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f c y it Y , your u only give This and ME o our r are but t the s we on h o as or u of to to i a e c - r , Message from WMEA President are accomplishing is wonderful. wmea.in I earned my BA and MA from the University Greetings to all my fellow of South Florida in music education and my PhD in Music Educators! music education from the University of Colorado in This year has gone by so Boulder. I am the Past President of NAfME's Southern quickly and it's time again Division. I am also Past President of FMEA and the for our choral festival and Florida School Music Association. Throughout my Annual Conference once career I have focused on Early Childhood music again on 4th and 5th education, along with developing leaders in the August 2018. I welcome field. you all to both our events. I say this of my vision for music education: WMEA has been “As a music educator, I believe that every child finding its feet slowly but steadily. We have started a should have high-quality music education. As new chapter in Kochi, Kerala and have had a leaders we need to embrace our diverse students teacher's meeting in Chennai. In addition, we are educationally, culturally, and linguistically and work looking towards a chapter in Mumbai as well. I to ensure that we are providing a high-quality music would like to appeal to all music teachers to come education. We need to encourage the study and forward, be a part of our Association, and work with making of music for lifelong involvement. To us towards building a secure and better future for all accomplish this, we need to provide high-quality of us. We need YOU! The strength of numbers can professional development for our teachers, bring about a revolution and help us successfully advocate for every child, and promote the necessity achieve the goals we set ourselves. of highly-qualified and certified teachers in our Looking forward to a great year ahead together! classrooms.” Anjli Mata President, WMEA Sincerely, Kathy Sanz, President National Association of Music Education

A Letter from Sam Tsugawa, Western Division Music Education Orchestrating Success President, NAfME

Words of Welcome From NAfME! Dear Western Music Education Association Members: Greetings from the National On behalf of the National Association for Music A s s o c i a t i o n f o r M u s i c Education President, Kathleen D. Sanz, PhD Education (NAfME), I extend my s i n c e r e w e l c o m e t o t h e I became the President of the conference. Renee Shane- B o y d , We s t e r n D i v i s i o n National Association for Music President-elect and Russ Education (NAfME) on June Sperling, Immediate Past- 22, 2018 and will serve for a President join me in wishing you two-year term. NAfME is among the world's largest success as you continue to grow arts education organizations and the only and provide your nation with many music making association addressing all aspects of music opportunities. education. I am also the Executive Director of the Florida Music Education Association (FMEA), a As an affiliate of NAfME, you are part of a family of federated state association affiliated with NAfME. music education associations that spread across every state of the United States, the European I am so happy to be working with the India affiliate of Union, and now India. The states of the Western NAfME. I have heard about the fine work that the Division, Arizona, California, Hawaii, Nevada, Western Board of Directors is committed to improve and Utah join in my welcome and look forward to and enhance music education. NAfME continues to reach out to you in the cause of music education. look forward to this collaboration. The work that you

03 As for me, I am an associate professor of music education at Brigham Young University in 4th Annual Provo, Utah. When this school year begins, I will be entering my 32nd year as a music educator. I taught orchestra, band, and music theory in the public Conference schools for 29 years, and I am in my third year as music teacher educator and researcher here at BYU. fb/wmeaindia I look forward toward working with, and learning from your leaders. I hope to provide the “Educating India - support and encouragement needed so your association can serve and support your members Musically” with what they may need to be successful and inspiring music educators. I look forward to 2018 Program Overview hearing great things from WMEA throughout the year. Thank you again for your professionalism This is WMEA's 4th Annual Conference!! Our and dedication to music education in India. conferences always offers an incredible array of Namaste, guests and speakers, and this year is no exception! Through our US NAfME affiliation, we have two Sam Tsugawa University and College Choir Directors - Dr. Dean Western Division President Luethi and Dr. Susan Cogdill, and for our chief guest National Association for Music Education of the event, we have representing (NAfME) India's popular music. An enthusiastic welcome to all of you! The theme for this year's conference is A letter from Russ Sperling, Past President, Western “Educating India - Musically” and music educators Division from across India and the US will gather in on Sunday, August 5th, to hear workshops and topics WMEA Members, that will help the classroom teacher in choral, I still regularly think fondly general, and band education. This year's about my stay in Delhi last year w h e n I a t t e n d e d y o u r conference will take place at the India Habitat conference. It was so exciting to Centre, and several presenters will be featured. see in person the emergence of Dean Luethi and Susan Cogdill's will share their a new organization that I expertise on Choral Conducting as music believe will positively change education. They will present both keynotes and not only music in your schools, interactive sessions on music education, choral but the education system in singing, and conducting. Another presenter, India! I have been following Meghna Bal, will guide you through the WMEA's activities over the past year, and I know that complicated world of copyrights and Intellectual even more has occurred, especially with the Property laws. The conference then looks at pop conferences that took part in the south earlier this music, including several sessions on how to create a year, than was planned at this time last year. successful band. Discussions with The Local Train Congratulations to President Anjli, Vice President and Rabbi Shergill will be led by Ritesh Khokhar, Ritesh, Executive Director Natalie and the entire and are designed to give you a range of new and board for your progress in building this association exciting ideas for your students and yourself! so far. I know the best is yet to come! Natalie Sarrazin will be working from the classroom side of music, providing you with tips and ideas for engaged general music teaching. She will be joined Sincerely, by Surendranath Majumdar, a Kodaly specialist Russ Sperling from Chennai. Finally, we are introducing a new section in which we work through ideas for good teaching -- in a fun way! We are also extremely pleased to announce our second Annual Festival of Choirs, which will take place on August 4th from 9am to 1pm at Shiv Nadar School in Gurgaon. This year, we had

04 several dozen schools apply from all over India, and the top 10 choirs were selected to perform at wmea.in the National Conference in Delhi. Initial entry choirs were evaluated by an international panel of judges. The festival will be adjudicated by Dr. Dean Luethi and Dr. Susan Cogdill from NAfME's National Choir Council. We'd also like to introduce you to Volume 2 number 1 of our Newsletter, which is published 3 times a year. We're greatly expanding our newsletter towards a journal format to include more articles, information about events, member activities and thoughts, and other music education items. A Big Hand to WMEA Volunteers Natalie Sarrazin, Executive Director All of our SUPPORTERS! Anjli Mata, President (2017-2020) This weekend of music is generously supported by the following people. Kindly Ritesh Khokhar, Vice President/Treasurer show your appreciation through your (2017-2020) patronage! Prachi Chandal, Secretary Priya Chaturvedi, New Editor (Vol 2 no. 2) Jasper Levi, Website

A word of Thanks! WMEA is a non-profit, entirely volunteer organization from the top down. We rely on volunteers and your help! To volunteer, please contact [email protected] Amity International School Furtados Thanks to the following people for their Furtados School of Music help this year in making all of our events Musee Musical successful! Rock School Limited Ÿ Shiv Nadar School for lending their Topxight auditorium for the Choir Festival Yamaha Ÿ Drs. Dean Luethi and Susan Cogdill for their expertise for the Choir Festival and Conference And Ÿ Sachin Das for his help with sponsors and for the Chennai meeting in March Ÿ Anthony Gomes for his help with YOU, our MEMBERS! sponsorship Ÿ Rajiv Datta and Kerman Mehta for their help with logistics Ÿ Alphons Joseph, Annie Thomas, Tony Daniels for their help with the Kochi Conference in March Ÿ Capital City Minstrels for their help with the Choral Conducting Workshop in Sept. Ÿ Lindsay Boyd for running two choral workshops Prachi Chandel for her tireless work on behalf of the organization!

05 WEEKEND PROGRAM

Saturday, August 4th fb/wmeaindia Festival of Choirs Shiv Nadar School DLF Phase - 1, Gurugram

WMEA Board of Directors Meeting India International Centre, New Delhi

Sunday, August 5th

9:00 - Registration (Chai/Coffee), Vendors

9:30 - Welcome Message by L. Subramaniam &

Natalie Sarrazin, Executive Director, WMEA

9:45 - Anjli Mata, President (WMEA) “Educating India - Musically”

10:00 - Susan Codgill, “Success in the Music Classroom: Motivation & Learning”

10:45 - Ritesh Khokhar “Music Entrepreneurship”

11:30 - Philippe Engel, “Good Technique, Powerful Performance”

12:15 - WMEA Association Meeting: Ritesh Khokhar, Natalie Sarrazin

12:30 - Lunch (provided)

1:30 - Workshop: “Making Music Teaching Fun”

2:00 - Natalie Sarrazin, “The Engaged Music Classroom” with Surendranath Majumdar, guest

2:45 - Meghna Bal, “Understanding Copyrights”

3:30 - Chai/Coffee Break

3:45 - Dean Luethi “Singing As Music Education”

4:30 - Panel Discussion with singer Rabbi Shergill and The Local Train members Ramit Mehra and Himanshu Chowdhry

5:30 - Wrap-up

06 He is sought after as a guest conductor, Panel discussion adjudicator, and clinician, and has been published wmea.in Rabbi Shergill in Choral Journal and Music Educators Journal. In 2016 Dean served as assistant conductor for the & Classical Music Festival in Eisenstadt, Austria. He is “The Local Train” currently working on a virtual choral conducting series for the National Choir Council of the National Association for Music Educators to be distributed to Rabbi Shergill is our chief guest, and a Punjabi choral conductors in India. Dean enjoys amateur singer known for his range of styles and the moniker photography and lives with his wife, Ruth Boden, of “Punjabi's music's true urban balladeer.” Starting and their two cats La Manita and Crash. a band after college and then composing songs as a jingle writer for Yamaha and other companies, he released his debut album Rabbi in 2004, off of Susan Cogdill, PhD serves as Assistant which came the hit “Bullah ki Janaa” (“I know not Professor of Music Education and Director of the who I am”). His music comprises Sikh gurbani Women’s Choir at the College of St. Benedict and elements, Sufi-song styles, and incorporates rock, Saint John University. Additionally, she mentors Punjabi, and folk with an underpinning of Western music student teachers and assists the collegiate arrangements. “Bulla ki Jaana” exemplifies his chapters of NAfME and ACDA. She earned her eclectic style in that the words were adopted from Bachelor of Arts degree in Music Education from the Baba , the 18th century Sufi mystic. University of Wyoming, Master of Music Education Many other songs on this eponymous album degree from the University of Nebraska-Lincoln, included spiritual texts composed by great poets and Ph.D. in Music Education also from the from all walks of life as well. University of Nebraska-Lincoln where she received His popularity relies on his genuine and a Hixson-Lied Fellowship. authentic nature. He is known for a socially relevant, Dr. Cogdill served deeply philosophical approach to lyrics along with on the faculty at Doane his alternative folk singing style. His second album, College as the Women's Avengi Ja Nahin (2008), contained songs which are Chorale conductor and co- topical, and concern issues of contemporary society directed the Collegiate such as violence, social morality, and social Chorale. Dr. Cogdill has responsibility. 1 2 y e a r s e x p e r i e n c e Rabbi has appeared on MTV Unplugged teaching music in public India, and has worked in film singing “Challa” in schools, the last seven of composed by A.R. Rahman with which were spent in Laramie, Wyoming where she lyrics by . also conducted the University of Wyoming Civic Dean Luethi, PhD is Associate Professor in the Chorale from 2007-09. She has both directed School of Music and Coordinator of Music musicals and performed such roles as Mrs. Education at Washington State University in Peachum in the University of Wyoming's production Pullman where he directs the Tenor/Bass Choir and of The Beggar's Opera and "Pitti-Sing" in Casper the Treble Choir. Dean teaches choral music College's production of The Mikado. methods, choral conducting, and supervises A frequent clinician and guest conductor, Dr. student teachers. Prior to his work at WSU, Dean Cogdill is an active member of the National worked as a visiting instructor at the University of Association for Music Educators, American Choral South Florida in Tampa and Director of Choirs at Directors Association, and Pi Kappa Lambda music Luxemburg-Casco High School and Lombardi honor society. Her music research has focused on Middle School. motivational theories related to musical Dean received his Doctor of Musical Arts development and beliefs regarding singing ability. degree in Choral Music from the University of She has presented research at the state, national, Illinois at Urbana-Champaign, his Master of Music and international levels of the National Association degree in Choral Conducting from the University of for Music Education, the International Society for South Florida in Tampa, and his Bachelor of Music Music Education, and The Phenomenon of Singing degree in Vocal Music Education from the University International Symposium. of Wisconsin-Green Bay.

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Interested in Presenting at next year’s conference? Contact info@wmea with your idea and a brief bio!

Two Conferences in WMEA Kochi and NEWS from WMEA! Chennai! New ADDITIONS to the WMEA Photo Credit: family In March, WMEA representatives Natalie Sarrazin, Ritesh Khokhar, and Lindsay Boyd went to South India to share WMEA’s message. Alphons Joseph WMEA welcomes our new and his wonderful staff Annie Thomas, Tony Daniels board member Alphons and many others, were able to put together an Joseph, and the new editor e x c e l l e n t a n d w e l l - r u n e v e n t f o r o u r for the Newsletter - Priya workshop/conference on Saturday, March 4th. Chaturvedi! Lindsay led the afternoon session in choral conducting training, while the morning session was Alphons Joseph trained in dedicated to general music education. Over 80 Carnatic music, and received attendees participated in this event, and the the 7th grade in classical excitement was palpable! Kochi attendees stayed guitar and western music after the meeting and discussed possible future theory from London Trinity events for the South Indian music educators! College of Music. Joseph On Sunday, we traveled to Chennai, to lead an completed an M.A. in Music at Calicut university. He informational meeting on WMEA arranged by founded Crossroads Academy of Music and Sachin Das, our board member and director of Technology, in Kochi, and is the lead guitarist, Musee Musical.This event was attended by over 50 vocalist and co-founder of gospel music band, music teachers, who were very interested and asked Rexband. He has worked as a composer and sound excellent questions about our association. Thanks to engineer, and is featured on many film soundtracks all who made this excursion a success for WMEA!!!! as a playback singer. He has worked closely with A.

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which burns in many forms. However, from my Reflections on South India perspective, and at first glance, I found that the song By Brigette Meskell did not blatantly adhere to the classic tension- release progression, but rather, built tension with a series of semitone resolutions. I decided I would focus my analysis and presentation around this. wmea.in As a student at the College at On the day of the presentation I was filled Brockport, NY, I never with nervous energy, even though ironically as a thought that I would get the Theatre and Music studies student I perform all the opportunity to attend, let time. This was a different kind of performance, a l o n e p r e s e n t a t a n however. I had to present my findings in a articulate i n t e r n a t i o n a l m u s i c manner rather than regurgitate lines or perform a c o n f e r e n c e . W h e n m y rehearsed song. In a way, it was the hardest kind of professor, Dr. Sarrazin, performing I had ever done because I had to teach mentioned that she was and harness a learning process within the audience t r a v e l i n g t o I n d i a i n rather than merely entertain them. While good February, I asked her if I could come along! teaching is entertaining, it is a very different kind. I was also tremendously nervous following Ritesh's I was introduced to India by Dr. Sarrazin presentation because everything he had to say was through her Bollywood film music class that intimidatingly brilliant. I took a breath, hopped up semester. The first film I saw was Dil Se, and I on stage, and saw about a hundred friendly faces immediately fell in love with the genre! I'm a double smiling at me – I felt really welcomed, and, not to major in English and Theatre with a minor in music, mention, highly professional because I got to hold a but love to take as many diverse music courses as PowerPoint clicker. possible, as I am a prospective student in Accompanied by Ritesh on the keyboard, I ethnomusicology. started the presentation by singing Creep for the On Feb 25th, I arrived in Delhi, and Dr. audience. Despite the fact that the song was very out Sarrazin showed me the sites - Qutub Minar, of range for my voice, this initial performance Connaught Place, Dilli Haat, and the Metro! I also helped me break the ice, and to subsequently and got to experience something that is on everyone's comfortably continue to present my findings. After bucket list -- Holi!! Immediately after, we headed to the receptive audience clapped and I hopped off Kochi. stage, I felt like a changed woman. I felt motivated, Everyone attending the conference was reinvigorated and ready to take on the next new extremely enthusiastic about music and learning, so opportunity life would send my way. naturally, I felt right at home. I loved witnessing all of Thank you, WMEA, for giving the incredible the eager attendees, both teachers and students, go opportunity to present on music theory at an on their pedagogical journey. They learned new international conference – what a dream come true. ideas about music theory, and skills, strategies, and I hope to help out more and work with you in the techniques on children's education and conducting. I future. loved being both an attendee, and having the opportunity to see what went on behind the scenes. I was especially thrilled when Dr. Sarrazin asked me to MICRO-CREDENTIALING present a theory concept I'd been working on in class in Choral Conducting! at Brockport. Under the tutelage of my instructor, Scott Horsington, and with enthusiastic input from Ritesh, I was able to construct 10 minutes on the With the help of Dean Luethi, plus the NAfME's Choir theoretical analysis of Raidohead's Creep. Council, led by Debra Glaze, WMEA is pleased to Overwhelmed in absolute delight by this announce that Level I credentialing in choral opportunity, I got down to work, and used the skills I conducting is here! acquired from past theory classes to harmonically WMEA, in conjunction with NAfME, is analyze the song. The musical dilemma I faced was pleased to offer a series of Micro- Credentialing to see whether or not the chords of Creep adhered to units for various music skill development. Our first the common tension-release building progression, such offering will be 4 levels of micro-credentialing Tonic, Predominant, Dominant, Tonic; and if they did in choral conducting. Each level will have a series of not, I was to investigate what built musical tension in short videos for practicing conducting patterns, the song instead. When analyzing there are several vocabulary, and concepts, plus 3 articles written by ways to read the chords of a song, for music is a fire experts in the field with a series of short questions for

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you to answer. Finally, you will take what you've from music vendors in India fb/wmeaindia learned and upload a short video of yourself for Professional Support evaluation by experts at NAfME! At the end of the Life and Health Insurance Group rates levels you'll receive confirmation of having passed Taxation (income tax, GST, etc) the level to go onto the next one. This can be added Accountancy to your professional portfolio and shown to your in- Law (consultancy and cost effective legal support) charge, principal, or director, and when you are Contract writing for private teachers applying for a job! Advocacy tips for you as a music teacher to advance This series is being produced specifically for in your profession members of WMEA, and is available only to members! The content will be placed in a members Let’s join hands for the cause, only section of the website. Take advantage of these become a MEMBER today!!!! to advance your music education career!! Annual Membership Fee (including WHY JOIN WMEA? membership to NAfME) Rs.4500/- MEMBER'S CORNER Music Educators in India need professional What's going on in your Music Education corner? Let support. Teachers have little access to Professional us know! Development Training, Music Education Resources. F r o m W M E A m e m b e r Va t s a l A g r a w a l The only way to improve this situation is by working Students of Vatsal School Of Music, Chhattisgarh, together. perform an instrumental-orchestral rendition of “O Fortuna” by Carl Orff, for the first time in Central WMEA is an association - a group of like minded India. Orchestra conducted by Director Vatsal individuals, such as yourself, dedicated to Agrawal. improving and supporting music education in India. Through its affiliation with NAfME, we are uniquely VSM is a premier music school in Bhilai, qualified to provide you with a century of expertise Chhattisgarh working towards betterment of in Western Music Education. Your membership will provide you with.. Training for classroom teachers, instruments and voice lessons • Micro-credentialing in Choral Conducting (General Music, Pedagogy, coming soon) • Webinars (online seminars) • Lesson plans - hundreds of lesson plans for the classroom • Annual Conferences and Professional Development Workshops Promotion for your school and your students • WMEA National Choir Festival • Participation adds to your portfolio in the music education industry western music education in Chhattisgarh. Resources on music teaching In a city where being able to read sheet music was • Free journals and tips of the trade considered extremely rare, VSM is developing a • Articles, books, videos, webinars through standard of music education in a very progressive NAfME manner in both Classical and R&P genres. Expertise advice in music teaching and learning • International and National level experts to Mr. Vatsal holds a Grade 8 qualification (Distinction answer your questions 96) in R&P Guitar from TCL, is a member of WMEA, Music Advocacy and coordinator for TCL R&P Exams in • Influence and educate policymakers about Chhattisgarh. the need for formal music education Direct Discounts 14 From WMEA member Virgil Sequera May 2018 in four towns - Kalimpong, Darjeeling, “We not only teach music but we create MUSICAL Gangtok and Kurseong, reaching 79 participants - THOUGHTS in each and every students mind and 31 music teachers, 43 students above the age of 16, heart. Also we motivate students to learn Music as as well as 5 musicians who were interested in music not just a Hobby but to make the Music for LIFE.” education. Among those who attended were veteran music teachers who were a little more than fb/wmeaindia twice my age yet were very passionate about The Hills are Alive with the Sound of Music! The hills collaboration -- this was very heartening. I was also of Darjeeling and Sikkim have had a very vibrant able to address a few questions during the breaks music scene over many decades - predominantly with students and teachers on their everyday that of traditional folk and rock music. Over the last challenges and frustrations, as well as discuss their dreams and visions for the future. I was invited to decade, Hard Rock Bands like Girish and the conduct demo lessons with students at St. Cecilia's Chronicles have achieved a ubiquitous appeal Music School in Kurseong which helped further the while bands like Sofiyum and singer-songwriters impact of the workshop. like Bipul Chettri have been able to repackage The 6-hour long One-Day Intensive Workshop had something for every kind of music traditional music for a younger and discerning educator. It started out with choral warm ups (both audience. At an amateur level, school choirs like the physical and vocal), then proceeded to the raison ones at the Dr. Graham's Homes, Kalimpong and d'etre of music education. This activity's St. Paul's, Darjeeling and school orchestras like the psychological and social benefits, and self- evaluative aspects was something that most of the one at the Gandhi Ashram School, Kalimpong have participants never gave thought to before. Once toured nationally and internationally. On one hand these objects were clarified, various popular and tradition propels the school bagpipe band at the lesser-known learning theories and music Scottish University Missions Institution, Kalimpong, education methods were presented to guide the educators in creating their own style of music opening every football tournament in town. On the education. After this, the next two sessions dealt with other hand, young artists seek to present fresh systematically teaching concepts realted to time and music at new performance spaces like Thuendel pitch to people from the age of a toddler up to Food and Spirits and Gangtok Groove, or seek to adulthood. I took participants through a mixture of activities that I have either learnt, borrowed, make it big in metro cities and on reality shows on tweaked or created myself. In teaching them, I used the television. A host of music teachers also engage various classroom instruments and aids such as in private practice for a variety of instruments either scarves, a softball, pens and paper. This experiential part of the workshop appealed very individually or through their music schools. This much to the participants who said that they looking makes the hills for ways to be innovative in the classroom. They said an important destination for examiners from both they couldn't wait to implementing some of these the Trinity College London (TCL) and Associated activities. Board for the Royal Schools of Music (ABRSM). This, They were particularly interested in the coupled with my exceptional musical experiences colourful classroom instruments, which they all with friends from the village at neighbour's porches agreed would enliven their own classes. The during the tihar (diwali) festival, and the impeccably workshop concluded with two sessions that focused on point musical responses during my voluntary on how to teach students to become successful sessions at the school there, should be enough performers, and how to also help their students evidence for what an acquaintance once said about master the art of and North East India, “Music is in their blood.” improvisation. In particular, these sessions touched In order to keep this legacy going, broaden upon the expectations from the examination the minds of music teachers, inspire students to boards, and tricks to prepare students for their engage with music in a deeper way and to exams while still keeping classes engaging. The formulate possible future projects of artistic, social, workshop delivery was a favourable balance of the and cultural value, I took up the offer by Ursula lecture method, interactive activities, audio, visual Raab to collaborate with the Himalayan Institute for and written resources, and individual work versus Living Ethics (HIGLE) and Darjeeling Goodwill group discussions. Centre (DGC) to give Music Education Workshops. The workshop took place over four weekends of

15 performers, and how to also help their students Cathedral and John Connon School. He directs the master the art of musical composition and middle choirs at the Mehli Mehta Music Foundation wmea.in improvisation. In particular, these sessions touched and heads Musical Theatre at J's Paradigm upon the expectations from the examination Performing Arts Academy. He channels his passion boards, and tricks to prepare students for their and experience and brings people together through exams while still keeping classes engaging. The various projects. He is a member of WMEA. workshop delivery was a favourable balance of the lecture method, interactive activities, audio, visual CHRISTMAS CHEER! and written resources, and individual work versus By Jasmita Barretto group discussions. A lot in the workshop was to be 'caught' - a demonstration of the reality that the “The Christmas angels are you, contemporary music educator is called to be a when you sing to the world a facilitator rather than just a teacher. message of peace, justice and love” says Pope Francis in his Christmas message to the world. And I feel humbled to say that I got to do just that with the help and support of few friends and choir members from my Church and a few friends.

One day as I sat disgruntled and sad about what I don't have, I found me asking myself 'instead of being sad about what you don't have, why don't YOU do something for others less fortunate than yourself' I got onto google, searched for the contact number for “Shanti Avedana”, a home for those on The feedback presented to us after the workshop the last leg of their journey on this earth. I gathered was understandable - there was a lot covered in a a few choir members, and fixed a date to donate a very short time some of which did not appeal to few requirements of the inmates (for which some of every participant. However, the workshop was my friends and choir members responded successful in many ways. Firstly, an in-road was overwhelmingly) and to go and sing Christmas made with a large number and background of Carols for them. When I thought our time was up people due to its wide range of topics. Secondly, the (cause the inmates had to have their lunch, I asked need to give students something out-of-the-box and the Sister in charge, if we should stop, she said rooted in local culture and experience was “please continue as I can see that the inmates are understood and some possible tools were imbibed. enjoying the singing.” She then went on to tell me how one patient who has bone cancer usually Thirdly, a community of musicians was created to screams in pain but with us singing, she was quiet. channelise the common passion and pave the way My eyes welled up . . . we left the place feeling for the future. Focused workshops, facilitator overwhelmed. support, and performance collaborations are A couple of days later, as part of the Capital already in the pipeline for 2019 when I move base City Minstrels Choir, I got to sing for an NGO's to Kalimpong. There, I will be taking over as the Christmas programme. The kids from various Music Program Director at the Gandhi Ashram backgrounds had put up an amazing show. If given School, and starting up my own venture for the an opportunity, a human being is capable of promotion of the arts. amazing things. Singing for them again gave me a sense of fulfillment. About the writer: The bug of doing something for the society Virgil Vihaan Sequeira is a Mumbai-based Music had bitten me and so a few days later, I organized and Drama Educator, Choral/ Orchestral the same group of Church choir members to go and Conductor, Composer/ Arranger, Baritone Vocalist, sing Christmas Carols for the inmates at Tihar Jail. I Anthropology enthusiast and Social Entrepreneur. started off the communication with details from He teaches general music and directs the junior and google (but later managed to get a contact at senior senior choirs and instruments ensemble at the level from a friend). I was pleasantly surprised at the support and welcome we received at all levels of 17 fb/wmeaindia l , r - - ” y y l a d o a l i in in in r r G to of of or e o D s all 19 - n l the the the the e a o F will w , any

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students are able to recognize the grouping of template, it is easy to remember the process used to wmea.in tones, and quickly identify the root. create it. As long as they remember which of the seven triads are major and which are minor, the template is easy to use. Starting with seven unique triads, we are now able to create 21 triads.

Changing triad qualities from the template The second step is to teach students how to change triad qualities. Rather than focusing on the unique interval structure of each triad, if students understand how to change quality from one type to another, they can use the template to build all triad 2. The triads built from C, F, and G are major if types. The first manipulation is between major and all accidentals match. This means that any form of minor triad qualities: raising the middle tone of a C, F, or G triad will be major if all the triad tones minor triad (the chordal third) one semitone have the same accidental. For example, if G-B-D is changes the quality to major. Lowering the middle a G-major triad, then G-flat, B-flat, D-flat is a G-flat tone of a major triad one semitone changes the major triad; and G-sharp, B-sharp, D-sharp is a G- quality to minor. In other words, the difference sharp major triad. All the accidentals match. between major and minor triads is the middle tone of the chord. For example, we know from the template that a triad built from the tone C, and containing all the same accidentals, will be major. C-E-G is a major triad. If we want to create C-minor, we simply take our C-major triad and lower the middle note 3. The triads built from A, D, and E are minor if all accidentals match. This means that any form of A, D, or E triad will be minor if all the triad tones have the same accidental. For example, if D-F-A is a D-minor triad, then D-flat, F-flat, A-flat is a D-flat minor triad, and D-sharp, F-sharp, A-sharp is a D- sharp minor triad.

(E) one semitone (E-flat).

As another example, if I want to build the F- sharp minor triad, I begin with the template: I know 4. The triad built from B-flat is major if the that any triad built from F with matching accidentals other two triad tones use an accidental that is a will be a major triad. If F-A-C is a major triad, I know semitone higher than the accidental used for the that adding the “sharp” accidental to each tone will root. For example, B-flat, D, F is a B-flat major triad. create the F-sharp major triad (F#-A#-C#). I also The root tone – B – uses the “flat” accidental. The know how to change quality from major to minor by other two tones, D and F, are natural. The accidental lowering the middle note a semitone (A# becomes “natural” is a semitone higher than the accidental A). Therefore, F#-A-C# is the F-sharp minor triad. “flat.” In other words, if the root of the triad is B- Using the template with this method, we've doubled natural, then the other two tones – D and F – must be the number of triads we can build in part 1 from 21 sharp in order for the triad to be B-major (the to 42. accidental “sharp” is a semitone higher than the accidental “natural”).

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This method can also be used to teach fb/wmeaindia augmented and diminished triads. Augmented your programming? Taking a section of the triads can be created by raising the top tone concert to inform the audience about the (chordal fifth) of a major triad by a semitone; process is a critical component of diminished triads are created by lowering the top community arts education. This can be done tone of a minor triad by a semitone. This allows through sight-reading a work, explaining us to double the number of triads we can build in w i t h m u s i c a l d e m o n s t r a t i o n t h e part 2 from 42 to 84 – every type of triad possible development of a specific section or the using the four qualities (7 roots x 3 versions = 21 rehearsal of a small section from a work to triads. 21 triads x 4 qualities = 84 total triads). be featured in the next concert. - Scott Horsington, MM, MPA Theory • Have you asked your principal or a board Instructor, The College at Brockport member to give the Opening Remarks? This provides an opportunity for one of your educational leaders to talk in front of a friendly audience. MUSIC ED • Have you asked students to share what skills they have acquired in preparing for Minute the concert? Choose students to talk about what they have learned when introducing each selection. The audience will be The following is excerpted from NAMM article pleasantly surprised at how much it really “Concert Thoughts” by Brian Itzkowitz takes to perform. • What is the perfect concert length? The program where the audience leaves feeling Programming that they would have liked to have heard your Concert one more number! As an ensemble director, your INFO You Can Use performance literature is your course of study. Consider how you can Music Education demonstrate this to your principal and your audience! and Science!

• Is it quality material that serves as a good teaching tool? • Is it at the appropriate level of difficulty? It Article Review is easy to justify music that is too easy. It is very difficult to justify a work that can never Getting it Right: Busting Neuro-Myths sound good because it is beyond the about Music and the Brain students' ability level. We all over- program, but do you make a habit of it? The following is based on the article “Lost in • Does your program have variety? (Fast- translation? Neuroscientific research, advocacy, and slow, loud-soft, classic-contemporary, the claimed transfer benefits of musical practice” secular-sacred, languages, etc.) Have you Journal of Music Education Research, Albi Odendaal, included material for your students, your Sari Levanen, Heidi Westerlund, June 21, 2018. audience and yourself? • If you are sharing a concert, how does your “It's a fact that music makes you smarter!”: We programming complement that of your all use neuroscientific research to justify what colleagues? • Have you scheduled adequate rehearsal we do in the classroom, to support our time with the accompanist to ensure that profession, and to maintain our jobs. you, the students and the accompanist are However, many of the claims about music thoroughly prepared for a quality e d u c a t i o n ' s n e u r a l b e n e f i t s a r e performance? overgeneralized or misinterpreted. Yes, music • Do you include “informances” as part of does have numerous positive benefits for

23 fb/wmeaindia children and students, but reinforcing scientific the benefits of music from limited research fallacies rooted in misunderstood research (citing one or two papers rather than reviewing results only hurts the very profession we're broader research), lacking the care and trying to help. caution in reporting findings as described by According to the article “Lost in Translation,” researchers, and without the context of the several neuromyths are particularly common. r e s e a r c h ( e x p e r i m e n t a l d e s i g n a n d Some of these include: methodology). * Music makes you happier/smarter Oversimplification of research findings for * Music only uses localized parts of the brain popular consumption plays an important role (e.g. right or left hemispheres; only 10% of in the pervasiveness of musical neuromyths, brain) through wide application of research findings * The Mozart Effect (listening to classical music (overgeneralization) to carelessness in makes you smarter) reporting research results. The authors suggest Part of a larger analysis of the societal impact of this is due to agenda-driven dissemination of the arts and arts education, the study sought to research results in order to appeal to the widest review the claimed benefits of musical possible audience while also trying to be simple engagement as well as the stated limitations of and concise in conveying the information. research in the field. Additionally, the authors The authors note that the absence of negative examined how brain imaging researchers results may indicate that research showing report their results for public consumption and negative or subtle results may be ignored in how this information is restated in arts favor of more novel findings. As a advocacy texts. In other words, the goal was to consequence, the information circulated in identify what neurological research explicitly public/popular domains paints a very narrow states versus how it is communicated to the picture of reality. Additionally, the type of music public. or sound used as a stimulus is not consistent Researchers found that 82% of the studies used across all experimental designs and this fact is music as a stimulus to study brain function often ignored in popular reporting (a single, (including neuroanatomy, emotion, language, unique musical stimulus is not equivalent or motor control) and did not make any claims representative of all music, but it is conflated as about the cognitive benefits of music or music such). By extension, the quality of musical training. Though anatomical studies identified experiences and music education is also not differences in brain structure between taken into consideration: regardless of how the musicians and non-musicians, no claims or brain processes a musical sound, this does not conclusions were drawn about the quality of provide or describe the larger context of music- these changes, whether they were positive or making in an educational setting, nor does it negative, or that these changes confer speak towards individual positive/negative transferable skills. educational experiences in which music- The remaining 18% of studies indicated making may occur that could itself have general cognitive benefits gained via music, adverse or differing impacts. None of the some of which include language skills, motor research reviewed indicates a causal link control, working memory performance, and between music and well-being. processing speed. While each benefit category The authors conclude that researchers must identifies numerous sub-benefits, all studies exercise caution in how they report their carefully describe research limitations and research findings, that popularized caution against generalizing the research explanations of findings must be clear and findings. Limitations included experimental avoid distortion, and that research on music design, correlation not implying causation (or and brain function is not geared towards, nor the presence of confounding variables), does it make recommendations for, developing selection bias, and failure to take individual educational practices. differences into account. For the reasons stated in the article, it is best to Researchers discovered that the majority of arts avoid neuroscientific research to justify music advocacy texts and websites list information on education programs. What type of research should be used instead? 24

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