SBO January 2010

JANUARY 2010 $5.00

Chris Miller Lawton Chiles High School Orchestra On the Fast Track Survey: Grant Writing Guest Editorial: Marching Decade in Review

Contents 14

30

22

January 2010

Features 12

UPFRONT: THE MORTON MUSIC MAKERS Once a national powerhouse in band and orchestra, the music program in Cicero, Illinois’ School District 99 had fallen into a state of disrepair until this year, when a notable group of alumni helped to re-introduce music into the curriculum.

14

UPFRONT Q&A: SCMEA’S GLENN PRICE Glenn Price, the president of the South Carolina Music Educator’s Association, discusses the SCMEA position music education as a necessity for his state’s future.

18

COMMENTARY: LOMBARDI-ISMS SBO contributor Flint Weed applies famous quotations from former NFL coaching great Vince Lombardi to the teaching of music.

22

UPCLOSE: CHRIS MILLER SBO catches up with Chris Miller, director of the Lawton Chiles High School Orchestra that won first place in the 2009 ASTA National Orchestra Festival’s High School Division.

30

SURVEY: GRANT WRITING SBO readers weigh in on how grants factor into the funding for their programs.

34

GUEST EDITORIAL: MARCHING DECADE IN REVIEW EKU director of bands Joe Allison looks back at the significant trends in marching music over the past decade.

38

TECHNOLOGY: BERGENFIELD HIGH SCHOOL John Kuzmich examines the cutting-edge music technology being used at Bergenfield (N.J.) High School.

Columns 4 6 43

Perspective Headlines New Products

46 47 48

Playing Tip Classifieds Ad Index

Cover photo by Mika Fowler, Tallahassee, Fla. SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each.

February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/ SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 School Band and Orchestra, January 2010

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Perspective

Thinking Big at Midwest

D

uring times of recession, it’s typical that attendance at conferences, trade shows, meetings, and other educator gatherings is significantly reduced. The cost of transportation, hotels, meals, and other ancillary expenses tends to keep eager attendees away, and throughout 2009 this was particularly evident. However, the 63rd annual Midwest Band & Orchestra Clinic this past December seemed to buck the trend.

Prior to 2009, the conference had occupied the Hilton Hotel & Towers on Michigan Avenue for decades, which had a cramped, yet cozy ambience, especially with the wonderful holiday feel within the beautifully decorated lobby. The networking opportunities abounded in the restaurants and pubs after hours, and the students gave it a true air of excitement. Yet, in the opinion of many people, the show needed an opportunity to grow, as well as offer a better environment for concerts, meetings, and exhibit space. Organizers took a major step by moving the Midwest Clinic to McCormick Place, which is one of the largest trade show and conference facilities in “The Midwest Clinic the United States. The move came at a difficult period for our economy, and there is always risk with these types of has solidified its moves, especially after being in one location for so many position as one of years.

Many visitors, attendees, and exhibitors reflected very the premier music positively on the show’s new home, as it seemed that the educator events.” advantages were significant. Ease of access was improved, as well as parking, access to restaurants and food, and, of course, space. It was estimated to have several dozen more exhibitors this year compared with previous years, and attendance seemed to be strong. The conference, as always, featured a wide variety of clinics and ensemble performance, including 16 concert bands, 10 orchestras, 9 jazz groups, and 10 small ensembles, including such notable performers as the Ellis Marsalis Quartet, Chicago Symphony Orchestra Brass, the Eastman Wind Ensemble, and several top military bands. This year may have marked a new starting point for the growth of this show.

If you’ve never attended this premier conference, you might seriously consider putting it on your calendar. By virtue of shifting venues, the Midwest Clinic has solidified its position as one of the premier music educator events, and it continues to offer educators, not only from the Midwest, but from around the country, a wealth of opportunities to stimulate their creative juices and kick off the new year with new energy and bold ideas.

Rick Kessel rkessel@symphonypublishing.com

®

January 2010 Volume 13, Number 1

GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EXECUTIVE EDITOR Christian Wissmuller

cwissmuller@symphonypublishing.com

EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Denyce Neilson dneilson@symphonypublishing.com Art Staff

PRODUCTION MANAGER Laurie Guptill

lguptill@symphonypublishing.com

GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff

ADVERTISING SALES Iris Fox

ifox@symphonypublishing.com

CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com Business Staff

CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Sanford Kearns skearns@symphonypublishing.com Symphony Publishing, LLC

CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150

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Member 2010

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4 School Band and Orchestra, January 2010

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HeadLines Dr. Phil Foundation Launches Little Kids Rock Across America

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he Dr. Phil Foundation has launched Little Kids Rock Across America with a $500,000 donation designed to restore, revitalize, and enhance musical programs in schools in 10 cities across the country. The program brings music education to school children from grades K through 12 in New York, Los Angeles, Chicago, Philadelphia, Dallas, Atlanta, Washington D.C., Tampa, and two additional cities to be named by the end of 2009.

A CD featuring some of the school childrenâ&#x20AC;&#x2122;s original compositions was distributed to the press and is available on the Little Kids Rock Web site.

Fender is a corporate sponsor of Little Kids Rock and has also donated to the program.

For more information, visit www.littlekidsrock.org.

Music for All Hosts Future Music Educators

M

usic for All hosted more than 70 music education students at its 2009 Bands of America Grand National Championships in Indianapolis, at a special event to support continuing education about marching band and Bands of America Championships.

Students of colleges and universities from nine states, including Indiana, Ohio, Illinois, Kentucky, Michigan, Missouri, North Carolina, Louisiana, and Texas, attended an educational session led by Fran Kick of Kick It In, director Michael Kumer from Music for All, and Dan Acheson of Drum Corps International representing DCI and MENC. The students watched the Bands of America Grand National Semi Finals and concluded their day with a tour of the behind-the-scenes path of a bandâ&#x20AC;&#x2122;s flow through Lucas Oil Stadium from arrival to post-performance. Future music educators were able to learn more about the educational value of BOA events, while observing many of the finest marching band programs in the nation, led by some of the finest music educators.

For more information, visit www.musicforall.org.

OrchKids Receives $1 Million Gift :9JA GJA?AF9D

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6 School Band and Orchestra, January 2010

OrchKids, the Baltimore Symphony Orchestraâ&#x20AC;&#x2122;s educational initiative launched last year at an inner city school, has received a $1 million gift from Robert E. Meyerhoff and Rheda Becker. The Baltimore philanthropists were among the early supporters of the project, which received its initial seed money of $100,000 from BSO music director Marin Alsop. Currently, more than 150 pre-K to second-graders are part of the OrchKids program at Lockerman Bundy. The Meyerhoff/Becker gift is estimated to cover 50 percent of the expenses over the next four years, as more grades are added to the program; more than 300 students are eventually expected to participate.

For more information, visit www.bsomusic.org.

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• 90 minute private clinic with professional musicians • • Participation in two master class opportunities for each student • • Tickets to the Chicago Symphony Orchestra concert •

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Masters of Music is a production of National Events.

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HeadLines Lincoln Center’s Arts & Education Fundraiser

J

azz at Lincoln Center’s 2009 Fall Gala fundraiser was held on November 16th at Frederick P. Rose Hall. More than $2 million dollars were raised to benefit thousands of performance, education, and broadcast events Jazz at Lincoln Center produces every year.

Board member, author, and historian, Albert Murray, was the guest of honor and was presented with the third annual Ed Bradley Award for Leadership. Michael Feinstein, five-time Grammy-nominated entertainer, Michael Feinstein, was appointed Jazz at Lincoln Center’s new director of popular song series, which will begin in the 201011 concert season. The concert audience of 1,000 guests included many high profile patrons of the arts, publishers, politicians, and entertainers. The Jazz at Lincoln Center Orchestra with Wynton Marsalis kicked off the concert - a salute to the music of Frank Sinatra.

For more information, visit www.jalc.org.

Online Survey Results Did you have a successful marching band season?

Yes

No

N/A

76% 14% 10%

Visit www.sbomagazine.com and let your voice be heard in the current online poll – results to be published in the next issue of SBO.

8 School Band and Orchestra, January 2010

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HeadLines Cleveland Orchestra & C.G. Conn Host Hornapalooza

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n January 18, 2010, The Cleveland Orchestra, in partnership with C.G. Conn brass instruments, invites French horn players of all skill levels to participate in Hornapalooza, a day of clinic sessions, and a culminating performance. The event will take place from 9:00 a.m.

– 2:00 p.m. on Monday, January 18, 2010, at Cleveland’s Severance Hall, hailed as one of the world’s most beautiful concert halls.

The event includes clinic sessions teaching fundamental horn skills led by members of The Cleveland Orchestra’s horn section, and a group performance under conductor Loras John Schissel on the main stage of Severance Hall. Participants can also visit with experts from C.G. Conn to learn about horn care and maintenance.

Hornapalooza will culminate in a

main stage group performance at 1:00 p.m. The performance is part of the free 2010 Martin Luther King Day Community Open House, which runs from noon to 5:15 p.m. that day.

The Cleveland Orchestra Youth Orchestra concert at 2:00 p.m. will feature members of The Cleveland Orchestra’s horn section.

Hornapalooza is part of The Cleveland Orchestra’s Community Music Initiative, a series of artistic initiatives and new programs aimed at diversifying the Orchestra’s offerings and reaching more children, adults, teachers, students, musicians, and families than ever before. These diverse programs offer everyone, from preschool children to adults, the opportunity to experience music in a variety of ways, throughout their lives, and throughout the community.

For more information, visit www.conn-selmer.com.

Los Angeles Radio Station Launches Music Education Program

CMA Donates to Nashville School Music Programs

ith an innovative response to the unprecedented budget crisis in Southern California schools, Bonneville’s “100.3 The Sound” announced its launch of Project M.U.S.I.C., a dynamic and far-reaching support program for under funded music education in the greater Los Angeles metro and Orange County areas.

To promote awareness and raise urgently needed funding to keep music education alive in area schools, The Sound is partnering in Project M.U.S.I.C. with The Grammy Museum at L.A. Live Education Program and the Arts Advantage Program of the Orange County Department of Education. Both are influential organizations fully dedicated to ensuring that Southern California’s youth do not lose the power of music to enrich and change their lives.

Project M.U.S.I.C. uses corporate and individual donations to support continuing programs across Southern California. In Los Angeles, The Grammy Museum Education Department offers a diverse range of learning opportunities, including daily school tours, workshops, and performances as well as a full range of family-oriented programs. The Museum also offers after-school classes focused on building a career in the music industry. The classes are taught, on a volunteer basis, by music industry professionals who help students develop the skills that will serve them well in a career in music. Qualified students are able to take these classes free of charge and actually receive high school credit upon completion.

For more information, visit www.theprojectmusic.org.

The Country Music Association is donating $1,066,632 this year - its largest music education donation to date – to Nashville public schools through its Keep the Music Playing campaign. The CMA Music Festival will Keep the Music Playing in Nashville’s public schools with a charity initiative that will support music education through a partnership with the Nashville Alliance for Public Education.

The donated dollars come from proceeds made during the CMA Music Festival, which finds major country stars performing (and waiving their performance fees) at LP Field and at other downtown spots each June. The CMA has now donated more than $3.3 million in recent years to support area music education through a partnership with the Nashville Alliance for Public Education.

That money has been used to build music labs, to purchase more than 2,500 instruments and to help endow the Country Music Hall of Fame and Museum’s Words and Music program, which assists language arts and music teachers with classroom instruction in songwriting basics. At a time when music education funding is being cut across the nation, the CMA’s donation is helping to ensure that students are able to play music at school.

To find out more, visit www.cmafest.com.

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SBOUpfront:

The Morton Music Makers

The Morton Music Makers: Bringing Music Back to District 99

I

n the 1930s and ‘40s, music was the pride of Cicero, Illinois’ J. Sterling Morton High School. “Morton High School had been national band and orchestra

contest winners six or seven times in the 1930s and ‘40s, so it was a real heavy program,” recalls Charles “Chuck” Urban, class of ‘46. “Up through the ‘50s, it was still an extremely potent music program. At the high school, they had three floors and a separate wing just for the music program itself.” A music alumni group was formed in 1940, led

by Edward Kavina. Later, in 1963, Robert Robertson formed the “Morton Music Makers of the ‘40s,” and the group put on shows and banquets.

In 2005, Robertson visited Morton East High School and was devastated to learn that the music department had been virtually terminated. Along with Arlene Vilimovsky, Bob Robertson reorganized the Morton Music Makers Alumni for a luncheon, and they vowed to raise money and solicit administrators to reinstate music into the curriculum. When Urban heard that the musical ensemble that had played such a formative role in his life was gone, he, too, was shocked.

Explains Urban, “This past spring I went to an alumni meeting of the Morton band and orchestra program and listened to these people talking about how they had been raising money for a few years to get the program back to12 School Band and Orchestra, January 2010

gether.” Not content with the slow progress, Chuck, the former president of American Plating and Manufacturing, a manufacturer of band instrument parts and accessories, took the matter straight to the administration.

“I walked into the public offices of school district 99, marched up to the desk and said, ‘I’m here representing a group called the Morton Music Makers, and we would like to reinstate your music program,’” declares the lifelong music maker. “It just so happened that coming down the stairs at that very instant was the superintendent of schools, who had a music background – she played piano, I think – and she said, ‘what’s this about a music program?’ We explained

the story, and she promised me that this group would be able to come in and talk to her and Dianna Aguado, the curriculum director for fine arts” to describe the program they were hoping to implement.

“We had been wanting a music program in the district for some time,” confirms Aguado. “The timing was just perfect for the superintendent, Donna Adamic, to overhear this gentleman inquiring about it.” A meeting between members of the Morton Music Makers and school administrators was arranged, and the superintendent agreed to hire two part-time band directors to teach band after school to students in the fifth and sixth grade.

And so far, so good. “The response has been overwhelming,” says Aguado.

“The very first night when parents were able to come in for an informational meeting, over 200 parents took cards to sign their children up for band. They were very happy and pleased that we were adding it to the curriculum.”

“This school year, only a few months later, they have 265 kids enrolled in a fifth and sixth-grade program,” says Urban. “We figure that we’re going to get the grade schools filled up with music, and then that will force the high school to step up and start offering its students music.”

Chuck Urban’s motivations for contributing to the rebuilding of the band program are two-fold. First of all, he’s been in the music industry for 60 years. “I started buffing band instruments when I was 13. The other thing,” Urban continues, “is that we had a band director at Morton High School, Louis M. Blaha – and both orchestra and band directors in grade school – who truly helped direct my life. There was just no question of it.

And judging from the alumni of the high school that are still able to get together, it was unquestionable that Blaha had a lasting effect on those students, too, both educationally and personally.”

Urban hopes that others end up with the same opportunities that he was once afforded. “Music education has obviously been good to me,” he

states. “My band director was good to me. This is my home base!”

While they are off to a great start, the work is just beginning. The district recently received notice that they have been awarded a grant from Barry Manilow’s Manilow Music Project, a division of his foundation, the Fund for Health and Hope, which agreed to purchase instruments for the program after Morton Music Makers member

Pearl Dohrn reached out to directly the singer, who happens to be a neighbor of hers in Palm Springs, California. However, they haven’t yet figured out how they might fund more staff, and eventually a fulltime band director at the high school, which is their ultimate goal.

For more information on the Morton Music Makers, visit www.mortonmusicmakers.com.

School Band and Orchestra, January 2010 13

SBOUpfrontQ&A:

Glenn Price, SCMEA

South Carolina: Music for our Future

S

outh Carolina is another U.S. state wracked by high unemployment rates and political scandal. At 12.1 percent, the state ranks 5th worst in the country in terms of unemployment, per the Bureau of Labor Statistics, and there has

been a dearth of government leadership, particularly since governor Mark Sanford’s mysterious disappearance in June, when he was reported to have gone hiking on the Appalachian Trail, but had, in fact, flown down to Argentina for a clandestine romantic rendezvous. The question remains: How does this effect school music in a state that is basically middle-of-the-pack in terms of population density, landmass, and many other notable statistics?

For an informed perspective on the state of South Carolina’s school music programs, SBO recently caught up with SCMEA president Glenn Price, who portrays music educators in the Palmetto State as opportunists, not victims, and shares the specific measures that the SCMEA is implementing to continue to keep music and the arts at the forefront of the education curriculum.

SBO: While we all know that everyone has been feeling the pinch of the down economy, how is funding for music education holding up in South Carolina?

Glenn Price: South Carolina has one of the highest unemployment rates in the nation, and is experiencing a state revenue and budget crunch, but so far we haven’t seen a reduction in staff or programs. School district budgets have certainly been reduced, but music educators are creative and we will find ways to “make it happen” for our students. We’re committed to finding solutions, in a good economy or bad.

SBO: What are some of the unique challenges to school music programs in your state? And what are you doing to combat those challenges?

GP: Many of the problems facing music education are the result of today’s global economic problems.

However, rather than seeing ourselves as victims, I think most music educators see themselves as part of the solution. After many conversations with my colleagues, I have concluded that this is what many music educators believe:

14 School Band and Orchestra, January 2010

• The world is at an economic crossroads; technology is eliminating vast numbers of people from the workforce. There are fewer jobs available, and many of those are being taken by those willing to work for less in a worldwide labor pool. This is leaving many South Carolinians, and many Americans in general, with little hope for their economic future.

• The biggest problem we face today is a lack of jobs. People with good jobs (“good job” defined as good pay with benefits such as health care and retirement) are not turning to crime, nor are they as likely to be losing their homes to foreclosure.

• In the recent past, the education system has followed the demands of an industrial and technologydriven economy. The current education system was designed primarily to build an industrial workforce.

We truly believe that, for the most part, our future will not be created or driven by people trained for the factory floor. The future for our children, which has not yet been fully imagined, will require a creative and innovative workforce that can adapt quickly to changing economic circumstances. Our education system should lead the way in producing citizens with that creative and innovative capability.

• Research shows that the study of music (and the arts) is the basis for creative learning. Students that study music are more creative and better prepared to meet and adapt to an ever-changing future.

• Music education is, therefore, vitally important for everyone. Music education produces students who are prepared to be leaders and innovators in building the world of tomorrow that is so difficult for us to envision today, as the industrial age winds down and a new economic future beckons.

• Without music, without music makers, and without music educators, life for everyone would be very different.

We in the SCMEA have taken a good look at ourselves as we have con-

education system should lead the way in producing citizens with creative and innovative capability.”

“Our

sidered these hard questions: Why are the music and arts department budgets always the first to be cut during hard times? Why is instruction time taken from music educators every time test scores decline? Why do so many administrators (and lawmakers) consider music education to be an educational frill?

We finally began to ask ourselves how we got into this mess in the first place, and what can be done now to change our public image. One answer to that question is fairly obvious: We cannot remain a passive organization; we must be more assertive as an association. We need to stand together if we expect to be recognized for the benefits we provide the people of South Carolina.

So, what do we do now? We do for our association what we teach our students every day: • We teach toward mastery. We don’t stop until it is right. We achieve our goals.

• We teach our students to work together, and that it is everyone’s responsibility to help those around them.

• We recognize that no one of us is truly successful until all are successful.

SBO: Are there any new initiatives that you are hoping to implement in the near future? What ideas or visions do you have for securing the future of arts and music in public school education, both on the local and national level?

GP: The SCMEA is currently engaged in a variety of projects designed

to provide greater support for our divisions, to enhance our communications, and to reshape our public image. The first of these is the Historical Records and Artifacts Project.

The SCMEA has developed a Historical Committee made up of appointed Historians from each division and chaired by the SCMEA Historian.

The committee hopes to protect and preserve historically significant items for future reference of the association and secure a prominent public facility to display the Hall of Fame plaques of the SCMEA and its divisions. At this facility, it will catalog and inventory all historical artifacts and make that information available to the SCMEA membership, as well as providing the SCMEA membership with access to historical artifacts by use of an online “Virtual Museum” and traveling displays to aid members in academic research. This will also be used to promote particular events/occasions or support news articles intended to enhance the public awareness of music education in South Carolina. Finally, the Historical Committee will actively seek to acquire, through donation, any items deemed historically significant to the association.

The SCMEA has recently opened a new online message board/forum on the association’s Web site (www. scmea.net). There are now over 1,700 members registered on the SCMEA General Forum. We now have a way for our entire membership to communicate with one another. This new School Band and Orchestra, January 2010 15

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forum will allow us to work across division lines to become more effective educators and to perhaps have a greater understanding of just how important and far reaching our profession really is.

Filming is already underway to create a high quality informative video to celebrate music and music education in South Dr. jim Rex (L) offers a contribution to Glenn Price and the Carolina, to show that SCMEA’s 100 Percent Club. music enriches the lives chance to produce graduates who of every South Carolinian, to recogare able to compete in this new envinize the importance of music as a maronment.” Our conference theme is jor unifying element of society, and to “South Carolina Celebrates Music” encourage voters and lawmakers to and we will be formally introducing view music as a vital component of the the 100 Percent Club to the associaeducation system that must be protecttion membership at that time. ed. This brief video will be filmed and The last project undertaken by the produced by SCETV. SCMEA that I should mention is the The SCMEA has a new and unique development of a new association fundraising project aimed at creating logo. We believe that a more modern public awareness for music education logo with an accompanying slogan will called the 100 Percent Club. The idea allow us to be more assertive and imis that this project will inform citizens prove our public image. of the value that music brings to the lives of all South Carolinians. The sloSBO: Is there anything in particular gan is, “I give 100 cents to show that that you have learned from your I support music education in South leadership position in a state organization – or simply as an educator Carolina 100 percent! My cents make – that you might be able to share sense for music education!” with other educators?

Dr. Jim Rex, South Carolina state GP: I would stress a couple of superintendent of education, has enimportant points. First of all, be an dorsed the 100 Percent Club and will active, conscious, and conscientious be involved in our campaign to raise advocate of music education in all of support and awareness for music edyour contacts, activities, and endeavucation in South Carolina. Dr. Rex ors. Secondly, recognize the imporwill serve as our “poster child” on tance of what you are teaching. Muall of our promotional materials. He sic is a vital component in the lives has also pledged to help spread the of all Americans. It surrounds us message of the importance of music and stirs our emotions; it can bring education in South Carolina during a smile to our faces or make it okay his travels and professional activities for us to cry. Music brings greater and will be one of our speakers in meaning to our worship services and February at our SCMEA In-Service our communal experiences. Music Conference, and will also make reheightens the excitement of our celmarks at our luncheon. In support ebrations. of music education, Dr. Rex recently Just imagine what our lives would said, “We can’t hope to merely outbe like without music – music to enterwork (or out-sweat) the rest of the tain us, certainly, but more importantworld in the 21st century. We must ly, to uplift and inspire. That should be more creative, more imaginative be our core message to the world, as and more entrepreneurial. Music music educators and as organizational education, coupled with the other leaders. arts and disciplines, gives us the best

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School Band and Orchestra, January 2010 17

SBOCommentary: Vince Lombardi-isms

Inspirational Quotes from Coach Lombardi as Applied to Music Education

BY FLINT WEED

A

fter a great deal of time spent in the marching band atmosphere, I have found that we can always apply lessons learned from other activities to our own.

As both a public school band director and

a fan of the National Football League, I appreciate the leadership qualities found in both music and sports. Vince Lombardi was one of the most influential sports figures of our time. He coached the Green Bay Packers to two Super Bowl titles and left a legacy of inspiration and integrity that we can all follow.

Whether in football, band, cheerleading, or any other pursuit, Lombardi’s principles for life and leadership can be passed on to all of our student leaders.

Following are some notable quotations from Coach Lombardi. While he was talking about tenets applied to sports, these quotes are also relevant to our efforts in the music 18 School Band and Orchestra, January 2010

Flint Weed

Effort “There’s only one way to succeed in anything, and that is to give it everything. I do and I demand that my players do.”

Over the course of a marching or contest season, we often find that effort from each individual can drop. As leaders, we must be sure to push every member of the band to give 100 percent effort, 100 percent of the time. Don’t let the long season

drag the group down. Find a fun activity that the entire band, orchestra, or choir can participate in. For example, try scheduling a bowling tournament for the group on a Saturday. Building that team or family environment might remind the band members why they are so committed to the project at hand. If students lose track of this as the season wears on, it can result in poor effort in rehearsal.

Goals/Results “Results require a willingness to act, even if you are unsure of what lies ahead. Only through risk and action can you take you organization to the next level. Results, specific and measurable, come from having a clear vision, defining what improvement and adaptation looks like, and having a beginning and an end in mind. Results come from knowing what you are achieving today and having a clear, specific strategy for closing the gap between today’s reality and your vision for tomorrow.”

Setting goals for yourself, your section, and your ensemble are an essential part of any successful organization. Be sure to discuss at the beginning, middle, and end of the season what the goals for your program are.

Keeping an eye on these goals and the desired results can dramatically affect the outcome of your performance all season long. This principle crosses all activities and cultures. Setting goals should also be fun for your group. It can provide the opportunity to assess what has been done in the past in terms of what worked and what did not.

Mental Toughness “Mental toughness is the ability to hold onto your goals in the face of the pressure and stress of your current situation. It’s the ability to hold on to what you want in the face of what you’ve got. Mental toughness is the glue that holds a team together when the heat is on and helps them persevere just a little longer – which in most cases is just long enough to outlast the competition.”

I often find myself on the marching field pushing the students past

their comfort level for the purpose of strengthening mental toughness.

Once the students look tired, we go again and again and again. This helps prepare them for the performances ahead. Approach rehearsals with that “mental toughness” in mind, and the team will hold together through the toughest times.

Lombardi also emphasized the necessity of staying the course when things would go wrong. As students begin making mistakes on the marching field, I try to encourage them to recover quickly and get the focus back. Letting one mistake domino into another shows a lack of mental toughness. However, mistakes have the power to make us stronger. Learn from your mistakes each time and come back stronger the next time!

Phil Michelson finished in the top seven for five years at the Masters tournament before finally winning his first title in 2004. This persistence teaches us to never give up.

falters. Sit down with your leadership team and establish some ground rules for off-campus conduct. This can greatly affect the perception of your program in regard to the community.

Reputation

Teamwork

“It takes years to build a reputation, but only an instant to lose it.”

“Individual commitment to a group effort – that is what makes a team work, a company work, a society work, a civilization work.”

As a school organization, you represent your community, teachers, and your town. Be sure to always remember the many eyes that are watching you when you leave the school to perform at a contest, eat at a restaurant, or play your instrument for an audition. In many programs, there are rules set in place to ensure the integrity of the program never

Confidence “Confidence is contagious. So is lack of confidence.”

When working in a group setting, it is imperative that confidence build throughout the team. As a team member or a team leader, exuding confidence in what you are doing can greatly determine the outcome of the task at hand. I often compare confidence with good attitudes. A poor attitude or lack of confidence can spread like a virus among a group. The only medicine is a good attitude or a display of decisions being made with confidence, and that will only work if there is plenty of it. Be sure to build confidence in your group instead of breaking it down.

Coach Lombardi always pushed his players to commit every bit of themselves for the goal of the group.

Watching a championship drum corps or a symphony orchestra rehearse also shows us how this focus and commitment can pay off. There is an acronym School Band and Orchestra, January 2010 19

for “team” that states, “Together Everyone Achieves More,” and this is exactly right. Always do everything you can to help your program succeed. Get together with your leadership team and decide what sacrifices can be made to improve the ensemble as a whole.

Leadership “Leaders are made. They are not born. They are made by hard effort,

which is the price all of us must pay to achieve any goal that is worthwhile.”

As members of a leadership team, we must remember that any student not currently given a leadership role has the potential to become a great leader. Be sure to encourage the youngest members of the group to strive to be their best and help them develop their leadership skills. Take time to teach them how to make wise

decisions as a leader – fair, honest, and trustworthy decisions. Always push every student to make the “hard effort,” even if he or she is not the strongest player, marcher, or leader. Remember, any worthwhile goal requires this philosophy.

Winning “Winning is not everything – but making the effort to win is.”

Don’t let that championship trophy of the next contest be the sole reason for making a dedicated effort. Always encourage the ensemble members to push hard enough to “win,” but be sure to set some focus on what is being learned along the way and how we are developing as musicians, performers, team members, leaders, and citizens.

Unity “People who work together will win, whether it be against complex football defenses, or the problems of modern society.”

Although Coach Lombardi was focused on winning football games, he was observant of the effect his leadership had on his players on a personal level. Once we have taught our students to become great leaders and team members, remind them that their skills learned in the music class will help them to become better citizens for our community and country. I believe this bond can create some incredible relationships in the group.

As involved as we get in the details of perfecting a piece of music or a marching drill, we must always remember that it is the people with whom we are making the effort that makes our ensembles special.

Flint Weed teaches at Tom Bean Middle School, in Tom Bean, Texas and travels the country during the summer to work with high school bands as a leadership, marching, and drum major coach. Flint is also co-founder and president of Valiant Marching Band Concepts, LLC. He can be reached at flint@valiantmarchingband.com 20 School Band and Orchestra, January 2010

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UpClose: Chris Miller

22 School Band and Orchestra, January 2010

On the Fast Track

Chris Miller and the Lawton Chiles High School Orchestra BY

ELIAHU SUSSMAN

L

awton Chiles High School is a relatively new school in Tallahassee, Florida. Established in 1999, it wasnâ&#x20AC;&#x2122;t until 2006 that Lawton Chiles had a fulltime orchestra director. The string program has since made remarkable strides, taking first place in the 2009 National Orchestra Festivalâ&#x20AC;&#x2122;s High School String Orchestra division, and having 10 of 30 members of the Chiles Chamber Orchestra named to the Florida All-State Orchestra. While the rapid succession of these accomplishments may seem hard to believe, a closer look at the process by which this program was established reveals that it was a combination of vision and leadership that enabled such quick development.

School Band and Orchestra, January 2010 23

Members of the Chiles Orchestra in Atlanta, Ga. for the 2009 National Orchestra Festival.

The first string program in the district began at the elementary level in approximately 1994, when a young educator was hired to begin teaching string classes at the various middle schools. She moved away after only

fulltime position teaching sixth grade strings at one school, and the first curricular middle school orchestra in the district was created. Later, when that first flock of students matriculated to the high school, it was arranged that Chris would continue instructing them, teaching one period a day at the high school before going back to the middle school. Eventually, that program grew, too, leading up to 2006, when Chris was hired as the fulltime orchestra director at Lawton Chiles High School and another instructor took over the middle school program.

Miller wasn’t always sure that being a fulltime teacher was the right fit for him. As he says, “I’d been attracted to the idea of classroom teaching, but I wasn’t sure I could handle the administrative and organizational aspects to

“In terms of artistic development, the sky is the limit.” it. I have since found that I love it.”

In a recent SBO interview, Chris talks about the formation of his orchestra program, as well as his own development as an educator, shedding some light on the methodology – and circumstances – that enabled his orchestra program to reach significant achievements so quickly.

School Band & Orchestra: When did the thought hit you that you might be interested in taking over a classroom?

two years, however, just when Christopher Miller – a native Floridian who had recently moved back to the area from Chicago, where he spent more than a decade teaching private lessons and performing – came enquiring about teaching students strings.

Miller was offered the job, and at first continued the work of his shortlived predecessor, traveling around the district to teach classes to the district’s fifth graders. In 2000, he was given a 24 School Band and Orchestra, January 2010

Chris Miller: When I was living in Chicago, I would travel to a high school twice a week and teach lessons to an orchestra that was under the direction of Jim Black. That was in Wheeling, Illinois. I had several conversations with him about what was involved in teaching and there was something about seeing the amount of paperwork he had to do; I didn’t think I was up to the task. Regardless, he was quite an inspiration.

SBO: How did you begin your career in music in the first place?

CM: I completed an American Studies degree, but realized that playing was really what I wanted to do. That’s when I moved to Chicago and began working on a music degree part-time while I played in a country band at night. It’s not that I loved country music, but I was good at improvisation and it was a paycheck.

the technique such that the music can really speak.

private lessons and I’m very happy to be moving in that direction.

SBO: Would you tell me about your program now?

SBO: How did you address the financial burdens of acquiring instruments?

CM: There are two distinct orchestra classes. I also teach guitar and a few other classes. The higher level orchestra is the one that traveled to the

SBO: Were you involved in the bands or orchestras back when you were in high school?

CM: No, and I’ve often told students that maybe things would have gone differently if I had been. There was no such program at my high school.

I was in a youth orchestra for maybe one year of high school.

I wasn’t the best student and there wasn’t much for me to be connected with. Things didn’t work out strongly in that regard.

SBO: But you played, just not in a very organized setting? Did you keep playing throughout university?

CM: It was a very informal thing, just sitting down on people’s porches or in their living rooms with friends. I had essentially put the instrument down, but then decided to pick it back up after college.

SBO: And it’s been one non-stop whirlwind ever since?

CM: [laughs] Perhaps you could say

that!

SBO: You taught private lessons and performed for over 15 years.

Is there anything in particular from those experiences that you feel prepared you to teach in a classroom?

CM: Oh, very much so. Performing, I witnessed a vast array of musical and conducting styles and I learned from all of them. The private teaching exposed me to various learning styles and students’ capabilities. One of the biggest things that I think I have going for me is a sense of how things should be in terms of technique. Giving oneon-one lessons helped me learn how to express what needs to be done to get

CM: When I began traveling to various schools as an itinerant string teacher, one of the principals at one of the schools I was involved with, and for some reason I still don’t understand, took a shine to me and created a position at one of the middle schools for me. Well, he’s now the superintendent of schools. That was one instance where I was really lucky. Another is that I was really fortunate to have some really top-drawer students. I’m coasting on the cream of that, I would say. We had some donations of people coming up out of the blue to donate either money or an instrument. And we have also done some fundraising and that sort of thing. A lot of it was just donations, and that was amazing.

SBO: How did you approach your first year as a fulltime orchestra teacher in the high school?

National Orchestra Festival last March and won first place in the High School String Orchestra division.

SBO: How were you able to step in and so quickly establish a group that was able to take first place in a national competition?

CM: It was just one foot in front of the other. I’ve never considered myself one to go out and recruit; it was just a natural process of evolving. I feel that the program itself attracted kids and pretty much grew of its own accord.

Now, some kids had problems buying basses and cellos and other equipment.

At several points I went out on my own and bought some lumber and built instrument racks and things like that. We are getting things built, though, and we are being able to offer more and more things for the students. It’s gotten to the point where we have a few scholarship students, where we pay for

CM: To answer it in retrospect, I had a firm plan. I was so grateful to finally be getting students every day of the week that I had a very detailed agenda. Much of it was overreaching what I could do then, but that was the process of learning what the envelope was.

SBO: What were your initial goals for your students and the ensemble?

CM: I had very specific goals in terms of technique and theory games that we would do in the classroom. I saw in the daily classes a tremendous opportunity to teach a lot of knowledge that even the private lessons can’t instill, because I was able to see the same kids and work with them every day.

I wrote some music at various levels – from elementary music to some that was a bit more challenging – and the kids started playing some of that. That was pretty successful. The students seemed to respect that I had written School Band and Orchestra, January 2010 25

something specifically for them, and they responded to it with enthusiasm.

SBO: Do you work with any absolute beginners at the high school level?

CM: When I was teaching at the middle school, I taught absolute beginners starting in sixth grade. There were a scant handful who had had private lessons. Some had been in a fifth grade enrichment program – which was a parallel of what I had been doing way back at the beginning, traveling around to different schools – so they’d had some experience there, and that’s why I was so excited about having them everyday, because I could enforce their practicing and that sort

“I was so grateful to finally be getting students every day of the week that I had a very detailed agenda.”

26 School Band and Orchestra, January 2010

of thing. In the high school, however, almost all of my students arrive with at least those three years of classes in the middle school.

SBO: Where would you like the program to go from here?

CM: In terms of festivals and trophies, I look at that from a year-toyear basis. A lot of it is hamstrung by finances and fundraising, but I would like to see a bit more development with the parent group so that we can provide more opportunities for students that can’t come up with funding.

For instance, I mentioned the scholarship lessons and other things like that.

In terms of artistic development, the sky is the limit there. I’m categorically not one to say “no” very often. One of my seniors has written a piece for orchestra. It’s not a typical student piece; it’s a very serious attempt and she’s been working on it for years. As a part of her senior project, we’re going to perform it, and that’s a part of her portfolio that she’s submitting to colleges for admission as a composition student.

It’s a question of which kids walk through the door, what their needs are, and addressing those needs and serving them.

SBO: Most students probably don’t “walk through the door” with a love for classical music. Assuming that’s the case, how do you go about introducing orchestral repertoire?

CM: In truth, I’ve always been amazed at how eager and open the students’ ears are. I don’t make a conscious effort to “dummy” or “pop-ify” the music. I have played pop pieces occasionally when there was something specific that I thought it taught, but I don’t cater in a knee jerk fashion to what I think people’s tastes will be.

The answer is in how the music is presented to them. I try to give students some handle by which they can grasp the music. For example, instead of just placing music in front of them and saying, “Okay, we’re going to play this now,” I try to provide some background information or a personal story, something with which the students will understand a little bit about where the musical language is coming from.

Time and time again I’ve been amazed by the amount that the students will buy into a piece which I didn’t think they would be that enthusiastic about playing.

SBO: What do you find to be the most challenging element of being a high school music educator?

CM: For me personally, it’s nothing involving the students. Working with the students for me is a very easy process. That’s not to say that every day is rosy – they are adolescents and they are going through all kinds of things – but what I personal-

ly need to learn more about is working with families. I’m a little reticent to ask parents for much because I know that everyone is under such strain, there are all of these groups out there holding out their hands and asking for money for this, that, and the other thing. I try to keep that monkey off their back, so to speak.

On the other hand, it does take money and fundraising to take these trips and get stuff done.

SBO: What kind of fundraising campaigns have you done?

CM: Anything we can. Last year we did a formal sit-down dinner where we cooked and the students served the meals. This year we did a carry-out dinner, where we just barbecued the pork and people carried out the dinner as they drove through the parking lot.

We’ve done car washes, had students playing in restaurants – we’re really barking up any tree that we can find.

SBO: And the most successful campaign so far?

CM: That barbecue dinner worked pretty well. In terms of the effort we expended and the money we made, that has been one of the best thus far.

SBO: As an educator, what do you find to be most rewarding about classroom teaching?

CM: There are so many moments where students sit down and share some victory they’ve achieved. I have so many of those moments that I couldn’t even begin to catalogue them. It’s watching students set a goal and then achieve it. Very

Lawton Chiles High School Orchestra at a Glance Location: 7200 Lawton Chiles Lane, Tallahassee, Fla. On the Web: ww.chiles.leon.k12.fl.us Students in High School: 2,000

• Associate Music Director, Tallahassee Youth Orchestra • Principal Violin II in Tallahassee Symphony Orchestra, 14 years

Orchestras Ensembles: 2 Basic: 47 students Advanced: 30 students Director: Chris Miller • National Board Certified Teacher, 2005 • Housewright Award for Excellence in Music Education 2004

Chiles Orchestra • Chiles Chamber Orchestra: First Place, ASTA National Orchestra Festival, 2009 • Chiles Chamber Orchestra: First trip to State Assessment, Straight Superiors, 2008

School Band and Orchestra, January 2010 27

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often they go through rough patches along the way. Maybe sometimes I can flatter myself to think that I’m doing something to enable it, but seeing them go through that process and achieve is really an amazing thing for me.

SBO: We all know that band and orchestra directors can end up working very long hours. How do you keep your ensembles running smoothly while also maintaining a private life with your family?

CM: You have to draw a line where at a certain point in the day, the students become my family. And then at the end of the day, they stay at school and I go home and do the same thing, only with my real family. That’s basically how I handle it. I make a demarcation between the two. Once I get in the car to go home and pick up the kids, my day is done. I have five children of my own, so that’s also kind of by necessity.

I’ve often thought that if I wasn’t married with kids, I’d be at school much longer and we’d be able to do many more things, but this system I have works and, at a certain level, it has to be this way. Once the time comes, I have to stop teaching, get in the car, and go pick up the kids and be their father.

Fortunately, my wife and I are able to make adjustments so when I need intense rehearsal time with students, she can take over with the kids, but that’s basically how it works for me.

SBO: For other educators thinking of bolstering their string program, do have any words of advice?

CM: Without thinking about it too much, my advice would be to be honest and to be yourself. Don’t put on the guise of being something that you might think would be popular and don’t try to be the teacher that you think you should be. Teach from the heart. Both students and parents see that sincerity almost immediately and they’ll rally to it.

Just be your own teacher and build around that.

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SBOSurvey: Grant Writing

The Hunt for “Free Money”

“T

here’s no such thing as

free

money,”

notes SBO reader, James Shaw, an ed-

ucator in Joliet, Ill. While that may be true, the fact remains that there are a ton of organizations – charitable institutions, corporations, even private benefactors – that have designated funds to give specifically to a school music program, provided that the program fits their criteria.

These funds, commonly referred to as grants, are ignored by many, perhaps because the process of obtaining them isn’t always easy. Finding the right grant can be a time-consuming task, and adhering to often fastidious instructions and requirements can be a real headache, especially for those unfamiliar with the process.

30 School Band and Orchestra, January 2010

To gauge trends in seeking out and procuring grants among music educators, SBO sent this recent survey out to our readership. With almost 90 percent of respondents indicating that they do not regularly apply for grants, this is one potential source of funding that might be worth looking into.

Do you regularly apply for grants for your music program?

87%

“I have been very blessed with an administration that does provide, for the most part, the materials I need to teach my classes.”

Dan Burdette Avondale High School Auburn Hills, Mich.

What is the typical size of the grants you look for?

53% 21% 11%

13%

Yes

No

“I know that I could have so much more stuff to run my program if I would, but it seems like I have so much to do, and so little time, that I never take the time to figure out how to write effective grants. I wrote an unsuccessful one a few years back and somewhere in the back of my mind I feel like I don’t want to waste my time.”

Shawn Satterthwaite Northridge High School Layton, Utah “I teach at more than one school and I work a second job. I don’t have the time or energy to pursue grants at this time.”

Mike Davies Newman Elementary Salt Lake City, Utah “I have been able to fund what we need without grant writing. We have spent our grant writing energy with our general music program.”

John Aboud Algona High School Algona, Iowa

5%

10%

More $1,000 - $500 - Less Nonthan $5,000 $1,000 than monetary $5,000 $500

What services or supplies are grants most likely to help with?

Musical Instruments Clinicians

24%

15%

Music

13%

Recording Equipment

12%

Uniforms

11%

Professional Development

8%

Private lessons

7%

Travel/Festival fees

6%

Other

4%

School Band and Orchestra, January 2010 31

What is the most frustrating aspect of the grant-writing process?

Time consuming Finding appropriate grants

44% 41%

Filing out applications

15%

What was the largest or most successful grant you’ve been awarded?

“Our most recent grant provided $15,000. It is part of a larger grant written by an elementary (grade 45) principal with support from the school’s instrumental music teacher.

The grant provides an after school program for at risk 4th graders and includes an instrumental music program for 40 beginning band students. The students are being provided with instruments purchased through the grant and after school lessons and rehearsals taught by the school’s band director. The school

hopes this will be an ongoing grant renewed each year through the grant program.”

John New Mattacheese Middle School West Yarmouth, Mass. “‘Teens Tuned In’ was a grant for $25,000 to purchase a complete guidance curriculum for a previous district. The Jazz Band provided the vehicle to show kids how choices make a difference in music (and life). The high school Jazz Band developed the program based on the choices curriculum. It went over very well!”

Brad Thew Viroqua High School & Middle School Viroqua, Wis. “I have applied for and received one: a McGrant for $500 from a McDonald’s of Bluffton, Ohio.”

Rachael E. Lewis Bluffton Exempted Village Schools Bluffton, Ohio “We have received grants for $3,500 for instruments at each of our city schools.”

Walt Lovell Elko High School Elko, Nev.

What’s the most important lesson you’ve learned about grant writing?

“Follow the directions exactly. I’ve heard of proposals being amazing ideas, but not having the proper paperwork completed and missed deadlines resulting in disqualifications!”

Jeffery D. Heid Muscatine High School Muscatine, Iowa “It takes time to do well and that with practice, connections and creativity, unique projects and proposals can be funded. Although many places tend to be clearing houses for grant information, they rarely can provide what I am looking for. I wish that there were a free searchable database for music teachers and school music programs.”

Peter Klemp Concordia Jr/Sr High School Omaha, Neb. “After looking around at other grant offerings, I found that the process is very unique to each organization, and some organizations are better at designing their grant process than others.”

John Cznadel Saunders Middle School Manassas, Va. “Do not wait until the last minute to write one. Read through it and organize your thoughts and once you start, it goes very smoothly.”

Rochelle Feldner Minot High School Minot, N.D. “You really have to read the fine lines to fully understand what is expected from the grant. There is no such thing as free money.”

James Shaw Gompers Jr. High Joliet, Ill.

32 School Band and Orchestra, January 2010

SBOGuest Editorial

Impressions of a Decade in Marching Music

BY JOSEPH H. ALLISON

A

s we complete the first decade of a new century (and

millennium!),

it

might be an opportune

time to look back on the developments of the past ten years in the marching music activity. The past summer and fall have culminated the decade with another exciting year of competitive drum corps and marching bands. Having watched this activity evolve over a period of more than thirty years, I am continually amazed at the levels of energy, creativity, and excellence that â&#x20AC;&#x153;outdoorâ&#x20AC;? groups bring to their craft.

34 School Band and Orchestra, January 2010

The demands placed on designers, composers, instructors, and certainly the performers seems to increase each season as groups seek not only to “succeed” competitively, but also create something artistically significant and memorable for those involved. That is certainly no small task! As a result of these lofty goals and an expanding number of participants, achievement levels appear to be at an all-time high.

In an examination of the current state of the art of the marching music “industry” – as it applies to trends, practices and concerns that affect the evolution of our activity – it becomes clear that one of the more significant current issues in the marching community is the developing use of vocal narrations as a tool for programming. Exploration of this device seems to be a logical extension of the ongoing attempts to further integrate the audio and visual components of a show (commonly known as “coordination” in judgespeak). Using a text narrative has the potential to explain or enhance what is seen and heard in varying degrees from literal to abstract. As a relatively new device in this activity, there have been a great variety of approaches and levels of perceived success.

One of the more significant issues related to employing text devices is the amount and frequency of its use. There is a legitimate concern that amplified text can detract from the musical substance of a performance, particularly if used a great deal. Not only can it upstage the music in significance, the spoken word can literally cover up or mask musical sounds, making them difficult or impossible to hear. This can be problematic in several ways regarding both assessment and enjoyment. Music designers are exploring ways to deal with this complex set of issues.

Drawing on experiences from other professional areas of artistic expression would seem to be a logical educational strategy.

Toward that end, our research team at Eastern Kentucky University intends to examine current scoring practices for cinema and other audio/visual media (commercial video, infomercials, et cetera) both through observation and interviewing successful media professionals for guidance. Our thesis is that these career artists could inform our use of similar devices in our activity. We know that the primary focus in our industry is intended to be music, while different (and less defined) priorities exist in these related media. In the process of film scoring, for example, a wide range of proportions in integrating music, text, and visual stimuli exists, with the primary device traditionally being the spoken word. This EKU research team project will serve as one part of our ongoing program of studying the marching music activity.

Another closely related trend observed in the marching music industry in this decade is the increased use of electric sound reinforcement, micing, and electronic instruments. Integration of a whole battery of electric and electronic devices has opened up a world of opportunities for incorporating all imaginable sounds into the musical palette. The technical aspects of this innovation have challenged even the most experienced professional technologists with the complexities of extensive demands relative to

“I am continually amazed at the levels of energy, creativity, and excellence that ‘outdoor’ groups bring to their craft.” equipment and performance environments. Composers and tech people could surely benefit from a forum of shared experiences in this challenging (and expensive) area of exploration. Perhaps additional information from the professional world of musical theater, opera, and touring musical acts would be applicable to our productions.

Given all the contemporary sound sources and techniques that are being explored, it is little wonder that the musical materials for our ensembles come from an ever-expanding world of sources. After a period of time characterized by the development and extensive use of “original music,” there now seems to be a greater exploration of existing compositions from a wider range of media. Pieces for exotic instruments, multi-cultural sources, diverse styles and idioms, and unique combinations of sources are all now part of the mix.

Traditional literature for strings, voices, guitar, piano, and other instruments is being explored – in some cases for use with the originally intended instruments.

Another observation from the period: there is a continuing conversation in the industry concerning the use of theatrical props to enhance programming concepts. Groups have been very successful utilizing epic-sized spectacular devices, while others units have been equally successful using minimal or no stage decoration. One world-class-championship-level ensemble famously explored the use and manipulation of folding chairs this summer! It is not completely clear what characteristics makes some of these “extras” effective, while some can be distracting or confusing? At least one group used an extensive backdrop structure as a sound-reflecting device to create a unique sonic atmosphere this fall – that’s certainly “pushing the envelope” a bit!

Another state-of-the-art issue impacting marching ensembles is the varying acoustical environments of the performances. This has been a significant consideration for several seasons, but there is now a new development with the potential of efSchool Band and Orchestra, January 2010 35

al experience, the sound properties may well be more problematic for the audience than participants, particularly based on where one actually sits in the stadium.

The review process is currently ongoing, and is a very high priority for DCI and BOA. It will be very intriguing to hear and see how musical compositions and concepts adapt to this situation, particularly as the “Home of the Colts” is spectacular in so many ways in comparison to the majority of venues in which bands and drum corps will regularly perform.

Future history may prove this to be a critical time in the evolution of our ensembles due to this development.

The adjudication community has been impacted by the decade’s advancement of creativity, substance, and performance excellence in the marching arts. The variety and depth of skills required to absorb and assess highly sophisticated and intricate programs of music and movement makes judging the contemporary ensemble quite a complex and challenging task. It is a daunting process that we ask literally hundreds (if not thousands)

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fecting significant change in how music is written and performed. Of course, the traditional venues for our marching ensembles have generally been high school and college football stadiums, largeand-small. Now that more summer and fall “big events” are in “indoor” venues (some domed, some stationary-roofed, some retractable-roofed, and so on), we are hearing new reactions by composers, instructors, and performers to diverse sonic environments.

If one new venue can possibly have an immediate effect on an entire industry, Lucas Oil Stadium in Indianapolis would be that place. The championship events for both Bands of America and Drum Corps International are scheduled to be held the “Oil Can” indefinitely, so potential participants are subject to the unique acoustical characteristics of that mammoth structure. After completing a oneyear cycle of culminating events for both BOA and DCI, much study and analysis is taking place to optimize the acoustical characteristics of the stadium for both performers and spectators. From person-

of people to undertake each year! It should not be a surprise then that there is so much discussion of how to prepare individuals to serve as adjudicators. Given both the technical and artistic demands on judges and the emphasis placed on marching music competitions within the instrumental community in this country and abroad, it is little wonder this is one of the decade’s “hot topics”!

Discussions of judging have long been a recurring feature in directors association meetings and other gatherings of people involved in this industry. It is easy and logical to be concerned with the “balance of development” of the adjudication/assessment part of the industry, as opposed to the creative/instructional side. The former is most likely a hobby or pastime, while the latter is usually a professional or semiprofessional activity. Certainly no one of whom I am aware is making a living from judging marching events, while any number of people depend on “outdoor” composition and instruction for most or all of their income! This fact alone causes significant concerns, as it should. Addition-

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ally, the process of composing, designing, and teaching usually implies intensive formal training, while the judging process as yet does not. This situation appears to be endemic to our activity as it is now structured. Perhaps it is in the best interests of the wellbeing and continued growth of the industry to consider this predicament more intensively.

There are several concerns I have about the judging process for our marching events, among them: • A lack of understanding of the perceptual processes involved in judging.

• A lack of consistency/validity of assigned scores, as well as other statistical traits of performance assessments.

• A proven lack of positive correlation between an adjudicator’s musical performance skills and their assessment skill.

• The interdependent (or perhaps dependent!) relationship between what an evaluator hears and sees.

• A lack of understanding as to how a judge’s ongoing verbal diagnostic feedback affects perception, evaluation, and scoring.

Given all this, it is not very difficult to see that an imbalance of preparation and evolution may exist within the ranks of the judging community, as well as compared to the creative/instructional ranks.

This is certainly no slur to those individuals who do serve as judges. In fact, one could easily assert that considered as a group, judges do a spectacularly amazing job, given such a proportional lack of training and enrichment activities!

Should anything be done? Can anything be done?

We need an “intranet” for each of our constituent groups: creators, instructors, judges, and spectators – we have some (but not nearly enough) of this already. We also need an “internet” where these groups can share ideas and perspectives with other groups to benefit all. Both “nets” require more than what a chat room offers. Surely we have the technology to make this happen. Surely we have the need to make this happen. Let’s see if we have the resourcefulness to make it happen!

Maybe we could be a small part of developing our beloved activity into a

comprehensive educational entertaining enrichment vehicle; one that would be fully recognized and appropriately accredited for the amazing curriculum and benefits it has for those who fully commit to excellence and growth.

Dr. Joseph H. Allison is currently professor of Music at Eastern Kentucky University, serving as the director of bands and Graduate Conducting Activities. He taught in

the public high schools for 18 years, where ensembles under his direction regularly appeared in regional and national settings. His Sumter (S.C.) High School Bands were the first internationally to be awarded both the Sudler Flag and Sudler Shield for concert and marching excellence. Dr. Allison is in demand as an adjudicator, clinician and consultant for concert, marching and jazz events throughout North America, Europe, and Japan.

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SBOTechnology:

Bergenfield High School

Meet Bergenfield High School:

Achieving Excellence Through Technology

W

hen Ralph Waldo Emerson wrote, “The future belongs to those who prepare for it,” he might just as well have been referring to the Bergenfield High School music program.

In spite of challenging budget cuts and economic pressures, Bergenfield High School’s music program is rising above the fray using innovative music technology to bolster its

excellent curriculum.

BY JOHN KUZMICH, JR.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America.

For more information, visit www.kuzmich.com.

38 School Band and Orchestra, January 2010

Located in Bergenfield, New Jersey, eight miles from New York City, the high school’s music department has 500 students enrolled from a 1200-strong student body. On a daily basis, approximately 100 students use the music tech lab. This includes three sections of Music Tech 1, two sections of beginning class piano, and a section of music theory that spans three years of material, including AP Theory.

Classes are always full with a waiting list, but they have opened additional sections to honor most course requests. Their excellence in music technology has made BHS a Grammy Signature school finalist three times, including this year.

At the 2010 TI:ME national conference, their marching band program will be featured for their cutting edge use of technology.

But what makes this school even more impressive is that they have also established their reputation with three concert bands, three orchestras, three choral ensembles, a jazz ensemble and a 200-member marching band, as well as nu-

merous chamber ensembles. Three of their honors ensembles (Chamber Orchestra, Vocal Ensemble, and Wind Ensemble) receive weighted honors credit. They performed last year at Avery Fisher Hall at Lincoln Center.

Their Honors Wind Ensemble has received three consecutive gold ratings at state regional festival and has been named a New Jersey Honor Band in 2007 and 2009. Bergenfield has also been named as one of the 100 Best Communities for Music Education in 2003 and 2004 by the American Music Conference.

“When we first developed the music technology program, it was in an effort to provide additional opportunities for existing music students in a developing instructional area, while satisfying our district’s computer course graduation requirement,” he continues. “A one-year study of music theory was a prerequisite for the class. We then realized we were missing a golden opportunity to reach out to a segment of our school population that had an interest

in musical study, but didn’t participate in our traditional ensemble program.

We restructured the curriculum to accommodate learners without the traditional musical training and eliminated the music theory prerequisite. As a result, our enrollment soared from one section to three sections with a waiting list. The students with traditional musical training continue to enroll and a whole crop of music enthusiasts are given the opportunity to explore skills

Bergenfield’s Music Tech Philosophy Brian Timmons is the director of bands and district coordinator of music education. His leadership has provided a strong rationale for promoting music technology in a school district that many decades was already very competitive in the performance area.

“We began our music tech classes five years ago for a few reasons, including offering music classes to non-traditional students, broadening our curriculum for existing music students, and providing more options for fulfilling career education and performing arts state graduation requirements,” says Brian. “The course was initially taught in a CADD laboratory and then a business education classroom.

We had a few keyboard controllers to share and PCs running Windows NT. The curriculum was centered on live sound, notation-based assignments, and theoretical concepts in music technology. The students were almost exclusively band, orchestra, and choir students. Our district’s technology coordinator took an interest in what we wanted to do to expand the program to include the entire school population and helped us to secure funding.

The room that houses our lab now was converted from a former department workroom. Sixteen iMacs, USB keyboard controllers, furniture, studio monitors, the GEC3, and a SmartBoard were installed in stages and implemented during the third year.

The lab was fully functional starting the fourth year.

School Band and Orchestra, January 2010 39

Bergenfield High School music technology lab.

in contemporary music. Students with advanced backgrounds are often given separate skill-appropriate activities and assignments, while the non-traditional students are learning basic notation or ear training.”

As Bergenfield’s district IT coordinator, Chris Tully gives great support to their music technology. He says, “Bergenfield Public Schools strive to infuse technology throughout the cur-

riculum. This music lab is a prime example of that effort.”

The Music Tech Curriculum

Timmons is proud of Bergenfield’s music tech curriculum. “We do two projects with basic audio editing, which were developed from lesson plans on the SoundTree Web site by Mike

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40 School Band and Orchestra, January 2010

Fein,” he elaborates. “One project has students unscrambling audio clips to make it match a script. The other is a mash-up, where students make up a cohesive conversation using audio clips from movies and TV shows. We do a project where students compare and contrast different microphones and create a chart to outline their specifications. This allows students to understand the unique properties of different microphones. It also allows them to become acquainted with the Table menu in Microsoft Word for future projects.

“The students also develop a proposal for a sound system. They research different components (speakers, mixers, amps, microphones) for an imaginary installation. They then submit the proposal, along with a diagram, specifications and an invoice in Microsoft Excel. Students learn how to use a spreadsheet for calculations.”

Melissa Koonts, a former student who is now a freshman education major at Montclair State University, reflects, “Our final project, making our own podcasts, was not only very interesting, but helpful, too. It helped me in future classes where I’ve had to use similar programs.”

“When I was required to take Music Technology in college, I was so grateful I’d taken Electronic Music in high school,” agrees Alyssa Ahearn, a junior music ed major at William Paterson Univeristy. “I already knew most of the topics we covered, and I passed the class with flying colors. I would have been lost if I didn’t already have the knowledge I gained from the high school course.”

All class assignments are posted on www.homeworknow.com, and podcasts can be found at bergenfieldmusic.podomatic.com. To view the Music Tech 1 syllabus, go to www.kuzmich. com/SBO012010.

Marching Band Innovations How good is the school’s marching band? You can view 18 videos of them performing on YouTube (search “Bergenfield marching band”). Brian has also extensively integrated music

technology into this ensemble, too.

He uses Sibelius to arrange music. â&#x20AC;&#x153;We use the music technology lab where instrument sections meet and review drills on the SmartBoard using Pyware Performerâ&#x20AC;&#x2122;s Practice Tools,â&#x20AC;? he says. â&#x20AC;&#x153;Used together, SmartBoard pens and Pyware allow us to do a virtual Telestrated play-by-play of difficult drill moves. All of our marching drills are written in-house on Pyware.â&#x20AC;?

Brian has his students assist in teaching new field show drills. â&#x20AC;&#x153;Past Music Technology I graduates will take recordings of the band playing the field show music and cut them up by drill moves, adding a voice-over introduction and click-track count off,â&#x20AC;? he explains. â&#x20AC;&#x153;We can help them learn new drills while playing the recordings before the marching band rehearsal.

This greatly aids us during the beginning stages of learning the show.â&#x20AC;? A sample copy of a personalized student drill book made in Pyware â&#x20AC;&#x201C; what each one of the students uses to learn the drill and carries in each rehearsal â&#x20AC;&#x201C; can be found at www.kuzmich.com/ SBO012010.

Brian continues, â&#x20AC;&#x153;We use the Marching Techniques video podcast so new students can arrive at band camp with an understanding of the basic marching form. This saves us time

during camp to work on more advanced techniques. During the season, we often bring the entire band into the auditorium to review performance video footage and compare it to the Pyware drill simulation, looking for ways to improve our performance. Videos are also uploaded to our Web site for students to review at home.â&#x20AC;?

Drum major Jared Cardenas says, â&#x20AC;&#x153;The high school marching band is a brilliant American tradition, and the fact that we are able to incorporate technology is evolving with the times and wonâ&#x20AC;&#x2122;t be halting anytime soon.â&#x20AC;?

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BHS owns a lab pack of Band-in-aBox. Brian reports that the jazz band director, Emily Stolarski, â&#x20AC;&#x153;will make a use of the software to help students practice improvised solos whenthe marching band is done and jazz ensemble starts. In Symphonic Band, we havenâ&#x20AC;&#x2122;t employed SmartMusic yet, but I have already budgeted for a SmartMusic home subscription for each music student in the school district for next year. At the very least, we will be using it in our practice rooms, but to take full advantage I would like each student to have it at home as well.â&#x20AC;?

Meet the Faculty Music Tech classes are taught by four faculty members, each with unique backgrounds. Kent Pennell and Brian Timmons teach Music Technology I. The course content includes the history of electronic music, the physics of sound, live sound and recording technology, synthesis, notation software, sequencing and multimedia. There is also a basic piano keyboard skill component. The course syllabus is posted on www.kuzmich.com/SBO012010.

School Band and Orchestra, January 2010 41

Emily Stolarski teaches Music Theory I, Honors II, and AP III. She uses Auralia for ear training and Sibelius for notated assignments. Students, often work self-paced at the computers to complete assignments. This allows students to take three years of music theory within a single course offering.

Malcolm Couden teaches Beginning Class Piano. He uses workstation keyboard controllers and the Korg GEC3 for instruction and to monitor student learning and progress.

Kent has a master’s degree from the University of Illinois in composition, with a strong emphasis in electronic music. Malcolm was a professional opera singer with the Metropolitan Opera in NYC prior to becoming the choir director. Joseph Dubbiosi, the orchestra director and guitar instructor, is a session player on electric bass and violin and gigs frequently in the New York area. Emily, a first-year teacher from Illinois, is a woodwind

specialist, assistant band director, and also directs the jazz ensemble. Brian is the school’s director of bands, brass specialist, and the coordinator of music education for the school district’s seven schools and fourteen music teachers. His undergraduate studies were in classical trumpet performance with music education certification and graduate studies in wind conducting.

He also directs the band at Fairleigh Dickinson University.

class. The lab also has a pair of JBL 4328 Room Correcting Studio Monitors and SmartBoard with an integrated projector arm. Software includes iLife ’09, Sibelius 5, Auralia, eMedia Piano, and Band-in-a-Box. Musition for Mac has just been released by the manufacturer, and it will be added to the software package in the near future.

Music Technology Lab Specs

Last year, BHS successfully began to offer a music technology class to adults through their community outreach. The course predominantly uses GarageBand for loop-based sequencing projects, podcasts, or basic recording. The classes typically meets for 90 minutes, once a week, for four weeks.

Adult students can enroll as many times as they wish and teachers will tailor the instruction to meet their needs. If students wish to explore another specific area of music technology such as notation software, teachers can help them formulate an independent study arrangement. Brian sees this opportunity to have community stakeholders utilize instructional tools available at the high school as an important step because it boosts overall support of the BHS programs and enriches the learning environment.

The music tech lab has an impressive array of hardware. Walking into the lab, you would find 16 Intel iMac computers with 20” screens and MAudio ProKeys Sono 61 USB keyboard controllers with semi-weighted keys (important for piano instruction) and built-in audio interfaces. Each keyboard has a sostenuto pedal for piano

Not Just for Kids

Closing Comments Bergenfield High School has had an impressive performance reputation since the 1950s. Now, through the use of music technology, the school has continued growth and development, even during competitive and challenging times, when academic tests tend to limit the growth of elective programs.

The district administration has been instrumental in supporting the creation of this exemplary music lab. Perhaps other districts will see how this school board and administration has supported the lab and be encouraged to follow its fine example.

All videos, PDFs, Web files, and links associated with this article can be found at www.kuzmich.com/sbo012010.

42 School Band and Orchestra, January 2010

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SKB Corporation has expanded its case offerings with four new soft-sided cases. The 1SKB-SC325 cornet case, 1SKB-330 trumpet case, 1SKB-340 alto sax case, and 1SKB-340 tenor sax case utilize the same protective EPS plush lined interiors as their hardshell counterparts, but are

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Gator Cases’ new lightweight band instrument cases are designed to be both functional and economical, with the new GL series representing a “stylish departure from all other cases in this price range.” The lock grip handle is built for comfort and it is also tremendously rugged. Each instrument in the series has its own custom EPS foam nest, which is universal to most instruments in it genre. Each case has a shoulder strap and large accessory compartment. Cases have been specifically designed for Flute, Clarinet, Trumpet, Alto Sax, Trombone, Oboe, French horn, and more. The cases are available in a black and grey mesh pattern for all sizes, and select sizes are available in pink, light blue, and red.

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For All Instrumental / Vocal Ensembles Tailored to Your Specific Groups Contact Al Newman (505) 681-1213 amnewman@earthlink.net 1424 Sara Way SE Rio Rancho NM, 87124

MERCHANDISE

BandGifts.com

The NPS8210 Melody Chair

FUNDRAISING

Fund Raising Since 1948!

We have helped groups like yours raise funds since 1948.

The key to our success is “products that sell themselves!” Your group will be selling useful items that people want and need at manufacture direct prices.

These top quality, Made in the USA items include Rada Cutlery, Soy Wax Candles, Recipes Books, and Stoneware. Working with the manufacture ensures that your customers will receive and incredible value for the merchandise they purchase while supporting your cause!

Call 800-311-9691 or email money @radamfg. com today to receive you FREE Fund Raising Packet so you can get started! www.radamfg.com

has the same specications as the most popular “Student”chair!

NOT $79 but as low as $48.75 per chair!

Go to www.tablesnchairs.com for the details!

Your One-Stop Music Resource

MERCHANDISE

AMERICA’S BEST PRICES ON MUSICAL MERCHANDISE FOR OVER 100 YEARS

GAMBLE MUSIC COMPANY Website: www.gamblemusic.com E-mail: custserv@gamblemusic.com Call toll-free: (800) 621-4290 ~ Fax:

(800) 421-3153

SPECIAL SALE PAGES ON OUR WEBSITE CONTACT US FOR CATALOG INFORMATION IMPRINTED FOLDERS ~ STAGING ~ FILING BOXES/ SUPPLIES ~ MUSIC STANDS & ACCESSORIES ~ PIANO BENCHES, COVERS & LIGHTS ~ COMPUTER MUSIC PROGRAMS ~ PODIUMS, MALLET MOVERS, BAND WAGONS ~ CONDUCTOR’S STOOLS & CHAIRS ~ COMPUTER SOFTWARE

DOUBLE YOUR MONEY

With this hot selling bumper sticker alternative.

They’re magnets printed with your school mascot and die cut into special shapes.

Visit:

LogoMagnet.com to request a sample pack.

Advertise in the Classifieds!

Call Maureen 1-800-964-5150 ext. 34 mjohan@symphonypublishing.com

STANDS, PODIUMS, FOLIOS, & MORE @ DISCOUNT PRICES! FREE MUSIC EQUIPMENT CATALOG

1-800-573-6013 www.valiantmusic.com

equatone@earthlink.net

School Band and Orchestra, January 2010

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Classifi Classifieds eds

www.SBOmagazine.com www.SBOmagazine.com

MERCHANDISE

PUBLICATIONS

REPAIR TOOLS

MEWZKL PUBLICATIONS

“New Things For School Strings” www.mewzkl.com 410-841-6288 Request our sample CD!

www.SBOmagazine.com PRINT MUSIC

For 60 years we have providedmusical instrument repair tools to technicians and musicians around the world.

We have a wide selection of pads and other supplies in addition to our repair tools.

Contact us today for a FREE CATALOG.

SOFTWARE

AdIndex COMPANY NAME

E-MAIL/WEB ADDRESS

Adelphi University Alfred Music Publishing America Longxing Inc.ng American Way Marketing LLC Antigua Winds, Inc. Band Shoppe Bari Woodwinds EPN Travel Services Festivals of Music/ Good for the Goose Products Hawaiian Music Festivals Health Enterprises Jupiter Band Instruments, Inc. Mewzkl Publications New Horizons Tour & Travel New Horizons Tour & Travel Northeastern Music PublicationBureau Pearl Corp.

Rada Mfg. Co. Rovner Products SKB Corp.

Spirit of America Stentor Music Company Super-Sensitive Musical String Co. Vento Music Vic Firth, Inc. World’s Finest Chocolate Inc. Avedis Zildjian Co.

www.adelphi.edu www.alfred.com/dealer www.huntermusical.com info@americanwaymktg.com www.antiguawinds.com www.bandshoppe.com www.bariwoodwinds.com www.epntravel.com www.educationalprograms.com www.chopsaver.com www.himusicfest.com www.healthenterprises.com www.jupitermusic.com www.mewzkl.com www.nhtt.com www.nhtt.com www.nemusicpub.com www.pearldrum.com www.RadaCutlery.com www.rovnerproducts.com www.skbcases.com www.sprit-of-america.com www.stetnor-music.com www.cavanaughcompany.com www.wwbw.com www.VicFirth.com www.WorldsFinestFundraising.com www.zildjian.com

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School Band and Orchestra, January 2010

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