tone for the 10.5% event. “The main parameter ETHNICITY OF Composing a STUDENT BODY: for the PMAD is that every 77.3% Great Experience composition be inspired by a White A New York high school’s innovative poem by our guest poet or by 2.5% program requires instrumental students to one of our student poets—and Hispanic complete at least one composition a year. that pieces be under four 2.0% minutes in duration,” says African American MANY HIGH SCHOOL musicians learning the major themes of Shewan. So that students 15.5% Asian try to compose, but not many each band piece by ear. “I’m whose pieces are not chosen 2.3% have the bene t of doing so in constantly asking the students for this program can hear Multiple a program as innovative as that to identify what is happening their works brought to life, he 0.4% at Williamsville East High in a piece. Many of them makes sure that they’re American Indian/ Alaskan Native School in East Amherst, New become fairly adept at performed during other York. There, all instrumental recognizing compositional concerts and rehearsals. This NUMBER OF MUSIC TEACHERS: students are required to techniques, forms, phrase gives students the bene t of complete at least one composi- structures, etc. Last year, we receiving feedback from their full-time, 14 part-time tion each year. “We have played Vincent Persichetti’s peers. “The vast majority of pretty much every genre Divertimento for Band, which is comments are positive. ENSEMBLES/ CLASSES: represented, and students write full of bitonality. Not surpris- Because the students in the Girls Chorus, Mixed Chorus, Chorale, for standard and unusual ingly, bitonality then showed room are all composers, they Music Theory, Phil- ensembles, occasionally with up in the students’ composi- understand the challenge of harmonic Orchestra, Symphony Orchestra, electronic instrumentation,” tions. You are what you eat!” creating a piece of music and Concert Band, Wind Ensemble, Jazz Band, says Stephen Shewan, who Shewan strikes a balance have great respect for the Jazz Ensemble, Jazz teaches music and directs the between devoting ample process as well as their peers’ Improvisation, Lessons (Orchestra, bands at Williamsville East. attention to both composition nal products.” Band, Voice) All of the school’s music and instrumental technique. teachers contribute their own “Giving students the gift of CALLING ALL STUDENT COMPOSERS! composition units. As director composition does not teach NAfME sponsors an annual Student Composition Contest for works by Elementary, High School, and of the wind and jazz ensem- them their two-octave scales College students. For 2016 contest guidelines, go to bles, Shewan prepares students and multiple tonguing, and nafme.org/programs/contests-calls-competitions and click “NAfME Student Composers Competition.” Up to 10 by working on analysis and speed up their rudiments. But winning composers will receive cash awards. For more information, contact Shannon Kelly at [email protected].

aural skills—for example, by ultimately, the aural skills and Photo courtesy of Stephen Shewan.

12 Teaching Music OCTOBER 2015

Advocacy ✢ BY DEBBIE GALANTE BLOCK

Advocacy Summit for young I have heard music educators. “It’s really countless reports important for music educators from our delegates and prospective music educa- coming off of tors to know that you essen- Capitol Hill in late tially have two full-time jobs: June that they were music teacher and advocate,” blown away by the says Woodside. “Teachers change in attitude. should be a part of NAfME’s annual event because the stories that they can tell about Trumpet player John their programs and the ways HILL DAY Brandon of 2015 Stand In June, NAfME for Music award-winning they impact kids’ lives are capped off its annual band San Fermin was much more impactful than any a one-time collegiate Hill Day event with NAfME member and later talking point.” more than 200 music music teacher. education advocates— Teachers who are leading including those from 47 state associations, the advocacy charge know that and nearly 70 federal lobbying is important, collegiate members— going to Washington, The Elementary but the most valuable advocacy D.C., to meet with their members of work that music educators can Congress and staff. Hill and Secondary do is in their own backyards. Day also coincides with National “What happens in Washington Leadership Assembly. Education Act “The timing of Hill NAfME members play an important when ESEA comes up is Day was unique this incredibly important, but no year,” notes Chris role in the U.S. Senate vote. Woodside, NAfME’s matter what Washington does, Assistant Executive Director. “The odds THE LATEST reauthorization they were blown away by the teachers have to know their that you can line up a e ort for The Elementary and change in attitude,” says local issues. They have to form Congressional fly-in with the exact timing Secondary Education Act Woodside. “They felt there coalitions; they have to create of when there is a bill (ESEA) is approaching the you care about being was a receptive audience to strategic provisions as to how considered … this is nish line. In July, U.S. Senate their ‘asks.’” to protect their programs. once-in-a-lifetime. People felt empow- passed a sweeping overhaul of How have the NAfME They have to involve parents ered by that and also the ESEA. According to Chris members become so strong? and community members and by the fact that, this year, all they had to say Woodside, NAfME’s Assistant NAfME does a lot of capacity- students themselves. That’s was ‘thank you.’ The bill already included Executive Director, “It is a building and advocacy training how you protect music what we wanted, and very positive climate we are throughout the country all education.” Woodside advises that is a product of the progress they made working in, and a great deal of year long. Their biggest event, teachers to take the lead by over the years.” Roughly 180 the credit for that goes to our however, is their annual getting in touch rst with their meetings with members who sent over 14,000 National Leadership Assembly state music education associa- congressional offices were conducted. Music letters to Congress over the in June. There is a lot of tions, virtually all of which education advocates and collegiate course of a couple of months education that goes on in work closely with NAfME. members were joined in support of key language.” conjunction with that almost “Teachers are always welcome by members of the Music Education Policy For the rst time, the bill weeklong summit: For one, an to call us, but it all begins at Roundtable and special guests from the lists both music and arts as core advocacy event called Hill Day the local level.” rock band San Fermin. academic subjects. “I have takes place. This year over 200 For further information “The fact that the delegates could be the heard countless reports from delegates attended—the largest on some of NAfME’s last voice before the bill went to the Senate our delegates coming o of contingency ever. Also part of advocacy activities, visit floor was a gift,” says

Capitol Hill in late June that Hill Day is a Collegiate broaderminded.org. Woodside. . dacorporatephoto.com Documentary Associates, LLC, Photo by

14 Teaching Music OCTOBER 2015 TECHNOLOGY FURNITURE AND STORAGE V2.0

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800-4WENGER (493-6437) www.wengercorp.com Research ✢ BY CATHY APPLEFELD OLSON One activity may actually be distracting from another.

How can tasks may trigger a situation of teachers help students to overload. “One of the things STRUCTURING succeed at that may be happening in our dictation THE IDEAL exercises? classrooms is that we are EAR TRAINING sometimes giving students too CLASS many things to do at once, and The fi rst order of business, Buonviri expect them to process a lot of notes, is providing time in the schedule for ear levels of a given activity. That training. “A lot of time practice may be taking away the written theory and the aural theory are from their ability to perform combined. So, the initial question is ‘how much well in any one aspect of the time is being spent on activity. It’s an implication I’m written vs. ear training?’ and a lot of time the ear drawing from the research; we training goes under the bus because the teacher need to keep testing it.” feels like they have to Buonviri remarks that he move through so much material so fast.” was driven to conduct the If it’s possible to include ear training in Getting Ready research because, “in practice, the schedule, Buonviri it’s very common to do what is suggests that teachers bear in mind the forDo preparatory the Takedown ear-training tasks help or described in the opening following. section of the article, which is Ensure that hinder students with a dictation exercise? students practice ear that teachers use some sort of training daily. Just as with vocal and EAR TRAINING can be a pattern in the key, meter, and singing pattern to try to get instrumental training, it daunting subject for many tempo of the target dictations; people ready to take dictation. is often advisable to practice a variety of students, and dictation in prepared themselves silently My thought going in was not things a little bit every day, as opposed to doing particular can prove very during an equivalent time so much that I expected a an occasional marathon di cult to those who are not interval; or took the dictations certain result, but I wanted to “crunch” session. Draw the line endowed with perfect pitch or immediately afterwards. An test out what seems to be the between production tasks and reception/ excellent relative pitch. analysis of the results showed common practice because it perception tasks, and Pre-dictation strategies are that participants scored hadn’t been done before.” devote ample time to the latter. “If we are often used by music educators signi cantly higher when they Buonviri further notes that singing something, we are producing to help students to improve began the dictation exercise this research is “a reminder to something,” states their chances of dictation immediately following the us that we do need to keep Buonviri. “That’s different from receiving success—but do they really chord sequence than when testing and checking and and perceiving, which are also important. If help? New research conducted they  rst sang the preparatory testing again the things we are teachers can develop by Nathan Buonviri, assistant pattern. doing in our classrooms and students’ listening skills and production skills professor of music education at “One of the main things to make sure we aren’t doing into some sort of balanced, integrated the Boyer College of Music consider is that it might not them just because that’s the approach, that’s ideal.” and Dance at Temple Univer- necessarily be helpful to try to way it’s always been done.” sity in Philadelphia, Pennsyl- pair up activities the way vania, explores this subject. music teachers often do, like, TIME FOR EAR Buonviri tasked 49 under- ‘Let’s sing  rst, because that TRAINING graduate music education will pave the way to take a Buonviri notes that ideally students should majors with taking melodic dictation,’” says Buonviri. receive daily ear training. “There needs dictation under three distinct “One activity may actually be to be a little bit of a lot conditions. After hearing an distracting from another.” In of things every day rather than trying to orienting chord sequence they fact, his research suggests that crunch everything in in one day.”

sang a preparatory solfège assigning students preparatory in Journal of Research on Melodic Dictation Success,” Singing Pattern MilosJokic/iStockphoto.com. Source: “Effects of a Preparatory Photos by ). 63, Number 1, Pgs. 102-113 (See jrm.sagepub.com/content/63/1/102.abstract Music Education , April 2015, Volume

16 Teaching Music OCTOBER 2015 It’s time to start a Tri-M Music Honor Society chapter.

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

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

Ready to start a chapter? Follow these easy steps:

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

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

Music Education • Orchestrating Success

NAFME46814 TRI-M_8.25x10.875_AD_M.indd 1 7/11/14 1:22 PM Partnerships ✢ BY JOSEPH M. P ISANO Enrollment is the silver bullet of music enrollment is education increased each year in programs. the band by 11 students, every year you will be increasing the size of your program by 77 kids. Following this through to the high school level BE PART OF means an additional 308 THE ORCHESTRA kids in your band program “Be Part of the over time. Enrollment is the Orchestra is arriving Be Part of the Band just in time for the A new program helps band directors silver bullet of music education start of the school year!” exclaims Lang. with recruitment and retention. programs. Enrollment is the Be Part of the one thing in every band Orchestra (BPOTO) provides directors ABOUT FOUR YEARS AGO, music primers for each instrument. director’s control.” with the tools to bolster enrollment educator and leadership The videos also allude to the BPOTB has partnered with numbers, and help speaker Scott Lang (scottlang. “coolness” factor of each NAfME and other prominent with the ongoing tasks of recruiting and net) asked a question: “How do instrument. In addition to music organizations. “Spon- retention. “BPOTO will mirror the strengths we get more students to be these instrument videos, there soring this product was an easy and direction of our part of the band?” The phrase are also those targeted to decision because it truly is a existing band product, and we believe it will “be part of the band” seems parents, teachers, and adminis- great opportunity for our be just as successful for the orchestra simple enough on the surface. trators. members and such a fantastic directors as it has been However, directors every- “Our goal is to enroll resource for our teachers,” for the band directors.” The BPOTO materi- where struggle with recruit- 1,000,000 additional children states Barbara Pavesi, als are free and readily ing; consequently, enrollment in music education annually,” NAfME’s Business Develop- available as a newly integrated part of numbers are often not what says Lang, who keeps detailed ment Manager. “We are bepartofthemusic.org. Lang notes, “We have they should be. Lang, a data on the schools that adopt particularly excited about how upgraded and successful public school band the program. “In 2014, this product is evolving into all enhanced many of the materials for the director of over 16 years, has directors that utilized our aspects of music education.” BPOTO program, and they have all been developed an innovative program saw almost a 20% “Upon launching BPOTB, tailored to meet the program for band directors enrollment increase that we immediately received specific needs of our orchestra directors.” that provides free resources on resulted in an average of 11 requests to include other Program materials include pre-made recruiting and retention: Be more students involved per ensembles,” remarks Lang. documents, advocacy Part of the Band (BPOTB). school. Over 92% of the “I’m excited to say that in articles, and videos. For those teachers The BPOTB program directors who have used August we will be launching who do not have Internet access in their includes an abundance of free, BPOTB have stated that it had an integrated music product classrooms, the videos high-quality media found at a positive impact on their called Be Part of the Music may be downloaded for offline usage. DVDs bepartoftheband.com. This enrollment and, of that, 80% (bepartofthemusic.org) that will may also be purchased includes professionally- stated it had a signi cant cover all aspects of teacher directly from the site. recorded videos and docu- impact.” recruiting including band, ments, created to be both Lang describes the impor- orchestra, choir, elementary, kid-friendly and pragmatic. tance of a systemic approach to middle school, high school, The videos feature real recruiting: “When you think and teacher recruitment and students demonstrating about it, if each school district retention—all while keeping instrumental sounds and has an average of seven the product completely free for

techniques, and include quick elementary schools and teachers.” Photos courtesy of bepartofhemusic.org.

18 Teaching Music OCTOBER 2015 Music Education Summers-Only Master’s Degree Program Our graduates include successful public, private, and community school music teachers, music professors at major universities, leaders 2016 in professional music organizations, and performers of note in various venues throughout the world. Students are drawn by: - accessibility to distinguished faculty Experience the Eastman difference: - rich musical environment where musicianship, teaching, - enhanced musicianship embedded in coursework What our alumni are saying: and learning matter most “ Eastman was my home away from home; I formed a close bond with my cohort and completed coursework without leaving my teaching position.” Martina Vasil, Assistant Professor, Music Education, University of Kentucky School of Music “ By being able to learn during the summers and go back into the classroom Learn more at esm.rochester.edu/apply each fall and put the theories and techniques into practice, I was able to make my learning authentic and pragmatic.” Debbie Rohwer, Ph.D., Lead Editor, Update: Applications of Research in Music Education, University of North Texas, Chair of Music Education “ The opportunity to be working, talking, and experiencing music with serious musicians was revitalizing, reminding me why I was teaching MUSIC in the first place.” Penelope Cruz, NY-ACDA President, 2016 ACDA Eastern Division Conference Program Chair

ESM_Sum16_TeachMusic_Oct.indd 1 8/28/15 10:39 AM 2015–16 Essentially Ellington 2015 – 16 materials are now available. Members can download charts, videos and other resource materials immediately upon registering.

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jazz.org/ee [email protected] • 212-258-9790 PHOTO BY FRANK STEWART Discoveries ✢ BY JOSEF HANSON

CreatingThe Largea Buzz-Worthy Brass Addition Choir: to Your Music Program

cornet, ugelhorn, bass trombone, and JOSEF HANSON is an instructor at the E-at tuba. In situations where these University of Rochester in New York, and directs the university’s Brass Choir, which more specialized brass instruments are he founded in 2008. He can be contacted not available, it may be acceptable to at [email protected]. transpose or assign the parts to other instruments, although care must be PERHAPS OUR PREHISTORIC ANCESTORS taken to maintain the composer’s intent. With entire sections playing parts fortuitously pioneered brass ensemble There is no standardized layout for brass intended for only one player, students playing with animal horns and conch choir. You can pattern the layout to quickly realize the importance of shells pressed to their lips. Once mimic that of a small band or orchestra, section and ensemble blend. established, brass music was typically keeping in mind the following: Balance in any ensemble is an relegated to civic or martial service until • Tubas should be placed in the center exercise in mindful diversity and should the art of brass was born in 16th- of the ensemble for optimal balance. be approached dierently depending on century Europe. A combined Hebrew • Projection issues require that your horn the repertoire at hand. Encourage your and Christian antiphonal brass tradition section be placed in the front right side students to visualize a double pyramid culminated in the magni cent works of of the ensemble (as you face it) so the (representing both section-speci c and the Venetian School, including the rst hornists’ bells face inward. ensemble-wide balance) that is change- extant composition for brass instru- • Trumpets work best in a block no able, depending on the style of a ments, Giovanni Gabrieli’s 1597 more than four players wide but particular piece. In his E ective Perfor- “Canzon duodecimi toni.” as deep as necessary due to the mance of Band Music (Southern Mu- The large brass ensemble (or “brass directional nature of the instrument. sic/J.W. Pepper), W. Francis McBeth choir”) remains one of the least common provides the following exercise for ensembles in high school and collegiate Blend, Balance, and Intonation evaluating and adjusting ensemble music programs. This presents an Your brass students will enjoy enhanc- balance. Direct members of your brass opportunity: The brass choir format ing their tone quality through simple choir to sustain an E-at major triad oers a means of emphasizing blend, warm-ups, such as a sing/buzz/whistle/ over six to eight slow counts (tubists balance, and intonation in your brass play exercise (see Figure 1). Imagine the should play the E-at root; other ranks while promoting camaraderie and a bene ts of even 15 minutes of brass- students may choose any chord tone). sense of pride. You can establish a brass ensemble work in the development of The balance will likely be awed. Next, choir on an ad hoc basis, with minimal section blend—bene ts that will discuss the double pyramid and relative expense and hassle, to develop musician- become abundantly clear when your balance of chord members, and have ship and promote a seriousness of purpose brass players rejoin the full ensemble. your students play the triad again (using among your program’s brass players. Use a descending chromatic warm-up the same pitches). Improvement! to teach blend (see Figure 2). This Try it once more, adding a crescendo Instrumentation and Layout exercise requires the entire ensemble to from pianissimo to fortissimo over six The typical American brass choir blend in unison and focus on attacks counts. The balance will likely be lost as consists of B-flat trumpets, horns in F, and releases, intonation, and the the dynamics change. To alleviate this trombones, baritones/euphoniums, and development of other good habits. problem, discuss the importance of tubas. Additional instruments some- Another way to address blend is to play maintaining the double pyramid times found in brass choir literature brass quintets, especially lyrical works throughout dynamic uctuations. The

include C, E-at, and piccolo trumpets, and arrangements of Bach chorales. lowest instruments should perform the of Rochester Adam Fenster/University J. Photo by

20 Teaching Music OCTOBER 2015 A brass choir … is an exciting way to provide an alternative to the traditional large-ensemble experience.

Brass Ensemble, and other professional Recital and Concert Repertoire (available groups. More advanced students will through Hal Leonard). bene t from a basic introduction to As a rst step, include a brass fanfare pure intonation and the overtone series. in your full band or orchestra’s concert Stephen Colley’s Tune-up Boot Camp program. Selections like “Fanfare” from (www.tuneupsystems.com) breaks down La Péri by Paul Dukas (Editions the elements of pure intonation into Durand) or “Quidditch” by John easy-to-understand explanations and Williams (Hal Leonard) can be put exercises. One of the most helpful together in a few rehearsals and can add components of Collins’s “boot camp” is a festive air while challenging your brass Holiday concert by the University of the inclusion of frequency (cents) section. High-quality repertoire for Rochester Brass Choir adjustments necessary to achieve pure high school and collegiate brass ensem- crescendo fully (a 10 out of 10) and the tuning of every interval (a semitone bles has been written by several skilled highest instruments should perform a encompasses 100 cents). For example, composers, especially David Uber, restrained crescendo (one out of 10), most students eventually learn to adjust Vaclav Nelhybel, and Eric Ewazen. with interior players following suit a harmonic major third downward until You’ll nd additional performance based on their placement in the pyramid they eliminate acoustical beats, but opportunities in orchestral repertoire (i.e., horns would probably be a ve out giving them a number to remember as that requires extra brass accompani- of 10, trombones a seven out of 10, etc.). they adjust (14 cents downward, in this ment, including Shostakovich’s Festive Now, try the crescendo again—success! case) helps them conceptualize it in a Overture and the nal movement of Occasionally, it may help to intentional- less abstract way. Respighi’s Pines of Rome. ly perform these balance exercises No brass-choir folder would be upside down (i.e., tubas play softest and Repertoire complete without a more lyrical piece to trumpets play loudest) just to prove the The biggest challenge facing brass choir round out all the bombast. On a point. The ensemble’s sound will be enthusiasts is lack of repertoire. A wide Hymnsong of Philip Bliss by David much more strident and out of tune range is available for British brass band Holsinger (TRN Music Publisher) is an when the balance is incorrect. but requires transposition or transcrip- ideal vehicle for this, as are “Hats o to Brass choir intonation requires tion (several British brass band arrang- Thee” by John Zdechlik (Kjos), special attention, as the absence of rich ers, including Andrew Norman of Mutations from Bach by Samuel Barber woodwind overtones can magnify pdfbrass.com, are willing to transpose (G. Schirmer), and “Liturgy for Brass faulty brass tuning. Model the their music at no additional fee beyond Choir” by David Uber (Ensemble spine-tingling joys of awless brass the purchase price). Appropriate Publications). Finally, consider taking ensemble intonation by sharing beginning repertory for American brass time (or even asking your students) to recordings of Empire Brass, Philip Jones choir is available in two volumes, Brass arrange and compose for brass choir. With only ve instrument voices,

5 FIGURE 1 An exercise to be performed as a call-and-response or on cue. Students (a) sing the developing new selections for brass choir four-measure passage while removing mouthpieces from instruments, (b) buzz the passage on is a feasible and rewarding endeavor. mouthpieces alone, (c) whistle the passage while replacing mouthpieces/preparing to play, and (d) perform the passage on instruments. Repeat on a different starting pitch, or use your own melodic patterns. Take the Plunge! Establishing a brass choir at your school is an exciting way to provide an alternative to the traditional large- 5 FIGURE 2 At the University of Rochester, we call this warm-up “The Remington” after leg- ensemble experience. In doing so, you’ll endary trombone professor Emory Remington. Continue the pattern downward chromatically. also enhance the musicality of your larger ensembles while generating enthusiasm and a more focused atmo- sphere among your brass students.

nafme.org 21 Technology ✢ BY CHAD CRISWELL

Technology for the Orchestra Classroom A variety of robust apps and more can help you and your students to tune, learn, and excel as instrumentalists.

ALMOST EVERY MUSIC education might expect in a modern classroom, classroom can be enhanced in some way but her use of technology extends far through the use of technology, and beyond these staples to include the use there are hundreds of di erent tools out of equipment such as electronic violins there that can be used to help students and iPads. She has found several ways to learn more e ectively and retain that maximize the limited amount of knowledge longer. Properly used, these contact time that she gets with her same tools can provide teachers with students by leveraging these technologi- many useful ways to meet curricular cal tools. standards in our classrooms. The In one example, as an integrated part suggestions in this article draw from the of her rehearsals Harman will often knowledge of two experienced orches- make video recordings of herself tra directors, but the tips they provide performing specic sections of a piece have them play along in groups during can easily be applied to any classroom. that the students can then use in their rehearsal. Putting them on YouTube Angela Harman, orchestra director small-group, sectional rehearsals. “If we allows the kids to use them for home at Spanish Fork Jr. High in Spanish are doing really dicult sections of practice as well.” Fork, Utah, is one such orchestra music, I record myself doing sectionals When it comes to using the iPad or teacher who is using technology in a and then post those recordings to other mobile devices in the classroom, wide variety of ways. Her classroom YouTube. I divide the kids up into the possibilities for enrichment are contains the standard tech that one di erent rooms, each with an iPad, and many. Another such example is

RESTRICTED ACCESS MODES ON MOBILE DEVICES To prevent a student special pass code for passcode of your student to be unable cess, triple-click the from exiting out of an the device. choosing, and note to navigate away Home button, type app during an assign- that it does not need from this app, click in the passcode you ment, most mobile TO ACTIVATE GUIDED to be the same code “Start” (upper-right set earlier, and click platforms now have ACCESS ON THE IPAD: you use to unlock corner). Other op- “End” (upper-left some kind of restric- • Launch the Settings your device. tions you can enable corner). tion feature to lock app. • Navigate back to include setting time the device into using • Navigate to “Gener- the main screen of limits on the app, USING KIOSK a single app. For this al,” and then “Acces- your iPad (click the disabling the Sleep/ MODE ON AN purpose, there is a sibility.” Home button once), Wake and Volume ANDROID DEVICE useful feature built • Navigate to “Guided and open the app you buttons, disabling Third party apps that into iOS called Guided Access” under the want your students the touch sensitivity provide this capability Access; on the Android “Learning” subhead- to use. of the screen, and include free titles platform, locking a de- ing, and click the • While in the app, disabling selected such as SureLock Kiosk vice into using a single button on the screen click the Home parts of the screen Lockdown and Kiosk app requires a special to turn it on. button three times (by drawing a circle Browser Lockdown. app of its own. When • Select “Passcode in rapid succession. around them while in Install one of these a device is “locked,” Settings,” and then The window for that this screen). apps and follow the student cannot “Set Guided Access app will shrink, and • Hit “Start” to put their instructions to exit the app or switch Passcode.” options will appear the iPad into Guided restrict the tablet to into another unless • Enter and then above and below. Access. using only the app they have the teacher’s re-enter a four-digit • If you simply want a • To end Guided Ac- that you select. Photo by Phillip Speed. Photo by

22 Teaching Music OCTOBER 2015 Various iPad apps can help your orchestra students with tuning and more. I hook the iPad up to GarageBand and use it to keep a beat or play an FAVORITE APPS accompaniment that makes ANGELA HARMAN: NinGENIUS FOR IPAD ($17.99 for School Edition; also playing ‘Twinkle’ a lot more available in a Studio Edition for $8.99 fun.—ANGELA HARMAN and a Student Edition for $2.99) NinGenius turns note identification and fingering drills into a fun, martial chord progressions to let kids play along arts–themed game with varying degrees of difficulty. Results are saved in a way with their own little backup band.” that allows the teacher to view the play history and stats for individual students. Both teachers use a variety of other apps that are available both for iPad and MICHAEL WATSON’S FAVORITE: TONALENERGY TUNER (iOS $3.99, Android. Harman says that “the nice Android $1.99) With TonalEnergy, you can get your students in tune, play notes thing about some of these apps is that, on the keyboard, have it drone chords once I show them to my students, they while students play scales, and even use it as a metronome at the same time. The often wind up getting them, especially tone generator/keyboard has a transpo- the free ones.” sition feature that is useful for playing notes for instruments during full Watson also makes use of some orchestra rehearsals. It also has a wonderful loop feature that Watson uses non-iPad tech in his classroom in the for his own practicing at home. form of simple, inexpensive, clip-on digital tuners that students can use to Watson also mentions a very useful tune their instruments quickly prior to trick to use when having students use and during rehearsals. Says Watson, the iPad in an unmonitored setting: To “Some schools in our area have full prevent a student from exiting out of an classroom sets of these so that every Harman’s use of learning stations app and doing something else he often stand has their own. It lets them check scattered around the room during puts the iPad into Guided Access mode their tuning and speeds things up rehearsals. “My favorite is to do a series (see sidebar), which locks the iPad into considerably. We start teaching them to of mini-games where students rotate using just the app that he has chosen for use the clip tuners in the seventh grade from station to station, doing tests and that activity. so that by the time they get to high activities in apps like Rhythm Cat, Both teachers use a variety of other school they are comfortable with them. Flashnote Derby, Sta Wars, and many apps, both individually with students There are lots of brands out there that others. I nd it way more useful if they and in ensemble situations. Both physically clip to the pegs, and you can can do this in small groups and rotate teachers are fans of TonalEnergy Tuner get them as low as $15–$20 each. To through since I have a limited number (available for both iOS and Android) manage them, I have a box in front that of iPads.” because of its exibility and ease of use. they clip them to after rehearsal. Other Michael Watson, orchestra director Watson in particular says that he often schools have them clip them to the at Coon Rapids High School in Coon uses the app’s looping feature when director’s stand. The only problem is Rapids, Minnesota, also uses mobile practicing. “I’ll record a section slowly, that since they are so small they tend to apps in his classes, but with only a then use the loop to speed it up and disappear, especially on concert days. single iPad to work with, he normally help myself practice fast passage work.” So, number them to help keep track.” uses it as something that gets passed Harman likewise uses other apps to One thing that both teachers agree around the room. Says Watson, “When provide fun accompaniments for scale on is that the technology they are using I have kids who are struggling with key work and other parts of her rehearsals. is never the primary source of instruc- signatures in my classroom, I pass “I hook the iPad up to GarageBand and tion. Instead, it is brought in to around the iPad during class and have use it to keep a beat or play an accom- enhance or reinforce specic problem them use the Tenuto music theory paniment that makes playing ‘Twinkle’ areas with which their students need testing app. Each student has to get a a lot more fun. I also use an app called assistance. Have a try with some of the specic percentage correct before they iReal Pro [available for iOS, OS X, and apps they recommend, or go out and can pass it on to the next student.” Android] that lets you chain together discover some of your own.

nafme.org 23 Lectern ✢ BY KATHY MELAGO Teaching

SingersA Practical to Approach to Read: Sight-Singing in the Choral Rehearsal

contains a large number of good JUSTIN W. DURHAM is the director of choral activities at Clemson University in sight-singers, the majority of rehearsals Clemson, South Carolina. He can be contacted leading to a performance is likely spent at [email protected]. learning pitches and rhythms, leaving little time for expressive elements. a man to sh and he’ll eat for a life- ONE OF THE MOST frustrating comments There are, of course, advantages to time” rings true. Students who are a young singer can hear from an maintaining the status quo. There is no independent from the piano and/or instrumentalist peer is “Singers can’t way around the fact that sight-singing conductor are better musicians than read music, and they de nitely can’t instruction initially lessens the amount those who are dependent singers. More count!” This stereotypical remark, of time spent rehearsing the choral relevant to the day-to-day rehearsal, while infuriating, unfortunately literature, dissuading many conductors however, is when singers become adept contains some truth. Instrumentalists from including it in their curricula. at reading music, it actually saves time have an advantage over vocalists in Another hindrance is that singers in the in rehearsal and allows the ensemble to sight-reading pro ciency, partly due to choir likely possess varying skill levels: move to learning the expressive the fact that instrumentalists have Some read music better than others do. elements of the music more quickly. ngerings to correspond to speci c When there is a mix of good and poor pitches, while vocalists are expected to readers—with most falling somewhere Getting Started produce pitches with little external in the middle—teaching without some Paramount to teaching choral students to help. Because this is challenging, choral students becoming bored while others sight-sing is building a foundation in a students often rely on either the are overwhelmed is a dicult task. nonthreatening manner by establishing a director or the piano to nd pitches, These two obstacles are surmountable base of knowledge. In choosing a causing rote teaching to be the primary with time and patience, however, and sight-singing system such as solfège method of instruction. It’s possible, the advantages to including sight-sing- ( xed or moveable do) or scale-degree however, to teach singers to sight-sing ing instruction in the rehearsal far numbers, consistency is of the greatest during choral rehearsals, creating better outweigh the disadvantages. importance. Conductors should select musicians and saving time in the process. Topping the list of positive attributes the system they prefer (or the one with Conductors treasure rehearsal time, of sight-singing instruction is that which their students are already familiar) and anything taking time away from students will eventually become and stick to it rather than changing it for getting to the music is often viewed musically literate. The proverb “Give a variety. There are myriad advantages

with annoyance. Unless the choir man a sh and he’ll eat for a day; teach and disadvantages in each system, but for Photo courtesy of Thomas Hudgins.

24 Teaching Music OCTOBER 2015 READY TO TAKE THE LECTERN? Each issue of Teaching Music features an article by an experienced music educator on an academic topic with a practical applica- tion that may be of interest to colleagues. Please send your previously unpublished 1,000- to 1,500-word submissions to Caroline Arlington, [email protected]. Note that submission does not guarantee publication. All submissions accepted for publication in Teaching Music may be edited for length and style.

One of the responsibilities of the conductor is to encourage the singer. Praise students for the smallest achieve- ments, even if they simply continued to sing throughout the entire exercise.1 “When singers become adept Reinforce appropriate behavior when at reading music, it actually saves time in rehearsal and students do something correctly and are allows the ensemble to move to learning the expressive successful.In his 1983 study “The Eect elements of the music more quickly.” —Justin W. Durham of Conductor Academic Task Presenta- tion, Conductor Reinforcement, and the purpose of this discussion, movable subsequent lesson, focus on one Ensemble Practice on Performers’ do (la-ti-do minor) will be the referenced particular interval (do-mi, re-fa, etc.) Musical Achievement, Attentiveness, system of instruction. while reviewing previously covered and Attitude,” Harry Price found that Establish a knowledge base on which intervals to keep them fresh. As part of the largest musical gains are made when each student, regardless of experience, the vocal warm-up for the day, try teachers assign tasks, allow for student can draw in the early stages of incorporating new intervals. As student performance, and reinforce the perfor- sight-singing instruction. Before con dence and ability increase, you can mance with speci c feedback. Accord- students ever look at a sight-singing move toward multipart sight-singing ing to Kenneth Murray in “The Effect exercise, they should be able to sing exercises (for example, partner songs of Teacher Approval/Disapproval on patterns (a major scale, for example), and canons or rounds in two, three, and the Performance Level, Attentiveness, and later move to unison exercises. four parts) to help students gain greater and Attitude of High School Choruses” Focusing on scalar intervals provides independence. the feedback should be at least 80 students with a grasp of the sight- When teaching students to sight- percent positive. singing vernacular (do, re, mi, etc.) and sing, especially working with intervals Seating charts can also be valuable allows students to be successful quickly. larger than a step, it’s imperative to tools when sight-singing. Placing weak- In the beginning stages, it’s not maintain a positive and nonthreatening er readers close to those who are more necessary that students know the names demeanor. If students feel they will be adept accomplishes two things: First, it of the notes. Once students have a rm reprimanded for making a mistake, allows the weaker student to gain grasp of reading intervals, it is appropri- they will not sing with con dence. To con dence as a result of being next to a ate to introduce note names and key assist in building a foundation of trust person with greater skill. Second, it signatures for the purpose of enabling between teacher and student, I’ve gives the latter a sense of leadership students to be more independent. established two rules for sight-singing and/or importance without assigning When students are able to identify exercises that can also be applied to any undue emphasis. Even if this particular syllables quickly, it’s a good sight-singing the literature: 1The largest musical gains are made when teachers assign tasks, allow for student performance, and reinforce time to introduce larger intervals • Sing with confidence. the performance with specific feedback (Price, 253). According to Murray (p. 177) student attitude is (minor thirds and greater). In each • Keep singing no matter what happens! significantly better when feedback is 80% positive.

nafme.org 25 arrangement is di erent than one exercises. When students sing a the Choral Rehearsal,” Lynn Corbin would use for a concert, the benet of particular example more than twice, it suggests that if students are to give full placing less-skilled readers close to becomes rehearsal. Sing through the e ort and concentration to sight- those who are stronger is well worth example, isolate trouble spots—such as singing during rehearsal, they must see the time it takes to create a separate particular intervals where students that the exercises do not occur in a seating chart. struggled—review, and run it a second vacuum—that they are useful in some It is important that students not time. Praise, praise, praise the students way. Therefore, it is a necessity that view sight-singing exercises as rehears- for what they did well! conductors begin to use sight-singing al. The purpose of sight-singing in the literature as quickly as possible. exercises is to establish a foundation Gradual Integration The entire reason, after all, for that later leads to musical literacy. In her September 2001 Music Educators teaching students to read music is for Therefore, avoid rehearsing the Journal article “Enhancing Learning in them to use that skill when learning pitches/rhythms for their concert On music. Unless applied to the literature, How I Teach Getting Your sight-singing will be viewed by Stephen J. Kogut Students students as a waste of time. Only a Choral Music Director & Department Head In Tune strong and regular commitment to the Music Technology Instructor, development of this skill will make the Ormond Stone Middle School, Centreville, VA transition from exercises to literacy possible. Moving from reading How long have you been using In Tune? exercises directly into the literature, I have been at Stone Middle School for 22 years, and currently teach chorus and music technology. We’ve gotten In Tune for our students however, can seem quite daunting, since 2006. especially if the music being learned is How do you use it in the classroom? dicult. Take small steps to avoid The articles and features really help extend what I do in the frustration and potential disaster. classroom by covering current artists, technology and Instead of jumping head-rst into equipment, music theory concepts and techniques, history, the music declaring, “We’re going to and style. I’ve also used it in class to reinforce our school- wide reading program. read this piece of music entirely using Do you use In Tune for specifi c subjects? solfège,” look for diatonic, largely I do. I use it so my chorus singers get to see areas of their mu- conjunct phrases where students can sical world they rarely would have come to know otherwise. easily achieve their goal. A key to But then, ten years ago, I created a Music Technology Class successful integration is to identify to meet the needs of students who love music but don’t nec- small sections in the literature where essarily want to perform. It covers composing on DAWs using notation software and sequencers. We start with a music theory success is not only possible but proba- “boot camp” and then dive in to arranging and composing. The ble. Students need to be successful class also provides hands-on experience with setup and proper use immediately, and they should receive of audio equipment for PA and recording. large doses of praise. If the choir (or a How has the magazine helped you connect with students? single voice part) sings several intervals This year, we utilized In Tune’s much-improved website [to expand or rhythms incorrectly, but does so lessons] on sound design, vocal warm-ups, and more. My students condently without stopping, they also take advantage of the pop quiz and matching quiz provided in should be praised for following the each month’s teacher edition. I learned to create a Kahoot! game from rules! If they believe that the conductor the quizzes. We end each month with a rowdy game reviewing the answers and having fun. is going to be upset or frustrated, they will be timid. In contrast to the You already get In Tune’s Teacher’s Edition. sight-singing exercises where two Now it’s time to get your students IN TUNE! repetitions are enough, it is completely

THE YOUNG MUSICIAN’S TEXTBOOK acceptable to use solfège to rehearse passages where students struggle. Isolate troublesome intervals, master them, and incorporate them into the phrase. MONTHLY For more information on getting classroom sets of In Tune Monthly call 914.358.1200 x310 or e-mail Teaching Music OCTOBER 2015 [email protected]. To view a sample issue of In Tune please visit www.intunemonthly.com. 26 Afterward, praise the students for being rhythmic accuracy has not been knowledge through unison exercises. perseverant and successful. thoroughly addressed. I recommend Teach in a nonthreatening manner, and As the choir begins to show signs of Building Choral Excellence by Steven M. praise every instance of student success. success, it is natural to want to use Demorest (Oxford University Press, For a change of pace, nd ways to solfège in every new piece of music. In 2001) for further insight into several make sight-singing exercises fun the beginning, however, giving the methods of rhythm instruction. through the use of games or competi- students a break from it is just as tions between the sections in the choir. important to their success. Transition- Rise to the Occasion! Finally, when the choir is ready, take ing from piece to piece in solfège, Every choir can become procient at small steps to integrate this new skill especially in di erent keys, can quickly sight-singing and, although it takes into the rehearsal gradually, increasing overwhelm even an experienced reader. time, it is well worth the e ort. Build a frequency and diculty as student In these instances, singing text, foundation and establish a base of prociency rises. count-singing, or using neutral syllables are all acceptable methods of learning Bring pitches. Student progress is achieved Music Alive! How I Teach more eciently when opportunities for for Your Veronica Romansky success are abundant, and over- Students K-5 general music and chorus teacher, saturation can be an impediment to Downey School, Brockton, MA success. Remember that this process takes time. How long have you been using Music Alive!? Once the choir has achieved a level Our urban district is the ideal place to share my enthusiasm for all types of music, of sight-singing comfort, its full and Music Alive! has always been a part of my 20+ year career. integration into the rehearsal is possible. How do you use it in the classroom? It is truly amazing what students can My 700+ students—including special needs classes—all head accomplish when they have condence straight for the “Song of the Month.” By the end of the school year, even the kindergarten students can scan the lyrics. in their own success. As it is with any My students enjoy various genres of music, and every year, method of instruction, there will be they each fi nd issues of Music Alive! that include times when the diculty of the their favorite styles. These same kids love Mozart assigned literature is at a level (extreme- as well! While the articles are sometimes above my students’ reading level, we’re able to use Music ly chromatic and/or disjunct, highly Alive! for instrument identifi cation, notation reading, melismatic, etc.) where the use of and music vocabulary, which are all parts of our solfège is impractical. Using xed-do curriculum… and supported by Music Alive! solfège or count-singing may lead to Do you use Music Alive! for specifi c subjects? greater success in these instances. Music educators debate the use of popular vs. classical music but I was inspired by wonderful teachers myself, and my varied background includes early piano lessons, serving as accompa- What about Rhythm? nist for my elementary school chorus, and performing in “GB” Occasionally, challenging rhythmic bands and musical theatre productions. I love and use it all. passages become hurdles to successful How has the magazine helped you sight-singing. In these instances, connect with students? removing pitch from the process may I fi nd it thrilling to hear the exuberant singing following those spontaneous shouts of “I know this song!” be helpful. Isolating the challenging passage by speaking/chanting the rhythm on either neutral, solfège, or Keep your students learning about the ever- changing world of music with Music Alive! Kodály syllables may serve to remove the rhythmic barrier so that successful singing may be achieved. TODAY’S MUSIC EDUCATION RESOURCE The purpose of this discussion is to provide insight into one method of sight-singing instruction as it relates to pitch literacy; therefore, the subject of

For more information and to get classroom sets of MusicAlive!, call 914.358.1200 x310 or e-mail nafme.org 27 [email protected]. To view a sample issue of Music Alive! please visit musicalive.com. Photo by iStockphoto Photo by

28 Teaching Music OCTOBER 2015 AND

GOES THE PROGRAM Popular music can energize your classroom and help your students to connect with music pedagogy in new, exciting ways. By Cathy Applefeld Olson

POP MUSIC SPEAKS VOLUMES TO YOUNG STUDENTS. “Kids already love music; they just may not love the music that’s being taught to them in school,” says Dick Siegel, an adjunct instructor in the music school of the University of Michigan in Ann Arbor, and coordinator of the High School Singer-Songwriter Program at Interlochen Center for the Arts. “The music programs in some schools—the songs are kind of archaic, really, when you think about the music that kids are actually interested in. If you were to present pop music to them—di erent versions of it, di erent approaches to it—in an educational setting, I think you would  nd you’d have many more interested in learning about music. [At Interlochen,] when someone sings a song, the others often say something like, ‘That sounds just like Fall Out Boy. I would buy that.’ What it shows to me is there is a lot of interest in contemporary music. They are constantly listening—to a degree that wasn’t even possible before the Internet.” While students are rampantly sharing their tastes in music, a stigma often keeps pop songs out of the classroom. “You want a balanced diet—vegetables and dessert,” says Darla Hanley, dean of the Professional Education Division at Berklee College of Music in Boston, Massachusetts. “I see popular music as both of those. It’s not only candy, but it has historically been treated that way in classical conservatories that are teaching only classical repertoire.” Hanley, president of the Association for Popular Music Education, works with an

nafme.org 29 escalating number of educators who champion the use of pop music. “It’s all about making music education relevant for students. And with the increased access to technology, the exposure to popular music is exploding.” The tech component is key. “When I was a K–12 teacher, if I didn’t own it, I didn’t have “One of the things that will lead to the biggest anything else at my ngertips. Teachers today, success in popular mu- sic education is the if they’re in the middle of a lesson and decide pre-service teacher prep. If you feel com- there’s an Ed Sheeran tune or Maroon 5 song fortable doing it and that would be great for the students to hear, practice doing it, you’ll be better at working they can go straight to the computer and with your students.” —Scott Burstein students can be hearing that example in seconds. The access is allowing us to blur the lines and Burstein. “Teachers think they don’t know how to do make education more relevant for young people.” this, and are a little scared to do it around their kids. Yet some stumbling blocks still remain, including that Some also worry if the kids are more familiar with the of clout, notes Scott Burstein, director of music education music than they are.” Some teachers, then, take popular at Little Kids Rock, a nonpro t organization based in music and teach it in a traditional way. “They think, ‘We Verona, New Jersey, and a member of the Music Education are good with using pop music but we’re still going to Policy Roundtable, that provides free music instruction recite it because we’ve got to do well at the festivals, so and instruments to under-served public school districts. “If everyone work on reciting this piece.’ The biggest pieces you talk to people about what they’re studying, no one is they aren’t doing are the improvisation and composition going to say they took this great class in popular music portions of it.” education. In many places in the U.S., it still doesn’t exist.” As with any lesson, it’s important to familiarize Although the number of popular music classes at universi- yourself with the material before bringing it to the ties is on the rise, “Most of these programs have classes in students. “A lot of music teachers don’t understand the how to become a popular musician, but not how to teach musical aspects of hip-hop,” says William Smith, assistant it. If you’re a teacher and you teach as you were taught— professor of music technology at Bowie State University and you didn’t get any instruction in popular music in Maryland, who used to head a hip-hop music educa- education—what are you going to do?” tion association. “I suggest, before implementing it in the classroom, take some time to study it yourself, and to Getting Started understand the mechanics of it. The mechanics of For starters, teachers should venture out of their comfort hip-hop are very usable in an educational situation. The zones. “There’s a basic fear of the unknown,” remarks music talks about current events and uses pop culture in language that’s appealing to kids. It’s very useful in NAfME’s Council for IN-ovations educating kids about As the trend toward arts at Pinellas County ed in going in that along with supporting language and creating poetry, introducing popular Schools in Florida and direction. some of NAfME’s other music in the classroom Council Chair. “We want teachers councils, IN-ovations is and you can use it in many gains momentum, IN-ovations is to be able to share their working to “Identify the NAfME’s Council for building an infrastruc- ideas: some of the movers and shakers [in di erent classes.” IN-ovations continues ture to connect music battle scars, and some pop music education] to provide excellent educators who are of the things that work and make it be not just resources for teachers stepping into non-tradi- and don’t work,” says OK but important to What to Do— to connect and share tional realms. Upcoming Reynolds. “They need teach popular music. To and Not Do information. offerings include a help with the political change that perception “We have had lots of webinar about teaching infrastructure to go takes a while, but it can Once a teacher is ready to other councils to popular music within a forward and not be be done.” champion our tradition- traditional music ridiculed by their For more informa- infuse the classroom with al music groups, but we classroom setting. Also colleagues; they can tion on the IN-ovations popular music, the sky’s the didn’t have a structure in the works is a share ideas on curricu- Council, see the NAfME to champion other kinds database and social lum and, once you get website at nafme.org, limit in terms of lesson plans. of music, specifi cally media network of those the kids in the door, and look for the “Societ- popular music,” says who are teaching continuing to engage ies and Councils” page To help with this, here are Jeanne Reynolds, chair popular music and them.” in the “Community” some do’s and don’ts to of PreK–12 performing those who are interest- Reynolds notes that, section.

ensure maximum success for Little Kids Rock. Photos by

30 Teaching Music OCTOBER 2015 teachers and students. Sample Lesson Plans Don’t think of popular music as a Ready to add pop music to your classroom? Darla Hanely, dean of the Professional Education division at Berklee College of Music in Boston, Massachusetts, offers these one-and-done lesson . “It needs to be plug-and-play lesson plans that can be adapted for students in middle and high school. embedded and threaded throughout the year,” says Hanley. 1. “Happy” (Pharrell Williams) this music. Don’t be a perfectionist. “If I were a GUIDING QUESTION: How does music • Distribute drumsticks and bucket influence human emotions? How does drums. Ask students to imitate rhythm classroom teacher, I wouldn’t try to your “happy” sound? patterns (call-and-response style) and reinvent the wheel,” notes Burstein. ESSENTIAL QUESTION: How does play them along with the recording. Vary understanding the context and structure the difficulty level of the rhythm “The rst thing most teachers do is of music inform a response? patterns including steady pulse, ACTIVITIES: Play a recording of “Happy,” subdivisions, rests, and syncopations. listen to the song and try to gure out and ask the students to identify musical Vary how the buckets are played. Select all parts. One of our core values is elements such as instrumentation, student leaders to initiate the call and meter, and style (e.g., male vocalist, create patterns for the class to imitate. approximation: It doesn’t have to be backup singers, hand clapping, keyboard, • Review the vocabulary of verse, bass, drums, duple meter, pop). chorus, and bridge, and ask students to perfect.” THINK/PAIR/SHARE: create and perform rhythm patterns that Do let the students help select the • Ask students to listen and describe correspond with each section of the how the mood of happiness is depicted in song. songs. “Any time you engage them and involve them in the decision- 2. “Lovefool” (The Cardigans), outlined in the song. How is this emotion making process, the more committed “Lovefool” (Kat Edmonson), “Lovefool” (her angst) depicted in the lyrics? they will be,” says Smith. “Maybe (Bria Skonberg), “Love Is for Fools” • Play a recording of Edmonson’s (Mint Condition) “Lovefool,” and ask students to listen to they can come up with the list at the GUIDING QUESTION: How does music the instruments. What instruments are change your mood? Why do we often used to accompany the singer (horns: beginning of the semester; then, express feelings like angst in song? trumpet, trombone, tuba)? How do the selections are made based on the ESSENTIAL QUESTION: How do we horns contribute to the expression of the judge the quality of musical works and problem (dissonant harmonies, moaning teacher’s level of comfort.” performances? sounds, sustained)? How does the music ACTIVITIES: Play a recording of change during the chorus (Latin style, Do choose music that’s appropriate. “Lovefool” by The Cardigans, and ask prominent keyboard and percussion)? “With popular music, by design, the students to identify musical elements • Play Skonberg’s “Lovefool,” and ask such as instrumentation, meter, and style students to identify musical elements focus isn’t necessarily on something (e.g., female vocalist, back up singers, such as instrumentation, meter, and style. keyboard, bass, drums, duple meter, pop). How does this version compare to the we want to emphasize in a school THINK/PAIR/SHARE: others? Which version do students setting,” says Hanley. “But if teachers • Ask students to describe the problem prefer? Why? Write responses in journals. are careful and thoughtful, you can nd a song that has economics, why pop music is wonderful lyrics that will help the way it is, the minimalism you show a young person they in the chords, [etc.].” can express themselves and Do share ideas with your tell a story. There are many peers. “I would advise the wonderful things you can do young teachers to show some “There are many wonder- with popular music that you ful things you can do with things to the veteran teachers popular music that you can’t can’t do with other styles do with other styles because in the same the way I want because the student doesn’t the student doesn’t make the veteran teachers to work that personal connection make that personal connec- instantly.” —Darla Hanley with the new teachers,” tion instantly.” says Hanley. Don’t be afraid to cut loose. “If you’re not comfortable Do tailor your lessons for the age and skill levels of your improvising, it’s hard to teach other people to improvise,” class. “I can have younger children keeping the steady says Burstein. As part of its annual conference, Little Kids beat to any popular song. They can play rhythm Rock oers jam sessions that encourage teachers to instruments and sing the chorus every time it comes improvise. “One of the things that will lead to the biggest around,” says Hanley. As for older students, “They can success in popular music education is the preservice compare two versions of the song or more. Or, better teacher prep. If you feel comfortable doing it and practice yet, the teacher can stop the song at the bridge and have doing it, you’ll be better at working with your students.” the students tell me what happens—they can nish it. Do make connections between this music and other No matter what age they are, you are engaging them in subjects. Says Smith, “Pop music can be so useful in the a way where they’re part of an experience they can classroom because it can bring in broader concepts of make their own.”

nafme.org 31 Play On Philly! started in 2011 with 110 children, and grew to 250 students after expanding to a second school in 2012. EL SISTEMA

IS TO STRIVE FOR EXCELLENCE in one’s students and in oneself. In an ideal world, a teacher has everything they need: books, resources, time, space, an appropriate class size, etc. In this idyllic environment, there are no distractions from the lesson at hand, the material enters the students’ fertile minds unimpeded, and each child’s individual needs are addressed. Of course, to teach is also to be ready for anything, and to accept a reality in which resources are often scarce. This is especially true in arts education. In school districts where money is tight, music can be seen as an easy victim for budget cuts. Those who have devoted their livesis togaining momentum in the Josémusic and Antonio to sharing it with Abreu’s others know movementthat it is a vital part of the Unitedcurriculum. States. It is a vehicle How for understandingcan you incorporate concepts and cultures, its principles into your teaching,

oracquiring even skillsstart and discipline, a Sistema-related and engaging in a community. program from scratch? Krull. Steven Photo by

32 Teaching Music OCTOBER 2015 By Andrew S. Berman EL SISTEMA

nafme.org 33 El Sistema–inspired programs such as Juneau Alaska Music Matters, Crescendo Detroit, and Play On Philly! bring the rich world of music-making to hundreds of children in in the U.S.

José Antonio Abreu, the founder of El Sistema, has said ensemble, and the community. Older students teach younger that music is a social right. It has to be, because it is so students, further strengthening the bond between them: important to a child’s development. He likens the large fostering hope in the younger students that they can advance ensemble to a society in and of itself. In the orchestra, to leadership roles, and training the older students in leader- budding musicians learn to listen to each other and work ship skills that they can use in and together, taking on an identity as both an individual and a out of the ensemble. “Rich and member of a group. The experience of being in an Intensity is a characteristic of El useful orchestra translates seamlessly to being a productive local Sistema; students are taught in collaborations and global citizen. four-hour blocks, six days a week. are the ones The schedule can further intensify between What is El Sistema? during a seminario, an all-day or children.” In 1975, Abreu started what would later become the Simón multiple-day learning session when —ÁLVARO RODAS Bolívar Orchestra—with 11 students in a parking garage in a special teaching artist is visiting. This immersion technique Venezuela. His goal was to make high quality music educa- further solidi es music as a skill and discipline rather than an tion a reality for all Venezuelan children, regardless of their activity or hobby, and also demonstrates a focus on artistic economic status. In order to do this, he had to revolutionize excellence. The quality of the work is a point of pride. the way in which music education was being approached. El Sistema is rooted in a desire to bring music educa- What sets El Sistema apart from traditional music educa- tion to the places where it is most neglected and most tion is its philosophy: Music is a vehicle for social justice. El needed. According to the 2014 census report published by Sistema is a social program that uses music to train students The National Alliance of El Sistema Inspired Programs for success in school, their community, and the world (elsistemausa.org), a member of the Music Education Policy beyond. The core of the program is the orchestra or chorus— Roundtable, there are currently 117 Sistema-inspired and, increasingly, other large ensembles as the program has programs in the United States serving an estimated 28,332 expanded—which Abreu sees as a microcosm of the larger students. These programs vary widely in size and scope. community housing the nucleo (i.e., a local El Sistema Some programs are under the auspices of a local symphony program). The focus is on working together and performing orchestra, such as Youth Orchestra Los Angeles and together, building a sense of pride in the individual, the OrchKids in Baltimore (see page 56 for more information on Marin Alsop and this program), while others

exist independently. Courtesy of Richard Mukamal, Albert Yee. Heagy, Courtesy ofLorrie (top), Krull , Albert Yee Steven Photo from left by

1975: José Antonio 1976: Abreu’s 1979: Abreu Mid-1990s: Abreu creates the National Children’s 1999: Gustavo Abreu starts a orchestra performs receives Youth Orchestra, which later becomes the Simón Dudamel youth orchestra, at the Aberdeen Venezuela’s Bolívar Youth Symphony Orchestra. When this becomes which would later International Youth National Music orchestra aged out of the youth category, the word artistic director become the Simón Festival in Scotland; Prize for his “Youth” was dropped, and now uses the suffix “B” of the Simón Bolívar Symphony their success work with El to distinguish itself from the original orchestra, Bolívar Orchestra, with garners support Sistema. which takes the suffix “A.” (Note: Abreu’s orches- Symphony eleven students in from the govern- tras generally maintain their personnel, rather Orchestra. an underground ment of Venezuela. than graduating them into a more advanced parking garage in orchestra. They start as children’s orchestras, then Venezuela. grow to youth orchestras, and then in the case of Simón Bolívar B, become professional orchestras, with new children’s orchestras forming as needed.)

34 Teaching Music OCTOBER 2015 and program director of Juneau Alaska Music Matters (JAMM) and an elementary music teacher in the Juneau School District. JAMM was founded in 2010 and now serves 600 students in three schools, boasting a growth of 100 students per year. Heagy learned of El Sistema via the TED network, and the Sistema Fellowship at New England Conservatory (NEC). El Sistema Crescendo Detroit made an impression on Heagy because “it acknowledges the When it comes to de ning an El Sistema program, Richard role of music education in a broader, social context.” Mukamal, co-founder and chairman of Crescendo Detroit While most Sistema-inspired programs are after-school, and vice chair of El Sistema USA, says, “That’s still some- JAMM begins during the school day. Kindergarten and thing we’re debating.” Mukamal is an amateur trumpeter rst-grade students receive 90 minutes of violin instruction who became interested in alternative music education per week in the classroom; the program moves to after- programs via the director of his community band, Damien school sessions in second grade, but retains a Friday in-school Crutcher. Mukamal and Crutcher founded Crescendo rehearsal. Heagy feels that even an after-school program Detroit in 2013 after attending a symposium led by El “We presents a barrier to access; during the day, Sistema USA chairman, Stanford Thompson. put the “they’re awake, and you have the support of “We put the kids rst,” says Mukamal, demonstrating an kids their kindergarten teacher.” Heagy was able to awareness that the underprivileged children of Detroit have first.” achieve this scheduling by framing music needs that trump music. Crescendo Detroit incorporates —RICHARD instruction as an intervention for school nutrition, literacy, and life skills into its four-hour after- MUKAMAL readiness skills. She reviewed the goals of the school program. First- and second-grade students start with a school and the district, and noted that music helps with snack and homework help, and then receive music and dance resilience and language acquisition. JAMM is a win-win for instruction. They’re then given dinner and a ride home in everyone involved. the van provided by the church that hosts the program. The Every community presents unique challenges, and one dance aspect of Crescendo Detroit provides a cultural of Juneau’s is that it’s accessible only via plane or boat, which connection to the community. Mukamal says that Crescendo makes it dicult for the program to provide teaching artists Detroit is inspired by El Sistema, “but we’re kind of doing and volunteers. Heagy looked deeper into the resources she our own thing.” Some of the children in the program are already had at her school. For example, by asking around, homeless. “What can we do to remove barriers from these she found a preschool teacher who minored in dance. kids, so they have the same opportunities that, say, my kids “JAMM has been successful because of its interconnected- had? Let’s see what we can do.” ness,” says Heagy. The partnership with her school district has been vital. In JAMM, there is always a certi ed teacher Juneau Alaska Music Matters paired with a community artist, each gaining from the “Sistema-inspired programs in the United States reect the other. The students received the ultimate bene t of their communities that they serve,” says Lorrie Heagy, founder combined expertise.

2007: Inter-American Develop- 2009: Abreu is 2010: Abreu 2011: Take a Stand is 2015: University of Alaska ment Bank finances the awarded the creates the formed as a collaboration Southeast in Juneau, the construction of seven regional TED Prize, Teresa Carreño between Longy School of Juneau Symphony, and El Sistema Centers in Venezuela; leading to the Youth Orches- Music of Bard College JAMM develop a MAT the Simón Bolívar Symphony development of tra, replacing the (Cambridge, Massachu- degree program; 400 El Orchestra (B) debuts at the BBC the Sistema Simón Bolívar setts), the Los Angeles Sistema music centers exist Proms and Carnegie Hall under Fellowship orchestra B as Philharmonic, and Youth in Venezuela, serving Gustavo Dudamel; and Abreu program at New Venezuela’s Orchestra LA (YOLA), 700,000 students; and El speaks at a public symposium on England national youth offering a Master of Arts in Sistema USA recognizes 117 El Sistema in Boston, thus laying Conservatory orchestra. Teaching MAT program Sistema-inspired programs the groundwork for the in Boston, and an annual symposium. in the U.S. serving 28,332 program’s proliferation in the Massachusetts. students, according to their United States. 2014 census.

nafme.org 35 Álvaro Rodas BOOKS works with n Changing Lives: Gustavo Dudamel, El Sistema, and the Trans- students in the formative Power of Music by Tricia Tunstall (W. W. Norton & Corona Youth Company) is a history of El Sistema using maestro Dudamel’s Music Project. achievements as an entry point. See changingliveselsistema.com. n El Sistema: Music for Social Change by Christine Witkowski Play On Philly! (Omnibus Press, expected publication 2015/2016) explores the adaptation of El Sistema in the US and abroad through essays Stanford Thompson, founder and artistic director of Play On from teachers, leaders, parents, and experts from related fields. Philly! and chair of El Sistema USA, has an extensive history with El Sistema. He learned of it through Simon Reynolds of OTHER MEDIA the Curtis Symphony, became a Sistema Fellow at NEC, n The Power of Music: P–5 Teaching Inspired by El Sistema, produced by WNET/New York Public Media, is one of the most worked with El Sistema in Venezuela, and developed a music comprehensive teacher-training video series on El Sistema in the United States. The program also includes a plethora of program in Kenya before establishing Play on Philly (POP) downloadable PDFs on curriculum building and more, an on- in Philadelphia in 2011. POP started with 110 children ages line interactive ear training game for students, and many other valuable resources. Several of the programs mentioned in this 6–13, and grew to 250 students after expanding to a second article, such as JAMM and UCMP, are featured in the series. See learner.org/workshops/k5music. school in 2012. Thompson has conducted symposia on El n TED2009: The El Sistema Music Revolution, in which El Sistema in this country, inspiring individuals, such as Sistema founder José Antonio Abreu articulates a wish to form Mukamal of Crescendo Detroit, to bring music and social what would become the NEC fellowship program, has inspired many. See ted.com/speakers/jose_antonio_abreu. change to their communities. n Tocar y Luchar is a Spanish-language documentary about El POP mirrors Abreu’s model of intensive training, with Sistema, directed by Alberto Arvelo and produced by Cinema Sur and Explorart Films. It is available on DVD with English three hours of after-school instruction ve days a week. subtitles. Although POP has the support of The UNIVERSITY-BASED RESOURCES Philadelphia Orchestra and the city is “Sistema- n The University of Alaska Southeast recently partnered with full of resources, getting everything inspired JAMM and the Juneau Symphony to offer a Master of Arts in programs in Teaching (MAT). See tinyurl.com/UAS-MAT. to function in harmony is still a n Take a Stand has a partnership with the Longy School of struggle. “The biggest challenge was the United Music of Bard College (Cambridge, Massachusetts), the States Los Angeles Philharmonic, and Youth Orchestra LA to offer a getting people to change their MAT program. They also hold an annual symposium. See perception,” Thompson said. Parents reflect the take-a-stand.org. communities n The New England Conservatory Sistema Fellows Program were skeptical at rst: The idea (2009–2014) prepared Thompson, Heagy, and Rodas to start appealed to them, but they weren’t that they Sistema-inspired programs in their own communities. NEC continues to run a Resource Center to support its fifty gradu- convinced POP was going to do all serve.” ate fellows. See necmusic.edu/sistema-program. the work. After ve years, POP has —LORRIE HEAGY SELECTED SISTEMA-INSPIRED built a lot of credibility in the community (92% retention PROGRAMS IN THE U.S. rate), but getting stakeholders to understand and buy in n Corona Youth Music Project (CYMP, Nucleo Corona) in Corona, New York, nucleocorona.org. remains a challenge. El Sistema has become a well-known n Crescendo Detroit in Detroit, Michigan, crescendodetroit.org. name in the classical music community, but it is still largely n Juneau Alaska Music Matters (JAMM) in Juneau, Alaska, unheard-of among parents in this country. juneaumusicmatters.blogspot.com. You can also read more about Lorrie Heagy and JAMM in the October 2014 issue of Teaching Music. Corona Youth Music Project n Play on Philly! In Philadelphia, Pennsylvania, playonphilly.org. Public awareness of El Sistema in the U.S. skyrocketed in n Union City Music Project in Union City, New Jersey, ucmusicproject.org. 2007 when Gustavo Dudamel conducted the Simón Bolívar n UpBeat NYC in Bronx, New York, upbeatnyc.org. Youth Orchestra at Carnegie Hall. Concertgoers, reviewers, n WHIN Music Project in New York, New York, and musicians were amazed at the pro ciency of this whinmusicproject.org. Venezuelan youth ensemble, but by this time El Sistema was FOR MORE INFORMATION ABOUT over 30 years old. Álvaro Rodas, founder and CEO of the EL SISTEMA … Corona Youth Music Project (CYMP) in Queens, New n Fundamusical.org.ve, the website of El Sistema in Venezuela (note that the website is in Spanish). York, says that El Sistema spread to Latin America before it n Elsistemausa.org, the website of The National Alliance of El came to the U.S. An orchestra full of Venezuelan youth Sistema-Inspired Programs. playing standard repertoire at a professional level was

groundbreaking and inspiring to fellow Latin American Krull. Neshi Gallindo, Steven Photos (from left) by

36 communities. Rodas was living your community, but there are also smaller steps you can take. in Guatemala in 1989 when he STUDENTS TEACHING STUDENTS: Foster an environment in went to a youth music festival in which more experienced musicians teach their peers. This is

Play On Philly! Puerto Rico. There, he met already ingrained in most school marching band programs. instrumentalists with an instructor musicians from the impressive Rodas cites a popular El Sistema mantra: “If you know how to Venezuelan “Youth Orchestra play two notes, you can teach one of them to another person.” Movement,” and found out that Venezuela had multiple EMPHASIS ON PERFORMANCE: Find additional opportunities thriving youth orchestras, whereas Guatemala could hardly for your students to perform outside of the winter and spring maintain one. Eight years later, when the Guatemalan youth concerts. orchestra was nearly defunct, Venezuelan musicians came to RESEARCH THE GOALS OF YOUR DISTRICT AND COMMUNITY: reactivate it and did a seminario, playing Beethoven’s See if there are any gaps between your district’s goals and Symphony No. 5. Rodas was amazed. He learned bass and what is oered the students, and see if any of them can be played music he never imagined he could play. After lled by music. completing an arts administration degree and the Sistema VOLUNTEER WITH A LOCAL EL SISTEMA PROGRAM: Review the Fellowship, he came to New York in 2010 to start CYMP list of Sistema-inspired programs at elsistemausa.org and with the goal of bringing opportunities to Guatemalan and volunteer if there is one close by. If not, research the needs of other Latin American immigrants. your own community and start a conversation about how CYMP serves 200 children in three orchestras, divided by they can be addressed. El Sistema is about bringing music age and pro ciency, with a sta of ve teachers and anywhere education to those who don’t have it. Your call to help may between one and ve volunteers. Corona is home to some of be outside of the classroom. the most overcrowded schools in the country, and Rodas has LEARN MORE: Look into the Sistema Fellowship at NEC, and seen school music programs deteriorate. Programs like some of the MAT programs co-oered by universities and CYMP, and its sister groups in the metro area—UpBeatNYC Sistema-inspired programs, such as JAMM/University of in the Bronx, WHIN Music Project in the Washington Alaska Southeast and YOLA/Longy School of Music. Heights/Inwood section of Manhattan, and Union City Music Project (UCMP) in New Jersey, among others—strive to ll the gaps. Students in these groups learn the same reper- toire, and there is a lot of collaboration and exchange between them. “Rich and useful collaborations are the ones between children,” Rodas says. Children playing together and orga- nizers learning from each other have helped El Sistema evolve organically in the United States. Sistema-inspired programs aim to work with school music programs, not replace them, but Rodas feels the New York City school system could be doing more. “It is the public school system’s FACULTY Peabody boasts a preeminent faculty, a responsibility to provide high quality collaborative learning environment, and the music education to all children,” Rodas Jennifer Brimhall academic resources of one of the nation’s says. “We are just lling a need.” Harlan Parker, Coordinator leading universities, Johns Hopkins. Laura Parker, Starting Your Own Program Professional El Sistema is a huge paradigm shift Studies Chair peabody.jhu.edu/nafme from traditional music education. You -- ­ € ‚- - may feel inspired to start a program in Like us on Facebook @george_peabody

nafme.org 37 38

Teaching Music Music Teaching instruments.” —Alexandria Hanessian smaller the even renting or buying about worry to having without and charge, of free completely band to join option the has student “Every

OCTOBER 2015 OCTOBER Alexandria Hanessian create arich musical experience for their region of New York, and her colleagues Finger Lakes Finger Lakes students. In the

Photo courtesy of Alexandria Hanessian. Small School,Big Effort, By Cynthia Darling SuccessGreat Spencer–Van Etten Middle School’s band program attracts such as hers, according to Hanessian, is the “high number of an enviably high student membership in its performance socio-economically disadvantaged students. There are some groups. How has this small but mighty middle school in obvious challenges that arise from this, but there are some Spencertown, New York, achieved this feat? NAfME beautiful advantages as well. Because we are able to provide a member Alexandria Hanessian, director of concert and jazz quality music program to our students free of charge, our bands, speaks candidly about her middle school’s growth to numbers start very high. However, maintaining those high success. Along the way, the program has met its challenges numbers when class sizes are so small becomes crucial in a head on, and she and her colleagues have much wisdom to small district,” she notes. “Most of our students also lack the share. resources to seek private instruction, which makes the Hanessian notes that many strides led to S-VE’s success, instruction we provide even more crucial to the musical but there is one that has been perhaps the most crucial in success of our students. We also have to concentrate a lot on laying the groundwork for thir flourishing program. “One of retention due to the small class sizes within our district.” the biggest steps we’ve taken as a department (and this was in The middle school’s band program boasts robust student place before I arrived nine years ago) to ensure every student participation. Says Hanessian, “Our class size ranges from was able to participate in band was to provide instruments to about 50 to 80. NAfME member Laura Voorhees—our choral 100% of our student population. Every student has the option director and sixth-grade general music teacher—and I teach to join band completely free of charge, and without having to roughly 95% of the fifth grade in our performing ensembles, worry about buying or renting even the smaller instruments. 85% of the sixth grade, and 75% of the seventh- and eighth- Combined with our collaboration between the elementary grade population. We offer before-school jazz ensembles, send and middle school portions of the music program, this helps many students to honors bands and festivals each year, and enormously in getting students through the door.” take our students on performance trips (to parks) every other One challenge of working within a rural school district year.” Hanessian notes that her teaching load includes the

nafme.org 39 following: “ fth-grade band, school programs. For sixth-grade band, seventh- and programs that are currently eighth-grade band, jazz ensem- struggling to grow, she ble, group lessons for grades ve draws on S-VE’s experience through eight, and fth-grade in oering suggestions. “My general music.” advice would be to focus on Hanessian herself is starting the recruitment, especially her 10th year at Spencer-Van “If students at the younger grades. Etten, and her work extends beyond the without having to find success with Our elementary school district. “I’m also an active choose between your teaching, teacher, Kay Brown, classroom private teacher and clarinetist in the sports and music, for management, and is a fantastic Ithaca area.” She earned both her example. The leads excitement in what educator and undergraduate and graduate degrees in our musicals are you do, they will stay actively promotes from Ithaca College, so she has been often the leaders on and encourage the music program connected to this area for much of her the sports elds as others to do at the middle school musical career. well, and I think our the same.” level. Your colleagues She cites many unexpected bene ts students and programs in the elementary school to working within a small district. bene t from this diversity.” can be your best resource in promoting “Because of our small size, all of the The advantages of this small and building excitement for what programs draw from the same pool of program extend to the faculty. “Anoth- comes next!” students. We have students who can er bene t is the close collaboration we Hanessian identi es several de nitive participate in any and all activities are able to achieve with a smaller music components of a successful smaller department. We work well together music program. “I would say the most and consider ourselves one PreK– important part of growing a program is through–12th-grade music department, to try to hire eective and vibrant and to that end we share time, resourc- teachers. If students nd success with es, and ideas, which contributes to our your teaching, classroom management, success.” So, collaboration between and excitement in what you do, they WITH ALEXANDRIA HANESSIAN Hanessian and her music colleagues is will stay and encourage others to do the What do you know to be true quite intentional and conscious. “At same.” S-VE also looks beyond the Qabout teaching music that you didn’t know when you started? I had Spencer Van–Etten, we work closely as students to promote its program, no idea how thrilling it would be to a department as well. Laura Voorhees is “Inviting non-music teachers and see students fall in love with learning and performing. To have the privilege our choral director for the middle and parents on music trips is also a great way of watching students catch the “music high school, but works with Kay to get them involved in your program. bug” early in their lives is amazing. Brown [elementary teacher and The more they value what happens in If I weren’t a music teacher … QI’ve always thought it would be fun NAfME member] to recruit her chorus your classroom, the better advocates to read and edit books for a living. students. Dan Miller, our high school they will be for your program.” What advice would you give to a band director, and I work extremely Still, there’s nothing more valuable Qteacher trying to start a program similar to yours? Make connections hard to ensure the transition from than simple face time with students on a with your community, administration, middle to high school is as seamless as daily basis. “Keep talking to the secretaries, parents, and colleagues, and recruit hard all the time. possible. All four of us are in constant students who aren’t yet in your pro-

What’s the biggest lesson you communication as to the direction of gram. Be visible in the hallways, at Qwant your students to learn our program and how we can provide dances, at sporting events. If students during their time in your classroom? I want students to overcome their initial support to each other. We are at one form a connection with you, they will fear of failure and, by doing so, learn perseverance. another’s concerts and work as a unit, be much more likely to join your creating an atmosphere of stability for program. This is especially true for the What have you learned about Qstudents and parents through our students and program.” Hanessian students who have dropped your your work over the past years? I’ve learned that communication is so urges teachers to collaborate with those program; If you’d like them back, keep important; treating others well and in the lower grades to create buzz and the relationship alive and always keep being proactive will take you a long way.

excitement for middle school and upper the door open.” The music department Hanessian. Photos courtesy of Alexandria

40 Teaching Music OCTOBER 2015 also practices an open-door policy when it comes to the administration of the school. “As a music department, we maintain active lines of communication with our school principals and superin- tendent every day—discussing our program, our needs and goals as well as sharing our success stories. This is extremely important to the sustained success of any program: The decision makers need input from their minions in the classroom! We know that keeping records and maintaining data on our program is important, but we’ve also found that sharing our data with admin- istration and the Board of Education at the right times will help them in their decision-making processes.” In this same vein, Hanessian o ers the follow- ing advice: “Get yourself on commit- tees! Every person in our department Music degree offerings: • Commitment to student success and serves on the planning team in their B.M. in Music Education individual attention building, and we also are present at B.M. in Performance • Inspiring mentorship by professional scheduling meetings and curriculum B.A. in Music music faculty meetings, and if there is any other way BFA in Musical Theatre • Rewarding challenges for music to be involved, we usually  gure out students of all levels and interests how. We want to ensure we have a voice when decisions are being made.” • Vibrant downtown riverfront location and cosmopolitan lifestyle The pride Hanessian feels as she describes her students is palpable, “Almost every year, we send a student Audition online or on campus before March 1 from S-VE to college majoring in music, and very often we have alumni come back and relate to us how they have continued to perform beyond their high school years. Also, the fact that we Find out more: ut.edu/music | [email protected] have so many students who remain in the music program throughout their middle and high school years speaks to how successful our students are at S-VE. Being able to maintain high levels of membership and performing at an excellent standard of musicianship are things our students may be able to Music scholarships awarded annually to majors and non-majors Degree Programs Audition Dates experience at bigger schools, but rarely BA in Music Oct. 12, 2015* at other schools our size. This is what BM in Performance Nov. 9, 2015* BM in Composition Jan. 30, 2015 makes a successful music program not BM in Music Education * Must audition on these dates for BM in Contemporary Improvisation priority early action funding. just a pillar in the community, but an Minor in Music Minor in Arts, Technology & Multimedia unforgettable experience for so many of willamette.edu/go/musicauditions our students.”

nafme.org 41 workshop

Taiko drums, choral warm-ups, instrument-building, and more.

GENERAL MUSIC front of the chunk ‘at’ to create other “Kids learn so much more when they’re words, like ‘fat’ and ‘cat.’ The songs creating their own words and melodies Words and Music— ended up being so catchy that teachers than when they’re sitting there listening Interdisciplinary complained about getting the songs passively. Rather than being spoon-fed, Reading stuck in their heads.” Degenhardt now they’re really learning to solve problems has a collection of about 40 tunes, for themselves—something that’s so “When I was in elementary school, many of which are downloadable important for their development in every kindergarten teacher used to be through her Literacy Through Music general.” —Adam Perlmutter required to sing and play the piano, as series on iTunes, CD Baby, and part of helping kids learn how the Amazon. The repertoire can be used to BRASS & WOODWINDS English language is constructed,” says Debbie Degenhardt engages kids NAfME member Debbie Degenhardt, with songs that help with literacy. Tips for who teaches music at Merrimack Creating a Great Elementary School in Holbrook, New Saxophone Tone York. “That’s been lost. Many kindergar- “When trying to improve a student’s ten teachers these days don’t know what to tone, it all begins with mouthpiece do with a piano.” pitch,” says Scott Turpen, professor of Degenhardt is one of a growing saxophone at the University of Wyo- number of teachers who explore ming in Laramie. Teaching this starts connections between literacy and with building the proper embouchure, music. It started for her a decade ago bolster students’ understanding of forming an “ewww” shape to the lips when her principal asked her to begin a homophones, opposites, contractions, with the bottom lip slightly rolled over program using music to teach verbal and rhyming, and also rhythmic units the teeth and the top teeth resting on concepts, and vice-versa. When funds and other musical structures. “Kids use the mouthpiece. As for the formation of for the program were frozen, she the songs to get a better sense of the facial muscles, Turpen describes the created the materials herself. “I started rhythm by  tting in with the natural mouthpiece within the embouchure as running to all the classroom teachers, cadences found in speech. They learn, the hub of a wagon wheel. “The asking, “What are your students for instance, that they can make eighth muscles in the facial mask form the learning and how are you teaching it? notes from two-syllable words.” spokes, and they are all gently pushing Then, I began creating original songs Some of Degenhardt’s songs require in toward the center of that wheel.” to reinforce those concepts. I wrote one students to participate in their composi- Once the embouchure is in place, he called ‘Chicken Chunks,’ teaching tion, in the style of the word game Mad has the student blow the mouthpiece about the chunks that are used in Libs. She  nds that this sort of student without the neck attached. If the muscles reading and writing skills—for exam- involvement is just as important as the of the face are set correctly, the mouth-

ple, how to put di erent consonants in connection between music and reading. piece should sound a C for the soprano Photo courtesy of Debbie Degenhardt.

42 Teaching Music OCTOBER 2015 saxophone, an A for the alto, a G for the STRINGS tenor, and a D for the baritone. Once this pitch is stable without the instrument, he Assessment in the monitors intonation with it as well. “If a Strings Classroom student is unable to produce the lowest or Assessment of young string players can highest notes, they may not be producing be tricky, particularly when a teacher is the correct mouthpiece pitch. If they can trying to balance the needs of students feedback—a month later, it doesn’t maintain that mouthpiece pitch through- with those of the school or district. really matter any more. We should out the range, then many intonation “We need to move away from thinking realize that there’s a ‘loop.’” One problems will be solved.” that individual assessment is the only method of delivering timely assessment Turpen also notes, “Once the basic way to go,” says NAfME member is to engage students to help each other tone is achieved, having some sense of Winifred Crock, director of orchestras via peer assessment. “If we say ‘play that the oral cavity is also important. The at Parkway Central High School in with your stand partner—now switch,’ tongue should generally be low and Chestereld, Missouri. “In order to that’s an absolutely positive, formative slightly to the back of the mouth. The assess a musician in 20 categories, you assessment that gets the kids involved tongue is not going to stay locked in need 20 minutes or to hear their with one another. They’re not grading place all throughout the instrument’s performance multiple times. If we have each other: They’re watching and range. As you go lower in the saxo- 50 kids in a class, there’s no way to helping each other. It’s a much healthier phone range the tongue goes lower, adequately assess the individuals in the point of view in education than saying whereas when you go higher the time we have.” ‘she’s going to give me my grade.’” For tongue will need to arch slightly: An Group assessment, although often this and assessment in general to work, ‘oh’ shaped position for lower notes perceived as awed, can be eective if the rubric must be clear and integral to versus an ‘ee’ position for the higher handled correctly. “You can look at the lessons. “A student should be able to ones.” To help develop this concept, he group assessment as a larger part of see and know that a player has their recommends that the student “play what you’re doing: You can see poor elbows in the wrong position. With broken scales in the form of long tones posture and so forth. I also stand in really good teaching, that’s where it ascending, then returning to low B- at front of four to six players and assess goes: The points are so clear that it’s not and overtones. Low tones are often them. So, if I just assess bowing, I can something that only a highly trained more challenging on the saxophone, have the full orchestra playing 20 bars, musician can notice.” —Susan Poliniak and developing oral cavity exibility and I can assess the rst six players, and allows a student to play all notes with a then the second violins, etc. After six DEVELOPMENT TOOL good tone and in tune.” Turpen repetitions, I can get through a fairly One helpful professional development tool for music educators interested in continues, “Once their mouthpiece large orchestra, assessing six assessment is the Workbook for Building and Evaluating Effective Music Education in pitch is established, I have students students at once with a sin- the School Ensemble, which offers teachers/ play scales on the mouthpiece by gle-point assessment,” says Crock. administrators a means of evaluating ensemble programs (available from the changing their tongue position. “For you to teach the group and NAfME Store, shop.nafme.org). Once the correct mouthpiece then only assess them individu- pitch is established, the als—it’s oxymoronic. This other facial mask does not way allows them to practice as PERCUSSION move, and any the assessment is going on.” change in pitch Regardless of method, it Building a Taiko can be accom- is vital to provide timely Drum Ensemble plished by feedback to students. “They Japanese taiko drums are a relatively moving their need the feedback on the recent addition to classrooms in the U.S. tongue from ‘oh’ same or next day. If you “We are very proud of what we have to ‘ee.’” —Chad assess 150 children and take a going on here,” states John Theine,

Left photo by 3bugsmom/iStockphoto.com; right photo by Jon Huang. 3bugsmom/iStockphoto.com; right photo by photo by Left Criswell month to grade and give them director of the River Ridge Taiko

nafme.org 43 Ensemble at River Ridge High School snare drum sticks. For the two largest in Lacey, Washington. “As far as we taiko drums, we use oak sticks that are know, we are the only taiko ensemble in lathe-turned and approximately 2.5"–3" the school system in Washington State.” in diameter.” Traveling with this In taiko technique, the primary equipment can also be a challenge. “We The whole idea stroke motion comes from the body and use a 7'x14' enclosed cargo trailer to of the warm-up process is to full arm. This helps create a sound that transport the drums. It can take upwards bring your focus is extremely robust and strong. Motion of an hour to pack the full ensemble as inward.” —Patrick Freer and choreography are very important in well as unpack and set up. The trailer taiko ensembles, and members tradi- ends up looking like a Tetris game, and needs of your singers. With this in tionally learn their parts by rote. our equipment has to break down in mind, it is key to de ne the vocal “Written music is one of the major order to  t properly.” —Steve Fidyk technique goal of any warm-up. “If you impediments to this type of ensemble,” know what your goal is at any particular states Theine. “You can’t just go to CHORAL AND VOCAL activity point in the warm-up sequence, your local music store and order it is less easy to be distracted by any- music. Taiko is an oral tradition where Effective Warm-Ups thing that doesn’t line up with that.” He songs are passed down from one for High School Choirs notes that there are  ve stages to the generation to another within a In choir rehearsal, the warm-up may be warm-up process itself: “relaxation, group. There are some common taiko seen as something to get out of the way to focusing on alignment or posture, songs, but very little is notated on make way for the “real” work, but the it breathing (inhalation and exhalation), manuscript and available for purchase. is a valuable opportunity to work on random vocalizations (e.g., sighing on We have been writing our own music vocal technique. “The warm-up needs to “oo,” singing an exercise on whatever and researching traditional taiko pieces be tied to voice education and tech- pitch the singers choose), and then for years to help build our library.” nique,” says Patrick K. Freer, professor of exercises that are pitch-speci c. The When purchased new, taiko drums music at Georgia State University in whole idea of the warm-up process is to can range from $700 to $2,000, which Atlanta. “At the same time, as we are bring your focus inward.” is a hefty monetary commitment for preparing for the repertoire of that So, are there any types of warm-ups any public school budget! “We made 13 rehearsal, we’re building the skills and that directors should avoid? “Problemat- of our drums at a total cost of about techniques for future repertoire. We ic warm-ups are those that are too fast or $5,000. We built multiple drums should pay as much attention to the too cutesy (rhyming melodies, etc.). side-by-side, but it can take up to a warm-up sequence as we do to repertoire They can be extraordinarily di cult to month just to put the heads on one selection and sight-singing skills.” sing and create more tension than they drum,” Theine adds. “In the ensemble, Repertoire, vocal technique, and resolve.” Additionally, middle school warm-ups should, therefore, be seen as singers and students with voices at a interconnected. “It’s the repertoire that similar level of development may have guides the rehearsal design,” notes problems with certain pitch-speci c Freer. “But what guides the repertoire vocalises. “Their composite unison should be your vocal technique curricu- range, especially in octaves, is only about lum. So, you know where the kids need six notes. If you’re doing any kind of to go vocally, you choose repertoire to vocalise that spans a  fth, you’re going “The trailer ends up looking like get them there, and you build the to run out of the unison range in three a Tetris game.” —John Theine warm-ups on that. In other words, the repetitions. You may need non– we use three di erent types of drum- planning of the vocal skills and voice pitch-speci c vocalises that get to your sticks. For our medium to large drums, education comes  rst, the repertoire goals without singing the exact same we use Bachi drumsticks that are comes second, and the warm-up design note at the same time.” purchased for about $20–$25 per pair supports all of that.” Because of the con- Further suggestions from Pat Freer from Japan. These sticks tend to last nection between repertoire and may be found in his article “Choral much longer than anything we’ve made technique, it can be a good idea to Warm-Ups for Changing Adolescent ourselves. For the smaller, rope-tied ensure that the warm-ups evolve over Voices” (Music Educator’s Journal, March

drums, the students use marching band time to meet the changing educational 2009). —Susan Poliniak Bottom photo courtesy of John Theine. Christopher Futcher/iStockphoto.com. photo by Top

44 Teaching Music OCTOBER 2015 manipulate its sound to better ALTERNATIVES communicate musical ideas.” Bruns also sees a pride of Building ownership among his students, as Instruments with they treat their instruments with Your Students great care. And, he and the Lee Bruns and students with their instrumental creations. Iconoclastic composer and theorist students agree that their creations Harry Partch was known for inventing that students’ musical understanding is sound quite good. “If someone were to his own instruments using found improved with instrument-building. o er me a substantial budget to objects such as hubcaps and glass “With that comes a more intimate con- purchases commercially-made drums, bottles. Students, too, can build their nection to the instrument, which I’d still have the students make their own instruments in the classroom to ultimately leads to being able to own instruments.” —Adam Perlmutter explore their own radical repertoire, as Jason Lee Bruns (jasonleebruns.com) has his students do in his classrooms. Bruns—who teaches world music, music theory, and recording arts at Campbell Hall school in North Hollywood, California—has explored making instruments with his students for di erent reasons, including restric- tive budgets and supply issues. For instance, he explains, “I was teaching folkloric Cuban music to my world drumming class and needed to have some instruments that were not sold in the U.S., so we made them ourselves.” For making percussion instru- ments, Bruns found a website, rhythmweb.com, with instructions on how to build drums from co ee cans, TAP, TAP radiator hose clamps, and goatskins. . . . After a co ee company donated cans, (WHO'S THERE?) the cost of making the instruments came to $3.04 per student. For the You are! Singing, dancing, playing, and making a difference Cuban lesson, to make four catá instruments, which are held between in children’s lives—and in your own. Teach our much-loved the knees and struck with sticks to research-based family and preschool programs, and enjoy the produce clucking sounds, he headed support of our creative and energizing teaching community. to a garden store. “I bought several There’s a workshop near you. large bamboo poles, borrowed some power tools, and voilà!” In making the instruments, Bruns explains to the students how they were or are originally made using whatever materials and tools may be available in THE JOY OF FAMILY MUSIC® a given community. “I think the best way to integrate inventing and making instruments in a classroom setting is

Photo courtesy of Jason Lee Bruns. Photo courtesy of Jason Lee through a cultural context.” He nds (800) 728-2692 • MUSICTOGETHER. COM

nafme.org 45

Music Educators Journal/Teaching Music Ad Dimensions: 4.562”w. x 1806 Robert Fulton Drive 7.25”h. Reston VA 20191-4348 (1/4-page vertical) Phone: 800-336-3768 x307 or 703-860-4000 Fax: 703-860-9027 MUSIC EDUCATORS JOURNAL/ TEACHing MusiC AD

A S E TAG S

elementaryBY PAUL SIGRIST

Native American Music in the Classroom Cultural context and outside sources can help to provide valuable experiences.

SHOULD NATIVE AMERICAN music be taught in the classroom? Absolutely! For excellent suggestions on how to do just that, we’ve turned to J. Bryan Burton, a proli c author in intercultural music education with his own Native Ameri- can roots, and professor, chairperson of music education, and program assess- ment coordinator at West Chester University of Pennsylvania in West Chester. “In early childhood, my grand- mother taught songs, dances, told stories at family reunions and gather- ings that, unknown to me at the time, were Native American.” He developed An assortment of Native American instruments, including (top his interest further “through family center) a hand drum, and (left to right) clapping sticks, Apache violin connections and searching for my and bow, cedar rattle, horn rattle, fl ute, gourd rattle, and cedar fl ute. musical and cultural roots. After respect. If properly addressed instead of performed, when, by whom, and under attending several pow-wows and manipulated for methodology or what circumstances? For example, ‘Indian fairs,’ I began more actively curricular purposes, teaching at this Native American  ute may be used for seeking reliable information free from level encourages growth of cultural and courtship, healing, and meditation in stereotypes.” musical acceptance and the historical sense, but contemporary Native American “Knowledge overcomes generations of practice includes popular and social communities teach builds stereotypes and misconcep- music. Of course, any discussion should traditional music to their understanding tions.” be succinct and accurate.” He contin- school-age children. Dance, too, “is an ues, “Native American music should be “Most traditional songs and respect.” essential element of Native introduced with respect (as should all J. BRYAN BURTON are learned by participat- American music and should music) with reminders that this is a ing in them and gradually mastering. be included.” Burton suggests that living, evolving musical culture and not Instruments are much the same but “teachers may choose to enlist aid of a something from a museum. Preachiness some do seek out master players to Native American rather than make up should be avoided.” serve as mentors. Mostly oral tradition. movements or use stereotypes from For those music educators who wish In some contemporary reservation movies.” to explore Native American music, schools, time is set aside for cultural Should a teacher present this music Burton recommends Louis Ballard’s studies including music.” There are in a speci c context? “Historical American Indian Music for the Classroom bene ts to be gained by teaching this context is important for all music, not and his own Moving Within the Circle: music in other classrooms, too. just Native American. I prefer the term Contemporary Native American Music and

Photo courtesy of J. Bryan Burton Photo courtesy of J. “Knowledge builds understanding and ‘cultural context’: Why is the music Dance (2nd edition).

nafme.org 47 S S TAG E secondaryBY DEBBIE GALANTE BLOCK

High School Band Students—Compose! Teaching composition to your band can make them better musicians.

MANY HIGH SCHOOL band directors feel they can make using just those three Students should feel free to bring in that they can’t t composition into their notes. The idea is that students are musical ideas from elsewhere. “They rehearsal schedules, as perfecting exploring what an instrument can do may be trying to imitate pop music. performance is usually the overriding musically.” She also notes that students They just need a musical idea in their goal. However, NAfME member need not compose at a keyboard: “If head, and they need the opportunity to Elizabeth Menard, assistant professor of they happen to play a get that shared and music education at Bowling Green saxophone, then they “Good remembered by people in State University in Bowling Green, should compose on a composers their classroom.” Ohio, says that composition can help saxophone.” may often be Menard notes that band students to be better musicians. From hearing works by composing can bring As a rst step, Menard notes tht musi- their peers, students can the students forward talents in students cal examples of varied styles can be learn about texture, form, who are not who may not be your introduced, followed by time spent and other compositional the best band’s star players. “Good exploring. “I like teachers to talk about a building blocks. They can performers.” composers may often be technique and then allow 30 minutes for also learn how to listen to the students who are not ELIZABETH MENARD the students to explore the concept. and assess others’ work the best performers. Don’t put up any roadblocks for students: with respect. “It’s important for other Composing can free them from the They don’t have to know much about students to evaluate each others’ ideas as printed music on the stand. Sometimes music theory to begin the process. Of well as to understand and respect what students can achieve musical success course, in a perfect situation they have a all of the other composers in the room they might not achieve if all they are little bit of knowledge, but the knowl- are doing,” Menard explains. “It’s good oered the opportunity to explore edge they gain through exploration is morale building as well.” music in this way.” really powerful.” Explorations can take place via notation software or manu- script paper. Menard believes that exploration can provide pathways to future learning, so when musical concepts are introduced later, students may nd them easier to comprehend. Within learning how to compose, students should be exposed to both tonality and atonality, and encouraged to create musical questions and answers. For one exercise, Menard suggests that students choose three notes, compose a creative arrangement with only those notes, and share their ideas with their Composition can help band students peers. “It could be a G, an F-sharp, and with future learning of musical concepts, assessing others’ work, and much more.

a D-at. Consider what kinds of sounds Bowling Green State University. Photo by

48 Teaching Music OCTOBER 2015

S S TAG E collegiateBY ANDREW S. BERMAN

Nonverbal Communication on the Podium Facial expression, posture, and more can deliver strong messages.

THE ENTIRE BODY is involved in the act and eciently than the voice, particu- dence that transfers to the students. A of leading an ensemble, and a conductor larly when cuing. “As conductors, we smile from the podium can also set the who masters the art of nonverbal want our ensemble members to play tone of a rehearsal with a reminder that communication connects more deeply correctly and with con dence. Provid- music-making is supposed to be fun. with the students, holds their attention, ing appropriate cues helps them.” The Accurate nonverbal communication and instills con dence. eyes give vital, immediate feedback. can also improve rehearsal pacing. “It’s Nonverbal communication begins as Facial expressions also serve to a time-saver,” says Carlson. “Nobody soon as the teacher enters the room, and it connect the conductor, ensemble, and wants to hear the conductor talk: They goes both ways. “During the warm-up music and to each other. “We must just want to make music.” Giving session of a rehearsal, look at the entire convey emotions appropriate to the direction without stopping the music ensemble, make eye contact with every music,” advises Carlson— puts more responsibility on single member,” says NAfME member in particular, the six “Positive the students to rehearse Mary Carlson, professor of music and distinct emotions that can impressions attentively. director of graduate music education at be registered with the are usually Posture indicates a Nazareth College in Rochester, New face: anger, disgust, fear, conductor’s state of mind: York. Making connections in this way happiness, sadness, and formed if Slouching and looking sets the tone for the rehearsal and gives a surprise. Doing this body downward detach a conduc- glimpse into each student’s mind. encourages the proper movement tor from the students. We all know that eye contact is mood from the ensemble is natural and “Upright stance projects an important. “We as humans do this all and shows congruence air of authority, con dence, the time: Look at each other and gure between conductor and characterized and a desire for involve- out what’s going on,” says Carlson. The music, conveying an air of by ease.” ment,” Carlson says. eyes can deliver a message more clearly knowledge and con - MARY CARLSON “Positive impressions are usually formed if body movement is The eyes can provide immediate and clear feedback. natural and characterized by ease.” She suggests recording and reviewing your conducting, as it can be hard to know in the moment what message you may be unwittingly sending to the students. Carlson counsels that good prepara- tion can help to produce proper posture and body language. When the conduc- tor doesn’t know the music well, “It’s a confusing experience for everyone.” Internalizing the music is can help a conductor to remain engeged through- out a rehearsal. “There is nothing worse than playing or singing for a conductor

who is not engaged.” delihayat/iStockphoto.com. Photo by

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Student texts and Lesson Books for Music Teachers THE Presenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books LIBRARY feature reproducible articles with lesson plans, activities, and a CD.

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Award-winning author, columnist, performer, bandleader, and clinician Daniel Glass offers Music Alive!’s students a comprehensive introduction to drums and percussion, from hand drums to digital PERCUSSION BY DANIEL GLASS kits, and everything in between. In this well-illustrated guide, Glass covers the history of the drum, tracing the development of the modern drum kit while also discussing world, concert, Drum Set marching, and electronic percussion. In addition to breaking down the equipment and Pitched Percussion Explores the music and music with lessons on the War accessories available to today’s young drummer, Glass offers notated lessons that explore Hand Percussion basic rudiments as techniques used in classical, world, jazz, rock, and other genres. A noted Marching historian as well as performer, Glass also profi les great drummers from the jazz age through ...and more! $24.95 the present day. Percussion

The included DVD-R offers high-quality footage from Glass’ clinics and performances, the author’s audio demonstrations of more than 50 music examples, a printable rudiments poster, and more. culture of South Africa, of 1812 (Beethoven, Schubert),

Daniel Glass is one of today’s foremost authorities on classic American drumming. His credits as a performer include Royal (w/CD) A comprehensive Crown Revue, Brian Setzer, Bette Midler and Liza Minnelli, among others. Daniel is also an award-winning author and

clinician. He has written fi ve books on the evolution of BY DANIEL GLASS drumming, and has presented internationally at prestigious the Civil War (Liszt, Brahms), events such as the 2010 Modern Drummer Festival. Mexico, Brazil, India,

Cover design: Jackie Jordan Cover photo: Stockbyte/Thinkstock introduction to drums

HL00333495 ISBN 978-1-4584-2095-4 INCLU PARTNERS 5 1 9 9 9 -R D D E

V D www.intunemonthly.com D China, and more! and the early 20th century 8 8 4 0 8 8 6 3 0 6 5 2 9 7 8 1 4 5 8 4 2 0 9 5 4 PARTNERS and percussion. _CoverPercussion.indd 1 11/30/12 4:05 PM (Holst, Prokofi ev). New! Marching Music $24.95 Everything young Prices include tax, shipping, and handling. Order online at musicians need to know to get started–and succeed– in intunemonthly.com or musicalive.com, or send purchase orders to NEW! marching music. In Tune Books, 582 North Broadway, White Plains, NY 10603. Questions? Call us at 914-358-1200 ext. 310. resources

INSTRUMENTS 3 BOOKS 3 Electric Loog Guitar Composer Choral Error Discovering ($199.00–$299.00) With its three strings, the Songs: Meet Detection: Music from Electric Loog Guitar can make it easier and faster to 12 Famous Exercises for the Inside play, allowing children to make music right from the Developing start. The constraint of fewer strings can also act as a Composers An Musicianship Out: trigger for creativity and rediscovering new ways to Through By Paul Hondorp; Autobiography play. The body of the instrument is interchangeable, Song Edited by Denise Eaton (Revised Edition) so different color bodies may be purchased and Arranged, with New (2015, 64 pgs., By Edwin E. Gordon swapped in for a customized look. In fact, the Electric Words, by Sally K. softcover with CD (2014, 154 pgs., Loog arrives unassembled (no special tools required, Albrecht Recording $34.99) This text can be hardcover $26.95) and assembly takes an estimated 15 minutes). It Orchestrated by Alan used for choral Edwin Gordon has includes an adjustable-height bridge—for low string Billingsley and David pedagogy, ear training, made major contribu- action, enhanced playability, and comfort—a Hagy (2014, 88 pgs., integrated listening, and tions to the study of lipstick-style pickup, D’Addario strings, and a printed paperback with CD score study. It develops music aptitudes, music playing guide. Loog Guitars, LLC, loogguitars.com $59.99, paperback only audiation at the audiation, music $29.99, CD only simplest level for new learning theory, and $39.99) Composer Songs students of conducting MaKey features music of the more. In this autobiog- by isolating single lines MaKey masters with words raphy, he tells the tale ($49.95–$59.95) and improving listening This kit paired with that teach about their of his early life, his skills. Included are a computer allows lives. It includes unison careers as a working you to create, examples from the Carl among other things, arrangements of musician and research- a piano keyboard Fischer Choral Music, well-known works, er, and the founding of using everyday BriLee Music, and objects. You can composer caricatures, the Gordon Institute for load up a program or biographies, and Theodore Presser webpage with a Music Learning. piano and, instead of using the computer keyboard activities. Teachers can Company repertoire to play, you can hook up the MaKey MaKey to, say, Discovering Music also also create a 25-minute representative of many bananas: The bananas become your piano keys. Or lends perspective to the you can make an apple into a drum. Other applica- program with the voicings, textures, time tions involve converting objects into a joystick, periods, and diffi culty experiences that computer keyboard, or mouse. Anything that can optional rhyming script. informed his under- conduct at least a tiny bit of electricity can work: The CD includes levels. The CD has a pencil graphite on paper, fi nger paint, plants, people standing of music and animals, water, most foods, Play-Doh, and so reproducible PDFs and performance of each forth. The kit, which is extremely simple to use, accompaniment and excerpt with mistakes education pedagogy. includes the MaKey MaKey unit, a USB cable, seven alligator clips, six connector wires, 20 stickers, and performance tracks. included. Carl Fischer Gia Publications, graphic instructions. JoyLabz, makeymakey.com Alfred Music, alfred.com Music, carlfi scher.com giamusic.com

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

52 Teaching Music OCTOBER 2015 APPS 3 CDS3 Including The Music Tonal Steve Reich’s On the Everyone: Parents’ Counterpoint Clapping Bright Side Creating Music By The Bazillions Survival for the Music (2015, 12 tracks, CD Classrooms (Available for iPhone $11.99, digital Guide 21st-Century download $9.99) Where All and iPad, free) This By Amy Nathan Musician: Inspired by School- Children Learn (2014, 282 pgs., An Introduction game app, which is part house Rock, The By Judith A. Jellison of a research project led Bazillions have fun hardcover $99.99, By Teresa Davidian musically while by Queen Mary (2015, 266 pgs., paperback $19.95, (2015, 260 pgs., helping kids pick up interesting informa- hardcover $99.99, eBook price varies) University of London, hardcover $85.00, tion along the way. paperback $27.95, This book of parent- paperback $45.00, aims to improve your Their educational eBook price varies) to-parent advice sense of rhythm by songs present eBook $44.99) narratives and paint The perceived impedi- includes experiences, Students today, having challenging you to pictures for listeners ments to successfully refl ections, warnings, grown up in the age of play Steve Reich’s to visualize as they hum along. Their third groundbreaking work including the wide and helpful suggestions digital technology, like release defi nes that is performed diversity of children in for how to walk the their information fast “bright” on multiple entirely by clapping. Tap levels, ranging from schools in meaningful music-parenting and consider visual wacky and hopeful in time with the shifting music instruction often tightrope, written by images as important as songs describing the the parents of several pattern, and progress life of an elementary stem not from insur- textual content. In this school age child to top musicians, as well as through all of the mountable obstacles, single-semester songs that explore the music educators and introduction, Davidian variations. Players can intricacies of but from a lack of grammar—all upbeat, over 40 professional provides students with rehearse in Practice jangly pop tunes imagination. Including musicians. The topics a textbook that is a Mode, learn the history infused with brainy Everyone equips music lyrics and clear discussed span a wide direct refl ection of the of the piece, fi nd out teachers with fi ve learning goals. Tracks range of issues, from age in which they live. more about Steve Reich include “Superhero principles of effective Rock Band,” “Family how to get started and and his work, and even Throughout, the author Tree,” “Use a Contrac- instruction for mixed encourage effective explains how the submit their high scores tion,” “Ed (Been There, special needs/tradition- practice habits, to how techniques of 18th- for a chance to perform Done That),” “My Teacher’s an Alien,” al settings that are to cope with the cost of century counterpoint “Clapping Music” on “Personifi cation,” applicable in both music training and deal still readily apply to stage with the London “Water Cycle,” “Outside,” “Q and U,” classroom and with college and career how music is composed Sinfonietta (see app “Bad Haircut,” rehearsal rooms alike. concerns. today. Rowman & for details and “Favorite Book,” and “Sons and Daughters.” Oxford University Oxford University Littlefi eld Publishers, deadlines). Touchpress, The Bazillions, Press, oup.com Press, oup.com rowman.com touchpress.com thebazillions.com

nafme.org 53 resources... CONTINUED WEBSITES 3 Take Me to the River Education Initiative (Free) The fi lm Take Me to the River explores the Memphis music scene in the face of The DePaul University School of Music discrimination. Its director/producer, Faculty is dedicated to your success. Martin Shore, has partnered with Berklee College of Music to develop a curriculum › Upon graduation, DePaul Music Education majors (intended for K–12, but can also be used for obtain teaching positions at schools throughout the college students) based on his fi lm. This Midwest and across the country.

› Undergraduate students obtain teaching experience in their junior year, while receiving individual attention from the faculty throughout their four years of study.

› Master’s students earn a degree while continuing to teach and are eligible for a School of Music scholarship.

education initiative, which was piloted in New York City schools, includes related lessons and lesson plans, and is available online for teachers completely free of charge (teachers who sign up on the site can also get a code to watch the fi lm online for free). Take Me to the River, tmttreducation.com

The Singing Classroom (Subscriptions for $12.95 per month and $139.95 per year) In this ever-growing, searchable database of songs and music games for music educators of grades PreK–6, teachers can search for items by grade level, genre, topic, type of game, cultural origin, materials used, and more. Each song is presented with video, audio, a printable score, links to any puppets or toys used in a lesson, and often pictures and posters to print out. The videos include suggestions for educators as to how to introduce and teach the songs to help quickly engage students. There are also animations of bunnies demon- strating games and dances. The Singing Classroom, thesingingclassroom.com

773-325-7444 1-800-433-7285, ext. 57444 music.depaul.edu [email protected] depaulschoolofmusic @DePaulSOM

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nafme.org 55 brava! MARIN ALSOP

CONDUCTOR Marin Alsop is recognized throughout the world for her innovative approach to program- ming and her commitment to education and to the development of audiences of all ages. Her success as music director of the Baltimore and São Paulo Symphony Orchestras has been recognized by extensions to her tenure, until 2021 and 2019, respectively. Alsop has guest-conducted most of the world’s great orchestras and, in September 2013, made history as the fi rst female conductor of the BBC’s Last Night of the Proms in London. She is the recipient of numerous awards, including many for her extensive recordings. As a protégé of Leonard Bernstein, she was awarded the Koussevitzky Conducting Prize and is the only conductor to date to receive a MacArthur Fellowship.

Could you tell us about your OrchKids program? One of my proudest achievements as music director of the Baltimore Symphony Orchestra is the OrchKids program. We started with 30 fi rst graders in 2008 and welcomed 1,200 kids in September 2015. OrchKids is an afterschool, intensive instrumental program that uses music as a vehicle for social change by creating opportunities and a climate of possibility for youth in Baltimore City neighborhoods. Funded privately, it collaborates with several community partners, including the Baltimore City Public Schools, and provides music education, instruments, academic instruction, and meals, as well as performance and mentorship opportunities at no cost. My goal is for OrchKids to reach 10,000 kids, thereby impacting all 80,000 BCPSS children.

You come from a musical family and began instrumental studies at a young age. What do you remem- ber from your earliest days as a musician? I have my parents to thank for my fi rst musical experience. My father, who was concertmaster of the New York City Ballet for 30 years, and my mother, who was a cellist with the orchestra, could never imagine a life for their child that was not fi lled with music! My fi rst instrument was piano, which I started at a very early age, and then I started violin when I was fi ve or six years old. At seven, I began studies at the Juilliard Pre-College Division and, when I was in my early teens, I studied classical guitar for a few years. My father took me to hear Leonard Bernstein conducting a Young People’s concert when I was nine or ten years old, and that was it for me! I absolutely knew that I wanted to become a conductor and never changed my mind!

Why do you think music education is important? I personally know the transformative power of music. By providing a strong foundation and developing the whole individual, we can position students for lifelong success—success not limited to music, but applicable to all areas of their lives.

Do you have any words of encouragement for music educators? I never really set out to be a music educator but have always been motivated by a strong desire to share my love for music with as many people as possible. I grew up with tremendous advantages because my parents gave me the gift of music and playing an instrument. Every child should have the same opportunity that I was given: to express themselves and feel the self-esteem that comes from mastering a phrase of music. After seeing the transformative effect music has had on the kinds in our OrchKids program, I am thrilled to call myself a music educator. There is no greater privilege than being able to share the joy of music-making with young There is no greater privilege than being able to people.

share the joy of music-making with young people. Adriane White. Photo by

56 Teaching Music OCTOBER 2015

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