|
|
|
Workshop/
| Educational Articles Below are descriptions of articles that have appeared in the Marshall Music newsletter. Click on the title to link to the article. Inspire Not Require Societal behavior has changed over the past thirty years. Requiring students to engage in activities outside of the full ensemble and to practice is alien to the way we function as a society today. The autocratic methods of Arturo Toscanini, Herbert von Karian and Bobby Knight, have been replaced by the nurturing leadership styles of Neme Jarvi, Leonard Slatkin and Coach Krzyzewski. Few students or adults will accept edicts from the podium to satisfy the wants of a conductor. They need to want to fulfill their individual needs. Intimidation is out, motivation is in. Instrument Maintenance Instrument maintenance is not something that has a high priority for most students. As long as they are getting a sound out of the instrument everything is okay. If they can’t play a certain note they just chalk it up to their own inabilities, or live with it becoming frustrated and, possibly, eventually quitting. The trombone player that can’t play a scale in eighth notes because the slide is so pitted or hasn’t been lubricated in weeks just decides to get by the best he/she can. Spring Recruiting: enrollment, instrumentation and retention A consequence of spring recruiting is signing students up in the spring for a band or string class that does not start until the fall. This presents two major challenges.
Lessons from the Music Man, Prof. Harold Hill Professor Harold Hill of Music Man fame may not have been able to find middle C on the piano but he certainly offers great insight into the business side of the music education world. Let’s not fool ourselves, music to the educator or the performer may be all about artistic expression, but to get people in the seats they need to be sold, whether they are in the school music classroom, the concert hall or supporters of music.
Micing a Jazz Band Microphone selection and placement for a jazz ensemble can greatly enhance the group’s presentation. Here are a few basic suggestions to guide you in the placement and selection of equipment.
Classroom Environment: Fire-Aim-Ready or Ready-Aim-Fire A significant aspect of a successful educational experience is the psychological impression on the student. A quick tour of the school buildings offers great insight into the importance of the classroom environment. As one travels the halls of the elementary it is obvious what classroom you would like to have your children in. There are those rooms that are vibrant, inviting and seem to be already teaching at full speed ahead. These kinds of rooms inspire students to be active learners and send the message, “Hold on we’re going somewhere.” The Good News for Music and Advocacy A recent Gallop Poll commissioned by NAMM (National Association of Music Merchants) offers great news for music educators across the globe but especially for the U.S., music making is on the rise. The survey includes all segments of music making from grand pianos, guitars and D.J. gear to violins and guitars. A closer look at the results of the 2006 Music USA: NAMM Global Report reveals very positive attitudes and trends regarding music making.
Preparing for a Successful Festival Experience When I speak of a successful festival experience I am not necessarily referring to a First Division rating. Granted a great rating is a worthwhile outcome but it is only the cherry on top of the sundae that is the festival experience. Even without it the sundae is very enjoyable. The real value of festival participation is the opportunity for growth. Students receive affirmation of the skills they have acquired and advice as to how they can enhance and expand their talents from respected educator/adjudicators. They also have the opportunity to hear other ensembles similar to theirs perform.
Ensemble Part Assignments One of the main obstacles to a wonderful performance by an ensemble is the lack of clarity in the inner voices. How many times have you heard an adjudicator mention problems with poor intonation, inaccurate movement or a complete lack of presence of the inner voices? Group seating has worked well in the ensembles I have taught from beginners through adult ensembles. Everyone’s attitude improves and the overall ensemble clarity is greatly enhanced. The fuller sonority of the inner voices provides richer and more vivid tonal coloring and nuanced performance.
Eight Weeks to a Better Ensemble The claims of an improved ensemble in eight weeks certainly sounds like an infomercial for the next weight loss scheme or piece of exercise equipment that will give you that Hollywood body in as little as six weeks. The fact is the vast majority of ensembles are two months away from these lofty claims. There are basic characteristics of successful ensembles that can produce marked improvement in eight weeks if they are diligently followed.
Beginning Instruments - Leasing or Rent-to-own Parenthood is a continuous series of new experiences that often create confusion as parents negotiate unfamiliar territory. Finding an instrument for their child is often one of those experiences. The decision to buy an instrument from a chain discount store or over the internet rather than getting one from an established music dealer is confusing for most adults. After all, a trumpet is a trumpet, a violin is a violin in the novice’s mind. If the decision is to secure the instrument from a music dealer another problem often presents itself as the parent shops for the best value, do they lease or rent? Musicality A successful performance is more than the right notes at the right time with good tone and intonation. That only reflects what came from the composer’s head. What comes from the composer’s sole is portrayed in the nuances of artistic interpretation of the symbols. That being said, one may ask, “Then how do we get young musicians to play musically?” Even though musical performance generally is an acquired skill that becomes intuitive over time there are specific performance practices that, if we make students aware, will unlock the mysteries of artful performance. Band Blast-Off Recruiting DVD Features Dallas Brass’ Deanna Swoboda “Band Blast Off” is a new and exciting band recruiting video on the market, featuring the former tubist for the Dallas Brass, Deanna Swoboda. The video is a fast paced MTV-like presentation emceed by Deanna and soloist/educator, Lance LaDuke and features interviews with middle school and high school band students. Deanna introduces students to the various elements of friendship, fun, and teamwork that a band program can provide. In addition to the student interviews, she shows off all of the instruments in the band, and provides a music quiz for the pre-beginning band student. The “Music Challenge Checkpoint” gives the student an opportunity to test their musical knowledge and ability with rhythm, higher/lower notes and melody. Improving Sight Reading Improves Performances To be a successful sight reader one must have developed the basic music making skills of tone, intonation, rhythmic stability and reading and technical proficiency to be able to focus on music making. Unfortunately, too often sight reading is not given the priority required to fully develop independent musicians. Ensemble directors are so focused on the upcoming performance they feel they don’t have time to devote to developing this skill in their students. Ironically, if their students were better sight readers directors would find they would have more time to work on the fine details of finesse that distinguishes a memorable performance from the one where the symbols on the page are adequately realized.
Spring Recruiting - Start Now We need to take a long range view of recruiting. Think of it as a marathon not the hundred meter dash. The longer you get the message to the students and parents and in a variety of ways will enhance your beginning enrollment in the spring.
Marshall Music Company Dropout Survey The results of a survey of parents whose children discontinued band and orchestra within the first year and strategies to cope with the most sited reasons. Growing Healthy String Players: Professor Judy Palac offers strategies to help avoid physical discomforts associated with string playing. Addressing discount chain store and internet off-brand instruments The proliferation of discount chain and internet inferior quality instruments is a growing concern. This article offers one educator’s “Consumer Guide” to Off-brand Instrument Hazards. Beginning Band and Orchestra, the roots of a successful program Celebrating MENC’s March is Music In Our Schools Month March is music’s chance to be in the spotlight in our schools. Winter sports are winding down and spring sports are just starting. Except for a few state athletic competitions there is little going on with our schools’ athletic calendars? Music programs across the state are at the height of their preparations for district band, orchestra and choir festivals and many students are preparing for state solo and ensemble festivals. March is music’s turn to take center stage in our schools.
Developing Better Musicians Through Curriculum Design A successful music program is based on a carefully designed curriculum that develops the musical skills necessary to help our students to become independent musicians. Chicago Symphony Orchestra’s, Gene Pokorny, pays tribute to music educators Chicago Symphony Orchestra tuba player, Gene Pokorny, gave a wonderful welcome to the music educators in the audience. It was a heart warming reminder of the impact of music educators on students on our ties to the magnificent professional musicians of all genres. The Expressive Tool Kit As musician-teachers, performers, listeners; we live for “peak” musical experiences. Those in which we find heightened communication, technical freedom, emotional electricity and unified intent among the players. Indeed, we expect this level of artistry from professional soloists and ensembles. Considering our own students-band, orchestra, private studio-we probably often wonder how is this artistry best taught or learned? Can technically flawless but unemotional performers become truly expressive? At what age should we expect artistry from students? The Happy Classroom This past festival season I was reminded of one of those little pearls of wisdom, “Kids join band/orchestra because they like music, they stay in because they like the director”. Another of these pearls came from Ken Bloomquist, Director of Bands at Michigan State when I was a student, “Band directing is 10% talent and 90% personality.” Both of these are oversimplifications of the complexities of teaching but they do put the focus of successful teaching on its primary source, the teacher. Marketing = Recruiting + Retention Music educators face the same challenges that any business does in surviving in a competitive environment. Our customers are the students, parents, communities, faculty and administrators who we encounter each day. Competing with us for students’ time, parents’ and community dollars, and the value of music are a plethora of academic requirements and elective options, escalating educational costs amidst shrinking budgets, and a plea for more emphasis on academics to name a few. To complicate things, these issues are constantly being talked about in the news, and school board and PTO meetings giving them TOM status. Consequently, when budgets or curriculums are discussed these issues gain priority over non TOM products such as music education. Step-Up Night Featuring Marshall Music Festival Instruments The second through third year is a great time to have a step-up program. The child has progressed enough to realize the benefit of an instrument manufactured to standards similar to a professional model possessing better tone and intonation with some of the features of the professional models. A brand new instrument revitalizes the student’s interest and creates a stronger commitment from parent and student to stay in the ensemble longer.
From Carnegie Hall to the 50 yard line Approaching Concert and Marching Ensembles with the same “vision” The title of this article was inspired by a visit that Dr. William D. Revelli made to Michigan State University in April of 1994. Dr. Revelli spoke to my undergraduate conducting class and other music education majors at MSU. It was a special and memorable day. One of the students asked of Dr. Revelli’s days with the Michigan Marching Band and what “ensemble development” concepts he taught in the marching band environment. He replied with a definite expression of conviction on his face: “I don’t care if you’re in Carnegie Hall or on the 50 yard line, a C is a C, and in tune is in tune!” William D. Revelli (b. 2/12/1902 – d. 7/16/1994) John T. Madden, Associate Director of Bands and director of the Spartan Marching Band offers strategies to incorporate “concert hall concepts” in to the marching band.
Marshall’s Produces Band Pedagogical DVD & CD-ROM The Games We Play Tips to Build and Strengthen Administrative Support for Your Instrumental Music Program American String Workshop The “Humble” March Efficient Rehearsal Techniques, Part 2 Efficient Rehearsal Techniques, Part 3 Efficient Rehearsal Techniques, Part 4 Efficient Rehearsal Techniques: Creating Opportunities for Success by: Mitchell Robinson Ph.D. University of Connecticut Appointed Professor of Music Education Michigan State University for 2003 Dr. Robinson discusses the use of singing as one of the main criterion of the National Standards in music and strategies for implementation in the instrumental rehearsal and its benefits in the development of building independent, personal musicianship among students. Conductor / Artist in Residence Program Before You Place That Bid |
|
Copyright © 2007 [Marshall Music]. |
