teaching OCTOBER 2018 VOLUME 26, NUMBER 2

The NAfME CIVIC ACTIONmusicmusic FIELD GUIDE ENGAGING DIVERSITY Marjory Stoneman at the 2018 NAfME Douglas High School National Conference CONFRONTS TRAGEDY WITH MUSIC BRAVI BLACK VIOLIN!

A DECLARATION OF MUSIC FOR ALL The Declaration on Equity in Music Education for City Students seeks to close the achievement gap.

menc.org 1 EASTMAN SCHOOL OF MUSIC

MUSIC TEACHING & LEARNING

SUMMERS-ONLY PROGRAM: MASTER OF MUSIC AND MASTER OF ARTS DEGREES

FACULTY: NEW COMPLETE MA IN 3 YEARS Christopher D. Azzara Elizabeth Bucura 4 SCHOLARSHIPS AVAILABLE Mara Culp • Music Teaching & Learning Department Scholarship John Fetter • Summers-Only Program Scholarship Donna Brink Fox • Music Education Course Scholarship Philip Silvey • Orff Schulwerk Scholarship Alden Snell

FOR MORE INFORMATION GO TO: summer.esm.rochester.edu Email: [email protected] Call: (585) 274-1545 October 2018 Volume 26, Number 2 PROMOTINGcontents THE UNDERSTANDING AND MAKING OF MUSIC BY ALL Music students learn cooperation, discipline, and teamwork.

38 STRIKE UP THE BANDAND THE ORCHESTRA! The Library of Congress Teaching with Primary Sources Units

now include valuable resources for From left: Theresa Hulihan (standing), Patricia Ritchie, band and orchestra educators. Jenny Neff, Amanda Tierson, Susan Davis, Rebecca Holmes, Armalyn De La O, Jesse D. Espinosa (standing), Beth Fortune, Laura Smith, and Johanna Siebert, Library of Congress Unit writing team FEATURES 26 WE ARE WHAT 30 ENGAGING 32 CLOSING THE GAP 44 “THEY NEED WE WEAR DIVERSITY The Declaration TO BE TOGETHER Is your ensemble’s The 2018 NAfME on Equity in Music AND PLAY.” concert attire inclusive National Conference Education for City In the wake of tragedy of all students? How will include new Students points out at Marjory Stoneman can a music educator presentation formats the vital importance Douglas High School, create a dress code that and a focus on poverty, of music education Alex Kaminsky helped encourages belonging racial literacy, equity, for all. his student musicians and acceptance? access, and culturally begin the healing responsive pedagogy. process.

COVER: A saxophone chamber group performs on Cross Campus ENGAGING at Yale DIVERSITY University The during 2018 the NAfME 2016 National Conference will include new presentation 30Morse Summer Music Academy, an intensive program

Cover photo by Matt Fried. Photo this page by Lynn M. Tuttle. M. Tuttle. Lynn Photo this page by Matt Fried. photo by Cover offeredformats, by the Yale and Music a focus in on Schools poverty, Initiative. racial literacy, equity, access, and culturally responsive pedagogy.

nafme.org 1 October 2018 contents Volume 26, Number 2

50 Teach your string students how to arrange. Sara T. Womack works with DISCOVERIES kindergarten NAfME Academy helps educators students. in the Atlanta Public Schools. 24

WORKSHOP General Music 24 Cultural connections through South Asian folksongs, games, and dances 48 DEPARTMENTS Brass & Woodwinds Teaching brass and woodwinds LETTERS in under-resourced communities 49 Opinions from our readers 6 Strings Teaching string students how to MIOSM® SPECIAL arrange from scratch 50 Music In Our Schools Month® Percussion has a new format. 14 Creativity through drum circle facilitation 50 ADVOCACY Choral and Vocal The NAfME Civic Action Field Guide 16 Avoiding vocal tension with your high school choir 51 RESEARCH Alternatives How can voice change affect female Video game composition adolescents’ views on choral singing? 20 in the classroom 52

TECHNOLOGY STAGES Products from a sampling of 2018 Elementary NAfME Conference sponsors 22 Culturally responsive teaching 55 Secondary 9 Learning centers in ensemble PRO•FILES Kathleen D. rehearsals 56 Sanz with 8 Harlow Alexander is this Harlow Collegiate year’s Shannon Kelly Kane Alexander Professionalism for new scholarship recipient … music educators 58 Guy C. Wood begins his 51st year in music education RESOURCES … David Byrd revived a New media and accessories long-gone high school music for the music classroom 60 program in Oakland, California … In Memory BRAVI! of NAfME Past President Will Schmid Teaching Music salutes

string duo Black Violin! 64 Photography. Ashlee Wilcox Denise Karis, by by Battersby, Brooke Photos clockwise from top left by

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6763 NAfME GEICO Ad.indd 1 7/10/14 8:23 AM MICHAEL J. BLAKESLEE Executive Director and CEO CHRISTOPHER WOODSIDE Chief Operating Officer LYNN M. TUTTLE Music Director of Publications ELLA WILCOX Editor CATHERINA HURLBURT Marketing Communications Manager CAROLINE ARLINGTON Publications/Copyrights Teachers ABIGAIL GYAMFI Graphics and Branding Specialist For a listing of the NAfME You are invited to join our National Executive Board, please see our website: nafme.org. Articles in Teaching Music do not necessarily EasyRebates Program represent the official policy of the National Association for Music Education.

Teaching Music is created for NAfME by In Tune Partners, LLC. [email protected] IRWIN KORNFELD CEO SUSAN POLINIAK Editor-in-Chief JACKIE JORDAN Creative Director BILL WHITE Advertising Manager MICHAEL R. VELLA Production Manager WALTER CARDENAS Business Manager CONTRIBUTORS: Andrew S. Berman, Debbie Galante Block, Stacy Dziuk, Lisa Ferber, Stephen Holley, Stephanie Jones, Peter J. Perry, Susan Poliniak, Lori Schwartz Reichl

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. • 8% Cash Back on all orders Active NAfME membership is open to all people engaged in music teaching or other educational work in music. Associate membership is open to • Additional 5% Off when you buy multiple those providing studio/private teaching, working in the music industry, or advocating for music education. Teaching Music (ISSN 1069-7446), an copies of the same title official magazine of the National Association for Music Education, is issued to members four times • per year in August, October, January, and April at World’s Largest Sheet Music Selection an annual subscription price of $10. Office of publication: National Association for Music Now over 1,000,000 titles! Education, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A.; 703-860-4000. Produced by In Tune Partners, LLC. Institutions • FREE To Join may purchase one volume year of four print issues for $222. Single copies of issues are $30. A limited number of back issues are available for purchase. • No Hassle Returns for 1 Year Permission requests to reproduce or otherwise use material published in this journal should be submitted to Caroline Arlington at CarolineA@ nafme.org. Periodicals postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offices. POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Sign Up Today! Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2018 by the National Association for Music www.sheetmusicplus.com/tm2018 Education. Printed in the U.S.A.

4 Teaching Music OCTOBER 2018 WANT TO HIT A HIGH NOTE IN YOUR CAREER?

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Water Key Redux took sample swabs from the inside of played! Yes, the water goes directly onto I am writing to you in response to the tuning slides and mouth pipes and incu- the oor. By the way, so does rosin dust, article “Expectations for Expectorations: bated them. The results were awful! If spilled cups of water used for soaking Teaching Spit-Valve Etiquette,” that we were to follow the writer’s sugges- reeds, accidentally–knocked-over appeared on page 47 in the April 2018 tion about carrying around a container bottles of key-valve-slide lubricants, and Teaching Music. for water, just imagine fourth- and other things that we use when we play As a 40+ year career music educator our instruments. with multiple degrees in horn perfor- I am all for good sanitary practice, mance, music education, and school and I do very ardently support the idea district administration, I was of emptying every brass instrument appalled and quite dismayed by of moisture before the instrument this article. At rst, I thought is put away properly in its case. A that perhaps this was an April better suggestion for young Fool’s Day joke. However, band directors is to focus on after reading the article and teaching students how to hearing from a number of properly empty water from music educator colleagues and their water key and to also professional brass players who instruct them on the proper way saw the article, there was quite a of emptying water from their negative response to this young horns (including tuning and valve teacher’s suggestions regarding the slides). Teaching good, basic mainte- proper use of the brass instrument nance habits with kids is vital. While “water key” (no horn player I know you’re at it, bring students’ parents into calls this a spit valve around New York, fth-graders who would easily forget to the discussion as well. Knowing how to either in schools or in professional empty these containers daily. These properly care for a horn (emptying circles—sorry). kids would be growing “science moisture, keeping valves and slides Just getting our beginning brass experiments” in their instrument cases; lubricated) will help to stretch instru- players o the ground is enough; we do this would be far worse than any ment-repair budgets and keep instru- not need additional “rules” for the droplets of water from a brass instru- ments in the hands of our students and water key. In fact, I encourage every ment on the band room or stage oor. out of the repair shop. band director to have their students It would be quite a sight to see entire I hope that band directors will use routinely empty their horn of water brass sections running to empty their common sense approaches to teaching right on the oor in front of them. I’ve horns into a band-room sink (I wonder and stop trying to invent “new rules” never had a safety issue in 40 years with how many band directors out there even when we’ve had a perfectly good a whole brass section’s worth of water have a band-room sink available), or approach for years. Got Water? Empty on the oor and don’t know anyone worse, jumping up to empty water in it right now on the oor and let’s play! who has. There is absolutely nothing trash cans set up in strategic locations. —Tom GellerT, freelance hornist, worse than a student whose horn Please—this is silliness. This practice studio teacher, and retired music educator/ “gurgles and utters” when playing. would only interrupt the ow of a administrator, Northport, New York; The suggestion that players carry their rehearsal and surely would be uninten- tgellnysmn@aol.com own makeshift sponge inside a contain- tionally comical during a concert. er in their case is truly disgusting, as It may be interesting (and maybe WRITE TO US! kids will be incubating bacterial even shocking) to the author to know Send your thoughts to growth on that sponge in a closed/ that there is now a water key on the [email protected] or fax a letter to 888-275-6362. air-tight environment. How do I know market that allows for a continual Please include your full name, job title, this? To prove why it’s bad to eat or evacuation of accumulated water from a school name, and the city and state where you teach.

chew gum when playing, we actually brass instrument while the horn is being Melissa Nielsen. Photo by

6 Teaching Music OCTOBER 2018 Photo Credit: Rob Davidson

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NAMMFOUNDATION.ORG pro• lesFeaturing NAfME education professionals

HARLOW ALEXANDER By Lisa Ferber

Harlow Alexander at the NAfME Collegiate Advocacy Summit in Washington, D.C.

A Love of Music from the Very Beginning Harlow Alexander is this year’s Shannon Kelly Kane scholarship recipient.

FOR HARLOW ALEXANDER, music is well as in the university’s jazz band, wind down to what you’re passionate about. My definitely in her genes. The Pennsylvania ensemble, and wind symphony. Unlike her marching band had very long rehearsals, native, Marywood University senior, and dad, however, this music education major and I was so dedicated, and when I tried to this year’s Shannon Kelly Kane scholarship found her soul in classical music. She’s work as hard on art as I did on music, I recipient grew up attending concerts with currently enjoying works by the composer thought, ‘I can’t see myself trying to teach her father, Bret Alexander, a founding David Maslanka. “The colors he creates this.’” Alexander notes that, when she told member of the rock band The Badlees. with his works—I don’t think I’ve experi- her English teacher that she didn’t see “My love of music started from the enced it playing anything herself teaching art and beginning,” she said. “Going to gigs with my else. Listening to the other being happy, the teacher dad and traveling with him, and I’d help on people playing around me, responded, “You’ll know, and the road, and he’s teaching me to unwrap you’re just emotionally you’ll feel right.” Alexander wires. Seeing live music and just going with overwhelmed.” And Alexan- says, “I remember the exact him to other performances made me feel der knows a thing or two moment when I thought, ‘Oh, like I wanted to play music. When I was in about color: This NAfME my goodness, I need to go fourth grade, I thought, ‘I’m joining the member paints and draws, teach music.’” She was in a school band.’” and she had been on the path senior seminar for marching Alexander—who is currently president to teach art, but when she band and band camp was of the Pennsylvania Collegiate Music was in her senior year of high HARLOW ALEXANDER over and summer was over. Senior, Educators Association—plays in a sax school, she knew that this Marywood University, “And I thought, ‘This is the Scranton, Pennsylvania

quartet at her Scranton-based school, as wasn’t right for her. “It comes last year that I’m going to get ashleewilcoxphotography.com. Photography, Ashlee Wilcox Photos by

8 Teaching Music OCTOBER 2018 pro• les 2018 NAfME COLLEGIATE RECOGNITION AWARDS to do this.’ There was a poster for Blooms- school to college, I think it was the COLLEGIATE PROFESSIONAL burg University, and it said, ‘Come down atmosphere that got me into music ACHIEVEMENT AWARD RECIPIENTS for performing arts day,’ and there was a education. That atmosphere was created • Jenae Maley, University of Central lightbulb moment. I thought, ‘I could do at marching band. The team work and the Missouri, Warrensburg, Missouri this for a living.’” discipline and working toward one’s goals. • Lindsey Streeter, Western Michigan Alexander would like to work as a band Doing what you love with the people that University, Kalamazoo, Michigan director in a school district. “From high you love is an amazing thing.” • Harlow Alexander, Marywood University, Scranton, Pennsylvania CHAPTER OF EXCELLENCE AWARD “It comes down to what you’re passionate about.” RECIPIENTS Recruitment: University of Central Missouri, Warrensburg, Missouri Service: Lynchburg College, Lynchburg, Virginia Professional Development: Indiana University, Bloomington, Indiana Advocacy: University of Miami, Miami, Florida Music Program: Marywood University, Scranton, Pennsylvania SHANNON KELLY KANE SCHOLARSHIP RECIPIENT Left: NAfME President Kathleen D. Sanz presents Harlow Alexander the 2018 Shannon Kelly • Harlow Alexander, Marywood Kane scholarship award. Right: Harlow Alexander, Shannon Would, and Quinn Roberts (l to r) on NAfME Hill Day in Washington, D.C. University, Scranton, Pennsylvania

GUY C. WOOD By Lisa Ferber Over a Half-Century of Music Education A teacher in Louisiana looks back and continues to forge ahead.

NEW ORLEANS NATIVE Guy C. Wood is same year he started education has changed over starting his 51st year in music education. teaching. “My membership the years, including how The director of bands and fine arts number only has four technology affects the field. department head at Archbishop Shaw digits!” he remarks. He calls it both a blessing High School in Marrero, Louisiana, he Wood notes that his and a curse. On the plus joined NAfME (then MENC) in 1968, the grandfather and uncle both side: “Professional musicians Photo top left by Ashlee Wilcox Photography, ashleewilcoxphotography.com. Photo top right by Clarissa Clarissa Photo top right by ashleewilcoxphotography.com. Photography, Ashlee Wilcox Photo top left by Photography. Romaguera by Marc Stockhausen. Headshot (Wood) Budd. Photo bottom left by practiced music recreation- have put [up] videos of ally, and that he started themselves performing trumpet lessons in fourth All-State audition music, and grade because his friends students can find most of did. “They all quit very soon GUY C. WOOD the music we’re playing to Director of bands and fine after they started. I loved it, arts department head, play along with. It’s like Archbishop Shaw High and still do.” Inspiration School, Marrero, Louisiana having a private tutor 24/7.” came to him via his high His band even uses a drone school band director, Peter Dombourian, at marching rehearsals to ensure that the at the former Alcee Fortier High School forms are accurate. But he notes that the in New Orleans. “‘Prof’ looked like he was downside is that there are no shortcuts having as much fun as we were. I figured to improve one’s skills in playing. “You it was a pretty enjoyable way to make a still have to practice like you’ve had to for living.” the past 50 years. This is where today’s Wood’s longevity in the field provides kids have problems. They’re so used to him with perspective on how music instant gratification from video games

nafme.org 9 “This is still so much fun!”

their life. “If it’s not, you owe it to yourself and your students to find another occupation.” While there are many joys that come with music education, Wood says that what he loves most about being a band director is the look on the students’ faces when they know they’ve just made beautiful music. “I love a quote by Albert Einstein: ‘It is the supreme art of the teacher to awaken joy in creative expres- sion and knowledge.’ I love to see that joy in their eyes and know I helped put it there.” And he says that the joy keeps coming. “I recently started year 51 as a and computers that they expect to Wood recommends that new teachers Band Director. We were rehearsing the instantly perform like a professional. Not take a moment to decide if this is truly new music at band camp last week. I was as many kids want to pay their dues like their path. After the first year or so, he teaching the kids a difficult rhythmic those did years ago. It’s a shame, really, notes that they should get a sense of passage, they were getting it, and I thought because they’re missing so much.” whether this is what they want to do with to myself, ‘This is still so much fun!’”

DAVID BYRD By Lori Schwartz Reichl Making a School Whole Again David Byrd revived a long-gone high school music program in Oakland, California.

DAVID BYRD IS CAPTIVATED by schools music for years. In 1989, Byrd been able to uplift the close to his heart. He began his teaching Oakland had budget entire school? “I’m a hardcore career in California in 2002. “I got a problems, fired every music recruiter” he says. “I show up teaching placement at a really nice school teacher, and threw away the at as many of the five middle with a full band program, but I heard anoth- marching uniforms.” Many school’s concerts as I can and er high school in my hometown needed a middle-class families left the show students the medium teacher, so I went there.” After building district or fled to private G.P.A. of my orchestra that school’s program, Byrd was excited schools, and low-income members.” He wants his when Oakland Senior High School required families couldn’t afford school to be the highest a music teacher. “I went there because the instruments. The school was quality, not just for his DAVID BYRD school was closer to my home, and my two struggling academically, with Director of instrumental children and musicians, but children and I could walk to school.” lower than average test Music ,Oakland Senior for all students. High School, Oakland, However, he notes, “I was shocked. The scores and graduation rates. California “Making the school whole school wasn’t whole. There hadn’t been For years, the music room again is having a whole arts was used as a holding pen for tardy sweeps program” Byrd says. “A comprehensive “A comprehensive rather than a musical learning space. high school is not truly comprehensive high school is not Decades later, the program has been a unless it has all of the infrastructure, rebuilding challenge for the whole school. opportunities, and collaboration.” The truly comprehensive Thanks to Byrd’s efforts over the past school has a dance program and, as of this unless it has all of six years, there is now an orchestra with year, a drama program. The fine arts the infrastructure, over 50 members and a jazz band. “This department is excited to collaborate on the year, for the first time in the history of musical, Grease, with a student cast, crew, opportunities, and Oakland Senior High, we will have full and orchestra. “As a parent, it’s nice to have

collaboration.” instrumentation for a jazz band!” How has all offerings for students,” says Byrd. “I Byrd. Marc Stockhausen. Photo bottom courtesy of David Photo top by

10 Teaching Music OCTOBER 2018 know my kid is not going to dance, but I want that option to be there.” As Byrd continues to revive music with his passion and persistence, students are performing at a high caliber and earning recognition. While the quantity of musicians is rising, the quality of instru- ment storage is concerning. There are no instrument lockers nor is there proper storage for large string instruments. Nevertheless, Byrd has inspired the community to support arts—for instance, a GoFundMe account has been established to raise necessary funds. “We are an underfunded district, and it is super- expensive to live in California,” remarks Byrd. “We are the lowest paid teachers and a strike is near. I want teachers to get a livable wage, students to have certified music teachers, and schools to be whole.”

IN MEMORY OF WILL SCHMID, on his legacy with that same Something New to Sing About passion and commitment.” (Glencoe/G. Schirmer), as NAfME PAST PRESIDENT A prolific writer, Schmid well as a program author WILLIAM ROGER SCHMID, a World Music Drumming, was the author of over 100 for Pearson Education’s NAfME Past President worldmusicdrumming.org, books, folios, CDs, and DVDs Silver Burdett Making Music (1994–1996) and 2002 Lowell whose site notes that “after a in the areas of drumming, series (2008). Schmid Mason Fellow, passed away two-year $140,000 national guitar, banjo, strings, and presented numerous peacefully in Milwaukee, pilot project in 20 schools choral music for Hal Leonard workshops throughout the Wisconsin, on July 1, 2018. nationwide, Schmid launched and other publishers. These United States, as well as He held a B.A. from Luther the World Music Drumming include New Ensembles and Canada, Europe, Japan, College in Decorah, Iowa, and curriculum (included in Songs, More New Ensembles and elsewhere. a Ph.D. from the Eastman Drumming Units of Making and Songs, Peanut Butter Jam, His accolades include the School of Music at the Music grades 6–8) which BeatBox, Global Grooves, and Weston H. Noble Award at University of Rochester in brings the excitement of compositions and arrange- Luther College, the DeLucia New York. African and Latin drumming ments in the World Music Prize for Innovation in Music As a teacher in public and singing to schools Drumming Choral Series. He Education by the Mockingbird schools, Schmid’s subjects throughout the United was the principal author/ Foundation (inaugural included general music, States. This curriculum is now editor of an eight-volume winner), the Distinguished choral music, and band. in over 20,000 schools high school choral textbook, Service Award from the Additionally, he taught at worldwide.” According to an Music Industry Conference, Winona State University in online tribute on remo.com and the Distinguished Winona, Minnesota, the by Remo, Inc., a company with Alumnus Award from the University of Kansas in which he had a relationship Eastman School of Music Lawrence, and the University for over 20 years, “His accom- He is survived by his sons, of Wisconsin–Milwaukee. A plishments are many, but Schuyler and Thacher, two longtime music professor and perhaps his most lasting grandchildren, and many chair at UWM, he retired 17 impact is on the tens of friends. He was preceded in years ago. thousands of students who death by his son Kyle, and his A passionate advocate for have taken part in one of his wife Ann Schmid, who passed music and music education, many programs, and the away just 44 days earlier in Schmid was the Director of trainers and teachers that carry May 2018. Photo top courtesy of David Byrd. Photo bottom courtesy of the National Association for Music Education. Photo top courtesy of David

nafme.org 11 Learning Music Theory & Loving It... Imagine that! As a new teacher, and new to W.F. George Middle School, choir director Hannah Espinoza was given a challenge to grow the music program and have them competing at UIL (University Interscholastic League). Hannah needed a way to get her younger students up Hannah uses Breezin’ Thru Theory across all grades, to speed in one short year. The students entering the and takes full advantage of all the fun activities and sixth grade had absolutely no music background, friendly competition, like the dashboard tracking but by seventh grade they were expected to enter of Student of the Month. “I reward the student with UIL musical competitions. a Sonic drink – and they get to drink it in class!” Hannah laughs. It’s Thumbs Up to Music Theory, Enter Breezin’ Thru! Hannah liked that the program was online and could be accessed through the students’ Hannah says, “This is the second year we’ve been Chromebooks — and any other device for that matter! using Breezin’ Thru Theory and my kids are so much the Next Gen way! better at sight reading and understanding musical Breezin’ Thru puts accountability in the kids’ hands. concepts. Even at competitions their scores are Every Monday is “Music Theory Monday.” Hannah improving. Last year my students were Level 4 in sight walks them through the lesson and answers any reading, we’ve already increased to Level 3 this year, questions the students may have, and then the kids and by next year we expect to be at Level 2.” are off and running with their drills, which need to be completed at the end of the week. And, it’s incredible what Hannah has achieved so quickly. The Grade 6-7-8 music program has grown “Their goal is to get 100%,” she notes. “They can from 50 students two years ago to 200 kids today. do their drills on their own (at school or home), and practice until they get it right. And I can build on the Well done, Hannah! At Breezin’ Thru we’re so proud All New, lesson throughout the week.” of all of the amazing music teachers that help their students reach new musical heights! Next Gen edition! Any device, anywhere, & totally cool! Gr. 4-12. “I love Breezin’ Thru Theory Next Gen! Other kids are seeing how fun learning music theory can be and they want to be a part of it. I even had a band student come up to me asking how he could do it too! Things are everything I hoped and dreamed they would be! The program has helped tremendously.” Subscribe Now! BreezinThruTheory.com, 855-265-3805 (toll free), — Hannah Espinoza, Choir Director or [email protected] Learning Music Theory & Loving It... Imagine that! As a new teacher, and new to W.F. George Middle School, choir director Hannah Espinoza was given a challenge to grow the music program and have them competing at UIL (University Interscholastic League). Hannah needed a way to get her younger students up Hannah uses Breezin’ Thru Theory across all grades, to speed in one short year. The students entering the and takes full advantage of all the fun activities and sixth grade had absolutely no music background, friendly competition, like the dashboard tracking but by seventh grade they were expected to enter of Student of the Month. “I reward the student with UIL musical competitions. a Sonic drink – and they get to drink it in class!” Hannah laughs. It’s Thumbs Up to Music Theory, Enter Breezin’ Thru! Hannah liked that the program was online and could be accessed through the students’ Hannah says, “This is the second year we’ve been Chromebooks — and any other device for that matter! using Breezin’ Thru Theory and my kids are so much the Next Gen way! better at sight reading and understanding musical Breezin’ Thru puts accountability in the kids’ hands. concepts. Even at competitions their scores are Every Monday is “Music Theory Monday.” Hannah improving. Last year my students were Level 4 in sight walks them through the lesson and answers any reading, we’ve already increased to Level 3 this year, questions the students may have, and then the kids and by next year we expect to be at Level 2.” are off and running with their drills, which need to be completed at the end of the week. And, it’s incredible what Hannah has achieved so quickly. The Grade 6-7-8 music program has grown “Their goal is to get 100%,” she notes. “They can from 50 students two years ago to 200 kids today. do their drills on their own (at school or home), and practice until they get it right. And I can build on the Well done, Hannah! At Breezin’ Thru we’re so proud All New, lesson throughout the week.” of all of the amazing music teachers that help their students reach new musical heights! Next Gen edition! Any device, anywhere, & totally cool! Gr. 4-12. “I love Breezin’ Thru Theory Next Gen! Other kids are seeing how fun learning music theory can be and they want to be a part of it. I even had a band student come up to me asking how he could do it too! Things are everything I hoped and dreamed they would be! The program has helped tremendously.” Subscribe Now! BreezinThruTheory.com, 855-265-3805 (toll free), — Hannah Espinoza, Choir Director or [email protected] Music In Our Schools Month ✢ BY LISA FERBER

“We want to invite the community members to watching children grow— see the work unpolished.” —Bridget James In October, watching change and growth the teachers is invigorating” The Council found that begin planting MIOSM wasn’t being fully the seeds of realized due to spring holidays, learning that concert assessments, and will bloom standardized testing, so it in March. hopes that the new format will —ROB LYDA get the community involved in appreciating the learning process. Lyda says, “MIOSM should be an opportunity to make learning visible.” The Council would like to show

Visible Learning® The new format for MIOSM includes school board members, parents, a focus on the learning process. and the larger community that music education is part of a THIS YEAR’S FORMAT for Music their metacognitive, cognitive, well-rounded education. “Yes, In Our Schools Month® and kinesthetic skills. “They music provides entertainment, (MIOSM®) o ers teachers an bounce a ball to a beat, but there are many other opportunity to show music as bouncing it on the strong beat bene ts,” remarks Lyda. an academically valuable and catching it on the weak James notes that the subject. Previously only a beat.” She explains that as Council would like to hear March event, it now has an students listen to the music and from members of the music October component. MIOSM demonstrate how they analyze education community, and festivities can involve perfor- it through an activity, commu- encourages general music mances, informances, and nity members can be invited to teachers to join Amplify, having students re ect on their join in the learning process. which is the NAfME online 2019 musical learning experiences. Rob Lyda, Chair of the community platform for music MIOSM IS Bridget James, Immediate NAfME Council for General teachers to exchange ideas ALLINCLUSIVE Past Chair of the NAfME Music Education, was the team speci c to our academic “All Music. All People.” is the theme for next Council for General Music leader for the lesson launching content area. “We want to year’s Music In Our Schools Month Education, says, “We want to point committee for the new serve our members. We want (MIOSM). In an age invite the community members format. He says, “In October, to stoke the  re.” when so many people and groups fi nd to see the work unpolished. To the teachers begin planting the This year, the Council will themselves at odds with others, the value see the process of learning that seeds of learning that will focus on creating lesson-plan of music is something students go through. These bloom in March, and March launching points for multiple on which most of us can agree. And music ‘a-ha’ moments. To see the will always be the o cial grades. Lyda says, “We provide unites us regardless of our origins, back- social and emotional moments. Music In Our Schools Month.” the lesson plan launching grounds, or aspira- How music can connect people Lyda notes that the Council points to meet speci c tions. Your school can be in unique ways.” wants “people to see the standards. Each launching part of the MIOSM James says that informances, lifespan of teaching and point has an objective and celebration, which has taken place since 1985 where community members learning, not just the perfor- assessment ideas, but the and highlights music and music programs in witness learning in action, can mance. There is great satisfac- teaching procedures are  uid all schools and encourage a deeper under- tion in watching something enough for teachers to adapt to communities. For more information,

standing of how students use grow—plants, building houses, their individual situations.” visit nafme.org/MIOSM. istock.com/bowdenimages. Photo by

14 Teaching Music OCTOBER 2018 PerfectedPerfectedPerfected inin thethethe schoolschoolschool ofofof hard hardhard knocks. knocks.knocks. Since 1993, we’ve been designing music folders to stand up to the SinceSince 1993, 1993, we’ve we’ve beenbeen designingdesigning music foldersfolders to to stand stand up up to to the the toughest challenges. So today they come with features like heavy- toughesttoughest challenges. challenges. SoSo todaytoday they come withwith featuresfeatures like like heavy- heavy- duty stitching, durable leatherette surfaces and solid metal corner dutyduty stitching, stitching, durable durable leatheretteleatherette surfaces andand solidsolid metal metal corner corner protectors – in your choice of choir, band or director’s, confi gured protectorsprotectors – – in in your your choicechoice of choir, band oror director’s,director’s, confi confi gured gured with options like cords, rings and foil-stamped imprinting. Order withwith options options like like cords,cords, ringsrings and foil-stamped imprinting.imprinting. Order Order now and enjoy free shipping until June 30 with the coupon code nownow and and enjoy enjoy free free shippingshipping until June 3030 withwith thethe coupon coupon code code below. After all, when it comes to folders, we’re best in class. below.below. After After all, all, when when itit comescomes to folders, we’rewe’re bestbest in in class. class. Quote coupon code MF255TM for FREE SHIPPING until June 30th! QuoteQuote coupon code MF255TMMF255TM for for FREE FREE SHIPPING SHIPPING until until June June 30th! 30th! Toll-free: 1.877.246.7253 • Telephone & Fax: +1 604.733.3995 Toll-free:Toll-free: 1.877.246.7253 • • Telephone Telephone & & Fax: Fax: +1 +1 604.733.3995 604.733.3995

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Each year, leaders from state music education associations (MEAs) visit elected officials on Capitol Hill to advocate for music education.

Caption

Information for Informed Choices The upcoming NAfME Civic Action Field Guide can help members to become stronger advocates for music education.

TEACHER ACTIONS this past support are needed on both knowing what question to We are not going spring in Oklahoma, West the state and local levels where ask, and to whom we should to tell you who Virginia, and Arizona are much of the policy and direct said question, is the to vote for or evidence that teachers and budgetary decisions are made most valuable tool any voter what to vote for, communities are becoming as well. “Finding information can have.” but we are going more engaged in their educa- about local candidates and/or That’s why, this fall, before to help you find tion systems. Of course, music educational issues can be voters go to the polls, NAfME good information. educators have long been dicult,” states Andi Hasley, will make a Civic Action Field —Lynn Tuttle active in supporting and president of the West Virginia Guide accessible to its mem- defending music programs— Music Educators Association. bers and music advocates to and have been growing more “As the majority of education- help them make informed e ective in this area—but the related decisions occur at the decisions before casting their most recent challenges have local level, it is important for votes. Lynn Tuttle, the 2018 involved defensive action for music educators to have the NAfME Director of Public MIDTERM public education as a whole. resources to make informed Policy, Research, & Profes- ELECTIONS Better understanding and choices. Oftentimes, just sional Development, says this WEBINAR Civic Action Field Guide will Join us for our fall advocacy webinar on make certain that NAfME Wednesday, October members and music education 10th, at 7:00 p.m. EDT. We will focus on the advocates know how to upcoming 2018 Midterm Elections, participate in the decision- and review the Civic making process that happens Action Field Guide for Music Education. at the state and local levels in Visit bit.ly/NAfME support of high-quality music AdvocacyWebinars to register. Receive free education. Mid-September is professional develop- ment recognition Collegiate NAfME members and leaders from the the target date for the rst Maryland MEA with NAfME President Kathleen D. valued at one contact Sanz and Executive Director/CEO Mike Blakeslee in guide, which will then be hour after viewing the the office of Senator Chris Van Hollen webinar and taking a

(continued on p. 18) brief online quiz. Photography. Ashlee Wilcox Photos by

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® (continued from p. 16) updated in the winter, Tuttle says. Questions to be answered in the guide will be things such as: Where do I nd out information on how schools are funded? How do I register to vote, and where is my polling location? How do I know who is running for state and local oces? How do I know who I get to vote for—how do I nd out my Hawaii MEA President-Elect Janice Okimoto and NAfME Western Division President legislative and school districts? How do Samuel Tsugawa meet with a member of Representative Tulsi Gabbard’s staff. I ask information of candidates? How do I reach candidates if I want to ask “I have been working in the arts encourage teachers to be active, but questions? What are some of the education eld for quarter of a century discourage teachers’ use of social media questions I might want to ask a and I have never seen this level of to broadcast their civic action. “Don’t candidate for public oce? How do I teacher activism—not only teachers but broadcast positions or activities that go into the polls as an informed voter/ other advocates supporting public could be construed as dierent than educator? education and wanting it to be what the ocial district is saying. You “We are not going to tell you who well-funded. That’s all for the good, need to gure out how to navigate that. to vote for or what to vote for, but we but where do we take it from here?” There is no reason to create an adver- are going to help you nd good Educators need to know how their sarial relationship because that is not information,” Tuttle says. local school system operates, and how going to help.” While NAfME has always shared the policies that state and school board Does the thought of a Civic information with local advocates, they members are making are impacting Guide make you apprehensive? Tuttle are trying to think long term. Often their classroom. “We emphasize that, as says not to worry, as it will be read- with local advocacy, information is a citizen and an educator, you have a able and digestible. “We are working shared about who is in state govern- right to engage in those conversations,” with our communications team to ment and how things are set up, but Tuttle explains. create discrete, digestible bites of infor- “we have to get people to vote. We In the guide, NAfME will urge mation. And we’ll keep it brief—this have to get people in oce who support educators to be aware of how their should be accomplished with 10–15 public education. We need to know district views engagement. As pages.” A webinar is also planned for who our politicians are and how to important as it is to be engaged as October 10 which will walk members engage with them over time. We need an advocate, you also need to be through the guide and answer ques- to understand how to participate in the respectful. Tuttle oers an example: tions in preparation for the 2018 long term in the process.” Tuttle says. Some districts, for example, may Midterm Elections.

New York State School Music Association leaders with collegiate NAfME members and NAfME President-Elect Mackie Spradley in the office of Senator Chuck Schumer; NAfME Assistant Director of Public Policy Ronny Lau is at far right. Photos by Ashlee Wilcox Photography. Ashlee Wilcox Photos by

18 Teaching Music OCTOBER 2018 DISTANCE LEARNING CHRISTIANNE ORTO, DEAN MSMNYC.EDU

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For more information, contact [email protected] | MSMNYC.EDU/distance-learning ✢ Research BY SUSAN POLINIAK A huge part of voice change is psychological and emotional.

physiological change com- pletely out of their control.” HOW CAN Sweet’s other ndings were CHORAL not necessarily positive for the DIRECTORS choral profession. “As a result SUPPORT THEIR FEMALE of physiological changes during their voice change, SINGERS? “I encourage choral some of them were unable to teachers to think of all of “Our female their students and voices should sing high or sing low and, proceed similarly with be nurtured, instead of working through female changing voices encouraged, as with male. Probably and fostered.” those issues, they were most important is —Bridget Sweet including and acknowl- assigned to (and generally only edging females in sang) the voice parts most discussions on voice change as much as accessible to them at that time. males,” recommends Facing the Changes In addition, the women did Sweet. “Acknowledg- How can voice change affect female ment that females can not speak up if singing was experience a voice adolescents’ views on choral singing? change, and all that di cult or physically painful, encompasses, will ARE CHORAL DIRECTORS aware needs are being met?’” for 1) they did not want to go validate voice change experiences and vocal of—and sensitive to—voice To explore this further, against the choir teacher, as diffi culties that females go through … Second, change in their adolescent Sweet conducted a study of they trusted that person who the advocacy part should female singers? And can a lack two university women’s choirs knew what was best for them; be something for all students in choir, not just of awareness or sensitivity to “to identify women who 2) they did not want to hurt the female singers. If something hurts, kids this cause negative emotions in experienced many changes in the larger choir.” This sense of should feel comfortable these students towards singing their voice during adolescence self-sacri ce led to singers “not speaking up; if they want to try something new, that last for years? and into present day,” she says. fully developing their voices as they should feel comfortable asking to do Bridget Sweet, associate “I don’t think that everyone changing voice singers, which so. Third, large numbers professor of music education at realized that they were led them to believing they of female choristers cannot be taken for the University of Illinois experiencing symptoms of could only sing high or low … granted. Our female voices should be at Urbana-Champaign, has voice change, but they knew which led to feelings of fear or nurtured, encouraged, addressed the subject of that something had been anxiety or feelings of inade- and fostered in as many ways as possible, which adolescent female voice happening with their voices … quacy as adults with regard to includes singing across change before. During her Everyone with whom I spoke singing anything outside of all ranges and experienc- ing different vocal parts rst study, “The Adolescent had stories to tell and the their comfort zone.” all the time across a school year. Female Changing Voice: majority recognized in This is, clearly, a situation I believe that A Phenomenological Investi- hindsight that they had that choral directors should classifi cation systems can be a helpful tool when gation,” ( Journal of Research experienced some sort of voice be prepared to address. “A working with changing voices, but students in Music Education, April 2015), change.” She con rmed the huge part of voice change is should not be assigned a she notes that she “ran across a physical and emotional psychological and emotional,” voice part during voice change. I advocate for, comment in a research article challenges that female singers notes Sweet, “and if we aren’t ‘You are singing alto on this song’ or ‘You are that stated that the low face due to voice change. helping students to feel good singing soprano on this number of males in choral Sweet documented “how hard about themselves in all ways, song’ rather than ‘You are an alto’ or ‘You are a music programs indicated they were (and continue to be) they won’t hang around soprano.’ Locking into a voice-part identity that males’ needs were not on themselves and how they in choir waiting until the before physiological being met. It caused me berate and blame themselves physiological stu is settled; growth is complete can result in female to think, ‘Well, just because for not being able to do they will just choose another adolescents experiencing psychological and we have lots of females in something speci c with their class to take where they will emotional limitations as musicians and singers.” choir, does that mean their voice—even if it is a result of a feel better about themselves.” Change and Singing Experiences of Adolescent Females,” Photo courtesy of Bridget Sweet. Source: “Voice 66, Issue 2, pgs. 133–149 (See doi.org/10.1177/0022429418763790 ). in Music Education , July 2018, Volume Journal of Research

20 Teaching Music OCTOBER 2018 AMPLIFY: 20182018 NOVEMBERNOVEMBER 11-14,11-14, 20182018

You can receive 20 hours ofof #NAfME2018#NAfME2018 professional development forfor attending an Opus at the National Conference and/or 10 hours of professional development for attending one of the three for attending one of the three ComeCome joinjoin usus onceonce againagain inin DallasDallas asas wewe divedive deeplydeeply intointo whatwhat we we two-day Forums. dodo asas musicmusic educatorseducators toto supportsupport ourour studentsstudents each each and and every every day. day. • EMERGING LEADERS FORUM: ThisThis PresentersPresenters ofof thethe followingfollowing topictopic areas,areas, oror “Opuses,”“Opuses,” willwill helphelp youyou forum seeks to unite individuals forum seeks to unite individuals shareshare youryour ownown practice,practice, collaboratecollaborate withwith colleaguescolleagues fromfrom acrossacross interested inin takingtaking thethe stepstep toto the nation, and expand upon your toolkit of supports, ideas, models, serve as a leader within NAfME the nation, and expand upon your toolkit of supports, ideas, models, serve as a leader within NAfME and activities. and its affiliate music education and activities. association structure. Young professionals, teachers returning AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject to the field, and establishedestablished AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject teachers will all walk away feelingfeeling HowHow dodo wewe movemove beyondbeyond thethe podiumpodium andand include include our our students students as as empowered to join the ranks ofof activeactive music-makersmusic-makers andand leadersleaders inin ourour ensemblesensembles as as promised promised in in those who came beforebefore andand thosethose ourour 20142014 MusicMusic Standards?Standards? currently working to ensure aa brightbright future in music education. future in music education. AMPLIFY:AMPLIFY: INNOVATIONINNOVATION -- CultivatingCultivating Innovative Innovative Music-Making Music-Making How do we successfully embrace a variety of musical experiences • COLLEGIATE FORUM: CollegiateCollegiate How do we successfully embrace a variety of musical experiences members will learn what it takestakes withwith thisthis generationgeneration ofof students?students? to be a successful musicmusic educator,educator, beyond sound pedagogy and AMPLIFY:AMPLIFY: INVOLVEMENTINVOLVEMENT -- EngagingEngaging Diversity Diversity in in Music-Making Music-Making good music-making. Participants andand TeachingTeaching will not only share and learn fromfrom HowHow dodo wewe createcreate aa fullyfully inclusiveinclusive classroomclassroom for for all all learners learners and and and with their peers, but also and with their peers, but also allall students,students, regardlessregardless ofof background,background, learninglearning style, style, or or level level of of meet and network with district musicalmusical experience?experience? arts coordinators and music program leaders from across thethe United States. AMPLIFY:AMPLIFY: INSPIRATIONINSPIRATION -- InspiringInspiring StudentsStudents through through Music Music CreativityCreativity • MUSIC PROGRAM LEADERS HowHow dodo wewe provideprovide forfor thethe creationcreation andand improvisationimprovisation of of music music FORUM: This forum will provide throughoutthroughout thethe curriculumcurriculum –– whetherwhether anan ensemble,ensemble, general general relevant professional developmentdevelopment music,music, oror musicmusic appreciationappreciation class?class? for music program leadersleaders andand district arts coordinators working AMPLIFY:AMPLIFY: TECHNOLOGYTECHNOLOGY -- TeachingTeaching thethe Tech-Savvy Tech-Savvy Generation Generation in the K-12 schoolschool setting,setting, aimedaimed at establishing and growing HowHow dodo wewe integrateintegrate technologytechnology inin aa meaningfulmeaningful way way networks of collegial support thatthat engagesengages studentsstudents andand providesprovides newnew opportunitiesopportunities for those in the profession.profession. ThisThis thatthat werewere nevernever beforebefore possible?possible? PresentedPresented by by forum is geared forfor thosethose inin TI-ME,TI-ME, TechnologyTechnology forfor MusicMusic Educators.Educators. administrative roles, built with insights and modelsmodels fromfrom youryour nationalconference.nafme.orgnationalconference.nafme.org colleagues – music program 800-336-3768800-336-3768 leaders across thethe nation.nation. [email protected]@nafme.org Technology ✢ BY PETER J. PERRY “Alternative Techniques for Teaching Middle School Band” is one of NAfME’s most viewed webinars.

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THIS YEAR, NAfME is privileged music lies in the teacher-student to have some wonderful, technology- relationship. Yet most of the time the based sponsors supporting music student practices alone at home. education at this year’s National Tonara’s ability to hear and react to the Conference. Online, on-demand, music played, together with cutting- interactive musical content is becoming edge communications tools, ensures the more common in the music classroom student is no longer alone, even (and in education in general), and t in-between lessons. With Tonara, hese companies provide great products practice becomes addictive and student for music teachers to use with practice time increases immensely” their students. Moreover, each of Golan looks forward to Tonara’s these sponsors will be engaging with participation in this year’s Conference. educators at this year’s NAfME “We hope that the 2018 NAfME engage music educators at the National Conference. Conference will allow us to introduce Conference and introduce them to the music teachers to our technological benets that eNovativePiano can bring Tonara (tonara.com) is a practice platform solutions, get their feedback, and come to their teaching. You can learn more for mobile devices; the app is equally up with ways to make music and about eNovativePiano at their Confer- usable on di erent platforms (iOS and technology benet from each other.” ence session or by visiting their booth Android; smartphones and tablets). to receive complimentary access. Tonara takes traditional teaching— eNovativePiano (enovativepiano.com) is a access to a real music teacher—and multimedia online curriculum for Musician’s Toolkit (musicianstoolkit.com) is blends it with technology. Teachers can group piano instruction. Authored by an online music education website create goal-oriented assignments, give Chan Kiat Lim and Susanna Garcia, its designed to supplement the e orts of rewards, manage student information, over 500 lessons cover the beginning music educators, music-learners, and and utilize di erent aids to create a through late-intermediate levels of music-makers of all types. It contains fun and ecient teaching and piano study using multimedia—audio, video courses, taught by nationally learning environment. With Tonara’s video, and animations—as well as recognized teachers and industry technology—which listens, understands, printables to keep students engaged. professionals. Musician’s Toolkit courses and reacts to the music played—stu- Among its resources are a curriculum cover all aspects of music education dents receive instant feedback either customization tool and course- including instrument maintenance and from the system or from their teachers management system that can help fundamentals, vocal fundamentals, every time they play. Tonara has also teachers plan their curriculum and music theory, songwriting and compo- partnered with leading publishers manage multiple levels within a sition, music business, recording, and (including Disney, Sony, Universal, classroom. This is eNovativePiano’s composition. B.J. Bedont, vice presi- Alfred, and Schott) to o er a wide rst time participating at a NAfME dent of marketing, says that Musician’s variety of popular content for purchase Conference. “In the past two years, Toolkit will “aid anybody on that path to use with the app. Ohad Golan, CEO we have seen an increased interest from to musical discovery.” He believes it of Tonara states, “We at Tonara K–12 teachers and we branched out can help “remove pain points for

strongly believe that the key to learning to reach this audience.” Lim looks to teachers,” such as knowledge about Jackie Jordan. Photo by

22 Teaching Music OCTOBER 2018 Prodigies music Lessons (preschoolprodigies. com) is a colorful music curriculum that combines videos, books, and bells. Host and creator Mr. Rob describes it as “Net ix for music lessons.” Prodigies combines 300 videos with workbooks and a mobile app to teach theory and performance to children ages 2–12. In the music classroom, the videos can be used with Or instruments, Curwen hand signs, boomwhackers, bells, recorders, and percussion. Teachers can choose from six dierent series (Playtime, Preschool, Primary, Holiday, Melodies, and Recorder) to guide their instruction. Parents and students can even practice the videos at home in the app, giving teachers the opportunity to focus on performance and more advanced concepts in the classroom. secondary instruments, as well as up an option where students can record The Prodigies Team is excited about increase student knowledge and practice sessions as part of the practice their rst NAfME Conference. engagement.” One stand-out log. NAfME members are on Musi- “It’s our breakout year, and we’re component is the internal Learning cian’s Toolkit’s advisory board, and the looking forward to connecting, Management System. It connects to company will be actively participating building excitement, and hosting pre-assessments, and a teacher can set in this year’s Conference. some curriculum giveaways.”

TECHNOLOGY WEBINARS INCLUDED IN NAfME ACADEMY “ALTERNATIVE disciplinary, student-driven “TECHNOLOGY IN THE facilitate similar partnerships TECHNIQUES FOR TEACHING projects. Learn how to create ELEMENTARY GENERAL and projects. Participants MIDDLE SCHOOL BAND” fun and innovative short films MUSIC SETTING” share processes and expecta- By Todd Mahaffey for all ages using green-screen By Catherine Dwinal tions based on their expe- Some specific teaching strat- technology, music composi- Learn about available music riences and outcomes. this egies will be shared that are tion, and student writing proj- technology resources for use type of partnering can expand proven effective for middle ects. the software used in this in the elementary general your access to teaching and school band. Additionally, session will include Windows music classroom. Discover learning resources to pro- technology resources will be movie maker, Songwriter Pad, how to integrate iPads, net- mote greater development of discussed that aid in the imple- Procreate, and garageBand. books, websites, and apps into creativity among students. mentation of these strategies. your lessons and how social See a demonstration of how Discussion includes but is not “NO EXPERIENCE media can be used to create physical distances are min- be limited to non-traditional NeCeSSAry: homemADe your own Personal Learning imized and collaboration is seating charts, strategies for ELECTRIC INSTRUMENTS Network. maximized. developing well-rounded IN GENERAL MUSIC percussionists, using drones to CLASSROOM” “r.A.m.P UP! remote in addition to receiving help with playing in tune, and By Ryan Bledsoe ACCESS MUSIC access to the webinars incorporating chamber music Using technology is an im- PARTNERSHIP” listed above, a one-year into your curriculum. portant experience for our By Deb Confredo NAfme Academy subscription students, but it can be costly this webinar focuses on ($20/year for NAfme “LightS, CAmerA, CreAte: and intimidating. explore distance school–university members, $100/year for USING TECHNOLOGY FOR various simple, homemade partnerships that couple nonmembers) grants you INNOVATIVE CROSS- electronic devices that allow composition creativity of access to dozens of other CURRICULAR PROJECTS” students to explore electronic elementary and secondary presentations on various By Rochelle Wagner sound without the expense of school students, preservice music teaching topics. Please Participants will learn through computers or software. Learn and in-service teachers, and visit bit.ly/NAfMEAcademy a hands-on approach how how to build the devices, and university instructors in to learn more, or email to use accessible classroom see how they can and have collaboration through tech- [email protected] technology to create multi- been used in the classroom. nology. Learn to efficiently with any questions.

nafme.org 23 Discoveries ✢ BY LISA FERB ER

NAfMEA Report Academy hasfrom greatly helpedthe theField Atlanta Public Schools—and it can help you, too!

NAfME ACADEMY is providing music educators in the district. The webinars educators with a variety of helpful run between 45 and 60 minutes, classroom tools. The platform, launched and afterward, music educators can in November 2016, gives teachers complete a quiz in order to receive access to a variety of webinar o erings a certicate worth one contact hour such as “Fixing the Front Row: Trouble- of professional development. shooting Your Flute Section,” “The JJ Norman, NAfME Professional Art of Questioning,” and “Listening Development and Collegiate Program Fun with Scarves and Tennis Balls,” Manager, says that the response has Womack brushes up on her guitar to name just a few. been overwhelmingly positive because skills at Sutton Middle School in A one-year subscription costs $20 participants love having access to Atlanta, Georgia. for NAfME members and $100 for professional development that is nonmembers. Additionally, a district applicable to their particular classrooms. could watch three hours of NAfME arts coordinator would pay only $20 “So many people have reported to me content and have something useful.” per participant, regardless of their that they’ve gone to their principal Norman further remarks that the music member status, when purchasing requesting that rather than going to a education eld has been very receptive subscriptions for all of the music schoolwide professional session; they and glad to have a resource that is approachable, reasonably priced, and Womack works with kindergarten students at provides content that people can access Burgess-Peterson Elementary School in Atlanta, Georgia. on their own time. So far, approximately 20 districts of varying sizes have seized the oppor- tunity to increase their music educators’ learning experiences. Norman reports that New York City’s Department of Education purchased 450 subscriptions last fall, and Atlanta Public Schools purchased 100. One of these happy campers in Atlanta, Georgia, is Sara T. Womack, the ne and performing arts coordina- tor for Atlanta Public Schools and NAfME Southern Division Immediate Past President. Womack’s district started using the Academy in 2017. She

says, “It was an extremely reasonable (3). Battersby Brooke Photos by

24 Teaching Music OCTOBER 2018 “As soon as we come up on a barrier, I begin working immediately to tear that down.” —JJ NORMAN

THE MOST POPULAR NAfME WEBINARS TO DATE • “Essential Time Management Strategies for Teachers” by Emily Schwartz • “Fostering Independent Musicians in the Choral Classroom” by Karla McClain • “Instrument Repair” by Bob Frushour • “OMG Strings! Tips and Tools for the Non-Strings Playing Teacher” by Kate McFadden • “Set Up for Success: Keys to a Well-Run Classroom” by Jenny Nichols • “Teaching Lessons to Special Learners” by Brian Wagner • “The 7 Business Skills Every Music Teacher Needs to Create and Grow a Thriving Music Program” by Elisa Jones price for the amount of learning that instrument before. Womack says, “She • “Top Ten Tips to Energize Your teachers receive. For $20, a teacher watched a webinar on teaching strings Rehearsal” by Angela Ammerman could go on the Academy and say, for teachers who don’t play strings and ‘This is what I need to work on to learned how teaching orchestras is monthly basis, completed proposals impact my classroom,’ and they could dierent than bands. She was able to are sent to the NAfME Professional nd what is speci c to their needs.” get some tips on how to start as an Development Committee for review. Womack said that to provide profes- orchestra director. Now, she teaches Over time, we have experienced about sional learning for all 100 music both band and orchestra!” a 50 percent acceptance rate.” Norman teachers can be daunting, and the Womack states that the webinars are further notes that NAfME Academy Academy makes things signi cantly engaging, relevant, and showcase the started with 50 courses, but it currently easier. For example, she relates the best and brightest in music education. has around 85, and he expects that story of a band director whose new She says that the teachers have come number to rise to about 100 for the assignment was to teach orchestra as together to discuss what they have platform’s second anniversary in well. This particular teacher had never viewed. “We have asked them if they November. taught orchestra or even played a string nd it valuable, and they have said, Norman remarks that the organiza- ‘Absolutely, yes,’ and they want to make tion seeks to add more classes over time “We have asked sure they have access again next year,” and to make usage as easy as possible. them if they find notes Womack. “As soon as we come up on a barrier, it valuable, and In terms of content development, I begin working immediately to tear they have said, Norman reports that there has been a that down.” ‘Absolutely, yes,’ great deal of it, with educators saying, You can explore NAfME Academy’s and they want to “We need this” and “We are lacking oerings at bit.ly/NAfMEAcademy and make sure they have access again this resource.” He says, “There is an submit any questions you may have to

Headshot (Norman) by Mark Finkenstaedt/mfpix.com. Headshot (Norman) by evergreen call for proposals. On a [email protected]. next year.” —SARA T. WOMACK

nafme.org 25 Lectern ✢ BY STACY DZIUK

We Are What We Wear Inclusion and Diversity in Concert Attire Does your concert dress code welcome all students?

there are no purposeful negative speaking about gender, culture, or STACY DZIUK is the director of instrumental intentions, these simple descriptors can socioeconomic status, the issues with activities and an assistant professor of music at Monmouth College in Monmouth, Illinois. often alienate, disengage, or restrict traditional concert attire are very present A NAfME member, she can be reached at ensembles members. With the diversity and can place students in uncomfortable [email protected]. of students participating in ensembles positions to the point at which they may today, and in these ensembles many no longer feel comfortable participating. MUSIC EDUCATORS often emphasize students nding a place of belonging This is unfortunate, as many students diversity and inclusion in their teach- and acceptance, why is the prospect of believe that the music classroom is one ing. From curriculum choices pertain- concert attire still locked into specic of the most welcoming and inclusive ing to Western and non-Western gender and cultural norms as well as classrooms in their school setting. cultures, to the inclusion of peoples and stereotyped gender appearance? Most noticeably, traditional tux/ topics of diverse backgrounds in Clothes are an outward extension of gown concert attire divides students ensemble programming, to the types of a person’s inner conception of self. into two gender groups—male and music courses that are o ered in K–12 Especially during the adolescent years, female—positioned by birth gender, and collegiate music settings, educators the way a person dresses can bring a with no regard for how a student frequently consider how to create a degree of joy and means for creative presents in daily life. How does a musical culture that is inclusive and expression. This means that ensemble director approach attire for a student representative of all students, and directors and music educators are who is gender-uid or nonbinary? What rightly so. Yet, what members of an tasked with deciding how to create a about a student who is transgender or ensemble wear when they perform is standard for concert attire that is transitioning? By designating this not often discussed. inclusive for all students and continues gender divide in attire, directors ask The following guidelines have to build on this place of acceptance for students to assume an identity that they graced many ensemble handbooks and all members. may not fully embrace publicly. course syllabi: Conversely, directors may also be asking MEN: Tuxedo, black socks, black dress shoes The Issues students to continue to present as a WOMEN: Concert gown, black dress shoes In today’s diverse society, the traditional gender that does not feel fully accepting Have ensemble directors considered notion of tuxes/gowns as standard to them. By dividing attire by gender, the implications of their choices for concert attire for a performing ensemble one is also asking students who identify

concert attire? While it is assumed that does present some issues. Whether as one gender but present as another to istock.com/123foto, istock.com/Wavebreakmedia. Headshot courtesy of Stacy Dziuk. Photos from left by

26 Teaching Music OCTOBER 2018 garments are damaged. While the fabric can appear opaque under normal average girl is often adult-size by age conditions, the bright lighting of many 14, the average boy will not have stages can cause it to become translu- stopped growing until age 21. This cent, creating a less-than-desirable means that a boy might have to replace eect. concert attire two or three times during With the traditional white tux shirt, his high school career. Another issues of body image are also revealed. consideration is the care and laundering Inexpensive white tux shirts are often of this attire. Much traditional concert made of lightweight cotton, which, clothing (especially men’s suits and depending on the skin tone of the dresses with velvet) must be sent to a wearer, can appear more translucent dry cleaner. Cleaning costs can quickly than desired. Perspiration can also be a add up, which, for a student of low SES, concern with a white shirt, as it often can become a hindrance to performance. appears easily on this fabric and, over The concern of appearance with time, can discolor it, even with regular concert attire may seem super cial; washing. These visual concerns can however, issues of body image with cause discomfort and self-consciousness What can you do to make your adolescent students is a very real for a performer, which can be height- concert-attire requirements inclusive for every one of your musicians? concern. One may assume that this is a ened during adolescence. concern only to female students, but in While examining the issues with forgo their presentation in favor of a study by Hannah Frith, principal traditional concert attire within the gender-expected clothing. If a student lecturer in critical psychology at the areas of gender identity, SES, and body identi es as female but presents as male, University of Brighton, and Kate images, directors must not discard the what is the purpose of expecting that Gleeson, research director at the issues regarding religious accommoda- individual to wear a concert gown? Is University of Surrey, male students also tions. Although public schools do not there a need to keep the traditional divi- expressed concern about body image, subscribe to the promotion of any sions of gender in concert attire? although many of them noted that religious aliation, accommodations The use of traditional concert attire society made them feel as though they are often required for students who can also place an undue nancial must act as though they are not wear certain attire. Girls may need to burden on students of low socioeco- interested in such concerns. Ideas of cover their head and hair in public. nomic status (SES) or who attend body image may stem from the notion Other religious groups and aliations schools located in under-resourced of a “universal” de nition of the body. require a certain type of dress or areas. The cost of performing in an These concerns also manifest themselves accessories. Is the attire an ensemble is instrumental ensemble can already when students are confronted with the asked to wear conducive to dressing create a tenuous situation for some construct of traditional concert attire. modestly? This can be a problem when students, due to the price of the Many of the mass-produced concert considering necklines, if a garment is instrument, instrument upkeep, reeds, gowns from suppliers lack elements to sleeveless, or even if slacks are required, supplies, etc. However, many schools allow for proper t and appearance. as some religious organizations do not whose population includes students of Often, these garments are made of a permit girls and women to wear pants. low SES have bridged this divide light- to medium-weight polyester knit Consideration needs to be given to through lending students school-owned or rayon-type fabric. While durable and students who may wear additional instruments, oering nancial support washable, these gowns may cling to religious attire under their clothing or for supplies, and granting money for many curvatures of the body (hips, need to wear a speci c head covering private lessons. None of this, however, chest, etc.) and accentuate those areas outside the home or place of worship. addresses the cost of concert attire. unatteringly. This means that, unless a Beyond the initial cost of traditional student purchases additional items such The Solutions concert attire, there is the regular as a slip or camisole, the outlines of How do directors and music educators maintenance cost of the attire or the undergarments may be visible. Also, deal with issues relating to how an cost to replace it as students grow or if although the weight and weave of the ensemble is clothed for a performance?

nafme.org 27 There are many ways to examine and When choosing tall student can wear potentially solve the problems that attire, directors can clothing from places arise. However, it may require creative provide a detailed where they frequently thinking, research, discussion, and framework for shop, so as to avoid shopping by a director to make attire clothing choices that clothing appearing choices that will work for all members. best ts the situation. too short or not cut No matter what clothing is chosen For example, using proportionally for for an ensemble, the performance could the phrase “all black” them. Students of less and should be framed as an important when describing common sizes can event, and thus be presented as that. attire does not give wear clothing that Attire for an ensemble can still present a students (or parents) speci cs for what is best suits their body type and, while still sense of uniformity and provide a acceptable in the director’s mind. maintaining a speci c outline of what divide between the performer and the Detailing the type of garments desired, needs to be worn, can choose clothes audience, but it does not need to rely and not just the color, will help students that t them appropriately. This can on the traditional tux/gown. Also, and parents choose clothing that ts the promote both a healthy body image and directors can choose to dress in the way purpose. For example: performer con dence that can aid their that feels the most comfortable and Concert attire must be all black (solid desire to make music with an ensemble. professional for them, even if it is in black). Appropriate clothing for a concert When accommodating the religious stark contrast to the students’ attire. includes the following: needs of students within the framework • Black dress pants (no jeans, of concert attire, keeping the options RESOURCES FOR sweats, or leggings) detailed but open-ended is an appropri- UNDERSTANDING • Black dress shirt with collar ate solution. If a student is concerned CONCERT ATTIRE (polo shirt is okay) about an attire choice or needs further ISSUES • Black top (with shoulders clari cation, directors need to be open • Bergonzi, Louis. “Sexual Orientation and covered, no deep necklines) to that conversation and creative in their Music Education: Continuing a Tradition.” Music Educators Journal, 96, no. 2 (Decem- • Black skirt (must extend problem-solving. However, if a director ber 2009). past the knee when seated) senses a need for additional attire options • Frith, Hannah, and Kate Gleeson. “Cloth- ing and Embodiment: Men Managing Body • Black dress (must t rules for religious reasons and is uncertain Image and Appearance,” Psychology of Men for top and skirt) what to specify, speaking to the student and Masculinity, 5, no. 1 (2004) 40–48. • Goff, Sarah G. and Jason M. Silveira. • Black socks, tights, or nylons (if older) or parent can help everyone “Music Teachers’ Attitudes Toward Trans- • All black dress shoes (no sneakers) involved to gain a clearer understanding gender Students and Supportive School Practices,” Journal of Research in Music This example illustrates to perform- of what is required to make the per- Education, 64, no. 2 (2016) 138–58. ers what is acceptable for a concert, and forming experience a positive one. • Griffiths, Noola K. “Posh Music Should Equal Posh Dress: An Investigation into highlights clothing styles and details While the issues and complexities the Concert Dress and Physical Appear- that are not acceptable. Notice that the surrounding concert attire choices might ance of Female Soloists,” Psychology of Music. 38, no. 2 (2009) 159–72. concert attire described in the list does seem daunting and disconnected from • Hoskins, Tansy E. Stitched Up: The not specify what gender is required to ensemble music-making, they are Anti-Capitalist View of Fashion. London, England: Pluto Press, 2014. wear what article of clothing. For those important elements in constructing and • Kinley, Tammy R. “The Effects of Cloth- students who are transgender, transi- perpetuating an inclusive environment ing Size on Self-Esteem and Body Image,” researchgate.net/publication/229950354. tioning, or gender-uid, providing for all students. Directors need to 2010. inclusive options that are not delineated understand that these choices can greatly • Palkki, Joshua. “Inclusivity in Action: Transgender Students in the Choral by gender allows them to present in a aect the comfort and acceptance levels Classroom,” ACDA Choral Journal, 57, no. 11 (June–July 2017) 20–34. concert as they do in everyday life. It felt by students of all backgrounds. • Tomes, Susan. Sleeping in Temples. also eliminates the need for exceptions Creating this positive environment can Suffolk, UK: Boydell Press, 2014. or alterations to a dress code, which not only promote strong music-making, • Wakin, Daniel J. “Cracking the Secret Orchestral Codes.” The New York Times, could leave a student feeling singled out but also support a strong program. A Feb. 13, 2005. or uncomfortable. movement of inclusion in the music • Weidner, Brian. “Welcoming a Jehovah’s Witness into the Band Room,” National This model also allows students to classroom by way of concert attire can Association for Music Education, August dress in a way that feels most comfort- begin to spark the conversation in the 2017. nafme.org/welcoming-a-jehovahs

-witness-into-the-bandroom/ able to their body type. A particularly larger school community. Furman. istock.com/Artem Photo by

28 Teaching Music OCTOBER 2018

CONFERENCE SPECIAL

The 2018 “PERHAPS THE MOST exciting aspects of this • AMPLIFY: TECHNOLOGY*: Teaching the year’s conference are the brand-new presenta- Tech-Savvy Generation. NAfME tion formats,” says JJ Norman, Professional The Opus tracks designated with an asterisk National Development and Collegiate Program Manager (*) oer micro-credentials. Lynn Tuttle, Conference for NAfME. The Conference begins with a NAfME Director of Public Policy, Research, & will include choice of three two-day forums: Collegiate, Professional Development, says, “A micro- cre- new Emerging Leaders, and Music Program Leaders. dential is oered in recognition of attending the For the nal two Conference days, Norman Opus throughout the two days, engaging in presentation says, “Rather than picking 10 or so sessions to some prereads and/or webinars ahead of the formats and attend over two days, this year attendees will conference, and writing an action plan for how a focus on choose an ‘Opus’ in which they will participate you will implement what you have learned from poverty, for two full days. By experiencing the content the Opus into your classroom. Schools are racial literacy, in this way, we feel attendees will receive a starting to recognize micro-credentials as much broader and deeper understanding on the evidence of deeper learning in a particular topic equity, topic covered in an Opus.” The ve Opus area.” Norman adds, “On the last day of the access, and tracks are: conference, a traditional docket of best practice culturally • A MPLIFY: LEARNING*: Teaching Music as a sessions will be oered. This year, sessions will responsive Well-Rounded Subject. be available in 15-, 30- and 60-minute time- • A MPLIFY: INNOVATION: Cultivating Innovative frames. We did this to ensure you can access as pedagogy. Music-Making. much content as possible in just under three • A MPLIFY: INVOLVEMENT: Engaging Diversity in hours.” In addition to an exhibit hall, there will BY LORI Music-Making and Teaching. be a poster session with over 70 participating SCHWARTZ • A MPLIFY: INSPIRATION*: Inspiring Students educators, where attendees can browse ideas

REICHL through Music Creativity. from colleagues in an informal setting. istock.com/A-Digit. Photos by

30 Teaching Music OCTOBER 2018

2018 Young Composers Concert The following pieces will be performed at the Young Composers’ Concert In preparation for each Opus track, NAfME on Tuesday, November 13, at the NAfME National Conference. selected prominent music educators to serve as • Helen Lyons (New York, New York), “Midnight Traveler” facilitators. Alice Hammel—a music educator, • David Jung (East Northport, New York), “Seafoam Green” author, and clinician who teaches music • Kalysha Chandler (Provo, Utah), “Uncommon Aberrance” • Winston Schneider (Omaha, Nebraska), “Scherzo of the Feather Stars” education at James Madison University in • Josh Conklin (Basking Ridge, New Jersey), “Rekindling Phoenix” Harrisonburg, Virginia, aural skills at Virginia Learn about all of the winners of the 2018 Student Composers Competition Commonwealth University in Richmond, and at bit.ly/NAfMEStudentComposers. online courses through the University of Arkansas—serves as the facilitator of Amplify: Involvement. She is known for researching the The second day of Hammel’s Opus will start education of students with disabilities and with a session on issues of social justice entitled di erences and those who are at-risk and/or “Whose Song Are We Singing?” to be present- live in poverty. “This Opus will focus on ed by Karen Howard, assistant professor of examining African American students in music education at the University of St. public school systems and students who live in Thomas in St. Paul, Minnesota, and J. Christo- poverty,” she notes. The Opus will begin with pher Roberts, lecturer and coordinator of a session on poverty: “How does our music teacher preparation at the Univer- own knowledge of equity, access, sity of Washington in Seattle. Je rey “This Opus will and diversity a ect the way we Murdoch, associate director of focus on examining A Sampling teach, and how can we identify African American choral activities and assistant and assist students in need?” students in public professor of music at the of Sessions Darrin Thornton, an associate school systems and University of Arkansas in from the professor of music education at students who live Fayetteville, will present a AMPLIFY: in poverty.” Penn State University in State session on culturally responsive —Alice Hammel Involvement College, Pennsylvania, and pedagogy to help music educators Opus Track Nicole Becker, community choir identify social and racial inequalities • “Poverty—Equity, director at Teachers College, Columbia that exist in classrooms, while providing useful Access, and Inclusion: Is Fair Equal?” presented University, and executive director of Every and practical methods of addressing these by Alice M. Hammel Voice Choirs, both in New York City, will inequalities through instruction, programming, • “Racial Literacy and Music Education” facilitate a discussion on racial literacy and and administration. The creative facilitation of presented by Darrin music education. Andrew McGuire, a music a poverty simulation will allow attendees to Thornton and Nicole Becker educator for the Chicago Public Schools, will experience such a lifestyle. The nal hour of • “Restorative Justice” present on restorative justice and share stories this Opus, “So Where Are We? Lessons from presented by Andy McGuire of students whose musical projects align with Wakanda” will allow all Opus presenters to • “African-American the 2014 Music Standards and reect their share thoughts as related to the phenomenon of Diaspora Presented by Smithsonian Folkways” social-emotional learning. the recent lm Black Panther. presented by Meredith Holmgren • “Issues of Social Justice—Whose Song Are We Singing?” presented by Karen Howard and Christopher Roberts • “Principles of Culturally Responsive Pedagogy” presented by Jeffrey Murdoch • “So Where Are We? Lessons from Wakanda” by all Opus presenters This Opus will also include a Poverty Simulation session. Learn more about all Opus sessions at

Photo bit.ly/2018NAfMEopuses.

nafme.org 31 BY ANDREW S. BERMAN CLOSING (the GAP

32 Teaching Music OCTOBER 2018 New Haven Public School clarinetists at the 2016 Morse Summer Music Academy, an intensive program offered by the Yale Music in Schools Initiative

The Declaration on Equity in Music Education for City Students points out the vital importance of music education for all.

INEQUITY IN MUSIC EDUCATION is not a new problem. The achievement gap between city kids and their suburban counterparts has existed since urban sprawl began. E orts to close the gap and provide equal access to high-quality music education across the board also have a long, storied history. In 1963, a Seminar on Music Education was hosted by Yale School of Music (YSM), organized by Claude Palisca, which produced a report called “Music in Our Schools” the following year. This seminar looked at the quality of music education in the United States in general, but not at the issue of unequal distribution of resources. It was in 1979 that the disparity between urban and suburban music education access came into focus. Palisca followed up on the 1963 e ort with a call for participants to review the impact of the seminar and report on the ensuing 15 years. Out of this review came a spotlight on music

Photo by Matt Fried. Photo by education inequity, eclipsing the issues reported on in “Music in Our Schools.”

nafme.org 33 A more recent milestone is last year’s Symposium on Music in Schools, again hosted by YSM. Out of this symposium came the Declaration on Equity in Music for City Students, published in June 2018:

We call for every student in every city in America to have access to a robust and active music life.

This call is animated by the values of Four recipients of the John Miller Instrument Award dignity and inclusion. in 2014 in Sprague Hall at the Yale School of Music An active music life a rms the dignity 1964 was quite controversial for its several concrete things stand in the way of individuals and communities. stingy criticism of music education in of equity in music for city students. We decry the inequities that deny some city students access to an active music life. schools and the missing voices and “Currently, large city school districts City students’ access to an active music perspectives of K–12 music educators struggle with funding for … musical life requires the ongoing development and leaders.” The 1963 seminar also experiences that don’t measure up to a of robust music ecosystems. su ered from a lack of geographical concrete, sequential standards-based We call for all city students to have representation, an undue focus on curriculum taught by highly qualied access to in-school music education taught “repertoire and aesthetics” music educators,” says by certied music educators. at the expense of “Equity in Odegaard, who works in We call for strategic partnerships with “complex social factors Fargo, North Dakota, as local organizations to expand and enrich music is a cities’ music ecosystems. pertaining to the lives the performing arts We call for changes in the of students and their brilliant rallying curriculum specialist for development, preparation, and support families,” Abril adds. Fargo Public Schools. of music educators and teaching artists. The 2017 Symposium cry for each “Site-based manage- We call for a national mobilization on Music in Schools was music teacher ment, meaning the in support of an active music life for all the sixth in a series of principal decides what is city students. biennial gatherings to support.” taught at his/her school, The 2018 Declaration is the product hosted by YSM, funded —Michael Yaffe also adds to the crisis. of a collaboration by policy makers, by an endowment We are seeing more and sociologists, urban studies scholars, established by the Yale College Class of more administrators who have not historians, performers, city leaders, and, 2007. Next year’s symposium will mark experienced music in their education perhaps most notably, music educators. the 40th anniversary of Palisca’s 1979 and, therefore, do not know the value

K–12 music educators were markedly review, in which he reected on the of music education.” Matt Fried. photo by Top underrepresented at the 1963 seminar narrow scope of the 1963 seminar and that produced “Music in our made the “painful realization that many Schools”—composers, performers, and children in the cities and of the racial musicologists made up the majority of minorities were not enjoying even the the delegation. Carlos R. Abril, quality of education that we were NAfME member and director of criticizing.” The approach of this next undergraduate studies in music educa- advancing milestone, and the widening tion at the University of Miami’s Frost distance between that 1979 realization School of Music in Coral Gables, and the distressingly similar-looking Florida, sees the Declaration and the present, provided an impetus for the process to create it as a huge shift in 2017 symposium. As NAfME National perspective from and improvement over Executive Board Immediate Past- its predecessor. “That document from President Denese Odegaard points out, Access the Declaration online at declaration.yale.edu.

34 Teaching Music OCTOBER 2018 “We know that opportunities in Creating the Declaration Resources from music vary, in part, dependent upon Ya e, along with his assistant Rachel NAfME on Equity school demographics and locality,” says Glodo and Rubén Rodríguez, director Tooshar Swain, Public Policy Advisor of the Music in Schools Initiative in and Inclusion for NAfME. “This enticed the Yale New Haven, created a starting point for NAfME has many resources that can help music educators work with diverse School of Music to focus on cities for the Declaration several months before student populations and address inclusion for all students in music classrooms. their Declaration.” YSM has long been the symposium. The idea of the These include Position and Policy involved in the quest for improvement Declaration had been on Ya e’s mind Statements (statements on Equity and Access, and Diversity and Inclusion, as in music education. In addition to its since he started in music education in well as a statement on Engaging All Students). The Position Statements can graduate degree programs in composi- the 1970s. “We saw Proposition 13 in be found at bit.ly/NAfMEPositionStatements. tion and performance, YSM also has California begin to erode music Engaging All Students can be found at bit.ly/OnAffi rmingAllStudents. the Music in Schools Initiative which, programs, particularly but not exclu- Professional development and curriculum as described by YSM associate dean sively in city schools, and to move resources include several of the Library of Congress curriculum units, which help Michael Ya e, “partners with New across the country as schools’ leaders students study diverse American music Haven Public Schools to provide gradu- felt they could save money by eliminat- and musical forms; the Music Educators Journal, which features articles focused on ate teaching artists for ing music and other equity and diversity in each issue; and our Yale School National Conference, which has an entire in-school, after-school, of Music subjects.” Ya e, Glodo, Opus devoted to inclusion. and summer programs associate and Rodríguez dean that complement the Michael collaborated on a draft, review and edit drafts. Ya e adds, “We Yaffe at the work of the district.” opening Rodríguez articulating also worked closely with the leadership event of the Swain adds, “Through Symposium the philosophy that of NAfME and VH-1 Save the Music that partnership, Yale would drive the Foundation in creating both the model further understands the declaration and Glodo for the symposium and the  nished importance that music putting the philosophy Declaration.” plays not just in a to words. This draft Abril became involved in 2016 child’s school experi- was dissected by the during a phone conversation with Ya e ence, but also with delegation of experts at and Glodo regarding research and issues families and communi- the symposium and surrounding inequality, access, and ties.” Beyond the Music in Schools pored over for two days, and by the end social justice in music education as well Initiative, YSM has “produced import- of the meeting there was a consensus on as the plans for the 2017 symposium. ant research and content on best the direction in which the document He says that being a part of the sympo- practices to strengthen music education, should move. At several points between sium “helped me to recognize how as well as content on the need to strive the symposium in June 2017 and the many diverse entities, organizations, for equity and access to a quality music publication of the Declaration in 2018, and people are committed to the goal of

Top photo by Matt Fried. photo by Top Carlos R. Abril. Photos this page by education.” symposium participants were invited to ensuring music education for all children, regardless of background, Dinner on the fi nal night of the 2017 Symposium on Music in Schools at Yale School geography, or socioeconomic circum- of Music. From left: NAfME Executive Director and CEO Michael Blakeslee; University of Miami professor and Society for Research in Music Education committee member stances.” At the symposium and since, Carlos Abril; NAfME president Denese Odegaard; University of North Carolina professor and Society for Music Teacher Education chair Constance McKoy; NAfME NAfME has been focused on working Director of Public Policy, Research, & Professional Development Lynn Tuttle with other organizations to spread the word of the Declaration and its impor- tance. “NAfME will continue to play a role in dissemination of the Declaration,” says Swain, “as well in the planning of the 2019 Symposium,” which will focus on the preparation and training of music educators and teaching artists (the eighth item of the Declaration). Constance McKoy, NAfME member and director of undergraduate

nafme.org 35 studies for the School of Music at the University of North Carolina at Greensboro was also invited to attend. According to McKoy, who at the time of the symposium was the chair of the Society for Music Teacher Education, the goal of the symposium was to “formulate a document outlining why an active music life in city schools and communities is vital in the context and social dynamics of American culture today.” McKoy further describes the two-day process: “We discussed various facets of this topic … exploring how traditional perceptions and assumptions about music education might contribute to or detract from our understanding of equitable access.” The symposium was city-focused and aimed to devise music curriculum.” This item also centers to enrich the music lives of all something that could be used as a stresses the importance that teachers their students. template for any location. “Experts meet a level of expertise, echoed in the The common thread connecting from across the country eighth item that calls for every item in the Declaration is gathered to talk about “Music enhanced training of inclusiveness and access. Swain explains music in large city schools, education at music educators and that, per the Declaration, “Education and to create a policy teaching artists. should be accessible regardless of framework for each city to school is an The fact that only one socioeconomic status, racial or ethnic determine how best to educative item in the Declaration background, country of birth, or provide a robust music speci cally mentions language spoken at home.” We know program for its students,” part of a schools indicates that an that this is not the case, as Odegaard recalls Odegaard. active music life is points out, “Music programs are often multifaceted experienced and nurtured for the students who can aord instru- The Content of musical life both inside and outside of ments and supplies, and students who the Declaration a child’s formal educa- cannot aord these luxuries are not able The Declaration was at home tion. Abril says the to participate.” The Declaration is informed by its diverse and in the Declaration “recognizes rooted in music education access as a collection of collaborating the role of family, home, matter of social justice, as Swain individuals and organiza- community.” and community as places continues: “Music intersects our social tions, demonstrating an —Carlos R. Abril where meaningful and and educational rights, and is, thus, a understanding of the active music experiences cultural right for all people.” The multifaceted approach necessary to occur. In other words, music education Declaration can be kept on hand for bring quality music education to the at school is an educative part of a music education advocacy. McKoy says, communities where it is currently multifaceted musical life at home and in “It can serve as a framework for policy unavailable. The sixth item in the the community.” discussions about music education in Declaration acknowledges the impor- A robust music education may go the context of city schools. It can be a tance of the public school system to this beyond the resources of the individual reminder of the ideals and values that goal. Abril elaborates: “Schools are the school and calls for what are highlighted many stakeholders uphold regarding the ideal place for children to gain access to in the Declaration’s seventh item as role and signi cance of music education music instruction, and … children need “music ecosystems.” This means in modern life.” quali ed music specialists who can schools need to forge partnerships Just as the music ecosystem expands

implement a sequential and meaningful with local institutions and community outside of the school to the home and Matt Fried. Photo by

36 Teaching Music OCTOBER 2018 Singers in the Morse Chorale at the 2017 Morse Summer Music Academy action to K–12 teachers and higher education professors alike. THE 5 VALUES OF NAfME Takeaways for NAfME has five values listed in the Association’s strategic plan. You can find the Music Educators strategic plan at bit.ly/NAfMEMissionGoals. McKoy feels that the Declaration can THESE VALUES ARE: serve as a beacon: “My hope is that the • Community: Collaborating with our family of associations, members, and partners to Declaration would draw attention to an carry out our mission. area of music education that perhaps • Stewardship: Empowering volunteerism hasn’t received as much attention as it and strategically developing leadership, fos- tering a spirit of accountability and a culture could, and will cause music educators of giving of our time, talents, and resources. to think deeply about their work, even • Comprehensiveness: Uplifting the human spirit and providing opportunities for all as many of them must navigate students to create, perform, respond, and enormous challenges in order to do connect to all styles of music. that work.” • Inclusion and Equity: Building strength and promoting diversity in a profession “Its argument in favor of music representing the wide spectrum of people and cultures, abilities, economic education has already been met with backgrounds, and gender identities. excitement in the eld,” says Yae, and • Innovation: Enhancing music teaching to the community, it also goes in the the “music ecosystem” concept has and association program management through combining effective and dynamic other direction, further into the already begun to take o in many new practices with proven strategies in the education system, to the colleges, cities. Yae advises that you don’t need context of our changing global community. universities, and conservatories that are to be a teacher in an urban setting to training our music educators and have an impact on music education access to it for all. Swain continues, teaching artists. Abril says, “My hope equity. “Many of the premises in the “The Declaration stands for equity was and continues to be that this will Declaration are valid for any school, because its contributors have seen the resonate with the higher education regardless of location.” value music educators provide in leaders in our conservatories and The Declaration embodies support positive outcomes for the future of a schools of music. Through their for teachers. “It arms the work they student in localities that have strong leadership, deans and directors are do within their classroom, day in and music programs.” The Declaration helping to shape the future of music in day out, to provide a quality music embodies support and advocacy for our society through the programs that education for all of their students,” says students as well. “We shouldn’t accept they support and the values that they Swain. The fact that music education is poorly funded music programs and, if engender in their faculty and music so worthwhile is precisely the reason we focus on students, it’s glaringly students.” The Declaration is a call to why eort should be made to ensure evident that every student deserves the best music education we can oer,” says Carlos Abril presenting at one of the Symposium sessions. Odegaard. “There are so many bene ts to music education that we need to share with decision-makers and funders.” “Equity in music is a brilliant rallying cry for each music teacher to support,” summarizes Yae. “We all know the value of music education, and we hope that every music teacher can see the importance of it being available to all students in every school in America!” To read the Declaration online and for more details about it, visit

Photo by Matt Fried. Photo by Carlos R. Abril. Photo courtesy of Dr. declaration.yale.edu.

nafme.org 37 up Strike theBAND—

38 Teaching Music October 2018 and BAND— theOrchestra! The Library of Congress Teaching with Primary Sources Units now include valuable resources for band and orchestra educators. BY LISA FERBER

NAfME EDUCATORS are riding the wave of a three-year award from the Library of Congress to develop free instructional resources that focus on the Responding artistic process in the 2014 Music Standards. Each year’s grant award is devoted to creating curricular units that use the Library’s Teaching with Primary Sources program, which can be accessed via bit.ly/LOCcurriculum. Year one of the grant (2017) focused on General Music and Chorus resources, while this year’s units are centered on lessons for Band and Orchestra; all use the Library’s vast array of recordings, documents, and memorabilia. NAfME project director Johanna Siebert says, “The Library of Congress has such a depth of resources that are available to

ockwin. everyone. Through this grant we can tap into those to provide music teachers with original sources to supplement their instruction in all

Photo by Howard R Photo by music areas.”

nafme.org 39 ers’ biographies. All of this comes together when students consider why certain composers created the music that they did.” Students can look at marching band music, for example, and carry out research about marching band composers and current events of that time.

Creating the Units This successful grant project includes multiple steps. Siebert goes through an interview process with people to be writers, and after nding and designating teams of content-expert practitioners to create the various units, NAfME brings the writers to its headquarters near Washington, D.C., for The 2017–2018 Writing Teams face-to-face collaborations with other Back row (l to r): Armalyn De La O (Band Chair, California), Theresa Hulihan writing team members. While there, they (Band, Arizona), Beth Fortune (Orchestra, Washington), Rebecca Holmes (Orchestra, Louisiana), Patricia Ritchie (Orchestra, Nebraska) also spend a day at the Library to meet with Front row (l to r): Susan Davis (Orchestra Chair, New York), Amanda Tierson research personnel and to review and select (Band, New York), Laura Smith (Orchestra, California), Jenny Neff (Band, Pennsylvania), Johanna Siebert (Project Manager, New York), Jesse D. speci c materials to align with the chosen Espinosa (Band, Texas) unit themes. Writers then go to work, drafting curricular lessons and assessments The units are designed to align with the 2014 Music that address the Responding Standards. After the multiple Standards, about which Siebert says, “The Standards are units for di erent levels’ music content are designed, it’s based upon three distinct yet interdependent artistic process- time for step two. es: Creating, Performing, and Responding. Musically-literate people carry out all three of these processes. When we talk Piloting the Units about responding, we engage students in investigating the In order to gauge the success of the curricular units in music of others. It’s how they listen to music and consider di erent district settings, NAfME has designated pilot what composers intended, and eventually transfer to their districts in Kansas, Maryland, and South Carolina to teach personal creating and performing.” Lynn Tuttle, NAfME’s the units. Site coordinators there assign the units to teachers Director of Public Policy, Research, & Professional Develop- at the appropriate levels to gain their insights into the ment, notes that the strategies included in the units are practicality of the lessons. Tuttle says, “If I’m writing lesson developmentally appropriate for the given class, ensemble, or plans for myself, that’s one thing, but if I’m writing lessons age span. for someone else to teach, that’s a whole other matter.” Over Inquiry strategies are at the heart of every unit, and are 20 piloting teachers in rural, suburban, and urban settings designed to encourage students to think, ask questions, and give helpful feedback through follow-up survey responses on get interested enough in a topic so that they want to dig what works well and what needs some tweaking. This past deeper, with the teacher serving more as a guide. Tuttle says, year, responses ranged from kudos for the instructional ideas “We are trying to be mindful of how we engage students with primary sources. There aren’t just text sources; there are sound sources. We want to engage students: What are they listening to, how do they connect to it, how does it inform their performance going forward?” Siebert adds, “They’ll use the Library of Top photo by Lynn Tuttle. Bottom photo by Johanna Siebert. Bottom photo by Tuttle. Lynn photo by Top Congress’s resources to hear music and Orchestra Writing Team at NAfME look at artifacts of the time and compos- headquarters in Reston, Virginia.

40 Teaching Music OCTOBER 2018 Band and Orchestra Units This second year has focused on Band and Orchestra instruc- tion and, just as for Chorus, the units are meant to be integrated into existing rehearsal structures. Siebert points out that the bulk of ensemble time is spent learning and polishing performances via rehearsals, so it can be di cult for an educator to devote time to developing responding skills. “We know music teachers need to continue to rehearse and hone the performance skills of their students, so these lessons are meant to be broken down over time. During a rehearsal, perhaps only 10 or 15 minutes can be spent on one section of these units, so we designed them to be embedded in the regular course of teaching.” It helps that these units are written by music practitioners who understand well the classroom routines, schedules, and instruction for ensembles. Siebert continues, “In these units, we look at how responding a ects the performing process, and then maximize what students have learned through responding to apply to their playing together as a group.” One of the current Band units focuses on the marches of the late 19th- and early 20th-century composer John Philip Sousa and accompanying primary sources related to the marches, such as writings by conductor Frederick Fennell; an Orchestra unit discusses how music tells a story by relating students’ personal contemporary music choices to Dvorák’s New World Symphony and his feelings of nationalism. In both examples, students can participate in varied group and individual activities that approach the composers’ works to ask themselves how they make them feel, how composers make the music come alive, what are the structures of di erent forms, and so on. The units also include formative and summative assessments that, like the lessons, are develop- to “Here’s what I suggest changing” to “I didn’t have time to mentally appropriate to the level of the students in the teach the entire unit.” All comments are reviewed by the ensembles. project’s Steering Committee (Siebert, Tom Dean, site Six band and ve orchestra units now join the previously coordinators Brian Schnekenburger and Christine Fisher), created General Music and Chorus units—and more are and general and individual recommendations made to the being added all the time. By reviewing these materials, writers for the nal renditions of the units (step three). Upon teachers can nd multiple suggestions in terms of musical completion of the units, they are placed on NAfME’s website themes, repertoire, composers, and accompanying resources for online access and downloading. at all performance levels. While the units are already on the “The Library of Congress has such a depth of resources that are available to everyone. Through this grant we can tap into those to provide music teachers with original sources to supplement their instruction in all music areas.” —Johanna Siebert Top photo by Howard Rockwin. Photo of Johanna Siebert courtesy NAfME. photo by Top

nafme.org 41 SAMPLE LIBRARY OF CONGRESS CURRICULUM RESOURCES ORCHESTRA RESPONDING UNIT, PROFICIENT LEVEL All music tells a story, and music has always been part of the history of Band Writing Team at NAfME humanity and storytelling. The story headquarters in Reston, Virginia can change depending on the listener, Orchestra Responding Unit, Proficient Level A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC) the performer, or the context of the Teaching with Primary Sources website at bit.ly/LOCcurriculum, they will have a formal piece. Throughout this unit, students will premiere at NAfME’s National Conference in November, explore the ideas of how music can tell where the Learning Opus: Teaching Music as a Well-Rounded their own personal story, determine the story and intent a composer wants to convey through a piece Subject will include a section on the Responding units. of music, and decide how to express a story through their own ensemble performance using musical choice and the elements of music. Students will be challenged to continually ask the Next Steps compelling question “What story are we telling?” Students NAfME is just now beginning work on its newest focus area will also explore the idea that a story can be programmatic for the grant: Creating through Responding and Interacting and suggestive within particular music, or it can be completely subjective within other pieces of music. By the end of this unit, with Primary Sources. Siebert says, “Year three sheds students will have a deep understanding of the richness that attention on some di erent instructional areas. The concen- music brings to our lives through the varying stories it tells, how it infl uences their own musical choices and understand- tration is on how increased understandings in responding can ings, and how it infl uences the purpose of a performance of impact students’ individual Creating practices. We’re looking their own ensemble. Students will ultimately rediscover how to integrate the use of music technology in units for di erent music tells their own individual story, and that music is part of who they are. levels of composition and theory and general music.” Says This unit contains six lessons, varying in length from Tuttle, “Responding to music can be through critique and approximately 30 to 60 minutes each, that are designed to be embedded within a traditional ensemble rehearsal schedule. analysis or understanding the piece’s social and historical These lessons are fl exible and can be broken up to be carried context. How do these understandings then in uence how out over the course of several days as time allows within the music is interpreted and how I perform the piece I’ve rehearsal. This unit includes optional extension opportuni- ties to further student learning and opportunities to create, been responding to—or create a new musical work by being perform, connect, and explore. These lessons will enrich inspired by it? This is at the heart of what we do as perform- students’ understanding of the role of music as their own story and inform their performance as an ensemble to tell a story to ers and creators of music.” Additional elementary and their audience. secondary school teachers of general music and composition/ BAND RESPONDING UNIT, theory who would like to pilot a unit are urged to contact INTERMEDIATE LEVEL Siebert ([email protected]) for more information. Music was a functional part of early military tactics and troop movements. As with so many other musical tradi- Band Responding Unit, Intermediate Level

A Curriculum Project of tions, it evolved from the pragmatic to the National Association for Music Education (NAfME) “When we talk and the Library of Congress of the United States (LOC) Teaching with Primary Sources the popular. Marches were part of the about responding, actual military process up through the Civil War, being the primary way to we engage move troops into and out of position. As the use of marches waned in the military, they continued students in to be used for ceremonies, parades, and entertainment. This tradition went from roughly the period of the American Civil investigating the War (mid–19th century) up until World War II (1940s) with the increased popularity of jazz. John Philip Sousa was a promi- music of others. nent fi gure in this movement. His marches followed what is now known as the American march form. It’s how they This unit focuses on the historical background of John Philip listen to music and consider Sousa, the outline of American march form, and the application to the performance of popular marches and military- inspired what composers intended, music. The four lesson plans take approximately 10–20 minutes each, and include Library of Congress resources, and eventually transfer to formative, and summative assessments. While this unit focuses on the Responding Artistic Process, it is important to their personal creating and incorporate other music opportunities that include areas of Creating, Performing, and Connecting. performing.” —Lynn M. Tuttle Johanna Siebert. left photo by Top Mark Finkenstaedt/mfpix.com. by Tuttle Photo of Lynn

42 Teaching Music OCTOBER 2018 Audition for a chance to perform on the High School Honors Recital at the International Saxophone Symposium! Saxophonists may choose either a jazz or classical work. Piano accompanists are provided at no charge.

Applications and recordings are due Monday, Nov. 5, 2018. For more information visit: http:// www.navyband.navy.mil/saxophone_ symposium.html

In Tune Sax Honors 41st.indd 1 7/5/2018 11:41:56

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Visit Steinway.com/NAfME for more information. STEINWAY & SONS one steinway place, astoria, ny 11105 TEL. 718.721.2600 STEINWAY.COM They need to be together and... “ “All the instruments were left on the member, and Alex Schachter, a 14-year- In the wake of chairs and the sheet music was still on old trombone player. Kaminsky quickly tragedy at Marjory the stands when we evacuated the came to the idea that the band’s shared building after the shooting had taken love of music might be the perfect Stoneman Douglas place.” The day after the tragedy at vehicle to provide some measure of High School, Marjory Stoneman Douglas High comfort to his students. School in Parkland, Florida, band You’d be hard-pressed to nd Alex Kaminsky director Alex Kaminsky knew he had someone who was not aware of what to nd a way to support his students in happened that horri c day this past helped his student the coming days, months, and years. At February. What you might not know is musicians begin a prayer vigil held on the day of the that this was not the rst time the shooting, Kaminsky asked the band members of the school’s award-winning the healing process. students to arrive a half-hour early. He marching band, the Eagle Regiment, had a simple statement for the students, had experienced loss. John Rusnak was BY STEPHEN HOLLEY “I want you to know I love you guys named the rst band director at the and we’re going to get through this.” newly opened Stoneman Douglas High He recalls, “As I watched them I was School in 1990. For the next 20-plus thinking, ‘They need to be together. years, he developed a solid band They need to go through this and be program with a strong band parent together and strengthen each other.’” organization. Under Rusnak’s leader- The school lost 17 members of their ship, the band was invited to perform at family that day, including two members the Tournament of Roses Parade in of the band: ninth-graders Gina Pasadena, California, the Fiesta Bowl Montalto, a 14-year-old color guard Parade in Phoenix, Arizona, the Peach

44 Teaching Music OCTOBER 2018 The Marjory Stoneman Douglas High School Wind Symphony at Carnegie Hall on March 6, 2018

“They need to be together and... ”

PLBowl Parade in Atlanta, Georgia, and school at the time, AY but he remembers the guidance necessary to allow them the Philadelphia Thanksgiving Day the year going well at Stoneman to reach their potential, and. that Parade in Pennsylvania. He was Douglas (SD) and notes, “that spoke to certainly has happened here.” Little did considered a “pillar of the community” me about the type of student at Kaminsky know that he would have a and a “second father” to his band kids. SD—there are a lot of band programs role in empowering and guiding the After the second day of band camp in that would fall apart, but it didn’t. students to take on the world after the early August 2014, Rusnak passed away There’s really something special about most unspeakable of events touched in his sleep from a heart attack. the kids at that school.” The following their school. That year, the school, the band year, Kaminsky took over the position The week of the tragedy, the owner members, and an interim director did as band director. “The foundation for a of a local restaurant contacted Kaminsky what they could to maintain the strong program was already there. My and o ered his restaurant to the band program Rusnak had established. philosophy was to take what’s there, try that evening, serving free food to the

Photo by Keith Wechsler. Keith Photo by Kaminsky was teaching at another to empower the students, and provide beleaguered students. The band

nafme.org 45 members knew the for 30 minutes to get the Kaminsky remembers, “After the restaurant well, as they student’s instruments. tragedy, as the kids hunkered down would often gather there Kaminsky had arranged and focused on making music, some- after competitions. It was space at the local middle thing had changed in their approach. an environment where school to rehearse the Maybe [it was] the reference from they felt safe. And they three concert bands, all in which they were drawing their were together. Kaminsky an eort to get the students expressive and emotional qualities in recalls that evening, back together to play. “As their music-making, but there was “Before we left, my son soon as we started playing something deeper in their music-making. pulled out his trumpet and I saw it in their eyes—this They were pursuing it in a more intense began playing. My wife is what they need, they way. They were communicating things and I looked at each other, need to play. That’s when I through the music that they weren’t and it was the rst time was determined to go on communicating before.” That intensity she and I had smiled since with the Carnegie Hall continued through to the nal concerts Wednesday. Right then, trip. That gave them a of the year. that’s when I knew I had focus and a way to express At the end of May, the Stoneman to get these kids playing and emote themselves, Douglas jazz bands presented a concert on their instruments again. otherwise, they’d be stied featuring some of the biggest names in When my son began inside; they needed to do jazz, including 14-time GRAMMY® playing, it lifted our Gina Montalto and that and, honestly, I Award–winning pianist Herbie Alex Schachter lost spirits. I said to my wife their lives in the needed to be in front of Hancock, Jazz at Lincoln Center tragedy at Stoneman ‘they need to be together Douglas. them, creating the music trombonist Wyclie Gordon, and and play.’” with them.” Just three 14-time GRAMMY® Award–winning The previous summer, the Wind weeks after the worst high school saxophonist/clarinetist Paquito Symphony had been selected to shooting in American history, the D’Rivera. The guest artists contacted perform at Carnegie Hall in New York students of Marjory the school and donated City. That performance was fast Stoneman Douglas “I want you to their time; it was their gift approaching and Kaminsky needed to High School performed know I love you to the kids, with proceeds decide whether or not they could on one of the most guys and we’re from the event bene tting perform, given the circumstances. He acclaimed stages in the going to get the Alex Schachter contacted his principal and asked how world. “That was the Scholarship Foundation. they might be able to gain entry to the beginning of the through this.” At the nal concert band school, as it had been closed since the healing process. To this day, that’s what performance in early June, the students incident. After conferring with law has been getting us through. That’s were joined on stage by principal enforcement, it was agreed that he, where a lot of the strength and resil- trombonist of the New York along with a handful of band parents, ience has come—through their Philharmonic Joe Alessi, retired would be allowed back into the school music-making.” director of bands at the University

The MSD Eagle Regiment wins the Florida Marching Band Championships State Marching Band Championship on November 18, 2017. Photo bottom by Keith Wechsler. Photo of Alex Schachter by Max Schachter. Photo of Gina Montalto by Keith Wechsler. Keith Photo of Gina Montalto by Max Schachter. Schachter by Photo of Alex Wechsler. Keith Photo bottom by

46 Teaching Music OCTOBER 2018 WITH ALEX KAMINSKY

What do you know to be true Q about teaching music that you didn’t know when you started? The world is a very different place than it was 30 years ago. Students and teachers have to deal with much more because of how society has changed, and those changes have a direct impact on the school environment. If I weren’t a music teacher … Q I would have been a military band musician and conductor. I have tremendous respect for our military bands with regard to their discipline and level of musical excellence—traits that characterize the top band programs in The MSD Eagle Regiment wins the country. the Grand Championship at What’s the biggest lesson the Florida Marching Band Q you want your students to Championships Regional learn while in your program? Competition on November 4, 2017. That excellence is not a mistake— rather, an intentional effort. When they experience music-making at the highest of Miami Gary Green, and award- mirroring the journey of the level, it changes them forever, and it is that experience of excellence that I winning conductor/composer Johan de community over the past several want to see them pursue and enjoy. Meij. A portion of the proceeds from months. “‘Beyond’ can speak to an The music education profession that event bene ted the Gina Rose individual in a way that they want it Q would be better if … It was valued the way it should be. The Montalto Memorial Foundation. “The to speak to them, whether it’s beyond impact of music on the whole person is inestimable and life-changing. end of last year was a whirlwind,” notes in a spiritual sense, what’s beyond What have you learned about Kaminsky. But with the students playing what’s going to happen today or Q students and parents through your work? That they all want to be a at their highest levels, he did remember tomorrow, what’s beyond the universe, part of something special. When they to record the bands. He submitted those is there more to this life? That’s are exposed to excellence, it is a stan- dard they want to maintain and protect. recordings to the Midwest Clinic and, probably a question people have on What advice would you give to a come this December, these musicians their minds when tragedies happen.” Q teacher trying to start a program similar to yours? Take it a step at will travel to Chicago to perform at the The students and faculty of Marjory a time, establishing procedures and fundamentals from the very beginning. annual gathering. Stoneman Douglas High School Planning is more than half the battle! Over the summer, Kaminsky continue to wrestle with the burden of gathered his sta to decide the theme of lost friends and loved ones, and people who have come behind us— this year’s marching band, and they Kaminsky acknowledges that the we’re with you, we support you, and settled on “Beyond.” “It’s beginning of the school something needs to change. It’s not really about any of “That’s where year has been more of an emboldened the school community, the things that happened. a lot of the adjustment then anyone especially the kids. We’re MSD It’s more about looking at strength and realized. With that, it’s Strong.” The friends and families of what’s beyond us—the clear that the students those killed that day will continue to stars, the universe, and resilience have decided to take honor their memory by ghting for what lies beyond our has come— actions into their own what’s just and devoting their lives to lives.” The show begins through their hands, as demonstrated ensure that this type of tragedy with “Dies Irae” from by their civic actions in doesn’t happen again. They are the Verdi’s Requiem and, after music-making.” the months following embodiment of the words of Leonard journeying through areas of introspec- the shooting. “The movement has Bernstein, “This will be our reply tion, contemplation, and anger, the coalesced the entire school community to violence: to make music more performance ends with the triumphant together. What it’s done is given us a intensely, more beautifully, more

Photo bottom by Keith Wechsler. Photo of Alex Schachter by Max Schachter. Photo of Gina Montalto by Keith Wechsler. Keith Photo of Gina Montalto by Max Schachter. Schachter by Photo of Alex Wechsler. Keith Photo bottom by Wechsler. Keith Photos by nale from Beethoven’s Symphony No. 9, stronger identity. There are a lot of devotedly than ever before.”

nafme.org 47 workshop

Arranging for strings, drum circles, composing for video games, and more.

GENERAL MUSIC immigrants, that their culture be “There’s syncopation we can teach Cultural Connections incorporated in music programs.” using an American folksong, but then through South Bringing music from a variety of there’s syncopation in Indian and Sri cultures into the curriculum allows Lankan folksongs,” she says. “We can Asian Folksongs, students to observe similarities among use those songs to derive the rhythm Games, and Dances musical styles and cultural practices and, at the same time, transition into When students see their cultural that have developed thousands of an American folksong and say, ‘Look, lineage re ected in classroom activi- miles from one another. One of these are exactly the same.’” ties, that inclusion leads to empower- Satarasinghe’s lessons encourages Beyond just rhythmic gures, ment. A steady increase in students students to compare Diwali, the Satarasinghe posits that students can emigrating from South explore varied and Asia spotlights the abundant techniques growing need for lessons for ear-training and that include repertoire harmonic development from Sri Lanka and through exposure to India, according to South Asian folk music, Oshadhee Satarasinghe, whose repertoire long music instructor at Texas has used ornamentation A&M University in as a “color” technique Commerce. similar to those used by “It’s important to see Students incorporate poses from South Asian composers and artists dances into dances they already know. something from your from Bach to Charlie country represented, and to be able Hindu Festival of Lights, with Parker to Beyoncé. In South Asian to speak or sing in that language,” corresponding holiday practices in music, practitioners tend to express says Satarasinghe, a NAfME member other cultures. “[Students explore] ornamentation in a unique way. “In who immigrated to the U.S. from how they have lights incorporated in Western culture, ornamentation is Sri Lanka in 2010 to earn her under- their [holidays], for example, Christ- written down; it’s specied,” says graduate and graduate degrees in mas. So, they’re seeing similarities in Satarasinghe. “In South Asian music, music with an elementary education our cultures that we can share.” These it’s used to beautify the piece and it’s specialization from Texas A&M. similarities also emerge when students not written down. The theory is so “We have a lot of Latin American compare specic musical characteris- complicated that there is no written music included in U.S. curriculums, tics and aesthetics, and she uses South theory; it comes from hearing. It’s but it’s also important, since there’s Asian folksongs to teach transferable passed down orally—and aurally. So,

such a big population of South Asian skills, such as rhythmic tendencies. you’ll nd a lot of South Asian Photo courtesy of Oshadhee Satarasinghe.

48 Teaching Music OCTOBER 2018 musicians have incredibly trained ears. three lessons oer authentic represen- Daniel suggests using this truth to By bringing [that ear-training] into tation of South Asian folk music and foster a personal connection and American culture, you can teach its relevant content. —Stephanie Jones relationship with every student, students these possibilities.” working to better understand their

Another bene t of introducing BRASS & WOODWINDS experiences and worldviews. South Asian folksongs into the curric- “Instrumental music gets the ulum is the music’s inherent and robust Strategies for shortest end of the stick,” Instructional interval-training content. Many Teaching Brass time is squelched because other selections from Indian and Sri Lankan and Woodwinds in academic subjects are scheduled against folk canons have melodies that rely on Under-Resourced music. Daniel has a suggestion for repetition. Students have the opportu- dealing with this. “One way that I met nity to internalize what a second or Communities the needs of all the beginning students third sounds like, and how those Band programs are expensive to run in the same room was by limiting my intervals feel to sing and play. and maintain. In schools where the Free instrument oerings for beginning “Through repetition,” she says, “you and Reduced-Priced Meals (FARMS) band. I would only oer ute, clarinet, can train their ears to a certain rate is high, successfully teaching brass trumpet, and trombone for my interval, pattern, or scale. beginning band class.” Daniel “A lot of us need to Modal scales, that you don’t rethink our model—no also found a lot of success always get from American matter where we are.” moving students to another —Chandran Daniel culture, you can learn from instrument in their second South Asian music.” year. “Many of my ute Satarasinghe recently students could easily transition completed a book she hopes to to saxophone (so I often told publish regarding Or- and students if they were interested Kodály-incorporated lessons in saxophone, take up ute in for grades 3–6 that would beginning band). Moving allow teachers to integrate trombones to baritone and/or South Asian folk music into eventually tuba in their second their curriculums. Each lesson year has also worked well.” features a selected folksong for study, and woodwinds can be challenging. “A Instrument acquisition is challeng- and many lessons include instrumenta- lot of us need to rethink our model— ing in these communities. “Equip tion, games, and even dances. “The no matter where we are,” says Chan- every child with an instrument that is way I incorporated folk dances was to dran Daniel, music director for Hins- in good condition, and enough of have students begin by creating their dale Adventist Academy in Hinsdale, them to out t every student.” Daniel own dance from what they know— Illinois. Daniel has strategies for dealing views it as a personal responsibility. circle right, circle left, do-si-do. I with these challenges. Multi-year lease agreements can make show them certain poses of South How do you teach brass and large acquisitions such as tubas, Asian dances, and their challenge is to woodwinds in this situation? Daniel baritones, bass clarinets, and baritone incorporate some of those poses into says that in order to recruit students to saxophones more palatable to admin- what they already know.” play these instruments, it is important istrators, as many instruments can be To date, Sweet Pipes Recorders has to be their advocate. “You cannot acquired immediately and paid o included two of Satarasinghe’s teach an empty chair. ‘I want you in over time. He also uses direct fund- folksong lessons, one from Sri Lanka this room.’ The greatest resources in raising—asking for donations of small and one from India, in Darla Meek’s the music room are the people—not cash amounts, skills or services— Journey Around the Globe with Recorder the stu.” Often, the music teacher to help with the program. Grants, for upper elementary grades. She also does not reect the community (race, corporate donations, crowd sourcing has had an additional Sri Lankan gender, socioeconomic level, etc.) that (e.g., Donors Choose) can be used to folksong lesson published in Journey they teach. “Accept and acknowledge fund items such as a year’s worth of Around the Globe Book 1. For teachers that. Be honest about yourself—it is valve oil and reeds, or regular

Photo by istock.com/Umkehrer. Photo by seeking immediate resources, these not wrong to acknowledge that.” instrument maintenance.

nafme.org 49 Regarding brass and understanding of music woodwind repertoire, theory or standard nota- Daniel suggests using tion.” exible band instrumenta- By way of his collabora- tion, or arranging music tive teaching style, Morris is oneself. Popular music ultimately on a serious arrangements can “hook” mission to keep music as fun the kids, and the director as possible, working with “Teaching students how to create their own music is a can then “nd pieces that highly valuable and radically freeing act.”— Taylor Morris students and educators to can bridge to other genres. explore the incredible Sixteenth notes on clarinet are the the added benets of string players variety of ways to make music with same in a pop tune and in a standard working with styles outside the string instruments. He oers these piece of band repertoire.” Use the classical genre. “I think many students words of wisdom for the educator music that is most eective to teach start to feel a sense of restraint when unsure of where to begin: “In the that skill. playing around with classical music, words of tennis legend Arthur Ashe, —Peter J. Perry because it’s typically presented and ‘Start where you are, use what you taught in a regimented way. If they’re have, do what you can.’”

STRINGS playing around with music they don’t If you’d like to learn more about normally play, there’s a sense of arranging with your string students, visit Teaching String freedom from expectation that Morris’s website, TaylorMorrisMusic.com. Students How to promotes their musical exploration.” —Stephen Holley Arrange from This concept of collaboration Scratch weaves itself throughout the process, PERCUSSION as he urges educators and students Composing and arranging are some of alike to abandon the notion that Creativity the more creative aspects of music- arranging music is a concrete process. through Drum making, but how many of us truly After rst guiding his musicians Circle take the time to make these a segment through learning the melody of a Facilitation of our classes, much less the core of it? song by ear, the group then focuses Taylor Morris, a freelance violinist, on the chord structure. When How can drum circles help your young ddler, and educator based outside possible, Morris suggests young string musicians? “Drum circles allow the Phoenix, Arizona, has spent the past players play double stops, focusing student to explore rhythms while several years developing approaches to rst on the root and fth of the playing with others in a non-threaten- arranging through his extracurricular chord, and then substituting the third ing environment,” says K. Michelle high school ddle group and summer later. From there, students collaborate Lewis, music specialist at Bloom camps. Morris notes, “If music is a in groups to decide the form, struc- Elementary School, and percussion form of self-expression, then teaching ture, and who plays what and when. specialist for DrumSmart LLC, both in students how to create their own Some of the roles in the ensemble Louisville, Kentucky, and an adjunct music is a highly valuable and radical- might include playing the melody, professor at Indiana University South- ly freeing act.” harmony to the melody, countermel- east in New Albany. “When students He approaches the subject by ody, drone note, double stops, and are allowed to improvise a rhythmic employing folk and pop tunes as the chopping (a rhythmic technique often ostinato that they created, it builds their source material for the arrangements, used in bluegrass music). condence. Once a student is accus- often with songs chosen by his Morris will often provide feedback tomed to exploring and improvising students. While Morris doesn’t have a or assistance, but he strives to give rhythms in a drum circle, the facilitator strong opinion on the style of song his the budding arrangers as much can scaold composition activities for students choose, he does note that freedom as possible to explore the small groups of students that include many contemporary tunes have music. “It’s incredibly important to student choice. Student choice involves melodies that are both approachable not overcomplicate the process; it students choosing the time signature,

and easy to work with. He also notes doesn’t have to require a deep the form, the instrumentation, and Denise Karis. Photo by

50 Teaching Music OCTOBER 2018 more. The techniques used in the drum instruments for my drum circle. circle for rhythm can then be trans- Buckets, milk jugs, coee cans, soda ferred to pitch so that students will be cans, bottle tops, etc. can create cool able to build their rhythmic composi- sounds that would be appropriate.” tion into a melody.” For those music educators who are Drum circles can also facilitate not strictly percussionists, a drum cross-curricular learning. “Drum circle can still be a very bene cial circle games use counting, which in teaching and learning experience. “I the earlier grades is called numeracy believe that drum circle facilitation is in math. This is a concept that I teach for anyone who desires to learn about to students as young as age ve. it,” remarks Lewis. “Arthur Hull and Rhyming word games and drumming the Village Music Circles, Remo, in a drum circle is a lot of fun, as well Inc., and the Drum Circle Facilitators as literacy games that facilitate Guild are great organizations that “Regularly teach, show, and concepts such as syllables in words.” provide excellent resources and practice proper breathing.” A drum circle activity can work training.” —Susan Poliniak —Michael Sandvik with students as young as age five,

and “with groups as small as five all CHORAL AND VOCAL sound, often with a contrived vibrato. the way up to 100. I believe an ideal Other students will try to imitate pop range of participants is dependent Avoiding Vocal sounds or something similar that they upon a facilitator’s comfort level.” Tension with are not ready for vocally and quickly Larger groups are Lewis’s personal Your High School form habits that are deleterious to favorites: “When you have many Choir their vocal health.” people grooving to rhythms that Choral conductors are not o the connect to the beat of the large drum Vocal tension is the bane of any singer’s hook in this regard either. “In the circle, it creates this synergy that is existence, but it’s particularly unwanted general sense, tension in conducting remarkable.” in the ranks of the high school choir. seems to transfer to tension in vocal Although these ensembles can How can a choral director help their sound,” remarks Sandvik. “If the include a variety of purchased students to sing freely and with conductor is so tense that every percussion instruments—“djembes, tension-free technique? muscle is tightened up after conduct- tubanos, congas, bongos, hand drums First o, it’s important to recog- ing a concert, the chances are high and accessory percussion like tambou- nize the signs of vocal tension. that the conductor’s singers are rines, maracas, shakers, woodblocks, Michael Sandvik, director of choirs at receiving a visual message of un- and cowbells are perfect,” notes Great Lakes Adventist Academy in healthy tension.” In addition to Lewis—the activity can also be Cedar Lake, Michigan—notes that paying attention to one’s own surprisingly budget-friendly. “If I you’ll see in your singers a “raised conducting gestures, choral directors didn’t have instruments, I would jaw, furrowed brow, visibly tight neck can go a step further and “train their create a lesson on using recycled muscles, raised or depressed larynx.” singers to respond to certain gestures

Bottom photo from istock.com/Illya_Vinogradov. Top photo by Bob O’Lary. photo by Top Bottom photo from istock.com/Illya_Vinogradov. containers and create homemade In terms of the sound, he notes that it of release that, when seen, remind may be “pinched,” and that a student them to release tension, support well, Drum circles allow may lose their voice, develop a raspy and relax problematic areas prone to the student to explore rhythms. sound during rehearsal, or feel pain. vocal tension.” The causes, according to Sandvik, Teaching and encouraging proper include poor placement and poor breath support and posture are well support. “The vocal mechanism will worth the time spent in rehearsal. compensate for poor air support with “Everything starts with the air. If the muscular tension elsewhere.” Other breath is shallow, tension is much causes can include poor posture, and more likely to result. Many conduc- forcing an unnatural sound. “Some tors will remind singers to breathe students try to force an over-mature properly, but don’t teach them how.

nafme.org 51 Regularly teach, show, and practice opts for alternatives such as “collective

proper breathing, says Sandvik. As for ALTERNATIVES creation” or “conception.” poor posture, “support is a ected, the Students gain a better understanding airways may be pinched, and the body Video Game of industry terminology including “cue will compensate with engagement Composition sheets” (a timeline of gaming events that elsewhere, which nearly always in the could be enhanced with music), “stems” manifests itself as tension. I would say, Classroom (short, repeatable sections of music), and however, after sitting at desks, “linear vs. nonlinear” (a game where the carrying backpacks, etc., students’ One of many developing areas in music player can only proceed in one direction bodies are often rounded into poor education, not to mention real-world vs. a game where the player can choose posture. Stretching arms, back, and employment opportunities, is composing various paths). From there, students can shoulder muscles prior to singing can for video games. Increasingly, colleges utilize their newfound skills, combined really help in making good posture are o ering courses and degrees in this with their existing musical knowledge, more comfortable for the singers.” area. This, coupled with conferences and to decide how to best represent the Vocal techniques that can help the books devoted to the discipline, has storyline. “In the end, they walk away director to banish tension from the established composing for video games with a better understanding of how choral ranks include the ever-import- as a viable form of music composition. music can impact emotion because they ant messa di voce, which “can help Brian Meyers, assistant professor of have thought through and considered train the voice to sing any dynamic music education at Miami University how they would do it themselves.” without tension. Likewise, portamen- in Ohio, developed a module that Meyers notes an important point: to exercises can help train the voice to creates a project-based learning “This isn’t an individual project; it is a sing any pitch within their voice environment for budding composers. group project. There is safety in range without tension,” recommends He integrates this module into the numbers, and allowing students to Sandvik. However, he notes, “The structure of an existing class. He notes, interact and trade ideas about composing very best tension buster I have seen “Bringing video games into the to a video game breaks down some of and used is the start-and-stop tech- classroom is a way of helping students those composing walls.” Often, when nique. This requires signicant students have had success after self-awareness. I encourage my composing with others, they’ll then singers to be aware of feelings of move on to individual composition. tension, particularly in the three He explains the overarching goal of most notorious areas that the the class is to help students interact a ect the voice: the neck, the with music in a new way. “After tongue, and the jaw (the absolute years of watching movies, students greatest o ender is the jaw). I have picked up, either consciously teach and encourage them that, or unconsciously, on moments of whenever they feel tension, they “Composing for a video game, as a class, can tension, excitement, sadness, and be done at almost any level.— Brian Meyers stop for a microsecond, relax the many other emotions, and how area and then restart singing. If it connect the out-of-school world with music can be used to heighten those returns, stop and restart again, as what they are doing in the classroom.” moments. Composing for video games often as needed. What happens is Meyers notes that his students have brings all of this together and allows that, over time, they train their vocal very little, if any, composition experi- students to interact with music in a way mechanism that only freedom is ence when they enter the class. “Com- that is signicantly di erent than acceptable. It builds a muscle memory posing for a video game, as a class, can performing or listening to it. That is the of release that is opposed to tension. be done at almost any level. The power of composition.” The key is each singer faithfully important thing to remember when If you’d like to learn more about adhering to this principle. If coupled working with di erent levels is under- composing for video games in a with quality instruction on placement standing the type of help and guidance classroom setting, check out Meyers’s and support, healthy vocal production you will need to provide.” He even upcoming presentation at the NAfME is a nearly sure result.” goes so far as to shy away from using conference, November 11–14, in Dallas, —Susan Poliniak the word “composition,” and instead Texas. —Stephen Holley Photo from istock.com/ sezer66.

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While subscriptions to the printed edition of In Tune Monthly are available for sale at intunemonthly.com, this school year, all NAfME member middle and high school music teachers can receive the digital versions of In Tune Monthly magazine’s teachers and student editions without cost. These digital versions of In Tune are identical to the printed versions of the magazine and links to them are:

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The link to the student edition of In Tune can be freely shared with your classes. In Tune teacher’s edition comes with activity plans and assessment materials in addition to multimedia resources on intunemonthly.com. There are no accounts to set up, no apps to download and no email addresses are collected. All that’s required is Internet access via any computer or mobile device, and the click of a link.

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It’s never been easier to get your band, orchestra, chorus and general music students In Tune! A E TAG S S elementaryBY STEPHANIE JONES

A Springboard to Understanding Culturally responsive teaching is vital to today’s general music classrooms.

a culturally responsive mindset, rather “If you’re presenting a piece of multicultural music, you’re teaching it with an understanding of the cultures from than searching for specic lessons, and which it comes.”— Jacqueline Kelly-McHale nding ways of promoting the kind of self-awareness that translates to teaching and learning; so, students in turn have incentive and support to adopt their own culturally responsive mindset. A more concrete representation of culturally responsive teaching uses what Kelly-McHale and her colleague Carlos Abril (Frost School of Music, Universi- ty of Miami) call the “springboard” approach. “It gives you a place to start,” says Kelly-McHale, who o ers the example of using a folk story from Gha- na to bring in Ghanaian folk songs ACCORDING TO Jacqueline Kelly-McHale, become interested in culturally respon- whose content reects relevant materi- associate professor of music education at sive teaching,” Deep-diving into al. “But it can’t stop there. Sometimes DePaul University in Chicago, Illinois, implications of authentic experience as it we boil it down to food and costume, adopting strategies for culturally relates to culturally responsive teaching, but culture is about identity, and we all responsive teaching is critical in today’s she began teaching a piece of music as a belong to multiple cultures. We might education landscape. “It’s extremely living, breathing thing. “Every time you start with a story from Ghana, then important for all students to be able to perform a piece of music, you take the lessons learned from see not only themselves, but to see are creating a new, authentic “We all that folktale and spin that out others, so they can develop a better version of it because it’s the belong to from the social-emotional understanding of the role diversity plays version that is authentic to multiple learning perspective. Then we in society,” she says. your understanding. That’s cultures.” can start making greater Once teachers assume the responsibil- why being culturally respon- cultural connections by ity of presenting a range of di erent sive becomes so important. If you’re bringing in other music written by cultural and experiential perspectives presenting a piece of multicultural music, people from Ghana, or people whose within their curriculum, they must nd you’re teaching it with an understanding ancestors are from Ghana. We can start the most viable, benecial ways for of the cultures from which it comes; that bringing in African American compos- wielding that responsibility. Because way, you present it is as authentic as it can ers. So that folktale can be taught as the classrooms often reect populations who be for your context and your students.” springboard into the music of William identify with multiple cultures, a great Prescribed lesson-planning can have a Grant Still and the music of Earth, place for teachers to start, according to reductive e ect on this teaching method, Wind & Fire. It just becomes so Kelly-McHale, is lineage and derivation. according to Kelly-McHale. Because the important that we dive into all the “In many ways, the idea of lineages and cultural makeup of classrooms can di er di erent manifestations of people who

Photo courtesy of Ravinia’s Professional Development Institute. Professional Development Photo courtesy of Ravinia’s derivations is what brought me to dramatically, she recommends adopting might be members of that culture.”

nafme.org 55 S S TAG E secondaryBY SUSAN POLINIAK

Centers of Excellence What can learning centers do in the context of your ensemble rehearsals?

WHY WOULD A SECONDARY school Centers foster collaborative learning. Caption music director want to use learning centers in their rehearsals? According to Heather E. Bolin—satellite supervisor for Music Education Student Teachers at Texas Tech University, and a vocal music private contractor in Lubbock, Texas—the reasons are myriad. “To di erentiate instruction, reach multiple learning styles, assess di ering ability groups, foster collaborative learning, incorporate other curriculum crossover, showcase student work, build commu- nity and teach interpersonal skills—and students really enjoy it!” All music subjects make good candidates. “Any curricular, social, that would traditionally be presented on one element (rhythmic, melodic, musical, procedural goal can be present- the board. These elements are then textual, or historical) and video a ed with centers. Some use centers for divided into centers for discovery, one-minute commercial explaining it.” concrete procedural topics like the choir review, introduction, or assessment. For • “TEACHER AS THE CENTER: One of handbook, class norms, or concert example, I might take the rhythmic my favorites; I wish I had this tool as a etiquette,” notes Bolin. “An overarching elements for ‘I’ve Been to Haarlem’ by young teacher! Set up yourself at the frame for centers is to incorporate the Ken Berg, review the basic rhythms on piano or other area to best help you nine multiple intelligences. the board in a whole-group assess or reteach the concept. This From visual to interpersonal, “Students presentation, then release works especially well for ability groups.” students shine in di erent shine in groups to centers. Some For secondary ensemble directors ways and deserve to be different centers might include: who have never before employed learn- allowed the avenue to do so listening for rhythmic errors ing centers in their rehearsals, Bolin in the music classroom.” ways and from a recording, composing advises, “Preparation is key, but allow A strength of learning deserve to similar/di erent patterns, yourself the freedom to err and learn. centers is that they can be be allowed playing popsicle stick Large student-to-teacher ratios can still tied to the ensemble’s the avenue rhythmic draw, or poison use centers by rehearsing one voice part repertoire. “One of my with the known elements.” while the others complete the center favorite ways to achieve this to do so.” Here are just a few of Bolin’s rotation. Use centers as a reward, but is to springboard o a fundamental own ideas for learning centers. have an alternate assignment planned sheet,” remarks Bolin. “These teacher- • “THE REST OF THE STORY: Students just in case. Invite your administration created sheets extract the rhythmic, collaborate to write a next verse/ to come watch you and your students melodic, textual, historical, theoretical, paragraph to the song’s story.” shine through highly engaged learning

and/or contextual elements of a piece • “SHOOT A COMMERCIAL: Students take and di erentiated instruction!” Heather E. Bolin. Photo by

56 Teaching Music OCTOBER 2018 BACHELOR OF MUSIC IN BRILLIANCE Performance • Education • Composition • Theory MINOR AWAITS. Pedagogy AREAS OF EMPHASIS Jazz & Improvisational Music • Collaborative Piano

DOUBLE DEGREE Bachelor of Music/Bachelor of Arts S S TAG E collegiateBY ANDREW S. BERMAN

Professionalism for New Music Educators Your clothing, your social media presence, your attitude—it all matters.

MUSIC EDUCATORS are unique in that How you dress in the their audience is not only their students classroom affects how your students see you. but also the students’ parents, the faculty and administration of the school, and the community at large. The way a music teacher behaves in the classroom and at performances is seen and judged by a wide range of people. “You have chosen a profession with a pretty strict moral code,” says Tina Krawcyk, NAfME member and middle school and high school music teacher in the Delaware Valley School District in Milford, Pennsylvania, “and that code needs to be enforced at all times, even when you are not at work.” them, but remember that they are your Don’t use work email for personal How you dress in the classroom students,” cautions Krawcyk. “Teachers business, as the district can access it. a ects how the students see you and are teachers all the time, whether they Tighten your social media accounts’ how you see yourself. Krawcyk advises are in school or out in public.” security settings, “and you must still be that dressing professionally will “keep When starting at a new position, it’s vigilant about what you (and other you energetic, motivated, and orga- always important to project positivity people) post,” warns Krawcyk. For nized, and help remind you to keep and not engage in disparaging talk communication with parents or student boundaries with your students.” The about any teacher, student, or parent. groups, she recommends Remind (remind. opposite is also true: “When we start “Become familiar with the culture and com) or other third-party apps in lieu of relaxing in our dress, we start relaxing do not say or share too much.” Once sharing your personal phone number. in our actions, too, which can lead to you’ve said something about someone, It is important to remain within your unprofessional conduct.” Your persona of professionalism at all times, students should be focusing on “Teachers are teachers all but if you slip up, address it right away. the content of your lesson, not the time, whether they are If something happens, Krawcyk says, the fact that you have a stain in school or out in public.” “Report it immediately to your mentor on your shirt. or a union rep. Document everything!” Perception is also about how you act. there’s no stopping it from getting back For more from Krawcyk, see her Krawcyk says that keeping a professional to them, in whatever mangled and webinar, “Professionalism in the distance is key. “Remember that you are embellished form they nd it. One way Education Workplace,” at bit.ly/NAfME their teacher, not their parent, and to avoid this negative talk is to avoid Academy, and read its companion certainly not their friend.” This may be negative people. blog post at nafme.org/professionalism hard advice to follow, but it is crucial not A good rule of thumb is to keep a -education-workplace. For career coaching to blur the lines. “It is important to care protective layer of separation between and help with nding and applying for

about your students and be friendly with your work life and your personal life. jobs, check out careers.nafme.org. Photo from istock/asiseeit.

58 Teaching Music OCTOBER 2018 Academy PROFESSIONAL DEVELOPMENT SUBSCRIBE TODAY TO THE NAfME ONLINE LEARNING PLATFORM Must-have professional development for the successful music educator

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BOOKS 3 Frankie Finds the Blues Innovation Creating How to Play By Joel Harper, illustrated by Gary Kelley (2018, in the Music: What Harmonica: 40 pgs., hardcover $17.99) Melodiously mingling Ensemble Children from A Complete Guide artistic inheritance, perseverance, and creativity, Around the World for Beginners this picture book introduces readers ages 3–9 to Arts: Sustaining Can Teach Us By Blake Brocksmith, the heart of American popular music. When Creativity By Patricia Elaine Riley Gary Dorfman, and Frankie’s grandmother invites him to a blues By Tim Sharp (2016, 312 pgs., Douglas Lichterman concert, he can’t help but feel skeptical—after all, (2017, 176 pgs., hardcover $70.00, (2018, 176 pgs., he loves hip-hop! All the same, he can’t resist her hardcover $22.95) paperback $37.00, paperback $13.99, invitation, especially after she mentions that Innovation in the eBook $35.00) eBook $10.99) “Hip-hop came from the blues.” At the show, Ensemble Arts lays out Each creating process This step-by-step Frankie is instantly mesmerized by the music the techniques of component stated in beginner’s guide he hears, igniting his desire to play it. As his quest transformative renewal the 2014 Music provides an introduc- for self-expression takes him from his couch that enable music Standards is explored tion to playing the to music lessons to an unlikely encounter in the educators to lead in this text using harmonica and includes park, Frankie unearths the origins of the blues individual ensemble information about and learns how it developed. Hal Leonard children’s creations members in the person- from China, India, basic techniques, tools, Corporation, halleonard.com al growth that fuels the Ireland, Mexico, and and music knowledge. ensemble’s contribu- the U.S. as examples. With this book and ACCESSORIES 3 tions to the community. Readers will become your harmonica in The author establishes acquainted with the hand, you can learn BT-1 BandTool a mindset that can lead By Legend Musical children, their original basic music skills, Instruments ($175.00) to ongoing relevancy music, and what the discover how and Just a few of the everyday emergency and create public value children say about their why your harmonica band repairs that can be for today’s ensembles, music and its creation. works, play some done in the field with this tool include: trueing and illustrates how to What we learn from simple tunes, and start bent shanks on brass generate momentum to improvise your own mouthpieces, adjusting this exploration leads keys on woodwind instru- that can propel music to teaching strategies, music. Techniques ments, pushing or pulling woodwind springs back into place, filing sharp edges, ensembles forward in projects, lesson plans, covered include bent and tuning or tightening drum heads. Features the pursuit of musical and mentoring notes, blue notes, include a pad iron and leveling tool, screwdrivers and bits for any sideline percussion or cart repair, excellence. recommendations. trills, slurs, and more. jaw pliers, a rawhide mallet to loosen stuck GIA Publications, Inc., NAfME/Rowman & Adams Media, mouthpieces, and more. Legend Musical Instruments, legendmusicalinstruments.com giamusic.com Littlefield, rowman.com simonandschuster.com

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

60 Teaching Music OCTOBER 2018 AUDIO RECORDINGS 3 ACCESSORIES 3 Teaching the Applying Five Little Happy CloseUp® Postsecondary Model Oysters! Haunted System By Sukey Molloy By Your Heaven Music Cornerstone Halloween ($499.99–$649.00) Student with Assessments (2018, 13 tracks, CD or By Mr. Singer & the Available for guitar digital download $9.99) Sharp Cookies (steel-string acoustic Disabilities in K–12 Music: and classical), Sukey Molloy’s fifth (2018, 14 tracks, CD By Kimberly A. McCord A Research- mandolin, violin, album turns tradition or digital download viola, and cello, the (2017, 240 pgs., Supported Approach CloseUp System upside down, shining $10.00) hardcover $105.00, Edited by Frederick Happy records instruments a new light of fun on with high-quality paperback $24.95, Burrack and Kelly A. Haunted Halloween audio while isolating classic repertoire. It offers spooky songs eBook price varies) This Parkes (2018, 228 pgs., background noises, kicks off with “It’s text provides informa- hardcover $60.00, about haunted houses, even in noisy rooms Raining, It’s Pouring” ghost towns, crawl or outside. The tion and strategies for paperback $28.00, patented system set to a calypso beat. teaching the college eBook $26.50) The spaces, and monster captures rich, “Do Your Ears Hang hunters; sweet accurate sound in music student. With intent of each MCA is any environment. Low” presents all the rising numbers of to provide research- songs about gathering Installation is quick little-known original students with disabili- based assessment tasks with friends, dressing and safe, with no verses frolicking in a instrument modifica- ties in university music that are specifically up as a cuddly bunny, tion required. schools, professors are focused on the expected carnival atmosphere. and counting trick- Practical applications The melody to “The or-treat loot; and even include performing being asked to accom- learning for the and recording live modate students in performance standards, Ants Go Marching” an historical song in both indoor and outdoor venues their studios, classes, with rubrics tested for dates from the Civil about Mary Shelley of various sizes. and ensembles. Most scoring consistency. War as “When Johnny plus a dance number Your Heaven, professors have little This book provides a Comes Marching inspired by her novel yourheaven.net training or experience thorough background Home.” Other highlights Frankenstein. Tracks in teaching students of the MCAs and the include “She’ll include “Happy The Declaration with disabilities. This confidence measures Be Coming ’Round Halloween,” “Grandpa’s book provides a resource administered to guide the Mountain,” “I’ve Ghost,” “Dream of on Equity in for creating an inclusive implementation by Been Working on the Bonfire,” and Music Education music education for teachers, administrators, the Railroad,” “This “How Many Pieces for City Students students who audition and the educational Old Man,” and of Candy?” See music.yale.edu/ and enter music school. community. NAfME/ “Simple Gifts.” Crumby Records, declaration and Oxford University Rowman & Littlefield, PlayMove&Sing Inc., mrsingerandthe page 32 for more Press, oup.com rowman.com sukeymolloy.com sharpcookies.com information.

nafme.org 61 resources... CONTINUED APPS 3 Chris Lee Flashnote Derby FREE By Luke Bartolomeo (iOS $4.99, Android $2.99, Kindle Fire $2.99) Flashnote Derby is an app that takes the drudgery of Three Incredible memorizing the notes of the music staff and turns it into a fun and challenging Opportunities for America’s game. Simply select the notes you wish to practice, and it’s off to the races. Identify- Brightest Young Musicians ing notes correctly urges your horse on to the fi nish line, while incorrect answers In the summer of 2019, gifted young musicians from across the cause you to fall behind. Increase the country will come together to study with world-class artists, diffi culty by adding more notes and perform at Carnegie Hall, and go on tour. speeding up the race. Students can be taught the notes on not just the treble clef, but the bass, alto, and tenor clefs as well. Education pricing is available via Apple’s app store. Luke Bartolomeo, fl ashnotederby.com Ages 16–19 Ages 14–17 Ages 16–19 Application Deadline: Application Deadline: Application Deadline: November 15, 2018 December 13, 2018 January 31, 2019 Diddles By Paul Wochnick (Free for iOS) Diddles lets you feel what it is like to practice with a drumline. This app gives you the ability to play along in a sectional or a full drumline, To learn more about each program, visit view the music as you listen to the exercise, carnegiehall.org/NationalYouthEnsembles. set the number of times that you want to play an exercise, choose the beats-per- minute setting to the level you want to play, auto-increment the beats per minute, and exercise fi ne control over the volume of each instrument. Paul Wochnick, wochnick.info/diddles.html

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nafme.org 63 bravi! ✢ BY SUSAN POLINIAK BLACK VIOLIN

VIOLIN DUO Kev Marcus and Wil Baptiste first met in high school orchestra class and, after attending college on full music scholarships, formed Black Violin and started covering their favorite hip-hop songs. Known for their distinctive sound, just a few of the duo’s accomplishments include winning on Showtime at the Apollo, and many prestigious performances—including at three Super Bowls, the U.S. Open, and President Obama’s official Inaugural Ball. They also have a strong dedication to working with students and schools. Their current Classical Boom Tour—which has included back-to-back sellout shows at the Kennedy Center in Washington, D.C.—will continue this fall with over 40 dates on the schedule. INTERVIEW WITH WIL B. FROM BLACK VIOLIN

Can you tell us how you started on your instruments? Kev started on violin. He went to a summer Saturday class, and violin was the only thing they had. I wanted to study saxophone, and they put me in the wrong class. The string teacher and the band teacher had a bet on a golf game, and the winner would get me in their class. The string teacher won.

How would you describe your musical style? It’s hard-hitting hip-hop with beautiful strings. We have a lot of different influences—jazz, funk, blues—and particularly for me, anything that was in the ’70s, like Marvin Gaye, Al Green, and Curtis Mayfield. I love hip-hop that tells a story like Nas or Tupac. Because of all our influences, we’ll do a show and there will be all kinds of different people in the room.

One of your goals as a duo is to help people see things from a different perspective. We’re like a walking broken stereotype. We don’t look like your typical violinist and violist. We love to challenge our listeners to hear and see different—to think outside the box.

What’s on the horizon for you two? Right now, we have a new album with a lot of great music coming out in the first half of next year.

Why do you think music education is important for kids today? It’s an outlet to express themselves and figure out themselves, and it gives them confidence. In this day and age, it’s more crucial now than it was when I was growing up. It’s important for communities as well—when we have vibrant kids, then we have We love to a vibrant community. I think educators and parents need to understand how crucial this is—it can literally challenge save a kid’s life. Music is something that is universal—it touches and transforms people. our listeners Do you have any words of encouragement for music educators? For you guys who are the soldiers of to hear and this—stay in the good fight. It’s important. The kids may not see it now, but later they’ll come back and see different— say, “Thank you so much for fighting for us.” to think Do you have any recommendations for music teachers who are trying to get their students to Wil B. (left) and outside the Kev Marcus stick with it? Don’t be afraid to think outside the box. box and do things a little differently. The string instruments, out of all the instruments in the world, have gone through the least transformation in the way they look and sound. I think we’re so used to something that’s been around for hundreds of years, and looks and sounds a certain way— we’re afraid to offend it! We need little kids who are energetic about it—but to do that we need them to try different things. Have them create their own music. Photo by Colin Brennan. Photo by

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