School Band ad Orchestra December 2012 by SBO School Band & Orchestra

December 2012 • $5.00

A Triumph of Music

Paul MacAlindin & the National

Youth Orchestra of

Iraq

Report:

Directors

Who Make a Difference

Guest Editorial: Teaching Musicology

Directors

Who Make a Difference

SBO’s 15th annual “50 Directors Who Make a Difference” report comes at a pivotal time for music education in the United States. Even with the divisive and acrimonious Presidential election finally behind us, a great deal of uncertainty still lies ahead. Incessant talk of increasing national debt and other lagging economic indicators kindles fears of another recession that would undoubtedly put even more pressure on school budgets and, consequently, could be disastrous for arts programs nationwide. And yet, in the midst of monumental national and local economic challenges and dour budget forecasts, music educators continue to excel in classrooms across the coun-

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Ryan Fitchpatrick Hoover High School Hoover Years at School: 3 Total Years Teaching: 14 Instrumental Music Students: 250 Teaching Philosophy: I emphasize a strong foundation in fundamentals of playing as it pertains to each student’s particular instrument. I work to combine that with an understanding and appreciation of the artistry of music and musicianship. I believe in teaching students to take ownership of their musical experience. I desire for the students to see themselves on a musical journey that is intertwined with their peers. Affecting Student Development: I hope that after my students leave our program, they will have a stronger belief in their ability to accomplish goals 34

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try. Take heart in this report, which sheds light on exemplary educators who run thriving, and vibrant programs in schools big and small, elementary through high school, from coast to coast. These following 50 band directors, orchestra directors, and instrumental music teachers are joined by their common cause of spreading the language of music and, through it, the life lessons that are manifest in the dedication to this endeavor. In this 2012 edition of the “50 Directors” report, educators share their teaching philosophy, how they hope to affect overall student development, and the most important lesson they’ve learned since entering the teaching profession.

and the clarity to envision a purposeful and enriching experience, both musically and otherwise. Most Important Lesson Learned: I am routinely setting both large and small goals for our program, and I am always excited to see the students reaching these goals along the way. It is with great fondness that I look back on the step by step experiences that the students and I have had as we worked together to not only accomplish a goal, but to create a bond and an appreciation for one another.

ALASKA

Liesl Wietgrefe West Valley High School Fairbanks Years at School: 5 Total Years Teaching: 8 Instrumental Music Students: 71 Teaching Philosophy: Music teaches two important skills to students that they will use indefinitely. First, music teaches students how to express their

School Band and Orchestra • December 2012

feelings and emotions in a way that everyone can understand. The second skill music teaches student’s is the value of hard work, self-discipline, and dedication resulting in a glorious product, especially at the secondary level. Affecting Student Development: It is my feeling that young adults that are coming out of this generation have a poor work ethic, very little real communication skills (like with real human beings, not computers), and an expectation that things will come to them without much work on their part. It’s my hope that by working in an ensemble setting, always having to be responsible for their part of the product, relying on and communicating with others, students will gain skills that can be used throughout life. Most Important Lesson Learned: Don’t underestimate any student. People take different amounts of time

December 2012

28 Paul MacAlindin

“ ” Contents

The most important resource I have for getting the best out of people isn’t talent, but compassion.

Features

12 From the Trenches: Dear Santa Bob Morrison’s annual holiday wish list recommends gift ideas for the good, the bad, and the ugly figures on the political and national stage, as relating to arts education.

Guest Editorial: Teaching Musicology

Musicology in the Ensemble Setting:

Tools for Connecting to the Common Core and Traditional Classroom Evaluation Models By Kenneth Dale Disney

and other disciplines, and the fostering of understand-

fessionals often assume that our methods of achieving these goals are understood, but such an assumption is dangerous in the modern educational environment. Pressure for lean budgets, focus on test scores and data, and new evaluation methods that lean heavily toward traditional classroom methods have made music programs a tertiary concern for administrators, who feel pressured to meet federal and state benchmarks. The latest example, the common core curriculum, reemphasizes a universal focus on math and English skills. While this is a desirable goal, the initiative ultimately places even more accountability for growth in tested areas upon the shoulders of all teachers, including music specialists.

Directors can turn to musicology, the study of music in a sociological, historical, or anthropological light, for help. Besides fulfilling obligations to national standards eight and nine, musicology can streamline the rehearsal. Proper and realistic planning can result in adding relevant information to the music curriculum and create evidence of a music teacher’s commitment to common core standards and other school goals. This article proposes to integrate musicology into the performance setting, adding tools that bolster students’ understanding of music’s relationship to other subjects, especially history and language arts, in order to justify music to

School Band and Orchestra • December 2012

22 UpClose: Paul MacAlindin Now in its fourth year, the fledgling National Youth Orchestra of Iraq is steadily growing and gaining momentum. SBO recently checked in with music director Paul MacAlindin to discuss the process of creating this extraordinary ensemble, as well as some of the obstacles in its path.

34 Report: 50 Directors Who Make a Difference In this 15th annual SBO report, outstanding music educators from each state in the U.S. share their teaching methodologies and philosophies, lessons learned, and how they hope to affect their students’ development.

64 Guest Editorial: Teaching Musicology SBO contributor Kenneth Dale Disney explores integrating musicology into the curriculum, as mandated by the 8th and 9th National Standards for music education. 2

School Band and Orchestra • December 2012

What Musicology Adds to the Ensemble Classroom

The first questions for any addition to the classroom usually are: “What will my students gain, and what does it require?” The precious commodity of

Directors who consider musicology valuable, and who recognize its importance to adhering to trends in education, may still feel afraid of sacrificing performance standards. This legitimate concern has hopefully been

Who Make a Difference

Ryan Fitchpatrick

Columns

Hoover High School Hoover Years at School: 3 Total Years Teaching: 14 Instrumental Music Students: 250 Teaching Philosophy: I emphasize a strong foundation in fundamentals of playing as it pertains to each student’s particular instrument. I work to combine that with an understanding and appreciation of the artistry of music and musicianship. I believe in teaching students to take ownership of their musical experience. I desire for the students to see themselves on a musical journey that is intertwined with their peers. Affecting Student Development: I hope that after my students leave our program, they will have a stronger belief in their ability to accomplish goals

Perspective

Headlines

67 New Products Cover design by Andy P. Ross. 34

schedule and promote efficiency. The setup of instruments and equipment remains a common aspect of most ensembles. It also provides an excellent time for directors to introduce musical vocabulary, concepts, symbols, or historical figures. Every day, give a short lecture on a concept or person important to music. This might be called the “word/person of the day.” More complex concepts, such as sonata form, could become the “word of the week,” with different sections receiving a focus each day. Rather than chatting, wandering around, or otherwise wasting time, expect students to absorb the daily mini-lesson while quietly assembling instruments. Expect the class to answer one or two questions at the end, which will directly lead into warm-ups. Alternatively, listening examples may be used to introduce composers, and especially forms. However, this should only occur after establishing the daily mini-lessons, and making sure students understand the director’s expectations regarding behavior. Otherwise, students will attempt to talk over the music, and generally ignore it in favor of chatting with friends. In addition to the word/person of the day, create five-minute blocks for critical thinking once or twice a week, focused on relevant discussion about musical topics. This enforces music vocabulary and provides practice for the high-level questions encountered

Directors

Implementation

report comes at a pivotal time for music education in the United States. Even with the divisive and acrimonious Presidential election finally behind us, a great deal of uncertainty still lies ahead. Incessant talk of increasing national debt and other lagging economic indicators kindles fears of another recession that would undoubtedly put even more pressure on school budgets and, consequently, could be disastrous for arts programs nationwide. And yet, in the midst of monumental national and local economic challenges and dour budget forecasts, music educators continue to excel in classrooms across the coun-

ALABAMA

assuaged with the idea that musicology occurs naturally. To help further dispel fears, and to help teachers adapt to the overarching academic focus (read: math and reading) of Common Core, what follows are several ways a teacher may add to the rehearsal without interrupting the playing schedule. In fact, directors may find that applying these methods, which all stem from common classroom practices, will streamline the

“Musicology, rather than acting as an additional burden, builds on many aspects typical to most rehearsals.” directors concerned with creating interdisciplinary connections should instead focus growing awareness of these quotidian occurrences. In a practical sense, musicology can become involved any time a director address the Ws (who, what, when, where, why). Knowledge of a musical period, the characteristics of a style or form, and information about the creation of a piece represent just a few tools directors employ that stem, whether one is aware of it or not, from research done in the fields of music history, theory, and criticism. Why do directors do this? The answer: students will feel more invested in performing music after understanding its context. This includes information about historical figures, events, or literary works surrounding the creation of the music. How much more approachable does Beethoven’s “9th Symphony” become to teenagers after learning about the composer’s deafness or his struggles with society? Considering such extra-musical contexts gives the student tools necessary for understanding a conductor’s stylistic interpretation, and provides the groundwork for future personal creative endeavors.

SBO’s 15th annual “50 Directors Who Make a Difference”

16 Commentary: The Modern Band SBO contributor Ryal Zellner examines the evolution and future of music education and the shifting band/ orchestra/choir paradigm.

rehearsal time must never go to waste. Understandably, the very prospect of inefficiency makes directors cringe. Musicology, rather than acting as an additional burden, builds on many aspects typical to most rehearsals. Implementing musicological methods, in fact, is something that many directors do naturally, daily, to create effective performances. Rather than fearfully changing one’s basic teaching methods,

he eighth and ninth national standards of music education

call for the development of relationships between music

ing music “in relation to history and culture.” Music pro-

an increasingly wide audience of stakeholders. Importantly, this article also proposes these solutions in a way that allows ensemble directors to continue focusing on performance. The public, sadly, often does not see the correlation between playing an instrument and exemplary test scores, not to mention measurable success in post-secondary life. This lack of understanding can find dire resonance in the voices of school board members and other elected officials. In many cases, principals will ask music teachers directly: “How are you supporting school goals (read: boosting achievement data)? Are you collaborating with the faculty to include core standards?” Even supportive administrators will often defend music to audiences that do not understand how band improves a system’s data, and will likewise depend on the music specialist’s ability to show proof of such efforts. While it is ideal to imagine that citing a study connecting musical performance with academic excellence will suffice, more and more school boards look specifically for teachers’ effort to maximize growth in core proficiencies. How does the modern ensemble director produce proof of such efforts? Further, how does one make changes to “the routine” without taking focus away from concerts, festivals, competitions, and clinics that are so important to the survival of a program? Ironically, a band program that shuns performances in order to focus on, say, reading comprehension will find itself eliminated for reasons wholly unrelated to data. A true solution must allow music professionals to continue upholding performance standards, uphold the eighth and ninth national standards in a way that relates to overall school goals, and do so in measurable, empirical ways. Musicology, uniquely, fulfills these goals while remaining salient to the rigorous standards of ensemble settings.

School Band and Orchestra • December 2012

69 Playing Tip

70 Classifieds

ALASKA

Liesl Wietgrefe

72 Ad Index

West Valley High School Fairbanks Years at School: 5 Total Years Teaching: 8 Instrumental Music Students: 71 Teaching Philosophy: Music teaches two important skills to students that they will use indefinitely. First, music teaches students how to express their

School Band and Orchestra • December 2012

Get Your FREE SBO iPad edition at the App Store

Survey: Streaming Video

The Audience

Beyond the Auditorium

he people seated in the concert hall or the stands of a football field will always be the primary audience for a musical performance. However, with advances in modern technology, musical events can now reach across the globe, and in real time. From

simple set-ups like video chat or Skype to sophisticated usage of cameras, routers, and other equipment, there is a wide array of possibilities for sharing performances far and wide. Of course, there are challenges with broadcasting video, including equipment, expertise, and the time and effort involved with setting it all up. On top of that, concerns about copyrights are enough to prevent some school groups from making the dive.

For a closer look at how school groups are currently using video and streaming capabilities with their ensembles, this recent SBO survey asked readers to weigh in on this very 21st-century topic. And with almost 80 percent of respondents indicating that they shoot video of their performances, stay tuned, as the nature of this conversation is sure to evolve over the next few years.

School Band and Orchestra • November 2012

Do you make video recordings of your ensembles’ performances?

79%

Yes

21%

Yes

33%

67%

63%

0-$250

$250-$500

15%

$500-$1,000

$1,000+

18%

21%

Yes

79%

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 © 2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA. I don’t worry about it

24%

I make sure I have all the licenses

14%

I don’t load performances online because of this issue

62%

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Perspective

Child-like Inspiration As we look back over the past year, it’s important to consider our successes and failures while reviewing the current state of affairs of our programs. In SBO’s discussions with our “50 Directors Who Make a Difference,” many featured educators seem to share a common thread in that they’re not only teaching music, but also trying to instill in their students the concepts and skills that will help them become better human beings. This means developing more thoughtful, caring, passionate, and collaborative students who will have a life-long understanding and love of music and musical performance. Though we have so many challenges in achieving these essential goals – budgets, administration, community support, and so much more – we have to be thankful that we’re not doing all of this while dodging bullets, improvised explosive devices, and radical ideas, as do the students and leaders in our feature story on the National Youth Orchestra of Iraq. It’s difficult to imagine that the germ of the idea for this Iraqi musical group came from a student who simply wanted to perform music together with her peers. We often think that in launching a new project, we have to do everything ourselves, but Zuhal Sultan, the young woman from Iraq who envisaged a youth orchestra in her native country, knew that she would need help in pulling together this extraordinary project. Mary Pitta, our featured director from Maryland, “It’s often the ideology perhaps said it best by indicating that her most imporand enthusiasm of tant lesson learned was to collaborate, and Sultan did a young person who just that. Though only 17 years old, she knew that she doesn’t consider all would need the assistance of many others to pull toof the challenges and gether this exciting new ensemble. However, beyond the considerable safety issues related to getting the moves forward anyway orchestra launched, there were many other challengwho is able to achieve es that, again, we take for granted, including getting such significant goals.” players who were at varying levels and abilities to play together, obtaining music, financing the project, locating places to rehearse and perform, and so much more. Most people would have given up before they started, but it’s often the ideology and enthusiasm of a young person who perhaps doesn’t consider all of the challenges and moves forward anyway, leading to such significant goals. As we move further along in our careers, we often think that new ventures cannot be undertaken or that they are too challenging or difficult. However, we must also maintain a youthful enthusiasm that sometimes the seemingly impossible can be achieved. Whether the project is small or large, through vision, perseverance, and collaboration, we can often bring together the framework of something that has a greater possibility of a positive outcome. Although we face continued challenges here in our country, states, and local communities in the coming year, when we keep in mind those who face far harsher circumstances, we should not be hesitant to move ourselves, our students, and our programs onward to greater heights!

December 2012 • Volume 15, Number 12 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial EXECUTIVE EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Art PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising ADVERTISING SALES Iris Fox ifox@symphonypublishing.com ADVERTISING SALES Matt King mking@symphonypublishing.com CLASSIFIED SALES Steven Hemingway shemingway@symphonypublishing.com Business CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

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School Band and Orchestra • December 2012

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WHERE MUSIC TAKES YOU

Headlines NAMM Foundation Launches 2013 Best Communities Survey

Alice Schoenfeld, holder of the Alice and Eleonore Schoenfeld Endowed Chair in String Instruction and a professor of violin instruction and performance for more than half a century at the USC Thornton School of Music, has committed $3 million to create a new symphonic hall for the school. The hall will be named for her and her sister, Eleonore, who was the holder of the Gregor Piatigorsky Chair in Violoncello and a USC Thornton professor from 1959 until her death in 2007. The 3,700-square-foot Alice and Eleonore Schoenfeld Symphonic Hall was dedicated Oct. 28. A campus open house and student concert followed. This gift from Alice Schoenfeld represents significant support for the Campaign for the University of Southern California, a multi-year effort to secure $6 billion or more in private philanthropy to advance USC’s academic priorities and expand the university’s positive impact on the community and world.

www.usc.edu

School Band and Orchestra • December 2012

USC and LA Phil Initiate Five-Year Study on Music and the Brain

A five-year study involving USC and the LA Philharmonic is now under way to examine the effects of heavy musical training on children’s brains. In keeping with recent attitudes and scientific directions as explored in the October issue of SBO, researchers with the USC Brain and Creativity Institute are set to work with students of ages six and seven years old who have no musical training up through an intense program of music study for five years. The study will be lead by acclaimed neuroscientists Hanna Damasio and USC’s Antonio Damasio. Antonio Damasio. They will then compare those students with a control group of students with no musical training. www.usc.edu/schools/college/bci/

USC Professor Gives $3 Million for New School Symphonic Hall

The BCME survey asks detailed questions about funding, graduation requirements, music class participation, instruction time, facilities, support for the music program, and other relevant factors about their communities’ music education programs. One application may be submitted per school or district, and community members are encouraged to work together to complete the comprehensive survey. To download the survey and review the questions, visit www.nammfoundation.org.

The NAMM Foundation’s 14th annual Best Communities for Music Education (BCME) survey is now open for school districts and schools across the country to participate in. The survey acknowledges and celebrates schools and districts across the U.S. for their commitment to and support for comprehensive music education in schools. Teachers, parents, school administrators, and board members are invited to complete the 2013 BCME survey online now through Friday, January 18, 2013. Many districts have reported that making the “Best Communities” list has had a positive effect on their ability to preserve music education for their students amid budget cuts to arts programs. In 2012, 176 communities were recognized, including 166 school districts and 10 schools.

Renowned American Composer Elliott Carter, 1908-2012

American classical composer Elliott Carter, whose career spanned several eras of music throughout the world with challenging, rhythmically complex works, died November 5th at the age of 103. His music publishing company, Boosey & Hawkes, called him an “iconic American composer.” Indeed, the lifelong musician earned the respect of generation after generation of contemporaries (along with two Pulitzers). In 2002, The New York Times said his string quartets were among “the most difficult music ever conceived,” and it hailed their “volatile emotions, delicacy and even, in places, plucky humor.”

2013 Berklee Summer Programs Five-Week Summer Performance Program July 6–August 9, 2013 Berklee’s Five-Week Summer Performance Program offers more performance opportunities for brass players than any other summer program in the world!

OVER 250 JAZZ, FUNK, FUSION, AND ROCK ENSEMBLES TO PARTICIPATE IN. berklee.edu/summer

Headlines

2012 Percussive Arts Show a Success The Percussive Arts Society recently brought the Percussive Arts Society International Convention (PASIC) to Texas for a four-day celebration of everything percussion and drums November 1-4. Over 6,000 drummers and percussionists descended upon Austin for over 120 sessions, reconnecting with fellow percussionists and making new friends in the percussion world. Austin also housed 113 exhibitors for the International Drum & Percussion Expo, the world’s premier event to see what is new within the drum and percussion industry. Highlights from PASIC 2012 included many competitions, Scott Johnson works on some warm up exercises with PASIC attendees.

PASIC 2012 in Austin, Texas.

concerts, clinics and an overflowing Expo hall. Thursday, November 1 included a day of competitions in the competitive Marching Percussion Festival format, with over 110 en- New Orleans drummer Stanton Moore. tries spanning high school and college ensembles and individual performers. The second day at PASIC consisted of many excellent sessions, including the U.S. Marine Band Percussion Section, professional development sessions by Zoro, and clinics and concerts with Stanton Moore, Rajna Swaminthan, and Michael Burritt. Saturday continued the festivities as the Santa Clara Vanguard percussion section showcased the latest and greatest information for the marching world, Ari Hoenig, and Mike Mangini each displayed drumset skills, and multiple FUNdamentals sessions assisted young students, band directors, and music teachers with the ins and outs of teaching percussion. The PASIC 2012 evening concerts included a special Focus Day evening concert celebrating the 100th birthday of John Cage through performances by Percussion Group Cincinnati, red fish blue fish, Steven Schick, and Benjamin Toth. Thursday evening saw steel pan artist Andy Narrel take over PASIC with his special steel band/big band project. The Saturday evening concert was a fitting end to PASIC 2012 with attendees dancing in the aisles as Steve Gadd joined forces with the incomparable Pedrito Martinez Group with a tourde-force through Cuban jazz.

www.pas.org

Korg USA’s Education Division, consisting of SoundTree, the SoundTree Institute, and SoundTree.com, is expanding in multiple areas that will provide music educators of all types with a variety of products and services to enhance their curriculum and personal development. Founded in 1995, SoundTree is a leading provider of products and turnkey learning systems for music education. In 2011, SoundTree launched the SoundTree Institute, the first-ever online school for music educators. This fall marked the launch of a new initiative, the “NAfME Learning Network powered by SoundTree,” which is the result of an alliance with the National Asso8

School Band and Orchestra • December 2012

ciation for Music Education (NAfME, formerly MENC). The NAfME Learning Network is available to educators via an annual subscription; NAfME members will be able to subscribe at a discounted rate. With this subscription, educators will receive access to high-quality, online professional development with the opportunity to receive continuing education credits at a fraction of the cost offered by traditional learning systems – all from the comfort of their own homes. Not just limited to offerings for music technology educators, the NAfME Learning Network offers online courses, live webinars, lesson plans, and more to music educators of all types, with course topics ranging from Band & Orchestral all the way to music technology and digital audio recording. www.institute.soundtree.com/nafme

SoundTree Education Expands with NAfME Alliance

2013 Berklee Summer Programs Berklee Summer Winds Program June 21–June 23, 2013 LEARN FROM WORLD-RENOWNED MUSICIANS AT A WORLD-RENOWNED COLLEGE. berklee.edu/summer

Headlines NEMC, Jupiter Launch Performance Contest

In conjunction with Jupiter Band Instruments, NEMC has announced their second NEMC “Music Is Life” Video Performance Contest. This high-profile contest calls on school band or orchestra ensembles from around the country to submit a video of a great performance recorded this year or a new performance captured on video specifically for this contest, to be submitted before January 31, 2013. Participants can enter online at NEMC for prizes that include a choice of one of three $10,000 Musical Instrument Packages and additional $1,000 for their school music program. Videos can be edited down from an existing media file of a past performance or school ensembles can simply record something new. Entrants are urged to capture video by any means possible – whether an HD video camera or a smart phone – as it is the performance, not the video production that counts. The winner is decided by public vote starting in February 2013. In May 2012, the inaugural contest was won by Glenn Cowen, the band director of Cheltenham High School, Cheltenham, Pa., who submitted the video entry on behalf of his school band. “Our students are dedicated to excellence, and they realize that the measure of their success is not necessarily by the end result but by how hard they tried. I always remind them that their instruments will only work if they do, and that effort is everything,” says Cowen. “Times are tough in music education right now. There are needs for growing bands and continued ongoing resourcing of music programs. The NEMC contest award was a wonderful and refreshing bonus to our program and I’m very grateful for the instruments and money that we won that has contributed to our schools musical growth and legacy.” NEMC urges all School band directors, students and parents to spread the word and get involved in this contest that rewards the winning school with major musical instruments from industry profile brands such as F.E. OLDS and Son, Inc. and Jupiter Band Instruments. All details of the contest and entry submissions can be accessed online at www.nemc.com.

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Carmel High Wins BOA Grand Nationals Topping 87 of the best marching bands in the country at the recent Bands of America Grand National Championships was Carmel High School of Carmel, Indiana, who was awarded the title of 2012 Grand National Champion. A panel of nationally known music educators and marching band experts evaluated each competing band in the Championships, held at Indianapolis’s Lucas Oil Stadium, as 34 bands from the event’s preliminary competition advanced to the Semi-Finals, with the top 12 scoring bands on advancing to the evening finals competition, where the Grand National Champion was named. Closely following Carmel High in the rankings were Broken Arrow High School (Indiana) and Avon High School (Oklahoma). Winners of the Al Castronovo Memorial Esprit de Corps Award were Bridgewater- Raritan H.S., (New Jersey)

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School Band and Orchestra • December 2012

and Avon High School. The winner of the Outstanding Music Performance Award was Carmel High School. The winner for the Steve Brubaker Awards for Outstanding Visual Performance was Broken Arrow H.S., who also won Outstanding General Effect honors. The four-day event began with the Indianapolis Marching Band Tournament, which gave Indianapolis band members the opportunity to perform in a professional stadium. Spirit judges awarded the most spirited, enthusiastic school with the Spirit Award and a $1,000 scholarship for the school’s band program. This award went to Broad Ripple Magnet High School. Broad Ripple Magnet High School was this year’s Class A Champion, and Crispus Attucks High School was Class B Champion. www.musicforall.org

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. Camaraderie. Confidence. Character ets of the Disney These are the three ten ram. The confidence Performing Arts prog dest of stages. The to perform on the gran perfect your chosen character required to derie that’s essential craft. And the camara team. And when your to come together as a sney Performing group takes part in a Di festival– these are ance or a workshop or rm rfo pe a in s at’ th er exclusive group of Arts program– wheth e, becoming part of an fin re d an n pe ar sh , rn what it means to the skills they will lea me experience. This is eti lif -a-in ce on ed ar sh to earn their artists bonded by this group has what it takes ur yo ink th u yo if So e Arts. 66-715-4095. earn your Ears For Th vel planner or call 1-8 tra ur yo t ac nt co ts, Ears for the Ar

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From the Trenches

My Annual

Holiday Gift List for Santa

By Bob Morrison

o ho ho, everybody! Yes, indeed, it is that time of year. It is time to find out who has been naughty (and you know who you are!) and who has been nice, who will find a

lump of coal in their stocking, and who will find something a little more pleasant. So, with the marching band season and the holiday chorus and band concerts behind you, it is time to sit back, relax, and enjoy the parade of presents! Dear Santa,

It’s me again, Bob Morrison. How’ve you been? How’s the missus? Loved you in the new Chevy TV ads. I didn’t know you freelanced as a car salesman on the side! Yes, I know, it has been almost 10 years of me writing to you requesting goodies and not-so-goodies for unsuspecting, yet deserving, individuals and organizations. And this year is no exception! You know how much I love to give presents in an election year! Anyway, please pack your sleigh with the following items for some deserving folks this year: For President Obama – A Ginormous Bottle of Tums (Tum ta-Tum-Tum)! After winning re-election, here is what you receive as the victor: a divided congress and American population, fiscal cliffs, declining bond ratings, a sluggish economy, and widely suspect education policy. On the best of days this is going to give anyone an upset stomach. At least you get what many people do not… a second chance! But if this is what awaits the winner I would hate to see what the loser gets… 12

School Band and Orchestra • December 2012

Strike up the Band and join Bob Rogers Travel for the ...

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For Mitt Romney – A Brand New Career! That’s right! For losing your second campaign for president, after spending eight years of your life and millions and millions of dollars of your own money, what do you get to show for it? Nothing! For Bill Clinton – Four More Years! Okay, I know this is constitutionally impossible but you have to admit… love him or hate him, Bill Clinton has been one of the greatest politicians in our history and he has certainly set the bar high for being an effective past-president with his work on the various causes housed inside the Clinton Global Initiative. And hey, wasn’t it cool to have a sax playing bando in the White House? For Governor Christie (Yes, I am a homer) – Four More Years! I can give more than one, right? Yes, a lot of people want you to run for president and everything, but we could still use some of your “Jersey Style” around… Jersey. With a gubernatorial campaign coming up in 2013 and years of rebuilding after the devastation of Hurricane Sandy, I believe our state needs you more now than any place else. Beside, all the Republicans are mad at you… which brings me to… For the Republican Party – An Anti-Reality Distortion Field! Do you really think Christie cost Romney the election? Really? Are you sure the reason for Romney’s loss doesn’t have anything to do with the fact that he ran one of weakest campaigns in American history and offended 50 percent of the population along the way while taking on a sitting President overseeing a very weak economy? You do? Yeah, Romney lost the election when Chris Christie hugged the president. “Oh, waiter, I’ll have whatever it is they are drinking!” In the spirit of treating both parties unfairly, equally… And for the Democratic Party – An Agenda. Yes, your guy won the election, but I am not sure there was a clearly articulated agenda other than, “The other guy is worse than me.” And co-opting Republican education strategies and packaging it as your own does not count as a strategy. It is sad to think we could have elected either parties standard bearer as president and the impact on education would be exactly the same. This, in and of itself, is sad! For Education Officials in Oregon – A Clue! Sadly, Oregon will begin testing all five-year-olds next fall to assess their “readiness” for kindergarten. Some people believe it is never too soon to test children. These people should be shot (metaphorically, of course). Have we just gone off the deep end of the pool? Sir Ken Robinson has it right: the big challenge for our students is not getting through school; it is getting through school without the system beating the creativity out of them. Putting kindergarten and pre-K students through standardized testing is clearly a step in the wrong direction. But where are all the education researchers? Why are they silent? 14

School Band and Orchestra • December 2012

For UK Education Secretary Michael Gove – Truth Serum! In early 2012, the secretary cut funding for music programs by 43 percent but told the public his plan would actually lead to more music education – maybe he failed math. This great slight of hand act was followed up by proposing a new “English baccalaureate” for graduation from school (think common core) which would focus on fewer subjects (can you guess what they left out?). UK celebrities and citizens have been rightfully outraged at the threat to creativity in the schools. Secretary Gove says this will help increase creativity. Somebody is not telling the truth… any guesses? For the STEM Education Reformers (Science, Technology, Engineering and Mathematics) – A Vowel! That’s right, you cannot talk seriously about creativity and education reform and forget to include the subjects that are based on creativity! So with your “Buy a Vowel” card, go out and get an “A” for “Arts.” Now your acronym will be STEAM… maybe by including the arts you can get a head of STEAM going for education reform. Otherwise it becomes nothing more than a bunch of hot air. For West Virginia State Superintendent of Schools Dr. Jorea Marple – A New Job as US Secretary of Education! First, she instructed her department to conduct research on the impact of arts instruction on students across the state. The office of research confirmed an association between arts participation and progressively higher levels of academic proficiency and performance and finding that participating in arts programs beyond the one credit minimum improved academic proficiency. Then she went on a tour of the state to promote the findings. Finally a policy maker who really does believe in research based education reform! For the Education Policies in the Cities of Boston, Chicago, Los Angeles, and Portland – Cloning Machines! All three cities have instituted major education initiatives to bring music and the arts back to more students. In Boston, superintendent Carol Johnson has been methodically working her multi-year plan to restore music and arts programs. Chicago just announced a plan to expand arts offerings in all schools as part of a citywide arts blueprint. Los Angeles just elevated the arts to equal status with other subjects ensuring there could be no more funding cut and is developing a plan to deploy arts across the district. In Portland, a new tax levy was approved by voters explicitly to fund arts education in schools. We need to clone these programs and take them to others! For All Other Major Cities – A Trip to Boston, Chicago, Los Angeles, and Portland. Four cities is a good start, but if we really want some traction, we will need more and more cities to follow the bold lead of these education innovators so the lessons they have learned may be transported to other communities.

For the Clark Atlanta University, Texas Southern University, North Carolina Central University and Florida A&M University Marching Band members – A FULL YEAR SUSPENSION. Come on folks! A year after the tragic hazing death of the Florida A&M Drum major and we have to read about… four more hazing incidents? This is marching band, not some street gang or fraternity or even Congress. Enough already. One death is one too many. These absurd rituals must come to a stop. If you can’t stop then it is time to kill the programs. Period. For Carmel High School (IN) – Grand Nationals Champion Emeritus Status! Under the leadership of director Richard Saucedo, the school has won a boatload of Grand National Championships. If we make Carmel the Grand National Champion Emeritus it will give some other schools a fighting chance. Richard has been arguably the best director of this era overseeing one of the great programs of our time. Congratulations to you and the entire Carmel Band family! And while we are at it, if Carmel is one of the great public school programs… For Immaculata High School (NJ) – National Recognition! Immaculata has one of the great instrumental music programs in the country (housed in a small private school). With the 2012 USBANDS national title and an undefeated season in hand for their marching band, along with a consistently great instrumental pro-

gram year in and year out, this small private school deserves some national props! The music program, led by department chair Sister Dolores Margaret, band director Ed Weber, and assistant director Frank Amato, is one of the best kept secrets outside of the East Coast and is one school that others could certainly learn from. For the Ohio State Marching Band – A Standing Ovation! I have seen a lot of creative shows in the course of my career but the video game half time show on October 6, 2012 was one for the record books. The show, featuring the music from Mario Bros., Pac-Man, and Zelda has been viewed more than 14 million times on YouTube and will be talked about for generations to come. Kudos to first year director Jonathan Waters and his staff for building on TBDBITL’s traditions and creating a show for the ages! And lastly, to all our readers, who bring the wonderful gift of music to students across this nation everyday – may you receive as much joy this holiday season as you give to your students and have a very happy, healthy, and prosperous new year! Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.

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School Band and Orchestra • December 2012

Commentary: The Modern Band

The Modern Band:

The Next Step in the Evolution of Music Education By Ryan Zellner

n my days as a high school marching band director, I understood the direct impact that I made on students’ lives each and every day. I also understood the impact that our performance could have on an audience. Not that this impact was always positive, mind you, but an impact nonetheless. The

fact is that music education began in the United States as a way to improve music singing and reading in church. Yet somehow, someway, we have evolved to entertaining, or some might say educating audiences on a football field. Social influences and innovations evolved music and its sub-genres to this point. Now we welcome in the 21st century, where we are carrying super-computers in our pockets, iPads are domi-

nating classrooms, and having Wi-Fi is commonplace. The music “r”evolution is far from complete and it already exists all around us. Traditionally, public school instrumental music programs have consisted of four distinct “streams”: orchestra, jazz band, marching band, and chorus. At schools with robust music programs, all four of these streams may exist harmoniously under a single roof. Other schools may have any combination of these offerings. The teaching of these streams emphasizes prescribed canons and focus on the learning and playing of genre-based music through note reading. Recitation of music composed by others is normative. The most recent stream of music education to entrench itself in the US public school system is jazz band, which rolled out on a national level in the 1970s. Forward thinking educators of the day saw that music education was in need of a refresh. This happened at a time when the commercial appeal of jazz music was waning, but recognition of its importance as a cultural treasure was beginning to grow. Jazz reached the apex of its commercial appeal in the ‘40s and ‘50s, 30 years before the introduction of jazz into school music programs. However, as it was initially being integrated into schools, the newness and novelty of the approach led its proponents to call it by the less threatening (though more confusing) name of “stage band.” In fact, many of us attended universities or colleges where jazz was practiced in darkened halls in secret for fear of the wrath of the dean. Well, 40 years have passed and jazz is no longer a threat. However, in the 60 years since jazz was at the top of the US charts, an awful lot has happened in the broader world of music. 16

School Band and Orchestra • December 2012

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THAT’S MY SOUND!

The advent and triumph of rock ‘n’ roll music has fueled the development of a spate of seemingly disparate subgenres including rap, heavy metal, punk, top 40, funk, disco, hip hop, electronica, reggae, country, and more. The last three generations of pop composers and performers have changed the face of music profoundly, dramatically influencing the tastes of youth and adults alike. The commercial landscape is now dominated by the works of these newer artists.

stem from both the cultural practices of each stream’s progenitors as well as the specific demands of the genres they embrace. The classical music stream teaches a group discipline and rigor necessary for large ensembles performing elaborate pieces with many precise parts. The jazz stream (ideally) teaches improvisation, as this is a central part of what constitutes jazz music. What unique or special skills and values can a fifth stream music program bring to our students?

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So does this mean that traditional music education will be supplanted by the new genres? No more than the University of Illinois Marching Illini on the field in 1907 destroyed the popularity of John Philip Sousa. In fact, Sousa enjoyed his most prolific years from 1907 into the 1920s and in 1929 wrote the University of Illinois march. The concept of a fifth stream of music education is so new that, like jazz band before it (aka “stage band”), it lacks a definitive name. This “contemporary band” model can and does bridge the unnecessary learning divide that exists between the music that our children experience in schools and the music they experience in their communities. However, it is not only our students who can experience a disconnect between what they listen to at home and what they learn at school. Increasingly, music educators themselves feel the strain between their own experiences of music in the world and music as they have been trained to teach. Such is the impact that popular music has had on our culture for more than half a century. Newly minted (and not so newly minted) music teachers are also the products of the same cultural shift that transformed the face of music. Simply stated, they are part of one of the rock ‘n’ roll generations. I emphasize the word “generations” because there are now at least three of them. Each of the four existing streams of music education has pedagogical underpinnings and teaching techniques that

School Band and Orchestra • December 2012

The “contemporary band” stream re-imagines music education from the ground up. Drawing liberally from the teaching practices and learning dispositions of the rock ‘n’ roll laity, we have codified an approach that is replicable in public schools and yet maintains the core value of the “pop approach” to music making. Think of the longhaired guitar teacher at the back of the music store or the older sister in a band or the Beatles or Nirvana or the legions and legions of people who play, learn, and/or teach contemporary music. How do they pass on the knowledge? The fifth stream emphasizes the act of creation over that of recitation. Although there is an emerging pop canon, pop musicians frequently compose their own music. By teaching children to do the same, they are empowered to use music for its primary, inherent purpose: namely as a communicative tool. The fifth stream integrates composition and improvisation at the beginning of children’s educations as a means of ensuring that they experience the confidencebuilding and self-esteem raising benefits that come with authorship. Currently, all other fields of a liberal arts education afford such opportunities to young children: music education is often the sole exception. Though adding a fifth stream to music education helps bring aesthetic alignment between the music our children consume and the academy, the benefits don’t end there. Focusing on the music

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that is familiar to our students in their schools allows them to see themselves reflected in the curriculum. By validating and leveraging their cultural capital, we can forge stronger bonds between traditionally marginalized students and the schools that serve them. Just as Purdue University placed a “P” on the marching band field and the University of Illinois did the first halftime show in 1907, there are programs all over the country that are instituting

contemporary band programs and experiencing a major resurgence in music education. In the Hillsborough County Public Schools in Tampa, this “fifth stream” model reaches over 23,000 students with amazing results. Melanie Faulkner, supervisor of Elementary Fine Arts, states that, “One of the most vital areas that teachers experienced benefits is in original composition and improvisation. Through training in the Modern Band curriculum, teachers have become

comfortable with improvisation and composition; it shows in their teaching, and translates to other musical genres, where the concept of improvisation and composition had previously been intimidating.” In the Los Angeles Unified School District, the teachers have noticed a dramatic effect on their students. “One of the greatest challenges we face as educators is to give our students the skill set they need to move beyond replication of what we teach them to the synthesis of new ideas and the ability to express these ideas,” says Steve Venze, an elementary music specialist. “Our Modern Band music courses have provided a powerful set of tools for helping each student find such creative expression. The changes in students I have observed over the past four years have been remarkable. I am anticipating the day that every student in our District has access to a Little Kids Rock program at his or her school.” For music education, the modern band stream has opened the door to an endless array of possibilities that are adaptive to every situation and need. Most recently, the incorporation of technology into our everyday lives is changing the face of music. Whether or not it is something that we embrace, it will be here. Just as I stood there wondering how the marching band got on that football field anyway, we will one day wonder what we used to do before modern band programs. From 1998-2012, Dr. Zellner served as director of Instrumental Activities at Tunkhannock Area High School, where he was responsible for the marching, concert, jazz, and percussion ensembles. Dr. Zellner holds a bachelor of music degree with emphasis in Education, a master’s in music, an MS degree with emphasis in Classroom Technology and an MS degree with emphasis in educational development and strategies both from Wilkes University. In April 2011, Dr. Zellner received his Ph.D. in Educational Psychology from Capella University. His dissertation topic was “The relationship between instrumental music and critical thinking skills in 8th and 11th grade students.” He is also a graduate school instructor for Performance Learning Systems, where he facilitates Teaching Through Learning Channels Online, Merging Educational Goals and Interactive Media Projects Online, Action Research, and Successful Teaching for the Acceptance of Responsibility. In August 2012, Dr. Zellner joined Little Kids Rock, a music education not-for-profit organization, as their national program director.

School Band and Orchestra • December 2012

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SBOUpClose: Paul MacAlindin

A Triumph Paul MacAlindin

Iraq

& the National Youth Orchestra of

By Eliahu SuSSman

n September of 2008, conductor Paul MacAlindin was enjoying a plate of fish and chips in a restaurant in Edinburgh, Scotland when he reached over to pick up a copy of the Glasgow Herald that was sitting on a nearby table. In that newspaper, an announcement caught his eye: “Search for UK Maestro to help create an orchestra in Iraq,” read the headline. “An Iraqi teenager is appealing for a British maestro to help her set up the country’s first national youth orchestra.” What followed was a brief description of the mission of Zuhal Sultan, a remarkable then 17-year-old Iraqi teen who had a vision. Sultan, a piano playing girl who grew up in Baghdad, dreamed of assembling a National Youth Orchestra. Her story gained attention when she was contacted by Raw TV, a British television channel that makes reality shows in London. Raw TV then put out the press release, which MacAlindin came across in a restaurant in Edinburgh.

School Band and Orchestra • December 2012

of Music

Paul MacAlindin, a Scottish conductor and music director who is based in Germany but has worked throughout Europe, was hooked. “I was so impressed by the story,” he recalls. “I said to myself immediately, ‘I know how to do this.’ I contacted Zuhal through Raw and the British Council London, who put me in touch with their Iraq office.” With funding and assistance from groups like the British Council London and the Scottish Government, plans were put in place for a schedule to be arranged, tutors to be flown in, details to be ironed out, and the National Youth Orchestra of Iraq (NYOI) was born. SBO recently caught up with MacAlindin to discuss the rather incredible particulars of how this groundbreaking ensemble was launched, the logistical and musical challenges the NYOI has faced, and the larger significance of creating a unified outlet for young musicians in a war-ravaged country. School Band & Orchestra: What were some of the logistical and conceptual challenges of getting the NYOI off and running? Paul MacAlindin: In year one, we had no idea who was providing security or where we were rehearsing as we flew into Iraq. It’s a last minute culture, so we were given the Palace of Arts by local government contacts on arrival, who also supplied us with local Peshmerga soldiers, the Kurdistan Region’s own army. These were burly young men in uniform patrolling the building and its surroundings with AK-47s.

It became a ritual of our bassoon tutors over the years to get photographed holding the weapons. I guess there’s not much difference between a bassoon and a Kalashnikov, on some deep level. SBO: How much of a realistic concern was safety? PM: Safety is priority number one. You can’t concentrate on learning music unless you have the basics in place. Choosing a Kurdish town in the north to hold the course was sensible for the Kurdish Iraqi players, but could mean a long and potentially dangerous journey from Baghdad for the Arab players. Because the Kurdistan region of Iraq is much safer than the rest, this was a logical location for the course.

“T

book.com/nyo.iraq) and word of mouth. Auditions have to be done by YouTube. I needed to know what standard the players were at, so I could choose suitable repertoire, and obviously, I couldn’t take on everyone. There are no course fees, so the players have to be fully financed by the project. Auditions by YouTube were very difficult because Iraq’s infrastructure had been shattered by the war, and wireless capacity was just beginning to be set up. Uploading five minutes of video could take 10 hours, and if there were a power cut, you’d have to start all over again. SBO: What were your initial expectations, musically?

he short-term goal is to put on a concert at the end of each course. The long-term goal is to train as many talented young Iraqis as possible so that they will return to Iraq with better teaching ideas and more motivation to start their own ensembles and chamber orchestras – and this is already happening.”

Once we’d all started to relax into a routine, we began to get to know each other and the town of Suleymaniyah, which was a heartwarming and lovely experience. We were very fortunate to begin our life there. SBO: Would you talk about the process of recruiting players? PM: The musicians hear about NYOI through Facebook (www.face-

PM: I had few expectations coming in. I was very clear what I wanted to do in that first two-week course in 2009, but I had no idea how this would work in reality. The repertoire was Haydn’s “Symphony No. 99” and Beethoven’s “Prometheus Overture.” I also had a pile of shorter, easier pieces, which I would weave into rehearsals in week one as I got a feel for how [the students] were progressing. There was a lot of

MacAlindin leads the NYOI in rehearsal.

School Band and Orchestra • December 2012

Photos by Tariq Hassoon.

ducking and diving, but we pulled together a final concert that the audience was pretty surprised and delighted at. I loved that they burst into applause, not just after every movement, but wherever there were two or three beats rest in the Haydn. This was hilarious fun, and made the whole relationship with the audience come to life. SBO: What sorts of musical backgrounds do the players in the NYOI have? PM: Many of the players have no formal teaching, and those with teachers are often not instilled with a pedagogy, or sometimes sabotaged by older players who try to quash their talent, as a threat to themselves. My tutor team agrees that those without teachers are generally better off than those with. There is no exam system, and players coming from certain districts of Baghdad or Kirkuk have to be careful how loud they play in case they get their fami-

German violinist Arabella Steinbacher joins the NYOI for Beethovenfest in 2011.

lies into trouble from local fundamentalist authorities. There are Institutes of the Fine Arts around the country, so the foundations are there, and they provide what support they can. Some of my less financially well-off players have been given their first instrument through such organizations, but then often

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School Band and Orchestra • December 2012

there is only the Internet to download from for further study. Classical music is seen as a basic educational necessity regardless of whether you play classical or Iraqi music. This takes young musicians up to a lower intermediate level, especially in terms of reading music and playing the more popular instruments such as violin. Many of the NYOI players know how to play Iraqi music, but don’t tell me, as they see their own traditions as being somehow less significant. This is why every program we do features an Arab and Kurdish Iraqi orchestral composition. Violinists and clarinetists are the most versatile, as they can alter their tuning with a good degree of control and play traditional Iraqi Maq’ams. SBO: How would you describe the experience of working with students from conflicting ethnic backgrounds and across different languages? PM: Back in 2009, the Kurdish/ Arab/English tutor divide was obvious in week one, as people would simply not speak to each other outside rehearsal. Given that the Kurds don’t speak Arabic and the Arabs don’t speak Kurdish and only half the orchestra could get by in English, this is not surprising. But once we had a birthday party, and discovered what an irrepressible bunch of party animals we all were, the ice broke and everyone hunkered down with new determination to make the concert happen. Music and party are the two common languages of NYOI.

SBO: Could you elaborate on that birthday party? How did that come together? PM: It was the Friday at the end of week one, and we were all in an Iranian restaurant that we’d booked to feed the orchestra during our stay. We’d all started sitting at our usual tables out-

side on the lawn, defined by language, Kurds, Arabs, English speakers. A birthday cake for Boran Aziz, a highly talented young pianist, appeared for her 18th birthday, on that day. After singing “Happy Birthday,” a violinist and Daff player struck up a tune and we started dancing around in a circle. All the differences melted away and we

realised how keen we were to let go and have a good time. Now, every year, someone brings along a Daff, which is an Ottoman drum, and someone else will start playing a local melody on violin or clarinet, two very common folk instruments in Iraq, and we’ll all spontaneously start dancing, non-stop for hours on end. And without a single

Angelia Cho is a New York City-based violinist and member of The Academy, a program “for musicians who wish to redefine their role as musician and extend their music making from the concert stage into schools and the larger community.” In 2009, 2010, and 2011, Angelia traveled to Iraq as a violin tutor for the NYOI, one of approximately 10 instrument coaches brought in for about two weeks each year. Cho is currently touring with A Far Cry, a self-conducted classical chamber orchestra that she helped found in 2007. In between recent tour stops in Georgia and Louisiana, Cho took a moment to share her experiences in Iraq with SBO. I traveled to Iraq for parts of three consecutive summers, about two-and-a-half weeks each year. I first heard about the NYOI while doing a fellowship with Carnegie Hall, where one leg of my program was educational outreach. The director of my fellowship program had given my name to an American representative for the NYOI, Allegra Klein, who presented the opportunity to me. Going to Iraq was a pretty scary idea at the time, but I was eventually convinced that I would be safe, and I decided to go ahead and do it. When I got to Iraq, it was a lot more peaceful than I was expecting. There was some tension between the Kurds and the Arabs in the orchestra and there were some adventurous moments, but the sensationalized violence and chaos that the media loves to report on was basically non-existent. Still, we were all pretty paranoid whenever we went outside. We spent most of our time indoors in the hotel or at the rehearsal hall, but whenever we went outside, the locals were friendly. There was also a lot of curiosity about who we were and what we were doing. As far as the schedule went, the rehearsals were pretty much allday affairs. We’d wake up in the morning and have sectionals right after breakfast. There were tutors for each instrument; I worked with the first violin section. Sectionals would last about two hours, during which time we’d go through the parts, fingerings, mark the score, and work on rhythm and other areas that might be problematic. The Iraqi musicians had such a wide range of playing levels that it was quite challenging. We’d break for lunch, and then have full rehearsals for another three hours or so. There was also travel time going from the hotel where we were staying to the rehearsal venue, and then time out for meals, so we were basically working with the kids non-stop. In addition, we would give lessons in the evenings, sometimes before dinner and sometimes after dinner, one-on-one, working on whatever individual skills the NYOI musicians needed [to improve]. The first year was really doing a lot of basic work with the musicians. There was a really wide range of musicianship, and some of them had never been in an orchestra or done a string sectional before. In the end, they pulled through for the concert – the concerts were always rewarding. Still, the second year wasn’t like picking up where we left off after the first year, because we had so many new members. Almost half of the musicians the second year were new, having heard about the NYOI purely through word of mouth. By the third year, though, it seemed like some of the more advanced musicians had begun teaching their colleagues.

I thought it was important to give my time freely while I was over there, and they were so enthusiastic about learning anything they could. They were like sponges. They really absorbed as much as they could. Working with them was really touching for me. Some of the Iraqi musicians would stay up all night long downloading videos related to the music we were playing – they hardly went to bed. We would give them a hard time about it, being strict with them and telling them that if they didn’t sleep, they wouldn’t be able to concentrate. There was a French horn player named Ranya Nashat, who was the most outgoing person in the group. She also spoke very good English. When I asked her why she and her colleagues were staying up all night, she said, “You guys don’t understand what a gift this is for us. Your presence here means so much that we want to absorb every moment, and that’s more valuable than sleeping. There’s no way we’ll know what happens tomorrow.” This a girl who grew up in Baghdad, and still lives there. Ranya told me, “You don’t know what we see every day. My friend was just killed last week.” That put it into perspective for us, and I guess that’s why I went back for the next two summers. Seeing the way that these kids worked together by the end of each season, I realized that wherever you are, whatever your means or resources, it doesn’t take much to make the most of any situation. Especially in music, where people have a common goal and interest, it doesn’t matter what happened in the past. There was a lot of conflict between the Arabs and the Kurds and the Arabs outnumbered the Kurds. By the end of the session, they were not only working together, but laughing and helping each other, and really learning, trying to pull off something that may have been beyond their scope. Learning from them really was a gift for me. I realized a lot about how necessary it is to reach out to people through what we do. It gave more meaning to my own life as a performer and as an educator. I could be playing in concert venues – I’m on tour right now – but what really gives meaning to what I do as a musician is helping, and feeling useful, needed, and relevant. They made that happen for me. They helped me realize the importance of what I do and why I do it, which is to teach, to pass on what I know to people who are eager to absorb it, and to people who need it. And that place really needs it, more than any other place that I’ve ever been to.

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drop of alcohol. I think this first party made everyone feel they could have permission to be young, joyful, and silly while still taking music seriously. SBO: How would you describe the strategy for getting the NYOI off the ground, and then developing growth? PM: I think that first year worked with sheer guts and determination. The past four years have been blood, sweat and tears, especially for me, but there really is no other way of setting something like this up for sustainability. Although the orchestra intake is better each year, there are still fundamental problems of listening, musicianship, and technique that our tutor team – one per instrument – try their best to iron out in our brief annual courses, but this cannot replace the years of neglect that these young people have experienced. Our strategy is to become diplomats, showing a more positive, united face to the world than it has seen so far, and to reach out to other youth orchestras. Last year, we collaborated with the German Youth Orchestra, Bundesjugendorchester, and this year with Edinburgh Youth Orchestra. Next year will be with the French Orchestre Francais des Jeunes in Aix en Provence. Our values, chosen in a players’ workshop in 2009, are love, commitment and respect. SBO: What do you mean by “values” for the ensemble? PM: In 2009, I ran a mission and values workshop with the players, because I needed to know who they were and what they wanted out of this orchestra for the coming years. We asked them to write down anonymously, on pieces of paper, what qualities they valued in themselves, in music, in the youth orchestra, and if they were to run their own youth orchestra, what values would be its foundation. The most common answers were love, commitment, and respect, along with hard work, love of Iraq, and peace clustering around them. So that gave me as good a mandate as possible for how the players themselves saw the orchestra. 28

In practice, as with any value system, this can be hard to live up to, but at least it’s there to refer to, and for everyone to remind themselves what NYOI is about. These are very broad and solid foundations that create a standard of behavior towards each other, especially through hard times. SBO: How has the course of study and performance for the NYOI evolved since its inception? PM: The 2009 and ‘10 courses were two weeks of rehearsal in Iraq and one concert. The 2011 course was two weeks in Iraq and one concert, then two more weeks in Bonn, a workshop concert in Berlin, two kids’ concerts and one final concert in Beethovenfest. This year, the whole course was in Edinburgh for 3 weeks, with concerts in Glasgow, Edinburgh Festival Fringe, and London Queen Elisabeth Hall. We’re still trying to create the ideal formula for working. SBO: Do I understand this correctly then, that in some respects the NYOI is as much an advanced music education training program as it is a select performance ensemble?

The National Youth Orchestra of Iraq at a Glance On the web: • www.nyoiraq.com • www.friends-nyoi.com • twitter: nyoiraq • www.facebook.com/nyo.iraq • www.youtube.com/user/nyoiinfo Year Founded: 2008 Founder: Zuhal Sultan Musical Director: Paul MacAlindin Current number of Musicians: 45 Total number of Musicians in NYOI history: 100 Notable accolades & accomplishments: • Bringing young Iraqis from diverse backgrounds together in peace and music • International debut at Beethovenfest • Commissioning Kurdish & Arab composers: http://soundcloud.com/nyo-iraq • Founding German Friends of NYOI: www.friends-nyoi.com • Invited by Scottish Government to perform at Edinburgh International Fringe • London début with Julian Lloyd Webber For a closer look at the NYOI in action, scan this QR code with your smartphone!

PM: Yes. It has to be a musical boot camp to skill-up the players and get them through the course and final performance, as there really isn’t much of a music educational infrastructure to

“W

e can’t guarantee that there’ll be a musical infrastructure for the future, but we can change the way music education is perceived, one player at a time, and give them a strong feeling of success and achievement.” support them in Iraq. Those that make it through the auditions are largely selftaught. SBO: Have you had the same musicians participating from year to year? PM: We run annual auditions, just like every other national youth orchestra. The best applicants from each year get in, subject to available places. I reckon about a quarter have been in since the start. The short-term goal is to put on a concert at the end of each course. The long-term goal is to train as many talented young

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Iraqis as possible so that they will return to Iraq with better teaching ideas and more motivation to start their own ensembles and chamber orchestras, and this is already happening. In that sense, the viral effect of good quality teaching influences Iraqi music making by stealth over the long term future. That we’ve made it through the first four years is a miracle, but it’s the deep impact over the next 25 years that we’re thinking about, as well. We can’t guarantee that there’ll be a musical infrastructure for the future, but we can change the way music edu-

Photos by Tariq Hassoon.

“H

SBO: The “orchestra is a paradox from top to bottom”? Could you expand on that?

cation is perceived, one player at a time, and give them a strong feeling of success and achievement. After four years of getting this baby organization on its feet, we now have 2012.12 GPG SBO Print Ad copy.pdf rolling interest from various embassies,

PM: The first paradox is why a Scottish conductor based in Germany is doing this. I still don’t really know, other than it still sounds like a great idea, and it’s easy to fall for the young players and want to try and help them. The second paradox is how a 17-year-old female pianist in Baghdad rallied considerable support in that

ow can a bunch of young people who can’t even speak each other’s language, and have been taught to hate each other, sit down in front of the same music and play beautifully together?” countries, festivals, and this is all we can do to make sure it has a sustainable future. The orchestra is a paradox from top to bottom, and like all good paradoxes, it works because, and not 1 11/9/12 3:27 PM in spite of, it’s apparent contradictions.

CMY

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first year to get NYOI off the ground. Zuhal has a magnetic charm and is furiously intelligent. We’re lucky to have her. Thirdly, how can a bunch of young people who can’t even speak each other’s language, and have been taught to hate each other, sit down in front of the same music and play beautifully together? Because of the discipline of orchestral playing, we have a very secure and productive framework to come together. Having me and the other foreign tutors there also creates a neutral third space between the Kurds and Arabs through which we can mediate and pour our energy safely. The fourth paradox is between Arab, Kurdish, and Western musical culture, but this is also a generation who globally switches between cultures more effortlessly and articulately than ever before. It’s a real Generation Y orchestra, with a high awareness of music outside Iraq through the Internet. Taking a very conservative format, the orchestra, and fitting it into a very conservative country within this globally aware context actually fits strangely well. The final paradox is the most tragic and most important, and that is the suffering of the players themselves. Although there is little evidence on the surface of what they personally have been through, everyone’s family has been affected by gas attacks, invasion, tribal tensions, and war. As young people, this is their normality. That comes out in the sound, which has been borne out of their determination to play through dangerous times, in order to shut out the world around them. It’s a crazy, tense energy, but one which we can convert into joy together.

powered next generation. The players know how to translate this experience to Iraq in ways I cannot. Diplomatically, we’re looking at an orchestra of Iraqis living in Iraq, all with Iraqi passports, but some people high up cannot let go of the divisions within Iraq, so we deal with some resistance to our symbolic wholeness. There’s another paradox – a national youth orchestra from a nation that doesn’t believe in itself as a whole.

SBO: How does this project differ from other conducting gigs you’ve had? PM: NYOI will always be a coaching more than a conducting experience for me. Due to lack of experience, the players don’t really know how to watch and play at the same time, and if they do, classical conducting technique doesn’t have much meaning. I adapt my physi-

SBO: In the bigger picture, what do you think this organization represents? PM: That’s a huge question. I don’t know really. The organization is a process. It represents a way of teaching and communicating that is kinder, more creative, more loving than what they’ve been used to. This has a stealth impact in Iraq, as people gradually realize what the true potential of these young players is, and it forces older musicians to deal with a highly informed, emSchool Band and Orchestra • December 2012

“H

ow can a bunch of young people who can’t even speak each other’s language, and have been taught to hate each other, sit down in front of the same music and play beautifully together?” cal communication to be more energetic and direct than with professionals. My verbal communication is very economical, because it also has to be translated into Kurdish and Arabic. There’s a Kurdish and Arab concertmaster sharing every concert, which helps keep a cultural balance. Working with two concertmasters is also a joy, because you’re giving two people leadership experience instead of one, and leadership is a key development goal for when they return to daily Iraqi life. I’d say after four years, we’ve gotten all the lead positions about right. SBO: How would you describe the impact that this ensemble has had on the musicians, their families, and their communities? PM: That’s a huge question. I don’t know where to begin. In short, the average age in Iraq is about 21. Our upper age limit is 29. Therefore NYOI players, who are about 18-25, are really the current generation of music teachers and

performers in Iraq. So those who teach, teach better. Some create ensembles like the Kurdistan String Quartet or the Babagoorgoor Chamber Orchestra in Kirkuk, and those who already play in ensembles like the Iraqi National Symphony Orchestra or the Kurdish String Orchestra, bring their NYOI experience to the rehearsals and performances. SBO: Have you faced skepticism about the concept of playing classical music in Iraq? PM: The first orchestra in the Middle East was the Iraqi National Symphony Orchestra, founded in Baghdad in 1959. But really, why are we still having this discussion today? The idea that orchestras only belong to the West is something that might have held water 60 years ago, but now, orchestras are a world culture, composers of every background and style are writing for them, and practically every film you see needs one to bring the sound track to life. Even synthetic soundtracks end up imitating them.

Also, the contemporary definition of orchestra is broader than the 19thcentury model, with Kurdish and Arab orchestras mixing violins, clarinets, double basses, ouds, nyes, josas up into whatever ensemble does the job of making the music. I’d say that four years on, we’re well on the way to integrating diverse Iraqi voices into the programming, language is no longer a barrier with our superb team of trilingual translators, Kurdish/Arabic/English, and the diversity of individuals, regardless of where they come from, or what they speak, is richer than the anodyne characterless conservatoire playing you now get that churns out perfect and perfectly dull musicians for the global market. SBO: What sort of potential do you see with this ensemble, both culturally and musically? What are the long-term goals of the NYOI? PM: The energy, the grist to the mill that we bring to each other and our audiences, is irrepressibly joyful and defiant. It’s really the beginning of a 30-year arc that I can only see bringing good things to the people of Iraq. Iraq is so focused on rebuilding and attempting to maintain it’s fragile democracy that culture is pretty low down on the list of priorities. And yet, for a post-war country as fragile as this one, I wonder who else but organizations like the NYOI is going to keep it from falling apart? Culture binds us together in common understanding far more powerfully than infrastructure. As Iraqis soul-search for a new identity, music will play its part. Let’s not forget that the 21st century will not be shaped by the West, but by other cultures who are comfortable with paradox and see answers in apparent conflicts that we, with our linear thinking, don’t understand. SBO: What particular lessons have you taken away from this experience? PM: The lesson for me is to enter into as many challenges as possible in order to help others grow, because the most important resource I have for getting the best out of people isn’t talent, but compassion.

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Directors

Who Make a Difference

ALABAMA

Take heart in this report, which sheds light on exemplary teachers who run thriving, and vibrant programs in schools big and small, elementary through high school, from coast to coast. These following 50 band directors, orchestra directors, and instrumental music teachers are joined by their common cause of spreading the language of music and, through it, the life lessons that are manifest in the dedication to this endeavor. In this 2012 edition of the “50 Directors” report, educators share their teaching philosophy, how they hope to affect overall student development, and the most important lesson they’ve learned since entering the teaching profession.

ALASKA

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press their feelings and emotions in a way that everyone can understand. The second skill music teaches student’s is the value of hard work, selfdiscipline, and dedication resulting in a glorious product, especially at the secondary level. Affecting Student Development: It is my feeling that young adults that are coming out of this generation have a poor work ethic, very little real communication skills (like with real human beings, not computers), and an expectation that things will come to them without much work on their part. It’s my hope that by working in an ensemble setting, always having to be responsible for their part of the product, relying on and communicating with others, students will gain skills that can be used throughout life. Most Important Lesson Learned: Don’t underestimate any student.

People take different amounts of time to blossom. I’ve had students who were horrible musicians during their 7th-grade year but when I had them again in their junior and senior years, it seemed like all those things I told them years ago were suddenly put into place.

ARIZONA

George Hattendorf Mountain Ridge High School Glendale Years at School: 9 Total Years Teaching: 40 Instrumental Music Students: 155 Teaching Philosophy: Set high yet reasonable expectations, be consistent, be passionate yet caring, and treat your students with dignity and respect. Each has their special way of learning and excelling. Most importantly, be a positive role model for your students in and out of the classroom. Always produce your most beautiful and characteristic sound on your instrument, always be aware of your musical surroundings, and never miss an opportunity to turn a musical phrase. Affecting Student Development: My goal is that my students will develop a lifelong love and passion for music in all of its forms and, most importantly, become advocates for school instrumental music and spearhead the next generation of arts supporters in the 21st century. I also hope that they have learned life skills that will aid them well into their adult lives. Most Important Lesson Learned: If less is your goal, then less is what you will get. Set high yet reasonable expectations, provide meaningful engagement with timely feedback coupled with a sincere passion for what you do, and they will deliver time and time again.

ARKANSAS Joe Trusty

Cabot High School Cabot Years at School: 30 Total Years Teaching: 31 Instrumental Music Students: 234 Teaching Philosophy: I try to find a students’ strengths and weaknesses and then work at developing each of them into the best musician and person they can become. It is more than teaching music. I try to teach life! Affecting Student Development: Nothing makes me happier than running into a former student and have them tell me “I still play my horn at church” or “I heard a recording of the Holst ‘2nd Suite’ and it reminded me of how much fun we had playing that in high school.” Most Important Lesson Learned: I am the biggest influence in my classroom. Programs come and go. Finances change constantly. The constant is me! It is my responsibility to teach every student every day to the best of my ability.

CALIFORNIA D.L. Johnson

North Monterey County High School Castroville Years at School: 29 Total Years Teaching: 38 Instrumental Music Students: 120 Teaching Philosophy: After 38 years it is not the trophy that is most important, it is performing your best that is important. Music is important to every child. I find tremendous joy in helping kids create music. Affecting Student Development: Our job as music educators is to prepare young people to face a new world without fear. Creating music is as important as listening to music. The mu-

sical experience of playing or singing in a school music group has so many positive implications to future success. Most Important Lesson Learned: If you’re not in music for the joy of helping kids make music, get out. A positive honest attitude is what will give you success. Teach with your strengths, and continue to work and study your weaknesses. No one knows it all and learning is constant. Identify and design a music program your school and community are truly capable of to be successful, rather than trying to keep up with the Joneses. You and your students and parents will be happier. If your love for creating music is in the right place, you can dream and achieve any goal you want. I have, many times over.

COLORADO

Daniel Berard Fossil Ridge High School Fort Collins Years at School: 9 Total Years Teaching: 20 Instrumental Music Students: 275 Teaching Philosophy: Each day is an opportunity for all of us to get better: as people, musicians, teachers, and learners. We set high expectations for ourselves and our students, work each day to be better than the last, hold each other accountable for achieving those standards, and celebrate the steps along the way. Affecting Student Development: I hope to inspire my students to find their passion in life (whatever that may be) by relentlessly living mine. I love what I get to do each day, and feel so fortunate to be able to do it with so many incredible students who put their faith and trust in me. Music, in and of itself, enriches our loves in so many powerful ways, and the skills learned through participating in music making transcend the band hall. Our goals all revolve around helping stu-

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dents understand higher levels of personal excellence, and applying that level of excellence to all that they do. Most Important Lesson Learned: I think the most important lesson I’ve learned is that the more we invest in the people around us and the relationships we build with our students rather than the desired outcome of x-rehearsal or y-performance, the more those students are willing to strive to meet the challenges we give them.

CONNECTICUT

Thomas Scavone Canton High School Canton Years at School: 12 Total Years Teaching: 25 Instrumental Music Students: 560 Teaching Philosophy: I believe that every student must be valued and each has a unique contribution to make to our program. My goal is to create “lifetime” memories for our students. Early in my career, my mentor stated that in 20 years, our profession would become one of the last bastions of humanity in the public school. That drives my beliefs and philosophy. Affecting Student Development: Two overriding beliefs exist in our music room: 1) the hardest workers succeed in life; and 2) if you cannot be polite and help each other, then you cannot be an artist. To overcome diminishing interpersonal verbal skills, when they see me anywhere in the school, every student in our program must say “Good Morning!” to me while maintaining eye contact. Finally, every student in our program learns to recite the following, “Fun is the end result of hard work, everything else is cheap entertainment. Is cheap entertainment important? Absolutely! But know the difference.” Our goal is to make every day “fun.” Most Important Lesson Learned: Do not underestimate the impact we have on students’ lives. I am constantly surprised when a former student cites a memorable instance that I would not think of as significant. In musical terms, the success of our students is due to a high quality, articulate K-12 music education program where skills are developed and the love of music is embedded from an early age.

DELAWARE

Andrew Jason Rogers Laurel School District Laurel Years at School: 26 Total Years Teaching: 26 Students in Music Program: 239 Teaching Philosophy: A teacher striving to be exemplary

is the teacher making a commitment to having a classroom full of students that could be identified as exemplary students. My daily professional practice is based on my belief that this is one incredibly important instructional day out of a very limited number of very important instructional days. To have exemplary students I must do several things. I must have a shared vision of purpose and mission with my students and parents, base instruction on clearly defined outcomes and theories of practice for music as identified by the “Enduring Understandings” of the Delaware content standards. I need written, clearly defined, but flexible daily lesson plans based on best educational practices. I must teach “bell to bell” and be able to identify the individual learning needs of all students and take action! Affecting Student Development: It is my intent to have each student accept and become a part of a classroom culture of high performance teaching and learning. It is my hope that my students develop the capacity to share their knowledge of music and guide themselves and others in developing communication skills related to leadership and critical thinking. Most Important Lesson Learned: The most important lessons that I’ve learned so far are simple – Be prepared! Plan for success! Being prepared is the key to any successful teaching or performance endeavor. Focus on student achievement! Focus on communication skills that convey your confidence in your students’ ability to be high achievers! Set achievable but challenging instructional goals! Establish and maintain a safe and nurturing learning environment!

FLORIDA

Laurie Zentz Switzerland Point Middle School Jacksonville 38

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Years at School: 2 Total Years Teaching: 25 Instrumental Music Students: 360 Teaching Philosophy: My broad experience teaching elementary, secondary, and special needs kids has taught me that I need to listen more than talk, make clear connections, never cut corners, never underestimate a child, and make sure they are solidly grounded in fundamentals of good musicianship. Affecting Student Development: If I can help young people discover strengths and talents that they never knew they had, and develop those strengths with confidence, focus, poise, attention to detail, and perseverance, I feel I have done my job well. I hope they leave my classroom knowing they were each a valued member of our ensembles with fond memories of making music together. Most Important Lesson Learned: Every student is someone’s child – handle with care!

GEORGIA

William Kilgore West Jackson Middle School Jefferson Years at School: 12 Total Years Teaching: 18 Instrumental Music Students: 354 Teaching Philosophy: As a middle school band director, my educational philosophy centers on envisioning what each band student will become and empowering them to be the best they possibly can. To promote growth, I teach each day with enthusiasm and maintain consistent, high expectations for all of my students. Through inventive techniques like the rhythm of the day, our pass-off system, and the fabulous fifties club, individuals grow musically. Affecting Student Development: My contributions as an educator ex-

ist in the success of individual students who have excelled beyond my imagination. One of my goals is to instill in my students self-discipline, self worth, and help them to mature toward being productive, wellrounded individuals who love music for a lifetime. Most Important Lesson Learned: Students are inspired by the teacher who hopes and never gives up on them. As a teacher, I give the students the skills and the motivation to maximize their potential.

bles to succeed, don’t neglect your family. Whether or not my day goes well at school should not affect my attitude or commitment to my wife and children.

IDAHO

Steve Garner South Middle School Nampa Years at School: 5 Total Years Teaching: 7 Instrumental Music Students: 138

HAWAII

Henry Fu Kailua High School Kailua Years at School: 14 Total Years Teaching: 14 Instrumental Music Students: 80 Teaching Philosophy: I feel that some directors push musical performances so much that the students have no time to do anything else at school or at home. I have adjusted how I teach over the course of many years to make practices as efficient as possible, while trying to preserve their musical integrity. I also try to have students understand what musical performances are like outside of our state and country. We are planning on going to Japan for the second time in March 2013. Affecting Student Development: Unlike athletes, musicians don’t get benched if they do not know their music well. A student who can perform at a high level would not be happy knowing that a student just a few seats down cannot perform his or her music well. Instead of complaining, the students need to help each other out because they are part of the same team. Most Important Lesson Learned: I have learned that no matter how much you want your musical ensemSchool Band and Orchestra • December 2012

Who Make a Difference

Teaching Philosophy: I believe in music as a way for students to enrich their everyday educational experience and to enjoy life. We must teach music in such a way that the students find and create aesthetic experiences. These aesthetic experiences drive students to want to become better musicians. Affecting Student Development: I teach sixth grade through eighth grade band, choir, and orchestra. In those three years students change and develop a great deal. My goal as a middle school music director has always been to help the students develop into high school-ready music students. Most Important Lesson Learned: The results I receive from my students come from a constant and vigilant effort from me. Every school, every student has the ability to progress. It comes down to the director and his/her desire to work to that end or not. When any teacher blames the group’s failures on the students, that teacher is failing to look at him or herself.

ILLINOIS

Elise Matusek Woodland Middle School Gurnee Years at School: 14 Total Years Teaching: 29 Instrumental Music Students: 340 Teaching Philosophy: I have worked hard to create a “band family” here. When one of “our own” is sick or injured we, as a group, support that student and look out for him or her. Affecting Student Development: My students all have fun together at an overnight band lock-in, and raise money for animals while doing this! I’m sure they don’t think I know, but they help each other with homework, lunch money, boy/girl problems, and I’d like to think the time in our small 40

confined space contributed to all of this in a huge way! Most Important Lesson Learned: Band kids are people too! They laugh and cry like me (and with me!), and share in the “thick and thin” of life. I have lost both of my parents to terrible illnesses during the last four years. My reserves of inner strength were fortified by the band students who knew when to offer a word or a hug, and when to laugh or get serious in any rehearsal. The result of all of that is a strong family unit within Symphonic Band 1 here at WMS. As I write this, I am looking at and hearing the most talented group of young musicians that I have had in my teaching career, spanning 29 years. I firmly believe a good deal of this is because we all work together in a very unique way.

INDIANA

Jim Hopkins Battle Ground Middle School West Lafayette Years at School: 11 Total Years Teaching: 22 Instrumental Music Students: 285 Teaching Philosophy: When I started directing here, there were 78 band members who were disheartened with the adults in the building and felt they were losing their band program. What I eventually learned from these kids was not any superior knowledge of teaching music, but instead a basic human tenant: people have to know their leaders care and will always be there for them. What is my philosophy? Show the kids you understand them and will always be invested in their efforts and beautiful, and fun music will follow. Affecting Student Development: I want my students to always have an appreciation for the unique beauty every student in the room brings to the music we play. Some of the

School Band and Orchestra • December 2012

most wonderful moments I have had as a band director are when some little girl or boy in my band (not the most popular, not the most pretty, not the one who will scrap for his dinner or even for what is theirs) comes into my band program and becomes someone special. The most gratifying moment I have had in my career was with a little girl named Barbara. She had done nothing particularly outstanding in her life except be a generally sweet kid. In anyone’s book this should have been enough. However in her eighth grade year she earned a spot on the final concert as a soloist on a wonderful tune called “Dark of the Moon” by Ann McGinty. Along with a host of other great musicians in her band she stepped up and played the most beautiful French horn solo. The memory of her parents and her beaming with pride will always remain in my heart. I like helping kids feel good about themselves – especially the ones who deserve it most. Most Important Lesson Learned: Treat every student like he or she is the most important member of my band; that means never give up on any student – no matter what! I am very proud of the kids who step into my program, pick up an instrument and just start playing like they have done it all their lives. What band director wouldn’t be? However the kids who provide me the deepest sense of pride are those who struggle, and through nothing but hard work and grit, manage to become some of the best musicians I have had the privilege to teach. I am sure I was a young musician who made my band directors consider selling insurance. If they had to reflect back on me I am sure they would say the two most prominent characteristics Jim Hopkins had were hard work and persistence. This is why I have such an appreciation for the kids who start out struggling and never give up. One thing is sure: no matter how it turns out, they won’t be in the fight alone.

IOWA

Thad Driskell Jefferson High School Cedar Rapids Years at School: 11 Total Years Teaching: 21 Instrumental Music Students: 220 Teaching Philosophy: Iâ&#x20AC;&#x2122;m grateful for the opportunity to live our profession of music education daily. My goal is to provide meaningful guidance and instruction, with high personal and aesthetic impact for each student, on a daily basis through music. I strive to provide a welcoming and collaborative environment that fosters individual and ensemble growth musically, intellectually, socially, and emotionally. I believe and expect that all students will succeed and strive to instill a passion, understanding, and excitement for each step of the musical process. Affecting Student Development: I hope to model and provide a vision of excellence from which the students can work toward and realize their individual and collective potential. This will not only enhance the studentâ&#x20AC;&#x2122;s band experience, but transcend the band and carry over to all parts of their life with a lifelong impact. Most Important Lesson Learned: The student comes first, teach to both the head and heart, and enjoy the journey.

tual, artistic, and emotional levels and creates a desire with greater abilities to move on to higher levels of performance. This has been my philosophy since I began teaching in the late 1960s. Affecting Student Development: I hope that my students learn from each

other in a safe environment that encourages risk taking, and challenges them to become better listeners and to take pride in their individual and collective efforts. I truly feel that the students learn to respect and appreciate each other and other musicians

KANSAS

Marion Roberts Blue Valley North Overland Park Years at School: 28 Total Years Teaching: 43 Instrumental Music Students: 200 Teaching Philosophy: My teaching method is interlaced with my philosophy of music education. Teaching music to people through the performance of high-quality literature that challenges their intellecSchool Band and Orchestra â&#x20AC;˘ December 2012

Who Make a Difference

through their rehearsal room or field and performance arena. The experiences shared by music students with their fellows who demonstrate different technical and emotional development levels help the music student prepare for a future in professional and personal life. Most Important Lesson Learned: Each year there is a new “most important lesson learned.” I am learning that I am challenged to continue my growth in literature and in may ability to be patient as students learn. I must still try to motivate my students to learn in an ever-increasing environment of instant gratification and loss of personal interactions among the students.

KENTUCKY Eric Hale

Bourbon County High School Paris Years at School: 8 Total Years Teaching: 22 Instrumental Music Students: 180 Teaching Philosophy: My method of teaching varies for each individual student. However, I do insist that all students learn how to read music (from the first day) through counting and singing their parts. My personal philosophy: If a student really enjoys band/chorus, I will do all I can to help them excel. Affecting Student Development: I enjoy teaching students real life situations. Competitive band is subjective, and can be very political. Every year we taste victory, defeat, sorrow, and joy through competition. Although, no matter how hard you work, sometimes the results are not in your favor. I constantly remind the students that it is not about winning, but how you feel while performing, and in the end there should be “no regrets.” Most Important Lesson Learned: I learn something different just about every day, but there is one thing that I learned a long time ago. The true de42

sire that a student has to perform music, will always outweigh their lack of ability!

LOUISIANA

Joan Green L.J. Alleman Middle School Lafayette Years at School: 20 Total Years Teaching: 29 Instrumental Music Students: 225 Teaching Philosophy: My philosophy and methodology is to have high expectations from every student. Students progress are evaluated on a consistent and individual basis. Affecting Student Development: To touch all domains of learning, including the acquisition of knowledge, music appreciation, and sensitivity. The involvement in music is considered a fundamental component of human culture and behavior. Most Important Lesson Learned: Students will take what was learned in band, whether it is perseverance, hard work ethics, or group effort and hold on to a life-long love for music.

MAINE

Rebecca Edmondson Connors Emerson School Bar Harbor Years at School: 23 Total Years Teaching: 27 Instrumental Music Students: 186 Teaching Philosophy: In order to keep the interest of their young musicians, their teacher must put the student in a position to have early success. If they become frustrated or overwhelmed they will quit, never returning to an instrument. In the elementary schools, my job is to nurture young musicians until they can make a practical application of their talent in a band, orchestral, small group, and ensemble

School Band and Orchestra • December 2012

settings. By planting this seed of musicality, I can then transition them into skill-appropriate challenges. Along with the usual classroom band and orchestra, I take pride in offering many optional extracurricular opportunities within the framework of my program ,such as: Swallowtail Fiddlers, TEMPO youth orchestra, and our show choir pit. I strive to strike a balance between a high standard of excellence and the sheer enjoyment of playing within the student. Gifted musicians must always be challenged and the student seated in the last chair must feel an important contributor to the ensemble as well. When the musician leaves the lesson or rehearsal with a smile on his or her face, it is a good indication that I have reached my goal. Affecting Student Development: I have initiated and launched several instrumental programs during my career as music educator in order to anchor the music program within the school day, provide opportunities for all children, and serve the community. At the beginning of the 1998 school year, I decided to establish a second grade class violin program in order to introduce my students to stringed instruments. After putting out a call within our district for donations of used violin, then, supplemented with the proceeds of a talent show fundraiser, our school was able to secure within two weeks of the opening of school 25 violins in varying sizes for the entire second grade Continuing today, class violin gives every child in grade two a hands on instrumental experience. As an outgrowth of this effort, in 2002 I formed the Swallowtail Fiddlers from self-motivated string students in the middle school orchestra. The alternative style of Celtic and folk style fiddling offered the young musician a creative outlet along with the prospect of expanding their musical repertoire. The doors that have been opened to our students and the opportunities generated by our community outreach are vital links to our town. We meet

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professional musicians, greet cruise ships, entertain visiting dignitaries, and play for crowds of tourists, making the string program visible and valuable to Bar Harbor. Outside of school, in the spring of 2011, I founded and am conductor of TEMPO: The Eastern Maine Pops Orchestra for Young Musicians. This self-sustaining non-profit organization was conceived to augment the school district’s music programs. TEMPO provides a full orchestra experience to the neighboring student communities of Downeast and Central Maine as an added benefit. Through these avenues, it is my hope that my students develop a love of music to continue with life-long playing. Most Important Lesson Learned: Although music is an affirming and uplifting pursuit, without parental support and involvement in your school program, it is doomed to collapse. The music educator’s efforts must been seen as having value beyond the usual fare offered at the Christmas concert or spring recitals. What the parents must see from their child is dedication, enjoyment, growth, and social benefits when weighed against the expense, inconvenience, and commitment usually associated with a successful music program. This means that when it comes to parents or administrators evaluating your program – perception is reality. I learned ear-

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School Band and Orchestra • December 2012

ly that I must be aware that I and my program are constantly being judged in a cost versus benefit equation. That’s the reality of modern life. With so many other activities available to the children, there needs to be a tangible reason for a parent to demand that their beginning student practice their instrument at home or even surrender valuable classroom time for sectional lessons. There must be a positive impression of the music program imprinted on the school, community, and student. It is demonstrable that success breeds success. Once the parental community understands that there will be real reward for the efforts expended on behalf of their child, they will gladly provide private instructors, first rate instruments, and their time. All of these are key to maintaining a first rate program.

MARYLAND Mary Pitta

Severna Park Middle School Severna Park Years at School: 5 Total Years Teaching: 17 Instrumental Music Students: 174 Teaching Philosophy: I focus on maximizing student engagement by reaching students in many different ways. Taking advantage of technological resources helps me to teach students who thrive in the age of computers. Students may go to our class website to study videos that I have posted demonstrating skills they may need to review. I encourage them to use SmartMusic as a tool for practicing our pieces, solos, and any other music that may interest them. Students record themselves, so they can see how they are progressing and selfevaluate. It can be difficult for a student to self-assess while performing. The recording gives them an opportunity to observe their own performance, gain insight into their progress and improve. Making a game of trying to improve their performance also results in increased time spent practicing, developing problem solving skills, and the joy of a challenge. They often figure out, on their own, what they need to fix, and work to create a better recording. This gives them the power to improve and teaches the value of reflection. Students use an online composition program to write music. These online activities are introduced in class, but then are used by the students at home. Some get really excited by composing and playing their pieces, some love playing along with the latest pop tunes. My goal is to increase the amount of time that they spend working on music and to reach students where their interests are. As long as they are working on their music and having fun, I consider it a win! I think of music as a land of opportunities. I offer students many opportunities in music, and the freedom to choose

Who Make a Difference

their level of involvement. Some enjoy music but participate in many other activities, too. Some love music and take advantage of every opportunity, performance, and honor group available. It is important to give as many students as possible the opportunity to participate in music. This requires some flexibility in demands and extracurricular requirements, but the pay off is a larger, more diverse student population involved in music. Affecting Student Development: I hope that my students will develop a love of music that comes from deeply understanding and experiencing it. I hope that they develop an understanding that all learning is connected. Music is science, and math, and history, and story telling. I hope that they also experience the pay off of hard work, dedication, and teamwork. Most Important Lesson Learned: Collaborate! I’ve learned so much from discussions with other teachers and from observing rehearsals. Get involved with your state association. You’ll meet great teachers and build a network. As music teachers, we are often the only one teaching our subject area at our school, so building these connections is critical to keeping your teaching fresh. Connect! Say good morning to students and colleagues in the hallways. Build lines of communication with parents. A simple word can let students know that you care and are there for them. For some students, this will make all the difference.

MASSACHUSETTS Steven Conant

Norwood High School Norwood Years at School: 10 Total Years Teaching: 18 Instrumental Music Students: 100 Teaching Philosophy: I feel that all students have the potential to be successful within the school music program. I do my best to structure the instrumental music program with a va46

riety of levels so that each student has the opportunity to experience success. Affecting Student Development: You just can’t do it alone. My successes have relied heavily on a cooperative and supportive administration, a dedicated parents music group, private teachers, and very eager fellow staff members during and after school. Most Important Lesson Learned: “You can’t always get what you want, but if you try sometimes...” Going the extra mile gets more and more challenging with each and every passing year. No matter how exhausting it is, I always try do my best to persevere and make it happen.

MICHIGAN

Samantha J. Corrion Elkton-Pigeon-Bay Port Laker High School Pigeon Years at School: 6 Total Years Teaching: 12 Instrumental Music Students: 125 Teaching Philosophy: I wish I could rattle off an excellent educational phrase, but I will not. I go into the class everyday to make music. All students want to be part of something that is meaningful and have some sort of success with it. That is what we try to achieve everyday and we rejoice in the little things. Also, I am not their friend, but their teacher first. They are held to high standards and are expected to try their best. As to educational philosophy, we are here to make music and have fun and learn something in the process. Maybe laugh a little on the way. Being a band director is nothing I thought it would be. It is stressful, joyful, and fulfilling everyday. Plus, I go home with a smile and cannot wait to get to school the next day.

School Band and Orchestra • December 2012

Affecting Student Development: I pray when they are done that they not only have an appreciation of musical arts, but all the fine arts. Not all my students will become professionals, but they will know that if they work hard and give it 110 percent, they can accomplish anything. I also pray that they will encourage their own children to someday be a part of band. I get to see them for seven years. To watch them grow up in front of my eyes, they start to feel like my own children. I always refer to my students as “my kids.” I treat them like I treat my own. That type of bond is hard to have. I hope to instill in that to be good citizens as well as musicians. Most Important Lesson Learned: Things do not go always as you have planned. Flexibility is so key to the overall classroom and performance. In the public school setting, students are in a multitude of activities and working with coaches and staff will help the overall experience for the student.

MINNESOTA Wayne Ivers

Marshall High School Marshall Years at School: 30 Total Years Teaching: 36 Instrumental Music Students: 265 Teaching Philosophy: I have always felt that our job is to do more than teach notes and rhythms. We see many of the very best kids in our school – the school’s leaders and people that will be leaders later in life. I have tried to help these students become better citizens, not just in the school but always! They need to make the group or organization they belong to better because they were there – whether that means taking the time to help someone, or stand up for someone, volunteering to do something extra, or something as simple as just showing that they care! Band (mu-

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Who Make a Difference

sic) is the “tool” I use to get this message across to them. I always tell my band members that if they leave this place better people then I feel that my time with them has been a success! Affecting Student Development: I know they are probably not going to go on to be a professional performer, but hopefully they will be better supporters of the arts and much more understanding when they hear a band or see a marching band as to all of the hard work and effort that went into it. At a time when you are put down by your peers for being involved it is okay to be proud of your hard work and everything that you have accomplished, and to show everyone how deeply you care about what you do. Most Important Lesson Learned: There are many battles you have to fight – choose wisely! Having to make a sacrifice right now may gain you countless advantages in the future.

MISSISSIPPI

Reuben McDowell Columbia High School Columbia Years at School: 21 Total years teaching: 22 Instrumental Music Students: 250 Teaching Philosophy: Have a passion for people first and your subject second, and keep them prioritized in that order. In these days of so many changes and challenges in the education field that put music education at risk, we must always focus on using the music experience (the means) to help create responsible and respectful humans (the end). Affecting Student Development: It is my hope that what our students experience in band/music helps foster adults who feel, who care, and who have both passion and compassion. If they look back on their high school band years with fond memories and have a desire for their children to be a

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School Band and Orchestra • December 2012

part of something similar in their formative years, then I feel we have made a difference. More importantly, I sincerely hope that the daily life lessons of hard work, teamwork/cooperation, and personal sacrifice carry with them through their lives and help them to become productive members of society and leave the world a better place than they found it. Most Important Lesson Learned: For educational success, repetition is the mother of skill. But overall, it’s all about people. If you love people and they know you care about them not only as a musician, but on a personal level as well, they will do almost anything you ask of them. Treat people right and they will work hard for you.

MISSOURI John Trew

Bolivar Middle School Bolivar Years at School: 4 Total Years Teaching: 11 Instrumental Music Students: 295 Teaching Philosophy: It is well documented that music has a huge effect on cognitive thinking skills. This is due in large part to the fact that we rehearse these skills in a meaningful and exciting way. I try to focus on this each day in a cooperative learning environment. These cognitive performance skills translate into thinking skills that follow students into their communication arts, mathematics, and science classes. Literacy skills are reinforced when students practice reading their music. When band members are successful at performing on their instruments, they will be motivated to attend school and continue in this success. I challenge students to work towards excellence by using failure as a springboard and inspiration to overcome obstacles. Of course, no two students are the same, so helping students

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Who Make a Difference

find their path to success is part of my professional growth. Affecting Student Development: I teach students that music is a universal language. It demands both individual discipline and sacrifice. It spawns individual creativity and cooperative learning. I teach them that music challenges the mind and soothes the soul. I work to develop students’ musical responsibility. Responsibilities like work ethic, dependability, punctuality, and rehearsal focus not only affect individual performance, but affect the other ensemble members as well. Most of all, I want students to love every aspect of music, as I do. When that happens, all the other details usually work themselves out. Most Important Lesson Learned: At the end of the day, I have to remember that kids are kids. I try to remember that I am blessed to teach them music and I get to be a positive role model in their lives. Many students are in my bands for seven years, and that is an amazing opportunity to mold them into better musicians and better individuals, and that is an awesome job. Music is a perfect vehicle for students to reach these goals because the love of music will enable them to develop intrinsic motivation and cause them to strive to reach their dreams.

MONTANA

Martha Ilgenfritz Corvallis School District #1 Corvallis Years at School: 10 Total Years Teaching: 25 Instrumental Music Students: 271 Teaching Philosophy: In a word, “Respect” is the of my teaching and philosophy. From day one, I tell students that respect is the primary classroom rule: respect for adults (teachers, substitutes, custodians, etc.), respect for each other and respect of the instruments. Additional50

ly, I would add that respect for our profession that instructs the next generation in the fine art of making music is a central component of my ideology. Affecting Student Development: I would like to give students a deep appreciation for music, and encourage them to strive for excellence in every aspect of their lives. The discipline of music, performing it together in large and small ensembles, is much like the teamwork needed in the work world as well as in the athletic realm. Most Important Lesson Learned: Never stop learning! I will never “know it all” and there is so much to learn about reaching each individual child, and imparting enthusiasm, encouragement, and challenges to hold their interest and achieve the goal of being able to play music as a gift for others.

NEBRASKA

R J Metteer Lincoln Southeast High School Lincoln Years at School: 18 Total Years Teaching: 23 Instrumental Music Students: 150 Teaching Philosophy: I believe music is the use of sound and silence to express emotion. Thus, my goal is for students to have shared emotional experiences through the performance of music with other musicians as well as with their audience. Affecting Student Development: My hope is for students to learn they can accomplish their goals by taking ownership and responsibility for them. Through their involvement in instrumental music ensembles I hope they grow and mature so they can take all the lessons they have learned beyond music into their daily lives. Most Important Lesson Learned: Students must believe. They must believe in themselves. They must believe in you. Once that happens they can achieve their very best.

School Band and Orchestra • December 2012

NEVADA

John Mueller Incline Middle School Incline Village Years at School: 15 Total Years Teaching: 34 Instrumental Music Students: 135 Teaching Philosophy: I believe that if a student really wants to do something, he or she will do it. It is my job to make them want to play and then to teach the students the skills needed to reach their goal. Incline Middle School has only 215 students in the whole school. In order to have bands and orchestras we will often have students who have not played before. These students need extra effort on my part to be able join in. Affecting Student Development: I hope that I will affect my students’ ability to not just be good musicians but also to encourage them to look beyond what they thought possible. Each year we attend an out of state music festival and the day prior we go to a university for clinics with a music professor. Several of my former students, who were the first in their families to graduate from college, told me it was these clinics that caused them to think, “I can do this.” Most Important Lesson Learned: Students and their parents know if you care about them. In 2003, on the day before our band, jazz band, and string orchestra were to leave on our festival trip, I received a letter telling me that, due to the budget, I was to be laid off. Instead of giving up, our students worked their hardest, winning three Gold ratings and the Instrumental Sweepstakes Award. Their parents went to work talking to the school board and I’m still here.

Who Make a Difference

NEW HAMPSHIRE Michael Adams

Pinkerton Academy Dover Years at School: 8 Total Years Teaching: 25 Instrumental Music Students: 190 Teaching Philosophy: All of the courses I teach are elective courses in that the students choose to fill one of the few holes in their schedules with an ensemble or music theory class – a fact that I need to remember each day I meet with them. At Pinkerton Academy, we are lucky to be able to offer ensembles of varying sizes and genres including several jazz ensembles, larger concert bands, and many chamber ensembles. Providing quality musical opportunities, performing good literature that is worthy of the commitment that students are making to it, and creating an atmosphere that is relaxed but focused is my job. My students, who have chosen the music program as one of their course electives, deserve no less than my best effort in doing this job every day. Affecting Student Development: Very few of our students will go on to

careers in music, but each of them is a potential consumer of the arts. With luck, a majority of my students will continue to play their instruments after high school, but the greater likelihood is that most will end their performing careers at graduation. It is these students that should be encouraged to continue to support the arts in other ways – as an audience member, financial benefactor of arts organizations, or even as a registered voter at a town meeting. With the skills developed by performing in an ensemble, music students have the potential to not only be strong advocates of their local artists and musicians, but the leaders in our communities as a whole. Most Important Lesson Learned: There are certainly many terrific things about being a band director, but one great advantage I have is the ability to see students grow and develop both as musicians and young adults over their high school career. Although the nature and degree of the individual student’s development can vary greatly, few students go through their high school band experiences without some level of change. Generally this manifests itself as a change in attitude or

School Band and Orchestra • December 2012

commitment level about their musicianship, but it can also be the emergence of a student as a leader or role model within the program. This development can take a great deal of patience – in many instances several years – before a student’s true place within the program is obvious both to him or herself and to me. I have had many examples of students who I did not consider to be very committed to the program prove me wrong and become invaluable to our success. My greatest lesson I have learned is to not underestimate or give up on students because you can never know for sure what they will become and it is always well worth the wait!

NEW JERSEY

Ben Schwartz Elizabeth High School Elizabeth Years at School: 7 Total Years Teaching: 9 Instrumental Music Students: 140 Teaching Philosophy: As an instrumental music teacher, I focus on demonstrating to students that learning to perform a piece of music resembles basic problem solving. By teaching students how to ask the right questions, they learn how to solve the problem, or play the piece. Some of the basic questions I encourage them to ask themselves are, “Am I playing the rhythms correctly?”, “Am I playing the correct notes?”, “Am I blending my sound with the person or people who are near me?” This usually leads to success, especially after they see the results for the first time. In terms of my philosophy, I am an avid believer that hard work and persistence go much further than your final grade in my classes. For example, students can practice scales tirelessly and correctly, yet not perform them well in front of the

Who Make a Difference

teacher for a classroom grade. Consequently, the students still learned how to play their scales, while demanding more from themselves. As a result, they became stronger, more proficient musicians. Affecting Student Development: I hope my students understand that music exists anywhere and everywhere they will ever go for the rest of their lives, and this is the main reason why it is so important to learn. I also think it’s crucial to teach them about music from the past, whether it was 20 years ago, or 350 years ago. It is also with great hope that my students can identify specific musical artists by ear, identify styles of music, and know the background on any music, such as who performed it, composed it, etc. It’s my firm belief that knowing this information is crucial in helping students become well-rounded intellectual members of society. Most Important Lesson Learned: I think the most important thing I have learned so far in my teaching career is that there is no such thing as a typical student. The methods that work to educate some will certainly not work for others and vice versa. You always have to be prepared and attempt to try new things in order to get all students on the same path and really understand where you are coming from. They need to know why the message you are trying to convey is so important.

NEW MEXICO

Donna Schmidt Desert Ridge Middle School Albuquerque Years at School: 16 Total Years Teaching: 20 Instrumental Music Students: 220 Teaching Philosophy: My basic belief and guiding principle is that I first and foremost teach children. I strive to teach children to love music and mu54

sic making, and my emphasis has always been centered on each child in my classroom. How can I best reach him or her? How can I discover a child’s unique relationship to music and build upon it? These questions guide my daily instruction. Affecting Student Development: I hope to show them that music is a part of a well-balanced life, and an excellent way to spend their leisure, whether it be listening to music, performing, composing or attending concerts. In short, I want my students to love music. I know that for many of my students, my program could be their only experience in a school ensemble. I want to be sure that that experience is meaningful and memorable. Most Important Lesson Learned: I have learned that middle school students are the wackiest, weirdest, and most wonderful creatures in the universe, and that I am so lucky to be able to teach them every day of my professional life.

NEW YORK Chris Rand

Dover Jr/Sr High School Dover Plains Years at School: 27 Total Years Teaching: 30 Instrumental Music Students: 250 Teaching Philosophy: Learners of music can access concepts in different ways – various levels of knowledge, motor skills and/or the sheer love music all are in the mix. I believe my job is differentiating which the learner has a propensity for and building on that. Instructing “cookie cutter” is not my style. Affecting Student Development: Total mastery is essential in music performance. It is then that you can fire up those higher level skills that make music’s magic happen. A test grade of 90 percent might be considered outstanding in math, but

School Band and Orchestra • December 2012

when performing music it’s remarkably deficient. Most music teachers work toward this idea; I obsess on how to relate it to my students so it’s the norm. Most Important Lesson Learned: When I began my teaching career, a mentor of mine counseled me that it was essential to go where the school administration placed music on the same level as other academic classes. I did. It works – through the various incarnations of administrators over the years, music is still on solid ground (knock on wood). But I have also learned that strong parental involvement is paramount to the success of the individual student and music ensembles. I have been fortunate in Dover in that my parent booster program, administration, and staff acknowledge music’s educational value.

NORTH CAROLINA Jerry Markoch

Athens Drive High School Raleigh Years at School: 19 Total Years Teaching: 27 Instrumental Music Students: 180 Teaching Philosophy: I want to create a healthy musical environment in our band where students love to perform music and feel respected and valued by their peers. In order for this to occur, our repertoire must be of the highest quality and the teaching must always be done in a positive manner. It is important that we spend time learning “life lessons,” as well as musical ones. When we are rehearsing, I enjoy teaching on the offensive; that is, I try to focus on the musical lessons in a given passage rather than on solely fixing problems or “chasing notes.” Affecting Student Development: I am passionate about everything I love, including my family, music,

teaching, LSU football, and golf. Above all, I want my students to find happiness as well. As Dr. Tim would say, “you are only worth what you give away…” Put another way, “You find happiness by giving to others.” From the first day of summer marching band, we teach our leaders to serve others before thinking of themselves. That attitude spreads throughout the band so that within weeks, the band is a very close family. I hope that my students will transfer the positive way in which we work in band to the way in which they will work in their chosen profession and with their family. Most Important Lesson Learned: “It is better to succeed with help than to fail alone.” This is a lesson I learned while student teaching and it is one which is applicable to a teacher at any stage of development. I am fortunate that our band boosters provide the means to hire local professional musicians to come to our school to work with our students for sectional rehearsals. I enjoy picking their brain as to what methodology they use to help students improve. I also enjoy bringing in other directors before an important performance. Frequently I learn more from these experiences than the actual contest/festival. Directors in our county often post questions online concerning literature, instrument manufacturers, and so on. I have found that most band directors enjoy helping each other. The bottom line is that as a teacher, you are first a lifelong learner – and you will never know it all!

that I am very fortunate to teach in a K-12 school of 110 students in Wing, North Dakota. By implementing the standards in Kindergarten, I am able to prepare students for a successful transition into band. When a student is in the 5th Grade they are able to

begin their individual band lessons. They already possess a wealth of Music Theory. Learning the fingerings and the technique of blowing the instrument comes quite easily. I research different method books to find a source that will lead my students to a successful, and

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NORTH DAKOTA

Jeanne Morrison Wing Public Schools Wing Years at School: 23 Total Years Teaching: 34 Instrumental Music Students: 43 Teaching Philosophy: My teaching philosophy is based on the fact

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Who Make a Difference

hopefully, close relationship with their instrument. Affecting Student Development: Student development is affected by their ability to take ownership. When we read a new piece of music I ask for students’ input. Is the grade level appropriate for our ability? Are there meter changes, key changes, difficult instrument registers, dynamics, interesting rhythm patterns, breathing challenges, and melodic flow in this selection? Is the piece interesting? Is this a good learning piece? By having the band take part in choosing good music, they want to rehearse the selection and are excited about the new techniques to be learned and other techniques to be reinforced. Most Important Lesson Learned: The most important lesson my teaching experience has taught me is respect. I have respect for my students, the music, my job, and myself. As an educator, I must possess these characteristics in order to instill the values of the music into the lives of my students. I love my job and my students. I tell them how important they are to me, how proud I am of them, and I hope this is all conveyed in my teaching. This rapport with the students can lead to great things. I have 65 percent of students in grades 5-12

involved in our band program. This also helps to carry over to my choral program.

OHIO

David Harbart Strongsville High School Strongsville Years at School: 25 Total Years Teaching: 27 Instrumental Music Students: 445 Teaching Philosophy: I feel that we need to teach the whole child, meaning that I don’t just teach music. I teach students important life skills that they can take with them long after high school. I like to teach the concepts in a practical manner and then go out and perform. Most of the time things go well. Sometimes they don’t, but I use it all as a teaching tool. Affecting Student Development: I would hope that I can affect students in a positive way towards music and being good citizens. I always tell my students that I care about what they do off of the stage or field as much as I do on it. When we are in uniform performing anywhere and even when we are not, I expect them to act like ladies and gentlemen at all times. Most Important Lesson Learned: After 28 years of teaching I think I have learned to be more patient and not

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School Band and Orchestra • December 2012

to sweat the small stuff. I used to lay awake at night with my mind constantly going over things to do or improve. I learned a lot from my teachers and colleagues about being organized but also about learning to delegate responsibilities.

OKLAHOMA

Adam Steuart Hennessey Schools Hennessey Years at School: 4 Total Years Teaching: 7 Instrumental Music Students: 70 Teaching Philosophy: I am flexible and able to adjust to my kids’ moods, temperaments, and needs on a day-today basis. I like the Chinese proverb, “Tell me and I’ll forget. Show me and I may remember. Involve me and I’ll understand.” When I stand in front of the classes and just verbally relay lesson content, [the students] definitely forget. When they are shown, they remember, but when you involve them and get “hands on” with a lesson, they understand and remember much better. When I have my students make a personal investment into their education, they take ownership in their program. All three are important to really retain the information, to hear it, see, and then do it to make it really stick with them. Affecting Student Development: I am teaching my students things that are helping to prepare them for their future, not just for “the test” or for the next competition, but for what is in the real world awaiting them following high school and college. It is my desire for students coming out of my program to be self-disciplined, self-controlled, respectful young adults as they move through middle school, into high school, and then into college and eventually the world.

Most Important Lesson Learned: It’s more than just me. It takes my students to believe in themselves and give their 110 percent. There are the parents who support their children and the program helping build it. There is my wife, my family, her family, my friends and their families, the administration – and the list goes on and on. It is a team effort to have a successful program. No director can do it all alone. I had a seasoned band director tell me in my student teaching to not be afraid to ask questions. My colleagues are important sources of information and have helped me getting past that “brick wall” on more than one occasion. It is also important to be able to determine what is important and what isn’t so important. I am learning to “bite my tongue” and decide which battles should be fought and which ones to just let go.

of music theory, music analysis, music history, as well as individual and ensemble performance skills. Students will do what you expect them to do. Expect the best. Affecting Student Development: Through various activities, ensem-

bles, experiences, challenges, and successes, I hope students come away with a strong work ethic, a lifelong love and appreciation for music, and an overall drive to get better and achieve the highest levels of excellence possible. I encourage students

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Todd Zimbelman West Salem High School Salem Years at School: 4 Total Years Teaching: 19 Instrumental Music Students: 240 Teaching Philosophy: I view students as accomplished learners. I view them leaving after graduation knowing everything I would want them to know about music and being a good person – this forms my curriculum and overall approach. I believe students can achieve the highest standards possible. However, when they start getting close to achieving the standards, we raise the bar. In the journey toward perceived perfection, we constantly try to improve and strive for excellence in everything we do. Every ensemble is important and I apply high standards to every performance situation. In the ensemble setting, I strive to teach components

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Who Make a Difference

to develop their outgoing personalities, self-confidence, expressive abilities, and creativeness. I want them to learn responsibility, determination, compassion, work ethic, communication, respect, cooperation, problem solving, perseverance, and elegance. My goal is that they become better people who can contribute to our complex society. Most Important Lesson Learned: What you put into it is what you get out of it. I apply this premise to teaching, but I also teach this to my students. If something is not working, look at yourself first.

PENNSYLVANIA Tom Elliott

Lower Merion High School Ardmore Years at School: 23 Total Years Teaching: 35 Instrumental Music Students: 180 Teaching Philosophy: Teaching a child what is beautiful by example can change their life. Let a child make mistakes but keep them moving forward. Teach them to listen to themselves, to others, and together. Focus first on what they do right, then show them what can be done to make it better. My personal educational philosophy is to be a role model for lifestyle, discipline, and skill, as well as to draw out of a student their potential as a lover of beauty through music. Affecting Student Development: When a child begins to love making their own music, it is good to teach them how to teach what they know. By mentoring, a child finds value in their music by sharing what they have learned. When a child learns three notes, they share what they know with a younger student. When the entire ensemble has this approach, music becomes a joyful experience in sharing with a desire to encourage each other. 58

Most Important Lesson Learned: I have learned just how little I know and that learning must be a life long experience.

RHODE ISLAND

Gregg R. Charest Exeter-West Greenwich Jr/Sr High School West Greenwich Years at School: 12 Total Years Teaching: 12 Instrumental Music Students: 200 Teaching Philosophy: I teach children, not music. This philosophy guides my work on a daily basis, and I try to meet each and every student exactly where they are in their development. I use humor to get their attention, and my own mastery of the material to communicate the breadth and artistry of each work we study. I live to teach, and I teach by these three rules: 1. Teach to instill the intrinsic value of music. 2. Teach and live with high sociological and moral values. 3. Explore new ideas. Affecting Student Development: I hope that I can inspire my students to continue on their music journey past high school and into adult life. I consider it the highest compliment to find out that one of my former students is still playing their instrument – that they are still so inspired by our art that they need to keep performing. I hope that all students leave the band room with a solid focus on the “big picture” issues in their own life, but understand how the arts, especially music, fits into their every day life. Most Important Lesson Learned: Perhaps the most important thing I’ve learned about my teaching (and it took the better part of a decade to realize this) is that I have so much more to learn. My ears keep developing, my methodology keeps improving, and my students keep me inspired to be curious about our musical world.

School Band and Orchestra • December 2012

SOUTH CAROLINA Edna Y. Grace Stratford High School Goose Creek Years at School: 16 Total Years Teaching: 32 Instrumental Music Students: 240 Teaching Philosophy: My experiences in the educational realm have taught me a plethora of things. These are the ones I reflect on most frequently: 1. We have a strong affinity for the subject we teach. 2. We usually feel our subject is the most important in our students’ lives. 3. We will fight to the finish for its existence. 4. Most students are not in love with our subject the way we are. 5. We need to be prepared for that so that we do not force them out with our disapproval (spoken or unspoken). 6. Discipline is the central aspect key to any subject. The teacher must work to teach students ways to discipline their minds to be receptive to listening, trying, learning, and utilizing that information. The bottom line brings us back to one of the founding principles of education – we teach students how to become good and productive citizens – and yes, that can and does happen through music! Affecting Student Development: As I look at the students I currently teach and those of the past, I hope that I have enhanced their ability to work cooperatively and diligently (doing it until it’s right and/or completed). I hope that they have learned to appreciate and respect diversity, and not just in music, but in people. I hope they have learned that there can be multiple ways to do something correctly. I hope they have learned to appreciate music to the point that they will play or be supporters of music for their lifetimes.

Most Important Lesson Learned: The most important lesson I have learned is that no matter how many ways I have learned to teach fundamental information, there will always be another that a student or colleague will teach me. If you teach, always be ready to embrace learning a new way or something new and be happy about it. If you can’t do this, please do not spread your unhappiness to others.

SOUTH DAKOTA Renita Dose

Lennox Middle School Lennox Years at School: 33 Total Years Teaching: 35 Instrumental Music Students: 129 Teaching Philosophy: My teaching methodology is largely based on teaching fundamentals, both in private lessons and the performance group setting. I spend a large portion of my teaching time on the fundamentals of sound production, proper breathing, and correct embouchures. Other aspects of playing such as rhythm, articulation, technique, and musicality will fall into place if the proper tone is achieved. I strive to keep a comprehensive approach to my teaching, incorporating music history and theory. Although it is difficult to achieve, I try to keep a balance between the content standards of performing, creating, reading, listening, and understanding music’s relationship to society. I also like to keep the students actively involved in the learning process by discussion and evaluation of our rehearsals and performances. I encourage individual playing in the younger group setting (fifth and sixth), so that they develop self-confidence in playing for an audience and develop listening/evaluating skills while they listen to others. I like to incorporate writing assignments or quizzes peri-

odically to keep students listening and accountable. When other teachers are teaching theme units, I try to incorporate related material in band as well, so that students see the correlation between subject areas. My personal educational philosophy revolves around teaching the value of hard work, commitment and self-discipline. Although striving for excellence through intense rehearsals is very important, my top goal is for students to develop a sense of pride in their accomplishments and have an emotional, aesthetic experience through the creation and appreciation of music. I hope that they develop a life-long love for music. I believe that the role music will play in students’ lives depends on the level of achievement they attain as young musicians. Affecting Student Development: I hope that students will learn the value of self-discipline and hard work in my class. I hope that they will develop self-confidence in playing and sharing ideas in front of others, which will carry through in other aspects of their lives. I hope to instill in my students a sense of pride and passion in what they do. I hope that music will affect their souls and spirits, so that they are happier, more productive people in all areas of their lives. Most Important Lesson Learned: I have learned that it is important to have high expectations of all students. Every student, no matter what his/her intelligence and ability level is, has something to contribute to the group personally and musically. I have found that having high expectations of the lower level learners has amazing results. It is easy as educators to let these students slide; often they aren’t expected to achieve excellence. Being able to perform successfully instills a sense of pride and belonging in these students, which they may not feel in other areas of their lives. When students feel good about themselves, it affects the morale of the entire group. School Band and Orchestra • December 2012

Who Make a Difference

TENNESSEE

TEXAS

UTAH

Elizabethton High School Elizabethton Years at School: 22 Total Years Teaching: 35 Instrumental Music Students: 133 Teaching Philosophy: Legend has it that Michelangelo was asked how he was able to carve the statue of David. His reply was simple and direct, “I simply removed all the stone that wasn’t David and there it was.” That, in a nutshell, is how I teach. I have in my mind what I want to accomplish musically and I take away all the sounds that simply do no fit and in the end, the music is there to be enjoyed. I believe that the students want to be challenged, but they must have a personal ownership of the end product. I try to make them feel that what we are doing will change their lives. I believe in my subject matter and, in my opinion, that is the secret to teaching. Affecting Student Development: We strive in our program to teach our students to become complete individuals. We discuss self-motivation and self-discipline being the only ways to excel in one’s life. A student needs to be able to complete the coursework demanded by our school, but the art programs prepare them to learn these important academics. What we try to do is to develop workers, thinkers, and leaders. Most Important Lesson Learned: When I started teaching I was confident that I knew everything. What I have learned so far is that now I’m confident that I know precious little. I discover new things every day from everyone I meet, thus I try to keep my eyes and ears open so I do not miss the next important thing!

North Lamar High School Paris Years at School: 27 Total Years Teaching: 27 Instrumental Music Students: 400 Teaching Philosophy: I have such a passion to establish an environment within the North Lamar Band program that is as “safe and secure” as possible for students. By this I mean that those students who chose to be part of our program will find an organization that will become like a second family. In this “family,” there will be expectations, rules or boundaries, consequences of choices that they will make (both positive and negative), encouragement, the opportunity to fail while someone is there to catch them, positive fellowship, and most of all, they will be unconditionally loved. As we teach the students what our expectations will be, we begin to teach, demonstrate and help these young people learn that many times their own expectations fall far short of their abilities. Affecting Student Development: The goal of our staff is that when a student graduates, the skills, life lessons, work ethic and character traits that have been taught, discussed and applied through our organization will follow them throughout their life and make a positive impact on their life, family, and our society. Most Important Lesson Learned: The most important lesson that I have learned is to have patience with each student and to love them all unconditionally. There are so many issues that students are facing today and so much burden that too many students have to carry in today’s society. If we can provide a place where a student can feel secure and be successful, then hopefully we have helped a young person become a positive and productive member of our society.

Park City High School Park City Years at School: 18 Total Years Teaching: 18 Instrumental Music Students: 240 Teaching Philosophy: I hope to help my students develop a life long pursuit of excellence by challenging them with quality literature. I try to make my students as successful as they can be, so they can take that experience and apply it to other facets of their lives. I hope that through the challenges they face in music they learn how to be team members as well as leaders. I want them to understand that music continues after high school, even if they don’t make it a profession. They can become members of community ensembles, local pit orchestras, play in churches, or just be great audience members. We try to offer the students as many different musical opportunities that we can to get them ready for music after high school. Affecting Student Development: I hope that students take from my music classes a sense of accomplishing something, and not just doing something. Too many students go through the motions in school, thinking, “What do I need to do to pass?” I want students to reach beyond the minimum requirements, not just in music, but in all that they do. I hope that they have gained problem solving skills that they can apply in other areas of their lives. Most Important Lesson Learned: Don’t ever tell the students that it is hard. Most of the limitations that we put on our students come from us. Students (and teachers) need to understand that they will never know it all. Music is a life-long journey; I am still learning as much as my students are.

Perry Elliott

Randy Jones

School Band and Orchestra • December 2012

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VERMONT

VIRGINIA

South Burlington High School South Burlington Years at School: 14 Total Years Teaching: 18 Instrumental Music Students: 202 Teaching Philosophy: Each student in my classroom has strengths as well as areas of challenge. I encourage my students to work hard with their own strengths and weaknesses and not compare themselves to the folks sitting around them. I also encourage them to take risks. It’s okay to make mistakes – in fact, it’s great to make mistakes – that’s how we learn! As long as they work hard and don’t give up, they will continue to grow as musicians. That’s actually a great philosophy for life in general! Affecting Student Development: I truly hope that I teach my students that with effort, energy and enthusiasm, great things can be achieved. I hope that they learn a love of music and they look back on their time in the South Burlington Band as rewarding and enjoyable. Most Important Lesson Learned: I try to remember who I’m teaching and what it’s really about and not get caught up in the “product.” It’s all about the students. My students are amazing people: smart, funny, and talented, and they really just want to have great time learning about music and playing their instruments. Most of them are not going to be music majors and many of them will not even play after high school, but while they are in high school, despite the fact that their class schedules are packed, they choose to sign up for band. My greatest joy as a teacher is that my students keep coming back, keep practicing, and continue to love making music together.

Grafton High School Yorktown Years at School: 17 Total Years Teaching: 18 Instrumental Music Students: 300 Teaching Philosophy: My teaching methodology revolves around simplifying things to the lowest level and adding layers as the students’ progress. We have really started to stress counting as the most basic of levels. The other thing that is really stressed is tone quality. If you can’t play it with a good tone, then who really wants to listen if your notes are rhythms are right? My personal education philosophy is that we are here to teach students, and the student is what is most important. I always try to think of that first and foremost, and balance that with holding students accountable for their playing and actions within the band and band class.

Christina Toner

Darren Kirsch

Affecting Student Development: To be honest, I hope my students leave the program after four years with an understanding and appreciation of music that will follow them through their adult lives. The other things that band teaches – such as time management, teamwork, goal setting, hard work, and discipline – are the traits that all students will benefit from in whatever career paths that they choose. Most Important Lesson Learned: The most important lesson is that hard work… works. You can be the best teacher in the world, but if your students do not meet you in the middle with their practice and preparation, you will not achieve your goals and the band will suffer.

WASHINGTON Jake Bergevin Edmonds-Woodway High School Edmonds Years at School: 13 Total Years Teaching: 20 Instrumental Music Students: 225 Teaching Philosophy: I have high ex-

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School Band and Orchestra • December 2012

Who Make a Difference

pectations for music and citizenship. I believe that being a musician is an honor and an obligation to use your skills for the benefit of the school and community. It should be fun and challenging for the musicians and enjoyable for the audiences. Affecting Student Development: I want them to love music, each other, and me! This doesn’t always happen. The teen years are pretty important and students need a place to belong. I had a great teacher in jr. high and high school named Gary Evans. He made us feel important and special. We’re still great friends. Hopefully the success my students experience in band will build their self-worth, making them able to transfer success to other areas of interest and grow up as self-confident members of society. Most Important Lesson Learned: Music and teaching are both pretty demanding. They will take every bit of energy you can give them and still ask for more. I recommend to young teachers to fight the urge to have too many good ideas. Once you start something, it’s difficult to stop.

WEST VIRGINIA Greg James

Richwood High School Richwood

Years at School: 37 Total Years Teaching: 37 Instrumental Music Students: 260 Teaching Philosophy: I try to teach my students that their level of success is directly related to the amount of effort they are willing to put forth. All students can be successful, especially in music; but some may need to work a little bit harder than others. Those who are willing to work the hardest will eventually experience the greatest levels of success. My students know that anything short of success is unacceptable in our music program – the bar is very high. Since we are a small rural school with several economically disadvantaged students, I try to make sure that the band students have the same opportunities available as their counterparts who attend larger, wealthier schools. We travel extensively, participating in parades and festivals that would usually not be accessible to schools our size. We’ve been to the Kentucky Derby, the Indy 500, Macy’s, not to mention pretty much every theme park in the eastern U.S. and Canada. As a school with under 400 students, we often find ourselves in the role of David facing Goliath. Affecting Student Development:

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School Band and Orchestra • December 2012

Over the years, I have had several graduates who have gone on to participate in band at the college level; and there are many of my former students who have had great success in the field of music. However, the majority of my students will never pick up an instrument again after graduating from high school. My goal is that every student develops into a responsible, independent human being with the skills needed to interact in society. By participating in the arts, students learn how to problem solve, how to cope, how to celebrate, rationalize, and think logically. It’s not about how to play notes, it’s about how to live. Most Important Lesson Learned: Over the years, I have found that kids have a basic innate desire for structure. Although what we do in my classroom may sometimes appear to be disorganized, there is a rhyme and reason to everything. Nothing happens without planning. My students know what to expect and can usually predict what’s going to happen next. They’ve come to appreciate that – it’s just the way we do things in band. Everything has a proper place, every activity has a scheduled time, and every student has assigned expectations.

WISCONSIN

Connie Root Hudson Middle School Hudson Years at School: 29 Total Years Teaching: 35 Instrumental Music Students: 340 Teaching Philosophy: Our music department has always used guidelines for assessing student growth and achievement. Due to the recent emphasis on strategies, assessment, and accountability, our students have been given more defined and detailed goals, strategies, and assessments.

Students know what is expected of them, and are learning strategies to accomplish or improve upon music fundamentals such as: posture, tone, preparation, theory, articulation, and technique. Our music staff has created a rubric for students and parents to follow (accessible on our individual class pages) and we assess each lesson and performance using this rubric. My personal educational philosophy is that arts education is fundamental to teaching the whole child and that every student should have the opportunity to participate in the arts in their school and community. Affecting Student Development: Over the years I have always made it clear to students, fellow staff members, parents, and administrators that we teach so much more than music fundamentals and performance to our students. Being involved in music develops skills that will be with them their entire lives. Students are allowed to be creative, think “out of the box,” and to be expressive. Music education allows students to work as a team, and to develop personal strengths through self-discipline, poise, and public performance. Music education prepares students for life! Most Important Lesson Learned: Never stop learning and growing within the profession. Seize every opportunity to network with colleagues at all grade levels, always strive for personal growth by attending meetings and seminars, taking coursework, attending music festivals, arranging for guest clinicians, adjudicating, and being involved with local and state honors organizations. Establish personal and professional relationships with fellow educators that put students first. Share your ideas with others. Ask your colleagues to share their great teaching strategies, literature, and innovative technology ideas with you. I’ve officially reached retirement age, but am not quite ready to retire – I still

have more to learn and to share with my students and colleagues!

WYOMING

Michele Lazarus Central high School Cheyenne Years at School: 11 Total Years Teaching: 19 Instrumental Music Students: 96 Teaching Philosophy: I believe in strong teacher-student relationships. I want my students to know that I care about their school and personal success and that they can depend on me to help them. I strive to provide them with opportunities to succeed. Affecting Student Development: I encourage my students to audition and perform for as many different events as possible. Each new experience gives them a higher level of confidence for both music and life. Most Important Lesson Learned: Being a part of a musical group provides all students with a place to belong, goals to believe in, and the satisfaction of achieving success.

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Guest Editorial: Teaching Musicology

Musicology in the Ensemble Setting:

Tools for Connecting to the Common Core and Traditional Classroom Evaluation Models By Kenneth Dale Disney

he eighth and ninth national standards of music education call for the development of relationships between music and other disciplines, and the fostering of understand-

ing music “in relation to history and culture.” Music professionals often assume that our methods of achieving these goals are understood, but such an assumption is dangerous in the modern educational environment. Pressure for lean budgets, focus on test scores and data, and new evaluation methods that lean heavily toward traditional classroom methods have made music programs a tertiary concern for administrators, who feel pressured to meet federal and state benchmarks. The latest example, the common core curriculum, reemphasizes a universal focus on math and English skills. While this is a desirable goal, the initiative ultimately places even more accountability for growth in tested areas upon the shoulders of all teachers, including music specialists.

School Band and Orchestra • December 2012

What Musicology Adds to the Ensemble Classroom The first questions for any addition to the classroom usually are: “What will my students gain, and what does it require?” The precious commodity of

“Musicology, rather than acting as an additional burden, builds on many aspects typical to most rehearsals.” terdisciplinary connections should instead focus growing awareness of these quotidian occurrences. In a practical sense, musicology can become involved any time a director address the Ws (who, what, when, where, why). Knowledge of a musical period, the characteristics of a style or form, and information about the creation of a piece represent just a few tools directors employ that stem, whether one is aware of it or not, from research done in the fields of music history, theory, and criticism. Why do directors do this? The answer: students will feel more invested in performing music after understanding its context. This includes information about historical figures, events, or literary works surrounding the creation of the music. How much more approachable does Beethoven’s “9th Symphony” become to teenagers after learning about the composer’s deafness or his struggles with society? Considering such extra-musical contexts gives the student tools necessary for understanding a conductor’s stylistic interpretation, and provides the groundwork for future personal creative endeavors.

Implementation Directors who consider musicology valuable, and who recognize its importance to adhering to trends in education, may still feel afraid of sacrificing performance standards. This legitimate concern has hopefully been

The setup of instruments and equipment remains a common aspect of most ensembles. It also provides an excellent time for directors to introduce musical vocabulary, concepts, symbols, or historical figures. Every day, give a short lecture on a concept or person important to music. This might be called the “word/person of the day.” More complex concepts, such as sonata form, could become the “word of the week,” with different sections receiving a focus each day. Rather than chatting, wandering around, or otherwise wasting time, expect students to absorb the daily mini-lesson while quietly assembling instruments. Expect the class to answer one or two questions at the end, which will directly lead into warm-ups. Alternatively, listening examples may be used to introduce composers, and especially forms. However, this should only occur after establishing the daily mini-lessons, and making sure students understand the director’s expectations regarding behavior. Otherwise, students will attempt to talk over the music, and generally ignore it in favor of chatting with friends. In addition to the word/person of the day, create five-minute blocks for critical thinking once or twice a week, focused on relevant discussion about musical topics. This enforces music vocabulary and provides practice for the high-level questions encountered

School Band and Orchestra • December 2012

on college applications, writing tests, and music school entrance exams. Schedule critical thinking segments on days with after-school activities, such as rehearsals or performances. It is assumed by the author that a small break from playing becomes likely on these days, due to the increased burden on players’ chops. Instead of totally losing focus during the break, students will instead answer a high-order question, participate in discussion, or complete a simple writing prompt. It is useful if the question derives from the “word of the day” terms, or especially from the repertoire used for performance, but this does not represent a strict rule. Other possible topics include comparing and contrasting two pieces of music or two different forms, speculating on the composer’s inspiration for a piece of music, or arguing for the most appropriate interpretation of a passage. Again, deriving these questions from the class’s repertoire will create the most benefit for students and directors.

In perhaps its most useful and nonobstructive manifestation, musicology provides an answer to increasingly prevalent “dead days” in the music classroom. These are periods in the school year where students cannot perform on instruments. They happen for a variety of reasons – a test given next door, students removed from class for a presentation on four-wheeler safety, an important meeting scheduled in the band room, and so on. Regardless of the reason, dead days are the antithesis of efficiency, often leading to students watching a loosely connected musical film, or just listlessly searching for something to ease their boredom. Directors can, however, turn any dead day into “musicology day.” Students, at first, may rebel against the idea of doing “real work” instead of vegging out to a movie. Regain student interest by making the activities worth their time; relevance and rigor are not merely buzzwords. A “musicology day” should be no different than the other activities proposed, utilizing activities and concepts coming from music currently being played. Music composition can easily become the archetypal dead day activity. Of course, this best fits a “music theory” heading, and supports national standard four more than the ones focused on in this article. For our purposes, though, we will assume that other factors make their way into a composition lesson, such as historical context, composer biography, or knowledge of form. Assign an approximate number of measures to be written fitting a form derived from repertoire, and have students explain how what they compose matches the assigned form. Advanced students may strive for a longer composition or use more instruments. Perform the most characteristic examples composed in class, even (if you are daring) at the next concert. Not all students, of course, will love this idea, or any other. As a music professional, however, you have to ask whether you feel more comfortable writing a lesson plan like the one above, or one that reads “watch a movie.” What if it the dead day coincides with an unscheduled evaluation? Even a class-related movie will not go over well if used

School Band and Orchestra • December 2012

for the whole period without some sort of effort on the part of students. Finally, keep record of all the daily terms, five-minute discussion topics, and relevant activities used in class, and put any handouts or performances viewed (use of technology!) in a file. This file will serve as documentation of your support of reading comprehension skills, critical thinking, differentiated learning, school goals, and more. It also protects you if anyone questions your use of a movie, or if a student contests that his grade derives from something non-musical in music class. Do not skip the step of making this file – all the effort to conform to common core, and to include national standards eight and nine, can easily to go waste if no proof exists that a director did his or her job!

Conclusion Critical thinking, collaboration, and universal standards are quickly becoming benchmarks by which all teachers are measured. Musicological methods, and a willingness to try new things, allow the music professional to stand with principals and school boards in the face of increased scrutiny regarding the common core, and any other evaluation model that relies on “traditional” classrooms. This does not mean decreasing performance standards, but instead recognizing musicology’s current presence in the ensemble rehearsal, and planning to use it to the greatest advantage possible. Dale Disney is music and art coordinator for Claiborne County Schools, Tenn,, where he leads a performing arts program consisting of marching band, concert band, pep band, percussion ensemble, and winterguard. He also acts as percussion instructor for Lincoln Memorial University’s music program, where he teaches applied percussion, percussion methods, and assists with the university pep band. Mr. Disney is an active percussionist in the East Tennessee region, where he performs with community bands, church ensembles, and as a soloist. He has appeared playing percussion on two recordings with the TTU Symphony Band - Slide Ride: Works for Solo Trombone and Band, and Tennessee Tech Pride. He can also be heard on local television and radio stations performing with the Big Orange Banditos brass band.

New Products Roland BK-3 Backing Keyboard

Completely self contained, the BK-3 features a 61note keyboard, a global array of intelligent music and rhythm accompaniments, and a built-in stereo sound system. Master programmers from around the world have created special rhythms for the BK-3, putting a wide range of colorful, authentic music under the user’s fingertips. The BK-3 is outfitted with a top-level Roland sound engine (compatible with GM2, GS, and XG Lite formats), which provides over 800 sounds and dozens of drum and percussion kits to choose from. An intuitive front panel makes navigation easy, with clearly labeled buttons, dedicated controls, and a LCD display. Users can play a variety of external backing formats via convenient USB memory, including WAV and MP3 audio, SMF, and Roland rhythms (BK, E, G, and VA series). The playback tempo can easily be adjusted with all formats, including audio. A Center Cancel function reduces the volume of vocals in commercial WAV/MP3 audio files, ideal for karaoke singing and minus-one playing. It’s also easy for players to record their performances directly to USB memory. The BK-3 is compatible with Roland Wireless Connect, which allows users to communicate with an Apple iPhone or iPad over a wireless network via the optional WNA1100-RL Wireless USB Adapter. The free app for iPhone/iPad offers fun and useful integration with the BK-3, including Air Recorder, music sharing on social networks, and a lyrics display for SMF songs (with embedded lyrics) played on the BK-3. The BK-3 comes in two different finishes: black (BK-3-BK) and white (BK-3-WH).

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Conn-Selmer Model 32 and Model 42 Saxophones

Conn-Selmer and Selmer Paris recently announced a collaboration project for two new saxophone models. The model 32 combines the affordability of current Selmer intermediate saxophones with the performance of a Selmer Paris professional instrument through the inclusion of a Selmer Paris custom designed and built neck and mouthpiece. This saxophone will give students moving to their first “step-up” an instrument that sounds and performs like instruments at a much higher price. The model 42 combines the features of the model 32 with an upgraded engraving pattern drawing on the recognizable French fleur-de-lis, an upgraded Trek Bam Case, and the option of either lacquer or black lacquer finish. This saxophone also includes ribbed construction, blue steel springs and an enhanced acoustic design that gives the low register of the instrument a more balanced intonation.

Audio-Technica System 10 Digital Wireless System

Audio-Technica’s new high-fidelity System 10 2.4 GHz Digital Wireless is designed for a wide range of applications – houses of worship, singers and guitar players (hobbyist to professional), karaoke, corporate/presentation, and more. Operating in the 2.4 GHz range, immune to TV and DTV interference, System 10 makes frequency hunting a thing of the past. System 10 offers accurate sound and easy operation with instantaneous channel selection, sync and set-up. Up to eight channels may be used together without any frequency coordination problems or group selection issues. System 10 receivers and transmitters offer an easy-to-read digital ID display. System 10 wireless ensures clear communications by providing three levels of diversity assurance: frequency, time, and space. Frequency Diversity sends the signal on two dy-

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School Band and Orchestra • December 2012

New Products

The Century Project: 100 Years of American Music From Behind the Drums (1865-1965) from Alfred

D r u m C h a n n e l ’s The Century Project two-DVD set takes viewers on a journey through 100 years of music history, revealing a side of the drums rarely seen. The Century Project traces the story of the drumset from its inception at the end of the Civil War (1865) to the dawn of the British Invasion (1965). To bring these musical eras to life, the presentation incorporates eleven stunning vintage drumsets, hundreds of rare product, and vintage catalog shots. Performances from an all-star band are also included, featuring members of Royal Crown Revue, the Brian Setzer Orchestra, the Conan O’Brien house band, and Bette Midler’s “Kiss My Brass” Revue. Throughout the lecture-performance, Daniel introduces and demonstrates a variety of classic styles and

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Buzz to Brilliance from Oxford Press

Buzz to Brilliance is designed as a useful companion for the beginning and intermediate trumpet student. International orchestral musician Adrian Griffin leads the student along the full journey, from the moment they first open their trumpet case to years later as they prepare for college-level auditions. Built to pair easily with any beginning method book, Buzz to Brilliance is packed with important information on basic to more advanced technique, and practical tips for buying a new trumpet, selecting a mouthpiece, creating a practice schedule, adjusting to braces, participating in the school marching band, and more. Chapters on practice skills, sight-reading, and performing are must-reads for the developing musician. The book offers an all-inclusive set of scales and technique-building exercises that address breathing, high range, pedal tones, lip slurs, accuracy, and articulation. Drawings, diagrams, and photos invite th student into each lesson and make advanced concepts easy to understand.

resources and insights for saxophonists. At the site, serious saxophone students and their teachers can access organizations that define the classical saxophone performance genre, publications discussing some of America’s most prestigious saxophone teachers, and teacher’s guides to several legendary works for saxophone. Among the resources are previously unpublished Teacher’s Guides to the interpretation of four major works from Creston, Glazunov, Heiden, and Ibert. During the ensuing years since its composition, each of these works has begun to acquire a “performing tradition.” Liley has captured the common interpretative practices of each within these guides, which are available free of charge. The site also includes many other pedagogical resources, including information on building technique, improving one’s sound, and establishing vibrato. Liley’s personal career is also highlighted, including video selections from recent performances and a listing of compositions written for him. Links to organizations and publications abound throughout the site and a calendar of events showcases Liley’s upcoming appearances. www.thomas-liley.com

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techniques, including double drumming, ragtime, New Orleans jazz, Chicago jazz, classic swing, bebop, rhythm and blues, and early rock ‘n’ roll. He also discusses how the drums evolved hand-in-hand with American pop music, and how legendary drummers from Baby Dodds to Gene Krupa to Earl Palmer carved out a blueprint that drummers continue to follow today.

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namically allocated frequencies for interference-free communication. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Finally, Space Diversity uses two antennas on each transmitter and receiver to maximize signal integrity. The single-channel System 10 includes the ATW-R1100 single-channel receiver and either a body-pack transmitter or handheld microphone/transmitter. The ATWR1100 is a diversity digital receiver offering volume control along with AF Peak and Pair indicator lights. Multiple system configurations are available, with handheld vocal microphone/transmitters and UniPak® body-pack transmitters designed for use with lavalier, headworn and instrument microphones as well as electric guitars.

Thomas Liley Website Highlights Free Teacher’s Guides to Major Works

Saxophone performer, clinician, and historian Thomas Liley has recently launched a website that provides unique

School Band and Orchestra • December 2012

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Submit your PLAYING TIP online at www.sbomagazine.com or e-mail it to editor Eliahu Sussman at esussman@symphonypublishing.com. Winning entries will be published in School Band and Orchestra Magazine and contributor will receive a prize gift compliments of EPN Travel Services, Inc.

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