SBO June 2009 by SBO School Band & Orchestra

JUNE 2009 $5.00

Arlene Burney

and her Casa Grande Gauchos

Survey: Travel Commentary: Festivals

Contents 18

Features 12

COMMENTARY: FESTIVALS Colorado State University professor J. Steven Moore shares 21 tips for a successful festival experience.

SURVEY: TRAVEL SBO readers weigh in on traveling with a school music ensemble in difficult economic times.

UPCLOSE: ARLENE BURNEY Arlene Burney has been teaching music for 28 years, the last 14 of which at the Casa Grande High School in Petaluma, Calif. In this recent SBO interview, Arlene talks about her passion for teaching music and the realities of public school education amidst California’s current budget crisis.

PERFORMANCE: REHEARSAL STRATEGIES Robert Garofalo and Frank L. Battisti focus on the importance of non-verbal cues in this second of their two-part series on rehearsal and conducting strategies.

GUEST EDITORIAL: ADJUDICATION SBO contributor Jeff Bolduc provides a primer on becoming an adjudicator at school band and orchestra festivals.

TECHNOLOGY: TI:ME’S TOM RUDOLPH John Kuzmich sits down with noted music technologist and TI:ME president Tom Rudolph.

June 2009

Columns 4 6 43

Perspective Headlines New Products

45 46 48

Playing Tip Classifieds Ad Index

Cover photo by Scott Hess, Petaluma, Calif.

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 © 2009 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 School Band and Orchestra June 2009

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Perspective

Traveling Through a State of Fear

t seems like our country has gone from one crisis to the next during the past ten years, from terrorism fears after 9/11 to the economic turmoil on Wall Street, and even the recent panic about the swine flu. Unfortunately, each of these events has made it more difficult to arrange student band trips. Parents, administrators, students, and teachers have a very real concern that their trip be safe, as well as educational and fun. While travel has ebbed and flowed throughout these periods, the desire of many programs to provide students with a travel experience has remained constant. After all, high school students only have a short window of opportunity to experience a trip with their school band, and these trips will no doubt be remembered for the rest of their lives. “Parents, adminisA recent article in Our Children – The PTA National Magtrators, students, azine, April/May 2009 edition made a very effective case for and teachers have considering a tour operator that has handled many successful school music trips as they are the most likely to be capable to a very real concern handle contingencies, last minute changes, hotel and airline that their trip be problems or other emergency situations. Many experienced safe, as well as edu- companies are up-to-date on the latest travel restrictions and cational and fun.” intricacies which are constantly changing due to government regulation. Although many schools have planned and executed their own travel quite efficiently, this often leaves little room for error or problems that may be encountered. References are extremely important should you choose to arrange your travel with a tour operator. We have heard instances of “fly by night” tour operators who have absconded with bands’ travel funds after significant effort at raising the money for a trip. A reputable company, however, will be happy to provide quality references in addition to information regarding their company history, professional associations, insurance policies, and risk management plans. Of course, everything that the travel company offers should be requested in writing. This will also help alleviate any possibilities for miscommunication that could affect your trip. SYTA, the Student Youth Travel Association, is a “non-profit, professional trade association that promotes student & youth travel and seeks to foster integrity and professionalism among student and youth travel service providers.” A wealth of information and resources to help plan a successful trip can be found on their Web site: www.syta.com. Although it is certainly a challenging environment to find funds for travel, many parents, local businesses, and other sources are still able to find ways to raise the necessary finances that will enable their kids to travel. Since this is SBO’s annual travel and festival issue, read on to find several timely articles that can help you plan a safe and successful trip!

Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, June 2009

June 2009 Volume 12, Number 6

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

EXECUTIVE EDITOR Christian Wissmuller

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

PRODUCTION MANAGER Laurie Guptill

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

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

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Member 2009

RPMDA

Keepin’ HeadLines Sousa Foundation Announces 2008 Sudler Shield Recipients

Travel with the country’s top student travel planner. Performance Tours s Festivals Parades s Cruises s Bowl Games Clinics s International Disney©

he John Philip Sousa Foundation has announced the recipients of the 2008 Sudler Shield. This award was implemented to “establish and support international standards of excellence in musical performance, marching execution, choreography and show design for high school, youth or international marching bands,” and “to identify, recognize, and honor outstanding high school, youth and international marching bands who are at a world class level of excellence.” The 2008 Sudler Shield was awarded to: Broken Arrow High School Band, Broken Arrow, Okla., directed by Darrin Davis and Scott Tomlinson; Coppell High School Band, Coppell, Texas, directed by Scott Mason; the Musica Grato High School Band, Jusan Junior High School in Himi, Toyama-Ken, Japan, directed by Fumiko Hirose; and the Tarpon Springs High School Band of the Leadership and Music Conservatory, Tarpon Springs, Florida, directed by Kevin Ford. All honorees will receive a silver shield mounted on a wooden plaque for the organization, a miniature plaque for the director, a diploma of honor for the director, and an honor certificate for each member of the band. To learn more about the Sudler Shield, visit www.sousafoundation.org.

NAMM Foundation Awards Music Learning Programs

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AMM has announced the 31 recipients of the NAMM Foundation’s 2009-2010 grants program, allocating $848,807 in funding to support community music-making programs, scientific research on the effects of making music, and music programs for seniors, college students and school-aged children. The Foundation reaffirmed it will offer scholarships for the study of music education and business in the year ahead. The new grants, while only a small portion of NAMM’s overall annual multimillion-dollar-reinvestment into the music products industry, serve an important function by enabling worthy organizations to operate programs designed to increase interest and participation in making music, as well as helping leading universities better understand the outcomes of making music for people of all ages. This important music-brain research continues to help the industry strengthen its marketing messages for why more people should play music. NAMM Foundation Program Grants support innovative community-based music learning programs for people of all ages and abilities. The Percussive Arts Society is one recipient of the NAMM Foundation Program Grants, specifically for the program Recreational Drumming: Celebrating Health and Wellness. This world-wide, two-week event celebrates the health benefits of recreational drumming. The grant will provide financial support to build awareness of the enjoyment and health benefits of recreational drumming programs. The Percussive Arts Society will recruit and coordinate experienced recreational drum facilitators to produce innovative community based music learning programs for people of all ages and abilities later this summer. Facilitators will then lead programs in diverse settings such as hospitals, schools, and community centers to share the health benefits of providing fun, recreational or educational percussion activities. Local chapters of the Percussive Arts Society will build awareness of the events at the local level. To learn more, visit www.nammfoundation.org or www.pas.org.

HeadLines Marine Band High School Musicians Concerto Competition

“T

he President’s Own” United States Marine Band, in conjunction with the Marine Corps Heritage Foundation and The National Association for Music Education (MENC), has announced its annual concerto competition for high school musicians. High school performers of woodwind, brass, or percussion instruments may apply. Applicants must select one of the works listed for their instrument in the application packet and submit an audio recording of their performance of that selection accompanied by piano, band, or orchestra. A complete list of guidelines is included in the application packet. Applications must be postmarked by Nov. 14, 2009. Finalists will be selected, notified by Jan. 1, 2010, and invited to Washington, D.C., to compete in a final round that will be open to the public. The winner(s) will be invited to perform their solo selection in concert with the Marine Band in the Washington, D.C. area, during the 2010 concert season and will receive a cash prize of $2,500. For complete details about the competition, call the Marine Band Public Affairs Office at (202) 433-5809.

Planning a trip? DISCOVER HOW EASY IT CAN BE! sit po e d 15 ke pt. ive l a e M S ece ona ry by d r diti nta an ad lime an mp ge! co cka pa

Online Survey Results How do you plan to spend your summer?

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Celebrities Rally with Kids to Promote Music

AMM concluded its annual National Wanna Play Music Week after a monumental period of music making that drew the participation of stars, such as Kevin Bacon and Yoko Ono. With the goal to build awareness of the proven benefits of playing musical instruments for people of all ages, NAMM executed the weeklong series of events to encourage the music maker in every American. The Bacon Brothers, Yoko Ono and the”Jimmy Kimmel Live” House Band kicked off the week with”Music Monday,” a five-year tradition started by the Canadian-based Coalition for Music Education that encourages musicians, music organizations, school bands and music lovers everywhere to play music at the same time to demonstrate the galvanizing power of making music. During NAMM’s second year participating in”Music Monday,” more 2,000 schools and organizations rallied across North America to simultaneously play music together with celebrity musicians participating in the effort on both coasts. In New York, The Bacon Brothers, featuring actor Kevin Bacon and his brother, award-winning film and TV composer Michael Bacon, helped to launch National Wanna Play Music Week in the U.S., and appeared nationally on”Fox & Friends,” on behalf of NAMM. On Music Monday, The Bacon Brothers performed before a crowd of students at the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, promoting music in schools, along with Yoko Ono and the John Lennon Educational Tour Bus. In Los Angeles, late-night talk show”Jimmy Kimmel Live” lent the talents of its house band, Cleto & the Cletones, toward the effort of making music. Bandleader Cleto Escobedo III and lead guitarist Toshi Yanagi performed music with a band class at Nightingale Middle School in Los Angeles. Students were later treated to a private jam session with Cleto & the Cletones, visiting the set of ”Jimmy Kimmel Live” and hanging out with the entire band and Jimmy Kimmel himself. According to the recent “2009 Public Attitudes Toward Music” Gallup survey, 85 percent of Americans wish they could play music. In response to that desire, NAMM created several user-friendly services and tools aimed to help anyone begin to play music. With the goal of educating consumers on the benefits of playing music and empowering them to easily find quality music instructors, NAMM has recently unveiled a music lesson locator, a hotline, a film contest, and other resources. For more information, visit www.wannaplaymusic.com.

NY Philharmonic’s Summertime Classics On June 30th, the New York Philharmonic will kick off its Summertime Classics concert series. This year, conductor Bramwell Tovey will host and conduct four programs and present facts and personal insights about the music during the performances. This year’s featured artists are Vladimir Feltsman (piano), MarcAndre Hamelin (piano), Simone Dinnerstein (piano), and Denyce Graves (mezzosoprano). Four different programs will be taking place over a one week period. To learn more about Summertime Classics, including programs, featured performers, and tickets, visit www.nyphil.org.

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SBOCommentary: Festivals

Creating an Inspired Musical Experience: 21 Tips for Success at Festival BY J. STEVEN MOORE

erforming at concert festival is an inspiring musical experience for both music students

and conductors. Concert festival is more than an assessment event, it is an opportunity to challenge students to achieve at their highest level. In addition to the learning experience, it is an occasion that helps clarify goals for a student, ensemble, or program. Festivals

have

contributed

much to improve the quality of groups and the musicianship of students over the last 70 years. As thoughtful music educators, it is a topic worthy of our deepest consideration.

12 School Band and Orchestra, June 2009

Following is a collection of tips for enhancing the festival experience. This advice focuses primarily on the actual day, not the musical preparation. Many of these tips are subjective opinions, some of which evoke various levels of agreement among professionals. Consider these tips first, then imagine the event as you want it to create the inspired musical experience your students deserve.

Stage Presence â&#x20AC;˘ Enter the stage professionally. Judges and audience members are influenced by the way a group enters the performing area. Percussion enter the stage first to set up equipment in an efficient and professional manner. For bands, it is generally accepted for students to move from the warm-up room to the performing stage in order. The leader of each row should traverse the arc

between the stands and the chairs. He or she should not move directly to his or her chair as this creates a traffic flow problem around the stands. It is also acceptable to enter the stage individually in the manner of a professional orchestra.

exercises, particularly any that resemble a marching band warm-up. Groups that have tone and intonation problems might reveal these to the judges (and audience) during the warm-up. Opinions are formed during this crucial period.

• Provide your own setup crew. Your ensemble should set up on stage as closely as possible to their rehearsal positions. A trained crew has the best chance of accomplishing this. If this is not possible, provide a detailed setup chart, drawn to scale, and enlist a trusted colleague to supervise. You will not be allowed to provide a setup crew in a union house; however, professional stagehands will welcome polite directions.

• This is a festival, not a concert. Certain concert protocols seem awkward at an assessment event. Usually, groups are introduced by an announcer. Conductors may remain close to the podium with a relaxed, yet professional demeanor. Break the ice with your students with a smile, but avoid jokes and banter. At the conclusion of all the selections, the entire ensemble should stand to receive and acknowledge applause. It is not necessary to recognize soloists as in a concert, but if you do, be efficient and do not draw it out. Musicians should sit before the applause ends.

• Have performers adjust chair position and stand heights when they enter the stage. Do not accept the setup you have been provided. If the setup is not correct, the performers should quietly move their chairs and instruments to the correct position. This should be done with confidence and not await instructions from the director. Raise stands to the proper height. • Play a tuning note on stage in lieu of a warm-up. Usually you have just enjoyed twenty minutes in a warm-up room. Unless there is a significant time lapse between the warm-up and the performance, forego the group warm-up on stage. A couple of tuning notes should be enough for the students to get used to the acoustics and make sure they are ready to play. • Play a Bach chorale as a warm-up. If you decide to warmup on stage, choose a phrase from a beautiful chorale. You do not have to play the entire chorale; remove repeats or end on an authentic cadence. Choose a chorale that the group sounds good playing. It should be in a solid key, such as B flat major, E flat major, or F major for bands and G major or D major for orchestras. Do not play 14 School Band and Orchestra, June 2009

• There must be total professionalism at all times. There can be no talking or other distractions during the entrance, performance, or exit. Performers should exhibit relaxed concentration throughout their time on the stage. • Move with the music. Musicians should feel free to move naturally to enhance the nuances and phrases in the music. Music is inextricably linked with motion. Therefore, it

is unnatural to remain rigid. Move to express the character of the music. However, remind your students to tap their toes inside their shoes, instead of tapping their feet. • Dress well. Musicians’ performance wear should be clean, pressed, and neat. Wear black socks and shined, black dress shoes--no running shoes or sandals. Concert black looks professional and is increasingly the norm in many areas. Females should not wear dresses more appropriate for the prom. Concert attire covers the shoulders, chest, arms, and legs. The attention should be drawn to the music, not the attire. While individualism is honored in daily life, the needs of the ensemble should be considered in regard to jewelry, bows, scarves, hair clips, unnatural hair color, and so on. Exceptions for religious beliefs are always allowed. Band uniforms that are designed for the concert hall are appropriate. The Marine Band looks terrific in their traditional uniforms. The male conductor should wear a solid, dark suit or tuxedo. Sport coats and trousers are not formal enough. Tailcoats are traditionally worn after 6:00 p.m. Tails seem out of place in the morning and afternoon. Conductors should check the hem length. Do not sit while wearing your jacket, as the wrinkles are unseemly to the audience. Wear

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suspenders, not a belt, for proper hang of your trousers. Female conductors have more freedom in their attire, but generally may wish to adhere to the performer guidelines mentioned above.

Literature Selection and Performance • Play only quality literature. Play a variety of repertoire and play only music you are passionate about. Solicit the opinion of mentors you trust well in advance of making a final decision. Demon-

4. E flat alto clarinet can be eliminated if the part is doubled. 5. If no harp is available, the part can be played on an electronic keyboard. However, please make sure it sounds authentic and blends well with the ensemble. Do not put the speaker in front. Electronic sounds should play through the ensemble to assist with blending their sounds into the acoustic sonority. 6. If you are missing an instrument, make sure any independent parts are played by another instrument. Do not leave out parts. Indicate this change in the judges’ scores.

• The timpanist should tune the timpani. Part of the musical education of the student timpanist is to tune the instruments. The director should not assist in the tuning in public. • Double bass adds warmth to a band sound. A good sounding double bass player and an in tune timpani can make a big difference in the overall sonority of a band. • The piano lid should be fully extended and reﬂect the sound into the audience. The piano sounds best with the lid up. The lid down or on short stick is to assist with balancing solo instruments in recital. Use an acoustic piano, no electronics. • Tone and intonation is the most important element of music. Work on tone and intonation daily. Sing often.

strate song style (chorale) and dance style, including marcato or march style. It is appropriate to perform an overture, tone poem, or suite; a chorale-style selection; and a march (for bands). If you have a fanfare or an overture, it usually best to open with it. You can begin or end with a march. Novelty numbers are better left for the spring concert. • Use the most authentic instrument available. Honor the composer’s intent if at all possible, including utilizing the instrument she chose. 1. Do not use electric bass unless it is written in the score. 2. Celeste parts may be played on piano, up an octave, if no celeste is available. 3. E flat soprano clarinet can be eliminated if the part is doubled. If it is an independent part, essential to the composition, it must be played. 16 School Band and Orchestra, June 2009

• Use your own percussion equipment. You must respect the space and time limits of the contest. However, your percussionists will perform better on equipment that they are familiar with. You will have confidence that your own snare drum and bass drum are tuned properly. Use your best judgment regarding timpani. • Percussion often overplay the hall. When percussion rehearse in a dry acoustic environment such as a carpeted rehearsal room, they often overplay when performing concert halls or theatres with acoustic shells, wood floors, and highly reflective and reverberant acoustic characteristics. Many times suspended cymbal, crash cymbal, bass drum impacts, and snare are too loud. They should be prepared to adjust immediately.

• Deﬁne all styles that should be spaced or connected. At the minimum, marcato style is spaced and chorale style is connected. Dances should dance. Listen to the body and release of the note, not just the beginning. The more reverberant the room, the more space required between notes.

Educational and Ethical Issues • Listen to other groups. Students learning how to listen and honor other musicians is an essential part of the experience. Provide adjudication sheets to each student or require a written response to the performance. Some states require listening blocks for each participating ensemble. This is worthy of consideration in all areas. • Prepare students for a clinic experience. If there is a clinic, be sure the students are prepared for learning. Avoid the emotional let down after the performance. Students should be receptive to the comments and ideas of the clinician.

There should be direct eye contact, nods, smiles, and absolutely no talking. Percussion should be particularly mindful to listen and avoid the habit of setting up equipment while the clinician is speaking. The director should allow the clinician to engage the group without interruption, take notes, and be ready to provide information (not excuses) about the ensemble if asked. • Provide original scores. Purchase a score for each adjudicator and clinician early. Buy the additional scores when you select the music. You can use them for guests in your rehearsals. • Be 100 percent copyright compliant. Use all original music in rehearsal and performance. Respect intellectual property rights and teach your kids to respect copyrights. Students trust you and your ethical choices. It is your responsibility to know the law and be an excellent role model. The Music Publishers’ Association provides excellent resources at www.mpa. org. It is embarrassing in front of all your friends and colleagues to appear at music festival in obvious violation of law. To protect your original music, invest in black folios. If you use card stock folios, turn them on their side and avoid showing music store advertisements during the performance.

Coda The concert ensemble is the centerpiece of your program and the concert festival is often the culminating experience of this group. Use it to set goals, achieve excellence, and move your program forward. Create an inspired musical experience by attending to every detail and asking for excellence in all areas. Set high expectations for your preparation and performance at concert festival and you will be richly rewarded with higher levels of musicianship and commitment. Expect excellence in all areas of your participation to create an inspired musical experience at concert festival.

J. Steven Moore is the director of bands at Colorado State University, where he conducts the wind ensemble and the marching band. As an associate professor of Music and assistant chair of the Department of Music, Theatre, and Dance, Dr. Moore also teaches music education and conducting courses. Prior to this position, Dr. Moore

spent four years as the assistant band director at the University of Kentucky and 10 years before that as the band director at Lafayette High School and Jesse Clark Middle School, in Lexington, Kentucky, during which time the LHS won 6 state marching band championships and was awarded the Sudler Shield. Visit his Web site, www.beyondthenotes.com.

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School Band and Orchestra, June 2009 17

SBOSurvey: Travel

Travel

On a $hoe $tring T

ravel affords music students and educators the opportunity to venture beyond familiar walls and familial audiences, to gain new experiences while testing young musiciansâ&#x20AC;&#x2122; mettle. Whether on a sightseeing performance tour, playing a

world-famous concert hall, or competing against distant musical peers, there is no substitute for taking an ensemble on the road. However, due to events beyond most of our control, many schools and programs are currently being reduced to only those elements that may be considered â&#x20AC;&#x153;essential.â&#x20AC;? To gauge the true nature of how school music programs are tackling the challenges related to travel in these trying times, SBO took the question to our readers. Results indicate that perhaps the situation is not so dire: over half of the respondents state that their travel plans remain unaffected by national economic difficulties, and many readers were able to provide cost-saving tips for group travel on a shoestring.

18 School Band and Orchestra, June 2009

Do you deem travel for performance or attending festivals to be an essential part of your music program?

19% Yes

81%

“Yes – the events encourage students to participate and requires both students and directors to obtain a level of performance that might not normally be achieved.” Kathy McIntosh Troy City Schools Troy, Ohio “While I think there is a lot of good that comes from traveling with your performing group, it should be only a spoke off of the main hub of your program. It is an educational and fun activity that compliments the main performance objectives of your program.” John Woger North Jr. High Menomonee Falls, Wis.

What means of transportation have your groups used this year? “The opportunities to hear professional musicians, perform for others, and share our music are only part of our philosophy. The friendships, camaraderie, responsibility, discipline, life skills of learning to travel and cope; that whole package is definitive of what our music programs are all about.” Anne M. Watts Penn High School Mishawaka, Ind. “The educational value of travel is overrated. It’s fun, it’s good to see places and have new experiences, but the performance part of the event is rarely different from local events.” Tammy Kuntz St. Angela Merici School Fairview Park, Ohio “It is good for the students to be adjudicated by professional musicians as a culminating activity. They should be graded on their performance of the material they have learned throughout the school year.” Brian Rupnik Northeast Middle School Bethlehem, Pa. “Getting out and performing outside of the local community allows the students a chance to experience other performance venues and to receive feedback from listeners who aren’t biased.” Mark Philgreen West Delaware High School Manchester, Iowa “We live in a rural state, and any opportunity for our students to travel outside of our city limits to perform for and with other students is a positive.” Larry Petersen Huron High School Huron, S.D.

72%

Bus

Airplane Train Other

2% 3%

We Haven’t traveled at all.

Have your ensembles’ travel plans been affected by National economic woes?

Yes

55%

45%

“We make a major trip every four years for which we fundraise like crazy. At this point, we are on track financially. Hopefully, the economy will continue to improve School Band and Orchestra, June 2009 19

and we will be able to continue to amass our funds for the fall.” Kevin Beaber Crowley County High School Ordway, Colo. “The trip we had planned for this year had to be cancelled because not enough of our students and parents could afford it.” Rick Brimmer Lake High School Millbury, Ohio “I am adjusting to having no budget for music, repairs, instruments or travel is. Prior to this year, I had always had outstanding support of the Arts from my school administration, compared to other schools in the district that have been pinching for years.” Robert Martens Ridgeview High School Bakersfield, Calif.

Do you have any tips for keeping costs down while attending festivals or on performance tours? “My most successful trips have been exchange concerts. I find this ideal for the age level I teach. I contact a director I already know within bus travel distance, but well out of our state (which not hard to do since I am in Rhode Island). We leave after lunch on a Friday,

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“If you can, host a festival. It’s a great way to save travel expense and time. I enlist my students to help in a number of ways (as escorts for each band, sound recording, setting up the stage for each ensemble, greeting the bus, et cetera). They love the responsibility.” Madeline Elmhirst Robbinsdale Middle School Robbinsdale, Minn. “Pack a lunch. Food can be a major expense. Wherever possible, we bring food with us or purchase food from a local grocery and prepare it, rather than eating out for every meal. Sometimes it is also possible to make arrangements in advance with restaurants and hotels for meals at a group discount.” Chris VanGilder Arkansas City High School Arkansas City, Kan.

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travel to the host school and meet for a rehearsal of combined pieces, eat a covered dish dinner with the other students, perform a concert for them, by them and with them, and send the students off to host family homes for the evening. We meet at the school the next morning and do a walking tour of nearby attractions (NYC, Baltimore, et cetera), then travel home. Typical cost including food has been about $30-$40 per student. The students are unanimous that this is more fun and educational than other trips, the parents also like the cost and educational value. The following year, we host the school we visited. “Having directed several European tours for high school age students, athletic trips for university level students, and now the exchange concerts for middle school students, I am convinced that carefully designed cost effective performance tours are unforgettable and powerful educational experiences that can positively effect students’ entire lives. They are fully worth the trouble and risks.” Donald J. Smith Curtis Corner Middle School Wakefield, R.I.

“Doing your homework and research while planning can significantly reduce costs. Sometimes doing the legwork yourself can pay off instead of going through a travel company. Planning with the help of parents can also help to cut costs, as they might have connections you might not otherwise know about.” Andy Micciche Windsor High School Windsor, Va.

Are you planning a major trip for 2009/2010?

Not Sure

23%

Yes

32%

45%

Additional thoughts on travel? “Trips are a great motivator for the students, especially if you are doing something that is musically demanding. They work much harder when there is a concrete goal. Having a fun trip to Florida in the process doesn’t hurt the motivation either!” Mel Byron Waterford-Halfmoon High School Waterford, N.Y.

“Travel is a wonderful experience for the students. Often, this is the first time many have been out of the state. Travel to festivals provides more opportunity than just music. Geography, sociology, and economics are just a few other areas students have a chance to experience.” Ben Jaszewski Sibley East High School Arlington, Minn. “Travel is an excellent opportunity for the students, especially my low socio-economic students who otherwise might not get the chance to have these experiences.” Mark Bishop Clayton Middle School Salt Lake City, Utah “Traveling with a band is one of the events in a student’s career that will always be remembered (hopefully with fondness!). The opportunity to represent our school and community as well as display the talent of our students is important for each participant; in addition, there is a significant positive impact it can have on the band program.” Joe Trusty Cabot High School Cabot, Ark.

School Band and Orchestra, June 2009 21

Arlene Burneyâ&#x20AC;&#x2122;s Passion for

Music,

Educa

and Her Casa Grande

tion, Gauchos

Arlene Burney’s life as a music educator has been an adventurous, hectic, and nomadic journey. Her passion for music and the students she teaches is made evident through her dedication to and advocacy for music education. Twenty-eight years ago, armed with a French horn and a degree in Psychology, Arlene left her native California to explore Europe and eventually landed in Israel as a music teacher. After several years overseas, Arlene returned to California, and for the past 14 years she has been teaching music at Casa Grande High School in Petaluma. Faced with the issues that the sinking economy is bringing to education, Arlene shares her frustrations along with the creative ways she tries to make a difference. School Band & Orchestra: What made you decide to become a band director? Arlene Burney: Good question! Maybe I’m crazy. I love watching students learn an instrument and then discover that they can really make music, be creative, and have a sense of accomplishment. I had a very good band director in junior high who inspired me. I also played in some very good bands and orchestras in Los Angles growing up, all of which contributed to my love of music. Being a band director isn’t just a job; it really is a calling. One has to be completely dedicated to the job and want to help students musically, socially, and psychologically. SBO: Where did you get your musical education? AB: My first degree was from the University of California at Santa Cruz in Psychology; although I took classes in music and played in all the ensembles including the Santa Cruz and Monterey Symphonies. I did eventually get a degree in education. I went back to school at the University of Illinois and simultaneously got a B.S. in Music Education along with a Masters of Music Education, and another valid teaching credential. SBO: Wow, that’s a workload! How long have you been at Casa Grande High School?

24 School Band and Orchestra, June 2009

Casa Grande Gaucho Bands at a Glance Location: 333 Casa Grande Road Petaluma, Calif. On the Web: www.casaband.org Students at Casa Grande High School: 1886 Students in the Music Program: 190 Ensembles Symphonic Band Concert Band Freshmen Band Junior Varsity Varsity Jazz Color Guard

AB: This is the end of my 14th year at Casa Grande. Four years ago I was lucky enough to have enough students to hire another teacher to help me, Sean Millard. This year we team teach concert and freshmen band, and he does the J.V. Jazz Band and I do the Varsity Jazz Band. I also have a color guard class. Next year things will be different because of budget cuts. Sean also teaches one music appreciation class this year and will be teaching two music appreciation classes next year. Before Casa I taught one year at Illinois State University in Bloomington. Before that I taught for four years in Shreveport, Louisiana; five years in Akko and Jerusalem, Israel; and I started my career teaching music in an elementary school in Santa Cruz, California in 1976. In addition to teaching at Casa Grande, I work with a community band – The Petaluma Community Band, which meets on Monday evenings all throughout the school year and is run by me and my husband, Jimmie Howard Reynolds, who taught music for many years at several colleges and universities. The band has about 50 players, some students from our school, but mostly community members and quite a few Casa Grande alumni members.

SBO: I’m very interested to hear about your teaching experience in Israel, but before we get to that, I have to ask how you manage all of this. You must have incredible time management skills. AB: Well it isn’t easy. My husband is retired and, fortunately, he has a lot of patience. My son is now home from college and has been very helpful with band stuff and cooking dinner. But, really if you want a normal life, this is not the career to choose. SBO: It sounds like you have moved around quite a bit. How did you end up teaching in Israel? AB: When I was teaching elementary in Santa Cruz, I was laid off. I decided to grab a backpack and my French horn and travel around Europe, which I did for 10 months. I had a cousin who lived in Israel, so I went to stay with her. I returned to Santa Cruz and actually got my teaching job back, but I really missed Israel. I got this strange letter in the mail that said, “We are looking for a music teacher to teach in a poor community in Israel.” So I went. I ended up in a small town called Akko, in an apartment with no heat or hot water. I taught a junior high band and private lessons during the day. In the evening I worked at the municipality band house with the ensemble there. While I was there, they sent over a band director from Iowa State University to run the national youth band. That director was Jimmie, my eventual husband; that’s how we met. We ended up in Jerusalem, working with a junior high and high school bands, and we also had a community band. I taught music during the day in a poor community, which was funded by a wealthy family from Baltimore, Maryland. They paid my salary and bought all of the instruments for the students. SBO: So when did you move back to the U.S. and why? AB: I became pregnant, and my son was born in Israel. But, that was in 1985, and the economy was very bad in Israel. Also, I didn’t want my son to be in the army there. We thought it was best to just come back here. We spent a couple of months at my parent’s house, which was not good. Then we went to 26 School Band and Orchestra, June 2009

“I love watching students learn an instrument and then discover that they can really make music, be creative, and have a sense of accomplishment.” Shreveport, Louisiana for four years, then to Illinois, where I complete my education at the University of Illinois, and finally, back to California. SBO: That’s quite a journey. Having done so much traveling yourself, how do you manage band travel and, more specifically, raise funds? AB: We have a couple of options for fundraising. First, our band program is supported by our booster organization, Eastside Friends of Music, which makes most of its money from Bingo games on Saturday evenings. Some of the donated money from these games goes to our program to offset bus costs. Second, we are fortunate to have a fireworks booth for a few days before the 4th of July which helps raise money for travel. Third, our student band council comes up with various fundraisers for the students who cannot afford to pay for the trips from their own money or their parents’ money. We used to sell candy on campus, but that is now forbidden by our state – it is fattening and unhealthy. We put on a Jazz Dinner Dance every year and the jazz students raise quite a bit of money from that evening. The money goes towards their travel costs. SBO: What has been the most difficult challenge in terms of travel?

AB: Lately it has been the poor economy. Many families do not have the money to help their kids go on a trip if they have just lost their job or have taken a huge pay cut. Second, California is far away from the rest of the country, and it has become prohibitively expensive to fly to another state. Third, our groups are so large, and we hate to exclude one band (freshmen), so our choices are limited. Also, can you imagine going through security with 150 plus students with instruments and suitcases? Nightmare! SBO: When I went to the Gaucho’s Web site, I saw that the band has its own commercial-looking travelpage. How does that site work? AB: If we use the Web site, ytbtravel.com, we get a certain percentage off our next trip. There is an initial fee of $450 to set up your own site, with your own logo, but then you can start earning credit. SBO: How has it worked for band travel? AB: YTB Travel will make arrangements for you, or you can use the Web site to make your own travel arrangements, just like Travelocity or Orbitz. Anyone can use it, so we try to get band parents, friends, and family to use the site. After a certain amount of busi-

ness from the band, it is possible to get large discounts. We are not there yet. But, it is easy to use and will eventually save the band money on travel. SBO: Do your ensembles regularly participate in festivals? AB: Yes, many. Almost every year we go to the CMEA Area I band festival. Our Symphonic band has earned straight superior ratings for the past 14 years, and our two other concert bands have earned a mixture of superior and high excellent ratings. We have also participated in the Music Heritage Festivals and have earned similar ratings from those competitions. Our top students have auditioned and made the Sonoma County Honor Band, the Nor-Cal Honor Band, and the California All-State Honor Band. We also have select students who participate in the solo and ensemble festivals each year. Our two jazz bands usually go to one to three festivals a year and have done very well at these festivals too. SBO: How do you go about choosing a festival? AB: The CMEA festivals are local and we usually always go to those for concert and jazz bands. The Music Heritage Festival is one of many festival groups that run a good festival in conjunction with Disneyland or some other fun attraction. SBO: Have you been invited to festivals, applied for them, or both? AB: Both. We have been invited to

many more festivals than we can possibly afford to go to, or have the time to go to. For years we have been invited to the Music Heritage Festival of Gold, which is only for superior bands, but we could never afford the cost of flying to New York or Chicago. Also, we would have to take only our top band, and the other 120 students wouldn’t get a trip – it is a matter of priorities and money.

[laughs] I’m not kidding! A huge amount of money, once earmarked for education, has been cut, and it isn’t over yet. We have had so many foreclosures and so many jobs lost. The state is going broker by the day. Cuts have to be made somewhere and that has been in healthcare and education. In California, schools have to show the state that they have enough liquidity to go three years out. The government has been scrambling to figure how to handle school budgets. Their answer

has been to cut budgets in all districts, raise class sizes, layoff teachers, and now they are talking about shortening the school year. And we are still stuck with the federal requirement of No Child Left Behind, which means having to show the same results with less time. They are also going to begin to cut all the electives. You cannot cut an English class; everyone needs to take English. Next year we have roughly the same number of students signed up and divided by the higher class size

“Being a band director isn’t just a job; it really is a calling. One has to be completely dedicated to the job and want to help students musically, socially, and psychologically.”

SBO: I know California has taken quite a hit in this economic crisis. What impact has it had on education? Has your district had any budget cuts? AB: The state of California is about to cut out the state of California; we are just about to sink into the ocean, School Band and Orchestra, June 2009 27

number of 32 and came out with 9.3 sections, but were given only seven sections. After much panic, the school site council bought us another section, but then we had to pay over $15,000 from our booster money to buy our ninth section. We are certainly hoping this will not become a precedent. But, more cuts are expected in August. SBO: So where does this leave music education in California?

AB: Unfortunately, nothing in California is unified, and it leaves it hanging out there. If one district has more money than another and can spend it on a music program, they will have more music than others. In our district, we have one elementary school with one music teacher and the six other elementary schools have no music at all, which means the kids are not getting an introduction to music. The east side of town is the wealthiest part

of town, and they have an after school music program because the parents are able to pay for it. So now students are beginning band in seventh grade when it used to be fourth or fifth grade. My co-director and I have just started an after school band program for the kids in the elementary schools that don’t have music. SBO: Do you get your students involved in lobbying for music? AB: Yes, but going to our own school board will not help. Our financial crisis is statewide, and we have a state and federal problem that a few music students just cannot fix. Music is not the only area being cut; all electives have taken a hit and many regular classes were increased in size. Our district teachers voted to give up two days of paid in-service to save some jobs, but that was a drop in the bucket. SBO: Has the federal stimulus helped in any way? AB: Not yet. Our district pays for most of our health care costs. 80-85 percent of our teachers and staff are enrolled in Kaiser Permanente, and they just raised rates by 34 percent. Kaiser’s agreement with our district was not to raise rates more than 18 percent per year, so the district will have greatly increased medical costs for a number of years to come. I’m pretty sure that all the federal stimulus money will go to paying for the increased medical costs. There won’t be money left over for programs. SBO: What advice would you give to a band director just beginning their career? AB: This is a really rough field to get into right now. I am seeing directors in their 30s getting laid off because they don’t have as much experience as others. If you love music and love teaching, you should do it because it is so rewarding. If you’re doing it for the money, forget it. If you’re not willing to put your heart and soul into it, you will never have a good program, and you will be frustrated. You really have to have a passion for it.

28 School Band and Orchestra, June 2009

SBOPerformance: Rehearsing Music

Rehearsing Music:

Nonverbal Cues, Body Language, and Facial Expression BY

ROBERT J. GAROFALO AND FRANK L. BATTISTI

Editor’s Note: This is the second of a two-part feature. The first article, covering procedures, verbal cues, and pictorial imagery, appeared in the January, 2009 issue of SBO, which can be found at www.sbomagazine.com.

he quality of musical sound that is produced by an ensemble (orchestra, band, chorus, or chamber ensemble) is greatly affected by a conductor’s gestures, body lan-

guage, and facial expressions – nonverbal cues. This may partially explain why different conductors obtain different results and sounds from the same performing ensemble. Conductors need to build a repertoire of physical (body) gestures and psychological (facial) expressions in order to convey music more effectively on the podium. A conductor should be able to show what he or she wants, and not have to explain it in words. Stopping to explain what is desired reduces the time the ensemble has to put desired musical ideas into art expression. To improve your ability to convey musical expression on the podium using nonverbal cues, consider studying mime and ASL (American Sign Language). Both of these communicative modes utilize a wide variety of facial expressions, hand gestures, and body language. For every composition to be performed, the conductor must ask two questions: What is the musical message of the composition – the spiritual essence and/or expressive character of the music? And how can I communicate that musical message to the ensemble (via body language and facial expression) so that the performers can convey the message through their playing? The taxonomy of conducting behavior that follows focuses on the body, head, and face (especially the eyes and mouth) of the conductor. Nontraditional conducting gestures that utilize the hands, arms, and body are also covered.

30 School Band and Orchestra, June 2009

Body Language The torso of the human body is a major source of energy, emotion, conviction, and confidence. A conductor can project these qualities from the torso (which includes the heart and the lungs), but not from the arms and hands. Conductors sometimes mimic the music they are conducting though body motions, in some cases literally. For example, they march when the music is a march and swing when the music swings. Conductors occasionally bend their knees, drop down slightly, and hunch their shoulder to signal “play softer.” These procedures can work in reverse to signal “play louder.” A nontraditional conducting gesture is an unconventional or atypical motion that is not standardized or customary. For example, Frederick Fennell, in a rehearsal with a university wind ensemble, conducted Holst’s transcription of Bach’s Fugue alla Gigue with both hands moving in parallel motion high above his head; his upper body was swaying back and forth in synchronized mo-

tion with his arms and the beat which was in compound time. See illustration below. Conductors sometimes use nontraditional gestures and body language that reflect the playing motions of performers, a practice that we call “visual onomatopoeia.” With aural onomatopoeia, one uses words to vocally imitate the sound of a thing or action; for example, buzz, hiss, boom, bang, clang, ring, and so on. With visual onomatopoeia, one uses body language to imitate the motion of a thing or action that elicits the sound. In other words, the conductor “mimes” the actions of the players using body movement. For example, conductors often mimic the motions of string players in order to increase musical expression and intensity. The hands are held in the position of either a violinists or cellist with the left hand imitating the motion of vibrato and the baton hand bowing directions. Also, conductors sometimes use gestures that imitate the motions of percussionists when cuing percussion instruments. These nontraditional gestures are fairly easy to learn and do. For bass drum, use a right to left beating motion with the baton mimicking the playing the instrument; the baton may even be turned around in the hand to act as a beater. For timpani, use a downward pounding motion. For crash cymbals, use both hands moving together then apart as if you were actually playing the instrument. In

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addition to strings and percussion, there are other band and orchestra instruments that are occasionally mimed by the conductor. Two instruments that quickly come to mind are trombone and harp. Can you think of others?

Facial Expression “Even the most expressive of patterns can never communicate the emotional content of a composition as effectively as the face,” says Sir David Whitwell. Conductor Max Rudolph agrees: “The expression of your eyes and your general facial expression can tell players more about the music than fancy ha nd- wa v in g .” The conductor’s face must reflect the emotional expression of the music to be effective on the podium. To do that, the conductor must internalize the music. The human face is rich in communicative potential. In fact, it is the primary source of information next to speech. Although our facial muscles are capable of producing nearly four-dozen movements, which in turn can create more than 10,000 different expressions, in his book Nonverbal Communication in Human Interaction, author Mark L. Knapp suggests that researchers have discovered that humans reveal six universal facial expressions (infants by the age of one show these basic expressions in their faces). They are:

primary emotions. Most, if not all, of these states have been captured in music, which indicates that it should not be too difficult to show the emotions facially when conducting music. Can you think of a musical composition that expresses the emotion of surprise? What about fear, anger, disgust, happiness, or sadness? Common facial expressions are delineated in three areas of the face: the brow and forehead; the eyes, eye lids, and bridge of the nose; and the lower face which includes the mouth, chin, jaw, cheeks,

“Conductors sometimes mimic the music they are conducting though body motions.”

1. Surprise 2. Fear 3. Anger 4. Disgust 5. Happiness 6. Sadness These six emotions seem to be at the foundation of most human expressions; others appear to differ only in intensity or are blends of the

32 School Band and Orchestra, June 2009

and nose. In the Glossary of Facial Expressions (used by permission from “Conducting From The Inside Out,” a clinic by Allan McMurray, Mid-West International Band and Orchestra Clinic, December, 1994) below, see if you can identify the expressions that reflect the six basic emotions listed above. Most conductors will tell you that the eyes are a major means of communication on the podium. There is power in the eyes. The eyes are a “window to the soul.” Eye contact and expression are critically important for the conductor. One needs to ask: What exactly do the eyes do? And when do they do it? What psychological and emotional meaning do the eyes convey? Here are some thoughts on the matter gleaned from reflection and observation. The eyes squint, blink, stare, glare, glance, scan, focus, recede upward into the sockets (what does that signal?), wink (close right or left eye), blink (both eyes); and look left, right, up, down, or straight ahead. The eyes can sparkle, be glazed over, or look blank. Note, in the list below, the different ways humans refer to the eyes and

think about the signals and meaning they convey: We don’t see eye to eye. Smiling eyes. Eyes like a hawk. Icy stare. Shifty eyed. His eyes were mesmerizing. He had good eye-hand coordination. She gave him the malocchio (Italian for “evil eye”). Can you think of additional remarks that reveal the communicative power of the eyes? What meaning and expression is conveyed with “raised eyebrows,” “a frown,” “squinting eyes,” or “closed eyes”? Conductor Herbert von Karajan conducted with his eyes closed. What meaning or message is conveyed when the eyes are closed when conducting? Deep thought or feeling, meditation, being asleep, dreaming? We associate various eye movements with a wide range of human expression. For example: a downward glance is often associated with modesty; eyes rolled upward may indicate that another person’s behavior is weird or unusual. Our fascination with our eyes has led to the study of every feature of them (size, color, position, eyebrows, eye lids, rings, and wrinkles). The mouth is probably the next most expressive facial feature after the eyes. The mouth can grin, smile, or pout. Lips can be tight, teeth clenched, and so on. The mouth can be wide open or be shut tightly. Generally, one should not conduct with the mouth wide open or shut tightly for any length of time. Instrumental conductors often mouth rhythms while the ensemble is playing, their mouths and lips opening and closing in time with the music using a neutral or nonsense syllable. Choral and opera conductors, on the other hand, often mouth the words with the singers. Many conductors breathe with their players, either through their mouth and/or their nose, a procedure that is highly recommended especially when starting music.

In the Glossary of Facial Expressions below, explain what is changing on the faces. Also, describe the emotion conveyed in each facial expression with one or two words.

Glossary of Facial Expressions

Robert Garofalo is emeritus professor/conductor of the Rome School of Music of The Catholic University of America. He has conducted bands, orchestras, choruses, and operas for over 40 years. Frank Battisti is conductor emeritus of the New England Conservatory Wind Ensemble. He has conducted bands and ensembles for more than 50 years. Garofalo and Battisti have coauthored several books and articles; most notably Guide to Score Study for the Wind Band Conductor (Meredith Music, 1990) and Lead and Inspire: A Guide to Expressive Conducting (Whirlwind Music, 2005), from Frank Battisti Robert Garofalo which this article is adapted.

Can you guess/identify the expressive character of the musical message being conveyed here by conductor Frederick Fennell by observing his facial expression and body language?

For example, is the music strong or gentle (dynamics), quick or deliberate (tempo), lyrical or dramatic (style)? Can you find a facial expression in the Glossary above that correlates with Fennellâ&#x20AC;&#x2122;s expression?

School Band and Orchestra, June 2009 33

SBOGuest Editorial: Adjudication

So You Want To Be

A Judge? BY JEFF BOLDUC

here are many types of activities that rely on subjective assessment and the comparison of one performance to another. Often these judgments decide

placement, with winners and losers. Others may rank contestants against a local, regional, or National standard, with multiple gold or silver medalists at a single event. From gymnastics to figure skating to cheerleading to marching band, many popular youth activities involve judges using some type of criteria to arrive at, “And the winner is …” My memories are filled with recollections of drum corps, band, color guard, and those unbelievable, “how-could-this-happen-to-my-team” results. I still recall the heartbreak of those moments – I have felt them as a child, designer/teacher, and a parent. In your experience, it was the performance of the season, yet the judges put you in 3rd place. Who could do this to me? Who would want to be a judge?

34 School Band and Orchestra, June 2009

Announcing the 2009 Midwest Clinic Performers and Clinicians

63rd Annual Midwest Clinic December 15-19, 2009 McCormick Place West, Chicago, Illinois

The Midwest Clinic’s grand opening conference in McCormick Place West will offer a world-class, celebratory program. We are pleased to announce a few of the over 30 concerts and 80 clinics that will make the 2009 Midwest Clinic the not-to-be-missed event of the year. The West Point Band’s Jazz Knights (West Point, NY, CWO Matthew Morse, Director) Murcia Youth Symphony Orchestra (Murcia, Spain, Virginia Martínez Fernández, Conductor) Eastman Wind Ensemble (Rochester, NY, Mark Davis Scatterday, Conductor) “Percussion Revolution” with She e Wu Mark O’Connor’s American String Celebration (Nashville, TN, Mark O’Connor, Director)

Immerse yourself in

Central Winds: A Music Educators’ Wind Ensemble (Syracuse, NY, Andrew Perry and James Tapia, Conductors)

your craft. Listen, learn,

Coast Big Band (Oostende, Belgium, Jef Six, Director) “Creating a Beautiful Trumpet Sound” with Freddy Martin, with sons Chris Martin and Michael Martin

and establish lasting connections

Valdosta Middle School Percussion Ensemble (Valdosta, GA, Travis Downs, Director) “The Magnificent Sax Machine” with Frederick Hemke

at the Midwest Clinic.

Vernon Hills High School Symphony Orchestra (Vernon Hills, IL, Frank Lestina and Fran Fatta, Conductors) The United States Coast Guard Band (New London, CT, CDR Kenneth W. Megan, Conductor) Dobyns-Bennett High School Symphonic Band (Kingsport, TN, Lafe Cook, Conductor) “The Anatomy of Instrumental Conducting” with Eugene Corporon New Sousa Band (Cambridge, MA, Keith Brion, Conductor) “Mambo Jumbo and All That Jazz; A Multicultural Approach to Teaching Jazz Ensembles” with Jose Antonio Diaz

The Midwest Clinic: An International Band and Orchestra Conference 828 Davis Street, Suite 100 Evanston, IL 60201 (847) 424-4163 ~ Fax: (847) 424-5185 E-mail: info@midwestclinic.org

CCM Chamber Players (Cincinnati, OH, Rodney Winther, Director)

For a full list of performers and clinicians, please visit www.midwestclinic.org. Congratulations to all who will appear!

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With that said, my personal experiences as a performer, educator, and parent have kept me balanced as an adjudicator. After 15 years, one reason I continue to perform this function is that I hope to protect kids from having a negative experience. It took me years to really feel comfortable using certain sheets, weighted and worded in different ways, to arrive at an insightful evaluation and proper placement. There is a lot to learn, and if experienced judges don’t actively engage in the training of potential judges from within the activity, then we invite the possibility that some young musician (and his or her protective parent) will forever wonder how the “system” could treat children so wrong. So who should consider adjudicating? Who is truly qualified to make decisions of this impact? Although noted experience is certainly an indicator of potential success, the most essential quality needed is the desire to do the right thing. Could you judge a student or ensemble you used to teach? A group taught by a close friend? Performers who exhibit completely different training and artistic styles than those you are most familiar with? These situations happen. Is it important that an adjudicator has a body of work in the field that is being assessed? (Performer, coach, teacher, designer, choreographer, music arranger, et cetera.) Having a lifelong background in different aspects of the activity adds a perspective that can be a great asset in critiquing, describing, and justifying your analysis of any given performance. Someone with an open mind can learn and understand the criteria and manage his or her scoring to arrive at fair, justified results, but learning the vocabulary and the culture of any organized competitive endeavor can be daunting if it’s something someone has never done before. The assumption that someone who was a successful teacher or performer can automatically begin assessing other groups objectively has been proven false many times over. People who are rigidly set on their own designs,

techniques, and teaching methods will struggle to establish credibility as a judge, regardless of their reputation in that field. A competent adjudicator knows there are many ways to be successful, and continues to keep up with trends, attend training, and stay up-to-date on the groups or performers considered elite in their respective art forms, activities, or sports. Differing techniques, opinions, and styles need to be given a chance in order for art forms to evolve. Some of my worst experiences as a teacher have come from assessments or clinics from judges with very singular definitions of what achievement looks or sounds like. Organizers of community, scholastic or National events are obligated to provide proven, age-appropriate judges. If training is not available, then the organizer and its sponsors must provide extensive judging criteria, thorough scoring range information, worksheets, and support materials. For those seeking to get involved as a judge in the marching band, color guard, or percussion ensemble activities, there are online resources to find training info and to contact established judging associations, which offer certification in different disciplines and pass their membership lists on to competitive band and guard circuits. There are judging opportunities attached to many youth activities around the country, and judges can usually start off by “trialing” at shows in their own area. Trialing involves observation, practice commentary, and numbers management alongside a mentor adjudicator at actual competitions. It takes a lot of study and focus to grasp the many factors that go into each and every event. Being able to recognize achievement based on the given assessment criteria, describe your observations with clear and insightful dialogue, and fairly rank and rate all participants is a product of experience. Once comfortable

“A competent adjudicator knows there are many ways to be successful.” with the process, and after passing all prerequisites, employment opportunities may become available at a regional or national level. All Marching Arts organizations use multiple judge panels at all of their events, giving qualified judges op-

portunities on most weekends from September into April. If you are interested in trialing for district or all-state auditions, start by contacting your local Music Educators Association. These organizations usually run annual auditions, with someone on their board in charge of hiring adjudicators. This type of work often requires a judge who has mastered a particular instrument and has taught privately for years. It also requires the ability to rank and rate a large number of auditions, usually playing the same piece, over an entire day. This takes special skill and training, and even trained judges of ensemble activities may find it difficult to transition to this type of assessment. Teacher associations also run regional or state competitions for marching band, jazz or concert band, string orchestra, chorus, indoor guard, and percussion ensembles. If you live in an area where an established judge certification system isn’t

School Band and Orchestra, June 2009 37

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an option, contacting the festival organizers directly and sending them your qualifications may be the only entry point. Often, they have a judge list they hire from year after year â&#x20AC;&#x201C; ask to be put on that list. No matter what field and talent or age level you choose to adjudicate, hiring is still commonly done by word of mouth. Make every effort to be cordial with everyone you meet. Judges need to feel comfortable that those around them are also implementing a particular system fairly and justifiably. Impartiality of the highest order is the cornerstone of all successful pageantry events. By being prepared, objective, and never taking for granted the time, effort, and passion that performers bring to these events, you will carry on a valuable service that many are unwilling or unable to provide Few consider judging a glamorous life. Millions of people still remember when the French judge was accused of tainting the Olympics in the figure skating competition. Certainly this person was qualified to represent her country at the Olympic Finals, but clearly her ability to remain objective and focus on the actual performances was compromised. People will remember when judges make mistakes, but if all goes well and no one is surprised when the scores are announced, then the judges simply go on their way. There is not a lot of glory in this activity, but it certainly can be rewarding. To have a teacher or performer thank you for your help and insight is special. However, reputations are on the line every time someone chooses to judge and rate performances of an artistic or athletic nature. It is a big responsibility and still challenges my knowledge and experience every time I grab a clipboard and sign my name on the bottom of the sheet as the judge for todayâ&#x20AC;&#x2122;s competition.

Jeff Bolduc is currently the director of Symphonic and Stage Bands at Marshall Simonds Middle School in Burlington, Mass. Jeff is also the Music Caption Head for the Massachusetts Judges Association and has served as a music judge for marching band associations throughout the Northeast, Drum Corps International, and for many district and all-state auditions around New England. Contact Jeff on his Web site: 1stplacedesigns.com.

Resources

Central States Judges Association Judging services for drum corps, color guards, marching bands and drill teams. www.csja.net Judges Association of Mid America (JAMA) Judges for Missouri, Kansas, Oklahoma, Nebraska and the Midwest. www.jamahome.org Massachusetts Judges Association (MJA) Judge training and certification for indoor and outdoor marching activities. www.massjudge.org National Judges Association (NJA) Provides Judges for the Tournament of Bands. www.njatob.org Pacific Coast Judges Association Adjudicates competitive pageantry from local parades to events of national scope. www.geocities.com/SoHo/ Square/3620/pcja.html Tri-State Judges Association Judging services for parade and field contests across Minnesota, South Dakota, Iowa and Wisconsin. Contact Tom Haugen at (563) 3824069.

SBOTechnology: TI:ME’s Tom Rudolph

A Conversation With Tom Rudolph, Music Teacher Technologist

he world of music technology in education is so

BY JOHN KUZMICH, JR.

young that most of the pioneers in this field are still alive and kicking. Dr. Tom Rudolph, president of TI:ME, is one of those people. An outstanding

model for music educators, Tom is continually evolving and developing himself as a teacher while staying at the forefront of technological innovations and their applications to education, as he has done since 1984. I recently caught up with Tom to discuss the applications of technology in music 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.

education. John Kuzmich: Tom, can you tell me about your early days in music technology? Tom Rudolph: I was interested in electronic music as a double major at the University of the Arts, where I studied Trumpet and Music Education. I took several courses on electronic music in the 1970s using a Moog synthesizer. After graduating, I purchased an Arp Odyssey. The first book on technology that I purchased was Learning Music with Synthesizers, a 1974 Hal Leonard publication, by Friend, Pearlman, and Piggoit. I still have that book and refer to it frequently. The concepts introduced there have not changed. In 1982-83, the high school in my district canceled the Level 1 and Level 2 Theory classes due to lack of enrollment. So I became interested in finding out what was up with technology and learned that we could use the Apple II computers in our high school for music. We then decided to offer both theory levels in the same class and, in doing so, were able to re-instate one music course. After this success, I ventured into state and federal funding for computers at Haverford High School. Most of my education in music technology has been self-taught. I did take one summer workshop with Tim Kolosick in Texas back in 1982. JK: You created practice CDs for students very early on, which is an easy and fundamental way to use technology to assist students practicing. It not only makes their playing better, but helps students practice more creatively and thoughtfully. If we don’t give them resources to use 24/7, we’re missing the boat. School Band and Orchestra, June 2009 39

students to use technology that may mean we will be producing more lifelong music makers. JK: What are some of the technology strategies you use today to improve students’ musicianship and performing skills?

m Rudolph with students at the Haverford Middle School Music Technology Lab in Havertown Pa.

TR: I agree and it doesn’t take long to learn how to create play-along CDs. Teachers just need to learn how to enter a note or melody into Finale or Sibelius in an audio format, which can be done with a click of the mouse in the file menu. Enter the melody in GarageBand or Acid Music Studio if you are a Windows user. By the way, I’m not a Mac person or a PC person; I’m a technology person. It doesn’t matter which one you or your school use. You can do it all with either a Mac or a PC. Once you learn how to enter in the chords in Band-In-A-Box and save it as a MIDI file, you can put it anywhere. The most important tool that every teacher needs to learn right now is iTunes. If you can use iTunes, you will not only have instant access to files but can drag MIDI files into it, burn CD’s, and convert them to MP3 for kids’ use or drop them into Web sites. It doesn’t take that much training to use. And those people that have iTunes and an iPod are able to play more music for their students in the classroom, and integrate technology into the curriculum, giving students the opportunity to listen and respond to music. That is huge, along with using whatever software you have to create practice tracks. Having students practice outside of the rehearsal is music education in action. 40 School Band and Orchestra, June 2009

If you walk into my band rehearsal you won’t see a computer, but you will see an iPod as a tuner playing some interesting SmartMusic accompaniments for the students to play along with. It is a minor part of my rehearsal. The major part is me running the rehearsal as a band director. That will never change. You have to be a great director. Technology is not going to change that. But technology

TR: Each year I create a practice CD for my jazz ensemble students and I post the files on a Web site (www. tomrudolph.com/haverfordjazz/practice.html). I also encourage students to purchase a SmartMusic subscription and use the wonderful practice materials available there. I encourage students to listen to CDs and performances on YouTube and other venues. We provide a SmartMusic computer to practice with as a part of our curriculum in creating instructional materials outside rehearsal. My most popular course for the past three years is creating accompaniments using the computer. This is something teachers need to learn how to do for a variety of reasons and it is so easy to do with the software. You enter the melody, save it as an audio file, and away you go. JK: You are one of the pioneers of TI:ME, an original co-founder, and now you’re the organization’s president. Would you talk about TI:ME’s national music technology programs for educators?

“Technology gives educators the tools to create excitement in the classroom.” gives me more tools to be an effective director. The idea of creating materials for them to practice with after rehearsal is critical, and with these tools, students are going to put more time into their practice. As Dr. Tim Lautzenheiser noted, when Hal Leonard put CDs into their method books, they didn’t add the total cost of the CDs on to the retail price of the books, which they could have done to keep cost down. Instead, Hal Leonard ate the cost. They did this because their research indicated that the students who get those CDs will practice significantly more and are more likely to continue playing their instrument than those that don’t. So if we can get

TR: TI:ME has been successful with certification. There have been more than 2,000 teachers who have taken one or more TI:ME courses. But the goal of TI:ME is not certification. It is in-service education. Certification is offered to those who want to have it on their resume, but many teachers take the courses and do not pursue certification. JK: I agree that the ultimate goal should be solid in-service education rather than certification. TR: The only reason we offer certification is because we followed the model of other similar organizations. My philosophy was to start with a

great model, emulate it, and then make it our own. Look at Orff and Kodaly, which are the two biggest organizations in music education that are pedagogically oriented. MENC is a professional organization, as was IAJE. And there is also the Gordon Institute for Musical Learning, which is a less well-known group than Orff and Kodaly. They all have certification because it’s a proven structure. That said, we also wanted to be different. You don’t have to become certified through TI:ME; you can drop in and just take whichever courses you feel might benefit you. Certification is there if you want to put it next to your name for professional advancement. Our main goal is to teach educators and provide them with in-service training. This is unique to TI:ME and more people need to understand this. JK: That’s great. How have you evolved as a music educator with technology? TR: In the 1980s, I used technology for computer-assisted instruction. Now, I am mostly focused around being creative with things like GarageBand. Scoring videos is my newest undertaking with students. My teaching has also evolved. Being involved with music technology, there is always something new coming along, which has kept me young. I’ve been teaching in the same building for 30 years with the same curriculum, but I’m not burned out because I’m continually learning and looking for new tools and resources. I’m anxious to go to TMEA and learn a couple of new ideas. A few years ago I learned how to score for videos; I had my 6th graders working on it shortly afterwards. Another way I have changed over the years is that I have become much more project oriented. I realize that when students work on individual or group projects, they tend to put more of themselves into it than if they are passively listening to me, even if I am giving my best lecture. I use projects to engage students and give them an opportunity to perform, rather than sit back and listen or react. While I include listening in almost every lesson, it is not the primary focus. I would rather students put their own stamp on their own work.

JK: That’s it! You have found the Fountain of Youth for educators. Technology gives the power to avoid burnout. TR: Absolutely. Professional development keeps people fresh. Few professions have that built in. Recertification every five years is critical in teaching. Sabbaticals serve the same purpose, and that tradition goes back hundreds of years. The idea of a sabbatical at the university level is that after teaching for seven years, you need to go out and learn new information and techniques, then come back and teach more creatively. With music technology, you get a new tool and you use it. When I see a teacher not succeeding in my summer workshop, it is usually a teacher in a rut. When is the last time that teacher learned a new instrument, 30 years ago? When is the last time you learned a new technique in your classes? You’re going to have difficulty with technology if you’re not learning new things and embracing new techniques and skills into your teaching. Technology can get you going and energize you. I became a music teacher because I loved music and wanted to play and perform. I like teaching and music technology allows me to be that creative person that can be excited. I’ve seen it happen to other teachers. I have had people write to me about what’s happened to them after taking a TI:ME workshop – they’re rejuvenated and

start using accompaniment tracks and composition software in their classrooms. The benefit is that no matter what the tool is, the most important benefit it can give you is excitement that will create new energy in the classroom. More energy in the classroom with kids will create more music makers and composers. It is a positive cycle of being excited and using excitement creatively. When I talk to student teachers about what they are most excited about, I say, “Give me five things that you are excited about in music. Then relate how technology or its curriculum can enhance that excitement.” The most important thing is that technology gives educators the tools to create more excitement in the classroom. JK: I recently came up against a pertinent question in Australia. If I do all of these fancy things with computers, are my students going to drop out of band, orchestra, or chorus?

School Band and Orchestra, June 2009 41

TR: My experience is just the opposite. With music technology, kids want to be more involved in music. How do they become more involved? Join the choir, play the tuba, play percussion. It is also important that teachers know that there is funding for technology. Get on the tech committee and let principals know what you’re doing with technology. A principal will frequently ask, “What do you do in music with technology? Why do you need computers?” We music teachers

are usually very good at promoting our programs’ performances, but it is also our responsibility to educate our administrators, our school boards, and our committees on how and why we need to integrate technology into our music instruction. JK: Did you do something special to convince administration that music technology was essential in the traditional music curriculum? TR: I did several workshops early on. One was with the Haverford School

Board back in 1984. I did a demonstration with them in the high school Apple II lab. I started by having them draw a picture and color it with crayons. Then, I had them create music on the Apple II with some of the MicroMusic Library of titles. After that, I told them that the Apple II was the crayons for music education. This analogy worked and has been my mantra in my lectures and courses over the past 25 years. JK: You’re an incredible clinician. Do you have any secrets on giving successful presentations? TR: My success can be attributed to how I prepare for my presentation. I ask myself: “What three actions do I want my constituents to be inspired by in my talk today?” I follow those guidelines whenever I stand up at a conference, what two or three actions do I want these teachers to understand and do. For instance:

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1. There are many ways a teacher can use technology. 2. Technology is not a panacea. It is not the end-all for everything. I have seen people use technology and misuse technology. 3. Implementing technology is not something that happens overnight. John, you and I have both spent vast amount of hours working over the computer trying to make things work. We have been frustrated but we worked through it. Yes, technology offers a lot, but it is going to some effort, too. JK: What are your recommendations for how untrained music educators can become involved with music technology? TR: Become a member of TI:ME. I am prejudiced in this area as I am a co-founder and president of the organization. However, I can tell you that TI:ME has helped me tremendously in my career. I have met many colleagues there who have influenced me. The TI: ME national conferences are the best single place to attend dozens of presentations on state-of-the-art of technology. Attend music educator conferences and seek out sessions and training in music technology. Be open-minded and consider how technology might be helpful in your teaching.

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Music Celebrations Internation

www.musiccelebrations.com

Peak Performance Tours

peakperformance.com

Pearl Corp.

www.pearldrum.com

Performing Arts Consultants

www.usafest.org

SKB Corp.

www.skbcases.com

Summit Tour & Travel

www.summittourtravel.com

Super-Sensitive Musical String Co.

www.cavanaughcompany.com

Taylor Tours

www.taylortourstravel.com

Travel Adventures Inc.

www.traveladv.com

Vic Firth, Inc.

www.VicFirth.com

School Band and Orchestra, June 2009

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Pizza boxes and candy wrappers end up in landfills. Dutch Mill Bulbs turn into spectacular flowers year after year after year! They’re eco-friendly and economical at only $6 per order. And with 50% profit on every sale, your bank account will green up fast. It’s easy to see why Dutch Mill Bulbs has become a perennial fundraising success! Go green today! To request your free sales brochures, call us at1-800-533-8824, email us at info@dutchmillbulbs.com, or visit us on the web at www.dutchmillbulbs.com

YES! We want to earn 50% on every sale! Please send ____ FREE Sales Kits immediately. Name ________________________________ Title _______________________

PO Box 407 Hershey, PA 17033

Organization _____________________________________________________ Address__________________________________________________________ City__________________________________ State_______ Zip____________

Call for faster service!

Home Phone ( ________ )___________________________________________

1-800-533-8824 Ext. 705

Business Phone ( ________ ) ________________________________________