JANUARY 2008 $5.00
Prince of Pops Conversations with the
Survey: Grant Writing Performance: Bass Trombone
Over the past twenty-five years, we have had the privilege of working with some of the most committed educators in the music field. The hard work, dedication and love of music we witness every year at our festivals is an inspiration to all. We look forward to providing another quality, year-end experience to our long- time participants and all the new music teachers and their students. Festivals of Music and Yamaha honor Sachem High School, Lake Ronkonkoma, NY for 25 years of participation. Every year since 1982, Festivals of Music has had the opportunity to host the Sachem High School Music Department at our events. Festivals of Music and the Yamaha Corporation presented a Yamaha grand piano to the school music department in recognition of their commitment to excellence. The Proud Recipients, from left to right: Dorie Downs, Orchestra Director; Joseph Cavalea, Retired Orchestra Director; Justin Comito, D.M.A., Chairperson, Secondary Music; Patricia Andriaccio, Chorus Director; Richard Cruz, Band Director; John Aleksak, Principal; Charles Murphy, Superintendent of Schools; Bradley Johnson, Administrative Assistant for Music and the Fine Arts.
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FROM THE TRENCHES: APPLE FOR MUSIC TEACHERS Bob Morrison excerpts text written by the late Apple programmer Jef Raskin — who, among his many achievements, was responsible for naming his company’s computers “Mac”s — on the pivotal role music plays in education and the cultivation of young minds.
UPFRONT Q&A: RICK YOUNG Yamaha’s Rick Young, also the chairman of the Music Achievement Council, speaks with SBO about MAC’s latest publication for music educators.
GUEST EDITORIAL: FIRST YEAR REFLECTIONS SBO contributor Joe Hanson reflects upon his recently completed rookie year of teaching and some of the vital lessons he learned.
UPCLOSE: ERICH KUNZEL SBO was delighted to have the chance to chat with Erich Kunzel – who is amongst the most successful Classical/Crossover recording artists of all time, one of the renowned conductors of his age, and the man once dubbed “the Prince of Pops” by the Chicago Tribune.
SURVEY: GRANT WRITING SBO appraises grant writing trends among music educators.
PERFORMANCE: BASS TROMBONE The University of Texas at El Paso’s Dr. Steve Wilson slides in some ideas for developing a great bass trombone sound and gaining control in the lower register.
TECHNOLOGY: INSTRUCTIONAL MATERIALS, PART 2
Columns 6 8 50 52
Perspective Headlines New Products
53 56 56
Classifieds Calendar Ad Index
Cover photo by Genadi Maslove, Cincinnati, Ohio.
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. Ride-along mail enclosed. 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 © 2007 by Symphony Publishing, LLC, all rights reserved. Printed in USA.
2 School Band and Orchestra, January 2008
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A Maestro’s Musical Journey
here have been far too few people in the classical world who have reached across the divide to popular music to make the orchestral sound accessible to a broad audience. One rare exception is the inimitable maestro Erich Kunzel of the Cincinnati Pops Orchestra, SBO’s featured guest artist this month. If you peruse the extraordinary list of recordings that Mr. Kunzel and the Pops have made with Telarc International, you will find a vast selection ranging from Aaron Copland’s A Lincoln Portrait, to Ibert’s Divertissement, to an album called Route 66: That Nelson Riddle Sound. One of my personal favorites is a recording he made in 1987 called Round Up, featuring music from a variety of famous Western movies. It includes a wonderful arrangement of Elmer Bernstein’s “Magnificent Seven,” and also Frankie Laine singing his signature song, “Rawhide!” The album, featuring sounds of horses galloping from one audio speaker to the next, a crackling campfire, and ricocheting gunshots, was one of the earlier examples of the digi“It is quite extraordi- tal sound technology we now take for granted. When nary how Mr. Kunzel heard through a quality audio system, the results are was able to take his truly spectacular. Although a broad portion of Mr. Kunzel’s recordunique experiences ings included primarily “pops”-oriented music, he can and fashion them certainly be noted for several critically acclaimed classiinto one of the most cal recordings, including his 2005 recording of Miklos significant conducting Rosza’s Three Choral Suites, Gershwin’s Piano Concerto careers of our time.” in F Major, and Symphonic Music by Howard Hanson, which was chosen as an Editor’s Choice by Gramophone magazine. This is a tribute to Erich’s great adaptability and resourcefulness. Kunzel has also received awards from Billboard as the “Classical Crossover Artist of the Year” for four years, the MacDowell Medal from the Cincinnati MacDowell Society, the Presidential Medal for Outstanding Leadership and Achievement from Dartmouth College, and numerous other important honors. Kunzel’s route to his stellar career was anything but linear. In his early years, he had a well-rounded exposure to music as he played piano, string bass, and timpani. However, he attended Dartmouth as a chemistry major and became a music major only by chance when a disagreement with a chemistry professor caused him to head for the small music department of three people. It is quite extraordinary how Mr. Kunzel was able to take his unique experiences and fashion them into one of the most significant conducting careers of our time. We are honored to have had the opportunity to speak with maestro Kunzel in this very special cover story, so read on and you’ll find a wealth of interesting ideas behind this truly gifted American conductor, scholar, and educator.
Rick Kessel email@example.com 6 School Band and Orchestra, January 2008
January 2008 Volume 11, Number 1
GROUP PUBLISHER Sidney L. Davis firstname.lastname@example.org PUBLISHER Richard E. Kessel email@example.com Editorial Staff
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HeadLines BOA Grand National Championships
2 bands from across the country gathered in Indianapolis, November 14-17, 2007, for the Bands of America Grand National Championships, presented by Yamaha, in the RCA Dome and Indiana Convention Center. The L.D. Bell High School marching band from Hurst, Texas, under the direction of Jeremy Earnhart, was named the 2007 Bands of America Grand National Champion at in the championship finals, held on November 17. Twelve bands performed in finals, having advanced from the 33-band semi-finals. 85 bands competed in the preliminaries. The event kicked off with the Indianapolis Public Schools Marching Band Tournament, in which the Broad Ripple High School Marching Band took first place. Class Awards were announced following the semis: Class A Champion, Adair County High School, Columbia, Kent.; Class AA Champion Marian Catholic High School, Chicago Heights, Ill. and Class AAA Champion L.D. Bell High School, Hurst, Texas. The top 12 highest scores from advanced to the evening finals. Finals Placement Results 1st Place – L.D. Bell H.S., Hurst, TX 2nd Place – Avon H.S., Avon, IN 3rd Place – Carmel H.S., Carmel, IN 4th Place – The Woodlands H.S., The Woodlands, TX 5th Place – Marian Catholic H.S., Chicago Heights, IL 6th Place – Broken Arrow H.S., Broken Arrow, OK 7th Place – Plymouth-Canton Ed. Park, Canton, MI 8th Place – Stephen F. Austin H.S., Sugar Land, TX 9th Place – Richland H.S., North Richland Hills, TX 10th Place – Lawrence Central H.S., Indianapolis, IN 11th Place – Center Grove H.S., Greenwood, IN 12th Place – Harrison H.S., Kennesaw, GA The Al Castronovo Esprit de Corps Award went to Marian Catholic High School. The first marching event in the RCA (then-Hoosier) Dome was the 1984 Bands of America Grand National Championships. The 2007 Grand National Championships was the final marching event held in the RCA Dome before moving to Lucas Oil Stadium for next year’s Cham8 School Band and Orchestra, January 2008
pionships to take place November 12-15, 2008. Nearly 300,000 student performers have participated in Grand Nationals, which has been held in the RCA Dome all but two years since 1984. Grand National festivities extended beyond the confines of the RCA Dome, with numerous special events including receptions, a student leadership workshop with Dr. Tim Lautzenheiser, a tour of the under-construction Lucas Oil Stadium for band directors, and premieres at the IMAX Theater in Indianapolis of two music-focused documentaries, From the 50 Yardline, and Chops. Inside the stadium, Music for All presented a judging clinic for band directors and the “Last Trip Through the Airlock,” an event for alumni of BOA Grand National Championships celebrating the RCA Dome’s place in marching band history and referring to the “airlock” that participating bands must pass through to enter the stadium. Applications for the 2008 Bands of America Grand National, Regional and Super Regional Championships are available online at www.musicforall.org. During the festivities at the Grand National Championships, Music for All presented four college scholarships through the Revelli Fund, which provides scholarships for students who wish to pursue a degree in music education. Since it was founded, The Revelli Fund has awarded nearly $50,000 in scholarships to support students pursuing collegiate study in music. The fund, established in honor of Dr. William D. Revelli, is focused on perpetuating opportunities for music education. The $2,000 Mark Jolesch Scholarship was awarded to Crystal Chiddix, Grain Valley, Missouri and a clarinetist at Blue Springs High School. Jordyn Bidwell, a clarinetist from Father Ryan High School, Murfreesboro, Tennessee, received the $1,000 Yamaha Corporation of America Scholarship.
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HeadLines T.R.A.P. Brings Drums to Middle School
MSO Names Music Director
here was an unfamiliar ruckus coming from Mrs. Stevens’ classroom at Fairview Middle School in Williamson County, Tenn. Upon entering the room, it became clear that it wasn’t just noise; there was most certainly a class in session. At the center of the activity was Eddie Tuduri, founder and master instructor of The Rhythmic Arts Project, also known as T.R.A.P. Along with representatives from The Pearl Drum Corporation, Mrs. Stevens’ students were fully engaged in a lesson from the T.R.A.P. program. The Rhythmic Arts Project was founded in 1997 by Mr. Tuduri, and is an educational program for people with disabilities. Employing drums and percussion, the program teaches and enhances basic life skills such as: maintaining focus, using memory, taking turns, developing leadership, using numbers and following instructions. Teaching occurs in an environment that is fun and not threatening, so participants develop improved confidence and a more positive self-image. In addition to working with intellectually challenged individuals, applications have worked very well with people in various therapeutic and health care situations including stroke, traumatic brain injury, mental illness, Alzheimer’s disease and other dementias. For more information on T.R.A.P., please visit www.traponline.com or www.pearldrum.com.
do de Waart, chief conductor and artistic director of the Hong Kong Philharmonic, was recently named as the next music director of the Milwaukee Symphony Orchestra. He will succeed Andreas Delfs, who has announced his intention to leave after the 2008-2009 season. De Waart is to serve as music director designate during the 2007-2008 and 2008-2009 seasons, making his Milwaukee Symphony subscription concert debut in April. He will conduct a minimum of 12 weeks each season starting with 2009-2010 and will have responsibility for the orchestra’s artistic profile. The Hong Kong Philharmonic recently extended de Waart’s contract through 2012. He has also been named chief conductor of the Santa Fe Opera. De Waart is a native of Amsterdam, Netherlands. His wife, mezzo-soprano Rebecca Dopp, grew up in Middleton, near Madison. He led the San Francisco Symphony from 1977 to 1985 and the Minnesota Orchestra from 1986 to 1995. He has been music director and conductor of the Rotterdam Philharmonic in the Netherlands, and gained fame as conductor of the Netherlands Wind Ensemble.
12 School Band and Orchestra, January 2008
(Source: Associated Press)
HeadLines 2008 MTNA National Conference Announced
Cascio Interstate Music’s DrummerFest 2007
he 2008 Music Teachers National Association (MTNA) National Conference will take place in Denver, Colorado, March 29–April 2, at the Hyatt Regency Denver and the Colorado Convention Center. Along with numerous professional workshops, sessions, industry showcases and master classes, the conference will also feature evening concerts. Acclaimed pianist Lang Lang highlights the guest list, performing in concert on Tuesday, April 1. At Pedagogy Saturday, March 29, Marilyn Horne, a word-renowned opera singer and founder of the Marilyn Horne Foundation, will host a master class. Anne Epperson, pianist, recording artist, teacher and clinician, will play at the conference’s Opening Session on Saturday, March 29. MTNA expects more than 2,000 music teachers from across the country to converge on Denver for this annual five-day event. For more information about MTNA or the 2008 MTNA National Conference, please contact MTNA national headquarters at (513) 421-1420, (888) 5125278, email@example.com or visit www.mtna.org.
Cascio Interstate Music in New Berlin, Wisconsin held its seventh annual DrummerFest, a nationally recognized showcase for world-class drum artists, in November 2007. This year’s DrummerFest, held inside Cascio Interstate on its Main Stage, had another strong lineup. Drummers Paul Leim, a “first call” Nashville session drummer, Grant Flo Mounier Collins, an Australian phenom with brilliant chops and timing, Teddy Campbell, a Chicago-born professional who works with popular national acts such as the American Idol house band, and Flo Mounier, an extreme drummer from Montreal, Canada, turned in stellar performances for the nearly 1,000 drummers and fans in attendance. For more information, please visit www.interstatemusic.com.
Correction: In the 2007 ‘50 Directors Who Make a Difference’ report, Brian Bell of North Salem High School in Salem, Oregon was incorrectly listed as “David Bell.”
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What Does Music Education Have to Do with the...
Success of Apple?
ell, I am glad you asked! For those of you who have been using any of Apple’s Macintosh computers (now called “Mac”s) for any period of time will recall there was a time when Apple was the only computer that could really handle music well. Graphic designers found
the same thing. Heck, most music notation and sequencing programs would only really shine on a Mac (and I would argue it is still true today).
16 School Band and Orchestra, January 2008
Now, as Apple has forged into music in a big way (iTunes, iPods, and the like) I wondered if it was solely a tactical business move or was there something more at work. I asked this because, to me, there always seemed to be this intuitive sense Macs had for music like it was in the Mac genome. It turns out that music is a part of the
genetic make-up of the Mac with a linage that has its roots in… “music education.” You read correctly. Without music education there would be no Apple Macs… and possibly no iAnything. To make my point, I asked the family of the late Jef Raskin for permission to share his writings on music education for a book I am working on.
Jef had a little something to do with the invention of the Mac. In addition he had a lot to do with invention of “fonts” and helped pioneer the human interface with technology. But before I give too much away it is with great honor and privilege that I share with you:
In Defense of Music Education By Jef Raskin I’d been thinking of writing about the benefits that music has brought to the four children in our family. The results have been rewarding for each of them. But they are young, and it is hard to predict the role music will ultimately play in their lives. So I will write about what music has done for one person on a longer time scale, and thereby relate a bit of my own experience. For example, if I had not studied music, there would be no Macintosh computers today. I took the usual piano lessons as a child; in my case from a German refugee who had escaped the Nazis in the 1930s. He was also an amateur astronomer who, at no additional charge, taught me to grind telescope mirrors. I ground my way from Clementi and Mozart through Bach and Beethoven and finally reached the divine Chopin under his aegis. Both sets of lessons had a common unspoken message: Patient, repetitive work where there is little or no apparent progress at each session can yield impressive results in the long run. Studying music is quite the opposite of instant gratification. I joined the junior high band and later the high school band in my town, playing clarinet, trombone, and drums with equal ineptitude. The standard of playing was not high, and the music uninteresting – but rousing and loud. I wore a fancy green-and-white uniform when we marched in town parades. On my own, I learned to play the recorder and was welcome in recorder ensembles because, being a pianist, I could read bass clef. For the first time, I felt a strong internal compulsion to practice, so as not to let the group down. In small ensembles every player counts. I learned about teamwork, to be prepared, to be prompt, to not forget my music and instruments, and to carry a pencil at all times. Between my junior and senior years in high school, I apprenticed myself to a New York organ builder and repairer. I was not paid, but I was happy learning new skills and got to see many famous buildings, churches, and homes from the dusty insides of their instruments. My mentor also repaired mechanical music makers; shop skills learned at my father’s side made me able to repair these marvels from the first time I set eye on their works. I learned to tune harmonium and accordion reeds, and to adjust pipes. The next few summers were even more wonderful. By a coincidence, I had learned something of programming (an unusual skill for a high school graduate of 1960) and the Columbia-Princeton computer music project was looking for a programmer/musician. They found me hanging around Columbia, where I would sit in on advanced math courses (hint for older kids: if you’re bored with your classes and want to study at a higher level, most profs will let you sit in on college lectures free). I had written a computer-music language, Lingua Musica pro Machinationibus – I took Latin in high school, and tended to inflict it on the world – and it became the starting point of DARMS, a music description language used worldwide to this day. One of the leaders of the project was Leonard Bernstein, who took the time to teach me the elements of conducting, critiqued my compositions, and even included me (in my capacity as fly-on-the-wall) in his discussions with his assistant conductors and first chair musicians on how he wanted various works performed and why. I got to use the latest computers and software at Columbia. It was all very heady for a 17-year-old and it provided another priceless education. I developed software that did music typography on computers, a task considered groundbreaking at the time. This meant I had to study typography, and I traveled to various printers and publishers to see how it was done. Fine music was still hand-engraved in the 1970s and newspapers were set in hot lead. Cheap editions of popular music were done on crude music typewriters. Some of the fonts I designed for computers to use to print music became the basis for music fonts still available on Macs and PCs, and I find myself using shapes that I originally drew 35 years ago. I learned about the art of typography and the reproduction of photographs.
School Band and Orchestra, January 2008 17
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I’ll skip ahead to 1978, when I was working for Apple and proposed a new computer, which I called “Macintosh.” I designed a number of its technical details based on what was needed for (you guessed it) notating music and made sure that the product would have multi-voice sound generation. Music, non-Western alphabets, and graphics were built into the design of the Mac from its inception. When I first spoke of “fonts” at Apple, the engineers were clueless; microcomputers in those days had built-in lettergenerating hardware. As unbelievable as it seems today, most people did not know “We teach music to what a “font” was, only graphic design- our students so they ers and professionals in the writing and may become great printing businesses knew the term. Now I people, regardless of doubt if there’s a third-grader who’s used a computer who does not know about their career path.” them. It is also gratifying to see Macs still flourishing nearly a quarter century after I first dreamed the idea (and named it after my favorite kind of apple, the succulent McIntosh). Before moving into the computer industry, I did become a professional musician, and enjoyed performing, conducting, and teaching. Conducting opera, in particular, was a fine introduction to the problems of managing creative and independent-minded employees. But that is not as important as the pleasure that comes from listening to my children making music, making music with them, the family closeness derived from preparing them for and then accompanying them at concerts and auditions, the pleasure I can give to others by playing what they enjoy, the peace I get from my daily practice time, and the greater depth of enjoyment I obtain from listening to recordings and concerts because of my musical studies. Not all children will find music as central to their lives as I do, but a good education demands exposure to the wide panoply of human achievement. The arts, the sciences, and the humanities must all be represented – and represented well and in a positive light – by teachers who love and live them. And it wouldn’t be bad to insist on learning a few technical skills as well. In my case, it was music and mathematics that struck a chord and took root. I would not have been able to accomplish what I have if my schools had not had active music programs and if my parents had not strongly supported (and enforced) my studies. Every child should have at least the same opportunity. Making music belongs in our homes and in our schools.
THE DIRTY DOZEN BRASS BAND
This is a powerfully written statement by a man who has had an indelible mark on mankind. He helps reinforce for us what we struggle to articulate for ourselves. We do not teach music in order to create great musicians. We teach music to our students so they may become great people, regardless of their career path. Jef is certainly another manifestation of this point. The fact that music plays such an important role on the development of every person is the most fundamental reason behind the idea of ensuring we have… music for all.
BY BOB MORRISON
Bob Morrison is the executive vice president and chairman emeritus of Music for All Inc. He can be reached via e-mail at firstname.lastname@example.org
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SBOUpfrontQ&A: Rick Young
MAC to the Rescue BY ELIAHU SUSSMAN
f the many organizations created to aid music educators, few offer such direct assistance as the Music Achievement Council. With the singular goal of promoting school band and orchestra participation, MAC has updated and re-released their non-commercial Practical Guide for Recruitment and Retention.
Rick Young, Yamaha Corporate VP and the Council’s chairman, recently took some time to speak
with SBO about MAC’s latest publication and its practical applications for music educators. School Band & Orchestra: First off, can you tell me a little bit about the MAC? Rick Young: The Music Achievement Council is an action-oriented non-profit organization sponsored by NABIM (the National Association of Band Instrument Manufacturers), NASMD (the National Association of School Music Dealers), and NAMM (the International Music Products Association.). The Council is comprised of three representatives from NABIM, three from NASMD, and one from NAMM. The purpose of the council is to promote instrumental music participation, with particular emphasis
Greg Way in the classroom. 20 School Band and Orchestra, January 2008
on producing materials that encourages students to join and stay in band and orchestra. MAC was formed in 1983 and reorganized in 1990 as a non-profit 501(c)(3) organization. SBO: What, specifically, does MAC aim to do for teachers? RY: What we do primarily is research educator needs and then find ways to write and publish materials and distribute them to educators, filling those needs. The educator has a strong responsibility to create a learning environment for all students, and upon graduating from college, most teachers are ready to do just that. However, one roadblock to successfully creating that setting can be an educator who is not doing an effective job of recruiting and retaining students. The development of school bands and orchestras is crucial because those programs
truly provide the foundation for most young musicians. Students who take clarinet or sax may also evolve into guitar players. A lot of trombone and tuba players also become bass players, because they read the same clefs. So, the more budding musicians teachers can bring into the classroom and keep, the more musicians and those who deeply appreciate music there will be in our society. SBO: I see – there’s really a lot of synergy between the business and educational impacts of student enrollment in music programs: more music students means more business for music instrument dealers, but it also means that music programs themselves are thriving. RY: That’s the key. The key to the whole school music program is getting as many students involved as possible and then, once you have them, retaining as many students as possible. We certainly understand that right now not everyone will take band or orchestra, although every child should have that opportunity and that is what we all work toward. SBO: Let’s talk about MAC’s most recent publication, A Practical Guide for Recruitment and Reten-
tion. How can educators use this in their programs? RY: This publication was written exclusively for instrumental music educators. Young teachers leave of college knowing how to conduct a band. They know how to rehearse a section. They know how to instruct an individual lesson. They know music theory and composition. However, in too many cases when they begin their
“The key to the whole school music program is getting as many students involved as possible.” careers, they haven’t learned how to recruit. They don’t know how to get the community involved or work with the principal and the administration. It is a yearlong process. The implementation may take shape in the spring or the fall, but to properly prepare to have a solid program, teachers need to be working on different aspects of
recruiting the whole year round. The Practical Guide for Recruitment and Retention comes with a CD which includes the entire contents of the book, all of the sample forms, and a sample recording of the first performance of a beginning band that has only been together for about six or eight weeks. It’s quite interesting Danny Rocks will be presenting information on the guide at MEAs around the country. because the kids only play three or four notes, either done as cators need to accomplish apart from a group or individually. It’s a great way teaching music, from preparing and to pique the students’ interest by getorganizing recruitment, to-do checkting them to know the amazing feeling lists, sample forms, ideas for garnerof doing something together as an ening public support, explaining why semble. The first performance can also students might leave the program and be found on the MAC Web site, www. suggestions for preventing that — it’s musicachievementcouncil.org. all in the Guide and CD. This guide is a series of comprehenSBO: Sounds pretty thorough. sive, step-by-step suggestions for all Does MAC also present workshops the critical functions that music eduor seminars?
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RY: One of the Council’s latest projects is providing sessions at state music educator meetings. For example, one of our Council members, Greg Way, has presented to the educators in British Columbia, Manitoba, and Alberta. We have an-
“These materials are specifically aimed at helping educators do the very best they can.” other industry veteran working with us, Danny Rocks, who is a professional presenter. We hired him to present this guide and demonstrate how important recruiting and retention are to the overall health of a school’s music program. In addition to Canada, we just presented in Wisconsin this October and we’re going to be at the Illinois MEA in January, TMEA in February. and the Iowa MEA in May. We’re just beginning this session work, and it’s in
cooperation with NASMD and the Music Achievement Council. In addition, and most importantly, the local NASMD dealers in each State are involved, as well. SBO: It’s certainly important to get the word out. And MAC publications can be ordered from the Web site? RY: That’s correct, www.musicachievementcouncil.org. Another publication that can be found on our site is Tips for Success, which is a series of focused articles written to address the many challenges found by young educators, especially, but also which may also apply to teachers of all levels of experience. Many different topics are covered, like building support among the administration, how to obtain community support, how to maintain discipline in the classroom — all the things that teachers may not have the opportunity to learn in college. These are situations which,
if not properly implemented at the beginning of a career, can really be a detriment; we’ve seen that some teachers come into a first or second job and start off on the wrong foot and, after a year or two, they’re gone because of a problem with the community or the administration. These materials are specifically aimed at helping educators do the very best they can. Rick Young is the chairman of the MAC and has been with the organization for three years, though he has over 30 years of experience in the music industry. Rick has worked at Yamaha for the last 20 of those years, currently serving as corporate VP and GM. Rick is a product of Wisconsin school music programs.
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SBOGuest Editorial: New Teachers
Having Finished the First Year... BY JOE HANSEN
y immersion into the world of teaching music was a yearlong tidal wave of new experiences and learning new procedures. I would like to offer the following ideas for those beginning their careers as music educators, or to those seeking a refresher course of beginning principles for their own careers.
Working with an Experienced Mentor I believe that I received one of the top-notch student teaching educations available today. I learned much about managing a classroom, conducting, and teaching quality music literature; however, it wasn’t until my first teaching job that I was truly exposed to the vast multitude of administrative responsibilities required of a teacher. Working with veteran teachers has helped me to become further acclimated to this profession. One of the most important relationships one can form as a first-year teacher is with the former band director of one’s new school, if possible.
“Working with veteran teachers has helped me to become further acclimated to this profession.” The former band director is qualified to answer specific questions such as, “Where is the instrument inventory?” or “What is the best solution for dealing with this particular student or parent?” Throughout the course of last year, I constantly bombarded the 24 School Band and Orchestra, Janauary 2008
person I replaced with questions about what his vision of the program was and what he specifically was striving to teach his students. Through his extensive help, I have gained more confidence and expertise in coordinating my school’s band program. Gaining fresh ideas through observing other teachers is another great idea for any professional educator. Even now in my second year of teaching, I am still visiting several neighboring schools and observing seasoned teach-
ers. My understanding of music education has blossomed significantly as I have watched my colleagues, some of whom have taught for 30-plus years. I am able to pick and choose what I want to apply to my own teaching style and curriculum. Other than directly observing fellow educators, I have found it important for me to have professional colleagues with whom I can fraternize and to whom I can ask advice. After all the trials of putting a marching band show
together for the first time in my life, it was nice for me to go out to dinner with two other high school band teachers in the district and listen to them speak about similar challenges they were facing in their own respective programs. It helped me realize I was not alone in the struggles of leading a band program. One of the most wonderful gifts of being a teacher is that there are no secrets! I have yet to meet a teacher who says, “Yes, I’m having great success with my programs, but there’s no way you’re going to find out how!” Most teachers are eager to share the stories behind their successes as well as their struggles.
Building Relationships Education is a field where we really have to be “people-people.” There really is no way around it if you want
“Most teachers are eager to share the stories behind their successes as well as their struggles.” to be a successful teacher. We are in a field where how we deal with others around us affects the level of achievement within our programs. I will begin with the most important one, our relationship with our students. Over the past year I have made significant efforts to cultivate personal connections with my students. Learning their names as soon as possible
and using them as often as possible was a priority for me from the start. I think this is one of the first steps in gaining trust as a leader. A smart strategy I heard from another teacher in college was to single out one student per day as they were coming into class, ask them questions about themselves, and create a bond with them. For example, I have a student who is interested in hockey. On occasion, I will ask him about his season, and show a genuine interest in his life outside of my class. Not only has this
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helped me to better understand him, but also he knows that I have interest in his life as an individual. Notice how I did not say I have striven to become my students’ friend. Being kind, being a good listener, and being someone who can offer advice are strong attributes of a teacher – as are being structured, professional, and being an obvious reminder of the policies and expectations of the school. Positive actions and words have so much power in teaching. I am a firm believer that we need to use positive reinforcement in teaching as much as possible. Peter Boonshaft in his book, Teaching Music with Passion, says, “... give them enormous amounts of positive reinforcement... To me, educational mumbo-jumbo comes and goes. Positive reinforcement is as true and steady as the sun” (Boonshaft 111112). Having hope and optimism in a band program is one of the strongest catalysts we will find for lasting success. Even behind closed doors, I think it’s vital not to say mean things about
our students and associates. Though it may not affect them, it will make us bitter, antagonistic, and make our jobs more difficult! It is imperative to build and maintain relations with parents of students in the band program. Even parents need a lot of encouragement and strong leadership. They are especially in need
“I am a firm believer that we need to use positive reinforcement in teaching as much as possible.” of a lot of communication. One thing my predecessor did was compile an email list of students in his entire program and then send out weekly e-mails to keep parents and students abreast of upcoming dates and obligations. I have strived to continue that tradition, and it has greatly aided me in keeping in contact with the parents. If they have questions or concerns, they know
how to contact me from these weekly e-mails. Fellow teachers, custodians, secretaries, and administrators are also crucial people with whom to maintain positive relationships with. It is wise for us to know their names and be supporters of them, because more often that not, they can get us out of a jam. And believe me, I found myself getting into many jams last year! Despite my best efforts to be positive and congenial to people around me, I have also come to the realization that I cannot please everyone all the time. There are many critics out there, particularly for a first-year teacher. There will always be people comparing you to your predecessor. It’s important to realize that you’re not that other person, and that’s okay. It has been a priority of mine to take stock in comments that may help our program but to let other comments roll right off of my person. As another priority in my life, I also strive not to take things personally. I love education and love music, but I also need to keep perspective that there is much to my life outside of my career as well.
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Do not to go into the job with the determination to change everything right away. For me, fortunately, my predecessor and I had fairly similar philosophies about music education. However, there were some things I knew I wanted to change over time, and slowly I am making changes to move the program in the direction of my vision instead of his. A new director who comes in wanting to turn everything upside-down will be seen as a tyrant and most likely will not be well liked right away. With that attitude in mind, I have worked hard to be content with the circumstances surrounding me on a daily basis. Teaching students to push themselves to be stronger musicians and more responsible adults is imperative to me as an educator, but at the same time, if they are not making the progress I originally envisioned, I try not to blame myself or be too hard on them. It simply is not possible to control the
decisions of our students. One day last year I was particularly frustrated with some of my students for not cleaning up after themselves in the band room. Attempting to vent to another student that was present, I asked the question, “Why do some of you guys act this way?” Her answer profoundly put, was, “Because we’re teenagers.” Since then, I have made an effort not to be too critical, yet still to have high expectations. As long as I am as prepared as possible and am teaching in the best way I know how, constantly striving to learn more, I am content with my students, my program, and myself. Charting my own progress as an educator has been an important tool for me. I am an advocate of writing in a journal regularly. Through my own writing, I am able to reflect on my experiences and make personal goals to improve myself as a teacher. In times of struggle, I am able to go back and re-read my own words and remember why I have chosen to be a part of this extremely important field, reading
over my own feelings and experiences. It is quite important not to let discouragement set in and dwell in you for too long, because life as a teacher does get better as time goes on. Being a second-year teacher is considerably easier than being a first-year teacher. Now, I have more foresight for my program throughout the year, and it is easier for me to prepare. A couple principles I still cling to are not scheduling too many activities and obligations for myself in one day and not scheduling too much for students to accomplish in one rehearsal. It is just as important to have balance in our curriculum as it is in our lives.
Conclusion Finishing the first year of teaching is an accomplishment in itself. I am grateful for the experiences I have gained, but am especially thankful to those people offering advice through their words and actions along the way. For all of my professional life, I plan on being an observer of
good teachers, and filling my mind with excellent literature to constantly make myself a better educator. Building relationships with other people will always be a priority in my life whether I am a teacher or not. Life is just easier when we seek to better understand one another. At the same time, I am constantly striving to allow myself to make progress slowly but steadily and not become frustrated. Here’s to the next three decades! Joe Hansen is the director of the Wasson High School (Colorado Springs, Colo.) Wind Ensemble, Marching Band, Jazz Ensemble, and Percussion Ensemble. He has co-authored an article published in the International Trombonists Association Journal and plays trombone and piano within the community. He is blessed with a wonderful wife, Charlotte, and 2-year old daughter, Dottie.
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UpClose: Erich Kunzel
Prince of Pops
By Christian Wissmuller
Amongst the most successful Classical/Crossover recording artists of all time and certainly one of the renowned conductors of his age, Erich Kunzel occupies a singular position in the world of popular Classical music. After studying music at Dartmouth College, Kunzel continued his education and earned ever-greater distinction at Harvard and Brown Universities before connecting with celebrated maestro, Pierre Monteux, at the French conductor’s summer program in Hancock, Maine. Kunzel’s early professional career was distinguished by stints with the Santa Fe Opera, work as personal assistant to Pierre Monteux, and an appointment to the position of resident conductor with the Cincinnati Symphony Orchestra – courtesy of CSO’s music director at the time, Max Rudolf. It was while with the Cincinnati Symphony that Erich Kunzel began down the path that would ultiPhoto credit: Christian Steiner, NYC. 28 School Band and Orchestra, January 2008
mately bring him the greatest level of widespread fame. Leading the “Eight O’Clock Pops” series proved an ideal fit and soon his success with Cincinnati’s pops series would lead to an invitation to work with Arthur Fiedler and guest conduct his world renowned Boston Pops Orchestra. As Maestro Kunzel’s star continued to ascend, another avenue for broadening exposure to the music became evident: recordings. Having now recorded over 100 releases, Erich Kunzel has been awarded Sony’s Tiffany Walkman Award, the Grand Prix du Disque in Europe, Classical Album of the Year (1989) from the Japan Record Association, and four Grammy nominations. A frequent recipient of Billboard’s Top Classical/Crossover Artist honor, Erich once held that distinction for an unprecedented four years in a row.
â€œS tudents are so
alive and alert and want to observe and gain as much knowledge as possible.â€?
School Band and Orchestra, January 2008 29
Though his professional pursuits as conductor of the Cincinnati Pops Orchestra certainly take center stage, it would do great disservice to gloss over Kunzel’s lifelong – and continued – dedication to music education. He was on faculty at Brown University and the University of Cincinnati College-Conservatory of Music and has since continued to lend his name and efforts to music education advocacy programs. School Band and Orchestra was delighted to have the chance to chat with Erich Kunzel – the man once dubbed “the Prince of Pops” by the Chicago Tribune – while he was in Pittsburgh recently to conduct the student orchestra at Carnegie Mellon University School Band and Orchestra: Thanks for taking the time to speak with me, Erich – I know that SBO readers will be very interested to hear what you have to say.
30 School Band and Orchestra, January 2008
Erich Kunzel: A pleasure. SBO: Let’s start by talking about your own early musical education in Connecticut. EK: I was very fortunate, having grown up in rather an affluent community – namely Greenwich, Connecticut – because, consequently, we had excellent music education in the schools. Even in the grammar school we had a separate music room and attended music class once a day.
be in the Orchestra, so of course I was the pianist there. But I also wanted to be in the String Orchestra, so I picked up the string bass, and then I wanted to be in Band, so I picked up the timpani. In fact, in my Senior year, I was Connecticut all-state timpanist. SBO: That’s quite a lot to have tackled by that age.
SBO: What instruments did you first gravitate towards?
EK: So I had a very wonderful music education – the type of which I don’t know even exists today. I know that throughout the country, ever since No Child Left Behind, we have a tremendous amount of emphasis on reading, writing, and arithmetic –which, of course, there should be – but consequently a lot of music programs have been dropped. This is a very sore subject to my mind.
EK: I started piano when I was about 9 or 10 years old. When I went to Greenwich High School I wanted to
SBO: Can you tell me about any early mentors or teachers who had an impact on your future life in music?
SBO: That’s not so common nowadays. EK: Unfortunately, no. Music was very much alive, then, even in grammar school.
EK: The director of the instrumental program in Greenwich High School was Ray Harrington and he was a wonderful man – we all called him “Uncle Ray.” He gave us all a lot of opportunities but there was one problem: all the extracurricular activities, such as drama, debate, art, and music were all right after the lunch hour. So Uncle Ray would quite frequently be late to our 1-2pm rehearsals. Consequently in the Band Room you’d end up with this cacophony of everyone just playing and practicing independently. The noise was terrible. So, one day, he was late again and I just got up to the podium and said, “Come on, everybody – Let’s start something by ourselves before Uncle Ray gets here.” I just picked up the baton and started conducting whatever the piece was.
all of sort of that stuff. Both the Chorus director, Paul Zeller, and the Orchestra director, Donald Wendlandt, really allowed me to use my talent. They let me conduct a lot and do a lot of arrangements. They opened the
“I f we don’t help these young minds, they’re all going to turn out to be computer zombies who watch TV all day.”
SBO: Very fortuitous, as it turns out, that he was late again that afternoon. EK: That was the beginning of my conducting career, really, because had he never been late, God knows – I may never have picked up a baton and instead become an electrician or a ditchdigger. SBO: Somehow I doubt that, but point taken. Let’s talk a little about the time you spent at Dartmouth and, later, Harvard. EK: I actually went to Dartmouth as a Chemistry major, but then I got into an argument with the chemistry professor, told him to go to Hell, and then walked over to the Music Department and said, “Here I am!” So I became actually one of only three Music majors at Dartmouth that year. SBO: Again, fate seems to have intervened. It’s interesting to learn you didn’t begin as a Music major. EK: Immediately, though, I had been involved very much with the Dartmouth Glee Club, played string bass in the Orchestra, and then in the band I was the timpanist and also the Student Conductor. In the Band I did a lot of arrangements for half time and
door, in that sense, very much for me. I was always conducting as a student, so it was a terrific opportunity. From Dartmouth I went to Harvard which was essentially a musicology type of exercise. I was there for one year and then heard that there was an assistantship opening at Brown University to direct the Brown Glee Club. So I left Harvard and finished my Masters at Brown where I then stayed and became an assistant professor of Choral Music. At the same time I became the assistant conductor of the Rhode Island Philharmonic Orchestra. SBO: A busy schedule. EK: Going back, however, to between my junior and senior years as an undergraduate, the most influential person came into my life. This would have been the summer of ’56 when I went to study with the great French maestro, Pierre Monteux, in his summer conducting school in Hancock, Maine. Surprisingly, me being just a 20-year old whippersnapper, I was put in the Masters Class that first year, which had other people like David Zinman and Neville Marriner. That was my junior year experience and was tremendously eye opening. After I graduated from Dartmouth in 1957, the following summer, I actually made my professional debut with the Santa Fe Opera Company – exactly 50 years ago. SBO: How did you end up connecting with the Santa Fe Opera Company? EK: The eventual builder, founder, and director of the Santa Fe Opera Company was John Crosby, who was School Band and Orchestra, January 2008 31
summer after that, I went back to Maine and in the summer of ’63 he invited me to become his assistant. At that time Monteux was the conductor of the London Symphony. I traveled with him in ’63 and ’64, and learned so much from him. He passed away in July of 1964 and I returned that summer to the Santa Fe Opera and remained there also in 1965. SBO: Your tenure at Brown ended around then and you began working in Cincinnati, I believe.
also in Hancock, Maine that summer in 1956. He was the coach for the Opera Workshop at Columbia University. We all lived in farmhouses up in Hancock and he was in the same house as I was and, I guess, saw my talent and he contacted me when he got the opera house started.
SBO: You continued to study with Monteux, though – yes? EK: Yes. After I made my debut in ’57 at Santa Fe, which was a wonderful debut – it even got a New York Times review – I nonetheless realized the importance of studying additionally with Pierre Monteux. So every
Erich Kunzel at a Glance Web site: www.erichkunzel.com Awards & Accolades: Multiple Grammy nominations, 1994 Presidential Medal for Outstanding Leadership and Achievement from Dartmouth, 1995 Salvation Army “Others” Award, Grand Prix du Disque (Europe), Classical Album of the year (1989 – Japan Record Association), Sony’s Tiffany Walkman Award, Billboard Top Classical/Crossover Artist of the Year (multiple). Professional Highlights & Associations: conductor – National Symphony Orchestra of Washington, D.C., guest conductor – Boston Pops Orchestra, conductor – Cincinnati Symphony Orchestra, conductor – “Eight O’Clock Pops” series/Cincinnati Pops Orchestra, conductor – Santa Fe Opera, personal assistant to Pierre Monteux. 32 School Band and Orchestra, January 2008
EK: I left Brown University in ’65 because I got an invitation from Max Rudolf, at that time the music director of the Cincinnati Symphony Orchestra. He also lived in the summers up in Maine and would come to Hancock to see the young conductors, so he had seen me and I guess he liked me. I was in Cincinnati that fall and that was, of course, a wonderful experience to work with him. For 20 years Max Rudolf had been the artistic administrator of the Metropolitan Opera, so he was really an administrator. I became the assistant conductor of the Cincinnati Symphony and learned so much about administrative type of work from my time with Max Rudolf. SBO: Cincinnati is, of course, where you began the famous “8 O’Clock Pops” series. EK: Yes. One of my first duties was to be the director of a pops series – the first winter pops series in the country. This was 1965 and my first soloist was Dave Brubeck and I didn’t even know who he was, so you can see what a greenhorn I was. But I gradually built that up and we had so many other great soloists, such as Duke Ellington, Ella Fitzgerald – all these great stars of the day. They had never preformed, really, all that much with symphony orchestras. Orchestras weren’t hiring these types of people, so it was a great revelation to them to bring their charts to a full symphony orchestras. I recorded Dave Brubeck’s Light in the Wilderness for Decca Gold label in 1967 and that sort of started my career in recordings.
SBO: A career which could be a separate article, itself. Can you tell me how you came to have a relationship with that “other” pops series, the Boston Pops? EK: In 1970, thanks to the reputation I had been building, Arthur Fiedler invited me to guest conduct the Boston Pops. We became good friends and, of course, he started getting ill towards the end of that decade and I ended up doing an awful lot of conducting with the Boston
“O nce I had that
success with the Boston Pops, the guest conducting just came in from everywhere.”
Pops – over 100 concerts with that orchestra. My former assistant, Keith Lockhart, who was with me for six years in Cincinnati, is now the conductor of the Boston Pops and I’m very proud of him. SBO: You’ve been able to work and study with some of the truly legendary names in 20th Century music. EK: Those we’ve touched on represent the three most influential people in my career: Number one is, obviously, Pierre Monteux; Number two would be Max Rudolf as far as showing me how to administrate; and number three would be Arthur Fiedler because he gave me my big break guest conducting Pops concerts. Once I had that success with Boston, the guest conducting just came in from everywhere and that brings us up to date. SBO: How do you feel the Cincinnati Pops and Boston Pops differ from one another? How are they similar? EK: Well, they were founded for different reasons. The Boston Symphony was founded in 1881 by Major Henry Lee Higginson and the orchestra was made up of all Europeans be-
cause [the United States] really had no conservatories in those days. Three or four years later, Higginson realized he wasn’t getting a lot of the Boston folk coming to his serious concerts, so he established the Boston Popular Concerts. He was quite innovative. People think that Arthur Fiedler was the founder of the Boston Pops; I believe he was actually the 18th conductor. In any case, Boston Popular Concerts became, eventually, the Boston Pops concerts. Going back to Cincinnati, I was put in charge of this 8 O’Clock Pops series and then I started recording and that became a very successful venture. In 1977 we established the name “Cincinnati Pops Orchestra” and the reason we did it was very simply for recording purposes: When I conducted this orchestra, people would know from the record bins, “Hey, this is pop music.” The Cincinnati Symphony and recordings by that group was, obviously “serious music.” So that’s actually how the name started – as a vehicle for buying records. Of course, Telarc picked us up in ’78 and then I guess the rest is history – about 88 records later. As far as other differences between Boston and us: the principal players do not play in the Boston Pops. In the Cincinnati Pops everybody plays. In fact, the Cincinnati Pops Orchestra is bigger than the Cincinnati Symphony Orchestra because I have a rhythm section – the drum set player, the guitar player, and the piano player – which is not normally in the Symphony. Also, our season is not like Boston’s, which is sort of jammed in at Christmastime and in the Springtime. Here, we have a regular 20 concerts during the winter season and then we have our summer season, which is a longer season, out at Riverbend, so I would say we have, almost every month of the year – with the exception of the August vacation month – a Cincinnati Pops Orchestra concert. SBO: How did you come to conduct the National Symphony? EK: I’ve been conducting the Me-
morial Day and July 4th concerts ever since… 1991. The National School Band and Orchestra, January 2008 33
Symphony had heard about my success in Cincinnati and they had had a… an unworkable experience with Leonard Bernstein in Washington. To make a long story short, they wanted me to take over. SBO: I expect we should leave it at that. Let’s talk some about your own experiences as a teacher. EK: I started at Cincinnati in 1965. That summer I was conduct-
ing at the Santa Fe Opera and, of course, the dean of the CollegeConservatory of music at University of Cincinnati, Jack Watson, had heard that I got the appointment. So he came out to Santa Fe and we spent a day together. The University had no graduate conducting department – neither a Masters or Doctorate degree – so Jack asked me to establish a whole graduate conducting department, which I did. In the fall
of ’65 I became associate professor at the Conservatory. A few years later – ’68 or ’69 – the new corporate auditorium in the new conservatory building opened and the big opening performance was to be a world premiere of an English version of “Prince Igor.” That scheduled conductor could not manage to conduct opera in such a gigantic fashion, so they asked me midway through to rehearse, prepare, and then conduct these world premiere performances – which I did. Since everything worked out well – mind you, at that point, I was also the resident conductor of the Cincinnati Symphony – they assigned me as chairman of both the Opera department and chairman of the Orchestra department. I was, at that point, chairman of three departments, so I was running around like a lunatic for a while, but I managed to get these programs well established. In my very last year, we established the Music Theatre program which, of course, still excels today as one of the great ones. I was at the University of Cincinnati for six years: ‘65-‘71. SBO: What was your favorite aspect of teaching? EK: Well I love to educate. Between Brown and Cincinnati, I was an educator for 13 years. It’s always very invigorating… students are very alert. In fact, I’m talking to you from Pittsburgh, as I’m here to conduct the student orchestra at Carnegie Mellon. I really look forward to that sort of thing because they’re so eager to learn. They sit on the edge of their chairs and gobble anything you say right up. This is not the situation with professional orchestras [laughs]. The students are so alive and alert and want to observe and gain as much knowledge as possible. It’s the job of the conductor – me – to put the fertilizer in their head and I hope I do that well. So I enjoy it very much. I’m 72 years old and I’m still an educator. I’m chairman of an organization in Cincinnati called The Greater Cincinnati Arts and Education Center. The primary purpose was to build a new
34 School Band and Orchestra, January 2008
school for the greater performing arts and we’ve just recently broken ground. It will be the first arts magnet school in the country that starts at kindergarten and goes all the way through 12th grade – 1,500 students, so it’s a gigantic project. So… I haven’t stopped my affiliation with music education in any way. SBO: Do you have any thoughts or advice you’d like to share with our readers? EK: Number one: keep trying as hard as possible to reinstall or, if it’s already there, to make more efficient and more glorious, music education in your schools. We’ve really lost out compared to the way things were 50 years ago. Every educator should work as hard as possible in the com-
munity, with the PTA, with the superintendents, to re-establish and enhance the music education programs. When one looks at civilization, one is going to forget a building or a war, but one remembers the great arts – they live forever. If we don’t help these young minds, they’re all going to turn out to be computer zombies who watch TV all day. If you can enhance arts education you’ve done something. Number two: once you have the students, do your damnedest – not to encourage them to go into music, necessarily – but to fertilize their minds, so that music stays with them forever and passes on to their next generation. That is essential. School Band and Orchestra, January 2008 35
SBOSurvey: Grant Writing
Granting Musical Wishes
rant writing, as one respondent to this latest SBO survey suggests, may well be the fundraising method of the
future. In terms of potential financial windfall, thereâ€™s little comparison between a major award from a corporation, foundation, or other large-scale entity and the candy bar sales and banquets that are so commonly used to round out music program budgets. Indeed, such a monetary reward has the potential to transform a program, a school, even a district in need. The
Given this minor preamble, which might well echo the thoughts of music educators around the country, SBO turned to our readership to gain a general sense of the place grant-writing holds in the diverse world of music education funding.
catch, of course, is that some real work is required â€” particularly find-
Do you or other members of your department apply for grants?
ing a suitable grant and submitting an application that follows often strict guidelines. Is the reward worth the hassle of screening grants and their applications? Is that much additional funding really necessary?
36 School Band and Orchestra, January 2008
In Kalamazoo County, we have a phenomenal amount of monies available [through grants] specifically for music teachers, programs, and students. Patrick Flynn Portage Central High School Portage, Mich.
If you donâ€™t currently apply for grants, do you plan to do so in the future?
If yes, how many per year?
If no, why not?
5% 3% Other (Please specify) Additional funds not needed
Program doesnâ€™t qualify Time consuming Lack of experience/info I have no time to run through all the red tape. Tom Tapscott Northeast Middle School Clarksville, Tenn. School Band and Orchestra, January 2008 37
What percentage of your funding typically comes from grants?
For me, the most challenging aspect is finding a grant that my school is eligible for in terms of location and/or organizational status. Anne Bean Paris Middle and High Schools Paris, Ark.
7% 2% 0-10%
What is the most challenging aspect of the grantwriting process?
The time it takes to write. With some grants, information is requested that is not readily available to me. Donald N. Moore Idaho Arts Charter School Nampa, Idaho
It can be tough figuring out exactly what they are looking for then putting together the information in order. Michael Best Mt. Juliet High School Mt. Juliet, Tenn.
10-40% 40-60% 60-100%
Type of grant support sought? What is the most memorable grant youâ€™ve been awarded?
Our most memorable award was an interdisciplinary grant with Music, Art and Family and Consumer Science as the basis for study of American culture of the 19th and 20th Centuries. Thomas Horan Amesbury High School Amesbury, Mass.
11% 10% Other Uniforms
Travel Professional Development Clinicians Instruments
38 School Band and Orchestra, January 2008
We received $25,000 to develop the Clark County School Districtâ€™s Mariachi Program. Marcia M. Neel Music Education Consultants Las Vegas, Nev. We were given $5,000 from the Japanese Chamber of Commerce of Chicago to purchase electronic keyboards. It surprised me that they would care to give us the money. Saundra Brown Harlan Community Academy High School Chicago, Ill. There have been a lot over the years, some for as much as $130,000 for instruments to small ones to help a kid have the opportunity to go on tour with us. They are all wonderful. D.L. Johnson North Monterey County High School Castroville, Calif.
Do you have any tips for your fellow educators who may be interested in becoming more involved in grant writing? Do your research! If you don’t know what the company or person is looking to give money for, you are wasting your time and theirs sending in an application. The Internet is a great tool to dig into their corporate mission statements and look at previous grant winners so you can model your grant around what they want. Remember, foundations are required to give money away, so they are looking for someone who makes them look good. Make it easy for them. Steve Raybould Pocahontas Middle School Powhatan, Va.
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I believe that this will be the fundraising “fad” of the future. It is imperative to learn how to do grant writing projects successfully. Thomas Whitmoyer Hillcrest Middle School Trumbull, Conn.
I would definitely seek help from others. It is great to have a second perspective. Also, practice helps the process become easier. Andy Micciche Windsor High School Windsor, Va. I would suggest getting at least two seasoned veterans of grant writing to assist you. Alda Hall Wilmoth Harlem Middle School Harlem, Ga. Just do it. Grant writing isn’t as painful as it seems. Pam Wilson Brinley Middle School Las Vegas, Nev.
www.cannonballmusic.com School Band and Orchestra, January 2008 39
SBOPerformance: Bass Trombone
Bringing Out the
Inner Animal â€“ Getting the Most Out of Your Bass Trombonist BY DR. STEVE WILSON
he bass trombone is an often-misunderstood instrument that, in the hands of good player, can add a solid tonal and pitch foundation to the brass section of the band. Unfortunately, many players blast their way through the band, while others play passively and
let great passages simply pass them by. Here are three ideas to develop a great bass trombone sound and gain control in the lower register. They are intended both for bands that have a â€œrealâ€? bass trombonist and for those that have tenor players covering the bass trombone parts. The exercises presented are idiomatic of the trombone in that they utilize the glissando; in my experience, they have helped many people, tenor and bass trombonists alike, develop a full, relaxed sound in the trigger range. 40 School Band and Orchestra, January 2008
1. Developing Tone: A good way to develop a great sound in the low range is to combine the Remington long-tone exercises with the glissando, whereby players take their best sound on an easy note down to the lower range. The first step is getting the trigger notes to match the open notes. Have the student start on low B-flat and gliss down slowly to F in sixth position, keeping the tone the same. Then repeat, but play the F with the trigger. This step is the basis for the rest, so great care should be taken to make the sound stay the same.
The goal should be big, full, steady sounds that stay constant through the glissando. Once a consistent sound at a medium volume is achieved, players can work to expand their dynamic range by varying the dynamic while performing the exercise. The exercise continues with glissandos followed by Remingtons, using the positions indicated. The key to success is taking the sound on B-flat into the trigger range, which is easier to do when glissing than tonguing. I would suggest having the whole trombone section work on these, just as you have your bass trombonist doing lip slurs into the upper range. This is great for tenor players because it helps them play the entire range of the horn making them better well rounded performers. (V=F Attachment, VV=F and D Attachments)
For the bass trombonist with F and D attachments, the same exercise can be modified to work both triggers and extend the low range even further. This exercise is critical for all those passages containing low Cs and Bs. By glissing down to the low notes first, students can focus on embouchure and the air needed to play low notes without having to deal with start-up issues. As an added benefit, this exercise also works breath control and pushes students to take in more air as they get lower each time. (V=F Attachment, VV=F and D Attachments)
2. Clarifying Articulation: For the developing bass trombonist or that tenor player faced with a fast, low passage, starts of notes often prove to be one of the biggest challenges. One solution is to tongue between the teeth in the lower register as if spitting out a watermelon seed. This will provide more clarity and a quicker response. Getting notes to speak clearly using this articulation begins with the glissando long-tones described above. Students should progress to playing various rhythmic patterns on one note in a Remington pattern. An advanced exercise is â€œTwo Noters,â€? in which arpeggios are played one octave up and two octaves down. This exercise, like the glissando long-tones described earlier, works on bringing the sound and articulation from the easier range, where it is likely to sound good, down into the lower range. School Band and Orchestra, January 2008 41
(V=F Attachment, VV=F and D Attachments)
3. Making Sound Choices: Who should play the bass trombone parts? Obviously your bass trombonist should, if you have one. If this is the case, do not double the bass trombone with a tenor trombone. Doubling a bass and tenor on the same part is not a great idea, especially if the part gets into the low range because of the differences in bell size, mouthpiece size and bore size. If your bass trombone player is not playing full enough to balance the section, work to bring out your bass trombonist’s “inner animal” by using the exercises above. If you do not have a “real” bass trombonist, but rather a tenor player or two playing the bass trombone parts, put your best player on first, the next best on fourth, the next on second, and the next on third. This type of seating ensures that you have strong players on the outside parts, which are often the most challenging. If you have a large band with parts doubled, this seating also ensures a leader on each part.
Closing Thoughts Whether your band has a dedicated bass trombonist or a tenor player handling the bass trombone parts, the fundamental exercises described here are an excellent first step in developing the range and technique necessary to cover the often hazardous bass trombone parts found in advanced high school band literature. They will help your players develop a strong, confident sound and some agility in the trigger range. When used everyday as part of a fundamental routine, you too can bring out the inner animal in your bass trombone player. 42 School Band and Orchestra, January 2008
Steve Wilson received his Bachelor of Arts degree from the University of Texas at El Paso and holds both a Masters degree and a Doctor of Musical Arts degree in Trombone Performance from the University of Illinois at Urbana-Champaign. Dr. Wilson is an associate professor of trombone at the University of Texas at El Paso and is an active performer and clinician both as a soloist and as a member of the Continental Trombone Quartet, having given recitals and master classes at International Trombone festivals in China and Brazil, the Eastern Trombone Workshop, the IAJE National Conference, the Midwest Clinic, the Texas Bandmasters Association’s annual conference, the College Music Society’s International Conferences in Spain and Canada, as well as performances throughout the United States.
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SBOTechnology: Software Tutorials
Getting with the Program: Materials for Learning Software Part 2 of 2
BY JOHN KUZMICH, JR.
re you one of the over-sixty percent of music educators who doesnâ€™t use music technology? Maximizing the potential of software is a high priority in the business world. Fortune500 companies frequently
budget as much for technology training as they do for software purchases. In the education world, this still is rarely the case and, consequently, the technology expectations are nowhere near the high level found in the business world. It is true that we may have a few strikes against us with bud-
Dr. Kuzmich is a nationally-known music educator with more than 30 years of teaching experience. He has certification from TI:ME (Technology Institute for Music Educators) to serve as a training instructor throughout the country. His academic background also includes a Ph.D. in comprehensive musicianship. As a freelance author, he has more than 250 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S. and several foreign countries. For more information, visit his Web site: www.kuzmich.com.
44 School Band and Orchestra, January 2008
get constraints, lack of qualified trainers, and now technical support no longer available at toll-free phone numbers. The solution comes in the form of third-party tutorial books, on-line how-to guides, and DVDs. These tools are readily available and offer indepth instruction using the software products in the classroom and home. Itâ€™s time to build your confidence, and these resources are designed to do just that. Your students will readily absorb this instruction, especially for the more complex sequencing applications. This installment will introduce specific sequencing applications; MIDI, sequencing, and recording instruction; books on ear training, multimedia, recording studio, and music marketing; on-line tutorials for most areas of music education; podcasting; and copyright information. And best of all, the DVD tutorials are perfect for class presentations, and a wealth of free on-line tutorials are available for 24/7 instruction both in and outside of class. Also, YouTube [www.youtube.com] and MySpace [www.myspace. com] are becoming good resources for finding free music technology tutorials for your students.
More Sequencers Cubase 4 Tutorial DVD Levels 1, 2 and 3 by Steve Kostrey, published by ASK Video, 2007 [www.askvideo. com].
This video tutorial is a must for every Cubase user, whether you’re just starting out or a seasoned pro. A unique narrator adds a personal touch introducing each of the 97 videos tutorials in over 7 hours of exceptional instruction. And the video and audio quality are excellent. Although made for Cubase 4, it’s also good for Cubase LE, Cubase AI, Cubase SX3 and Nuendo users.
Cubase SX 3.0, beginning level published by BCI Media and distributed by Hal Leonard Corp, 2007 [www. halleonard.com]. This 104-minute DVD focuses on getting you up and running with the Cubase interface and feature set. The topics covered include how to record audio and MIDI, working with the Arpeggiator and building up an arrangement by duplicating and layering racks. Details include the on-board mixer, and how to create and route effects to your tracks.
MIDI Editing in Cubase by Steve Pacey, published by Thomson Course Technology [www.courseptr.com], distributed by Hal Leonard Corp, 2007. MIDI editing is complicated but important to know. Cubase makes it easy with excellent editing capabilities. With the Skill Pack source files found on the book’s companion CD, you’ll learn skills taught through hands-on exercises that range from entry to expert level. Topics include how to edit MIDI notes and events, using MIDI effects, creating a MIDI score, quantizing MIDI and how to export your MIDI as digital audio and as a MIDI file.
Pro Tools Tutorial DVD Three-Pack published by ASK Video, 2006/2007. This video set is a must-have for Pro Tools users with 85 videos in seven hours of instruction. Level 1 has 29 videos, level 2 has 29 videos, and level 3 has 27 videos. Highlights of level 1 include audio editing, automation,
TXOLW Light Orchestral TXSE Eclipse Symphonic TXOGW General Orchestral
TXOLBGW Large Bead General Orchestral © Pro-Mark Corporation.
(TXOHW Heavy Orchestral not shown)
promark.com School Band and Orchestra, January 2008 45
bussing, setup and recording. Level 2 highlights include dynamics, looping audio, loop recording and mixing. Level 3 features advanced audio editing, advanced MIDI editing, side chaining, tips and tricks.
Sonar 6 Power! by Scott R. Garrigus, published by Thomson Course Technology.
Pro Tools published by Thomson Course Technology. This publication offers a comprehensive approach to the fundamentals of Pro Tools HD, Pro Tools LE, or Pro Tools M-Powered. It focuses on building multi-track recordings of live instruments, MIDI sequences, software synthesizers and samplers, and audio looping with REX files with handson tutorials, and developing essential techniques for recording, editing and mixing. An included DVD-ROM features tutorials files and videos, plug-in installers and Pro Tools sessions.
Pro Tools LE 7, beginning level published by BCI Media and distributed by Hal Leonard Corp., 2007. This 100-minute, easy-to-use beginning guide to Pro Tools shows you everything you need to know to take your song from start to finish using the hardware and software components of the system. Specifically, you’ll learn how to set up your Pro Tools studio, how to work the Mbox and similar audio interfaces, how to use the entire Pro Tools LE 7 feature set, integrating the FXpansion VST to RTAS adaptor, recording audio and MIDI into Pro Tools LE 7, mixing audio and MIDI using real-time effects and exporting your song to a master recording.
46 School Band and Orchestra, January 2008
A comprehensive guide that picks up where the manual leaves off, teaching you how to dig deep into the program with step-by-step examples and exercises. From initially customizing Sonar 6 to creating and producing a surround sound mix, you’ll learn just about everything you need to know to make your composing and recording sessions run smoothly. It really gets into audio and MIDI effects and how to use them in offline and real-time situations. For more content, go to the companion Web site [www.courseptr.com/downloads].
Books on MIDI, Sequencing, Recording Alfred’s Music Tech Series, Book 1: Playing Keyboard by Tom Rudolph, Floyd Richmond, Stenfani Langol, and Lee Whitemore, published by Alfred Publishing, 2007 [www.alfred.com].
This book is designed for late elementary to high school students who are learning the piano in a group-lab setting. You will like how it integrates a variety of performance activities to enhance the learning process and includes challenging activities for students who have more advanced playing experience. Its five units include progressive and supplemental activities for practice and reinforcement, and the topics left-and right-hand
melody, two-hand melody, C and G7 chords with the left hand, improvise percussion parts, C, F and G7 chords with the left hand, and variations of 12-bar blues progression.
Ear Training Performing Ear by Tomasz Spiewak and Jenni Hillman, distributed by Rising Software [www.risingsoftware. com]. The Performing Ear is a resource book of practical aural exercises that augments the already comprehensive Auralia ear training application (distributed in the USA by Sibelius) for classroom, music studio, or personal use. It is the only in-depth resource that properly aligns with an ear training software program. Its 178 pages are divided into four broad categories: rhythm, intervals and scales, pitch and melody, and chords. Since it is a collection of resources, the teacher can choose exercises from all parts of the book at any one time. There is a
wealth of instruction for daily classroom instruction and practice. The teacher’s guide and sample curriculum help implement a progressive and cumulative aural program that matches the enormous scope of Auralia’s 41 topics and 10 levels.
Music Technology Curriculum Technology Guide for Music Educators edited by Scott Watson, pub-
et sm ve i g
t. P wan at I d th
Multimedia Camtasia Studio 3 by Daniel Park, published by Wordware Publishing, X [www.wordware.com]. Camtasia Studio is an industryleading screen video recording and editing tool for the PC platform. This publication starts at the beginning of the process with developing goals and determining the core audience, and proceeds to story boarding, recording,
r and Educator, Mich erforme ae l S
p ir o
OF TH E
NN ER R CI E. CL y re –a
lished by Artist Publishing. This great resource for music educators is clearly organized into six core technology areas that teachers need to be competent in as they teach music in the 21st century. These areas are: electronic musical instruments; music production; music notation software; technology-assisted learning; multimedia and productivity tools; and classroom and lab management. Highly recommended for music educators at all levels of instruction.
sequencing digital audio recording, synthesis, loop-based production, and computer-aided notation. Part 2 covers relevant musical concepts such as chords and scales, the linear process, creating bass and drum grooves, keyboarding techniques, music composition, arranging and orchestration. Part 3 features scores and an audio CD with commentary detailing both the musical and technique aspects of each production.
Getting Started in Computer Music by Mark Nelson, published by Thomson Course Technology, 2007. This must-have publication for newbies gets you started from scratch, covering just about everything needed for entry-level music technologists. This is not a technical or operational manual, but rather an introduction to applications that can be used to create, learn, perform, manipulate, write, and record music. Its contents range from buying and setting up computers to choosing music software, determining audio hardware needs, recording at home, selecting and using microphones, and getting the best sound from a setup.
LP ACCENTS SERIES WOOD CONGAS & BONGOS Everyone wants to get their hands on LP Accents Series Wood congas and bongos with eleven trend-setting finishes. They feature the quality and sounds found only in an LP. Embraced by the world’s best players, they’re new, but instantly classic. What else would you expect from LP? Get into it. Get LP.
Musicianship in the Digital Age by Brent Edstrom, published by Thomson Course Technology, 2006. Music making is changing rapidly and this book will help you keep up. It explains technological concepts and provides insights into how to use technology to create music. Organized in three parts, the first of which covers the technical aspects of music production such as setting up a project studio, using computers and MIDI,
©2008 Latin Percussion A Division of KMC, Garfield, NJ
School Band and Orchestra, January 2008 47
editing and production. It is appropriate for users at all levels and comes with a companion CD with a trail version of Camtasia Studio along with data files to help complete the chapter exercises.
or hardware-based effect unit. These 36 videos also highlight guitar delay, organ distortion, radio voice and wet/ dry comparison.
by Adams Media, 2004 [www.everything.com]. This book is a great primer for setting up a home recording studio. It covers the essentials of four-track to digital and more, and teaches what it takes to be literate in designing and using a home studio. The vocabulary is simplified, making it easy to become conversant with four-track and digital recording with microphones and the necessary equipment as well as how to tweak sound, mix and master it,
Mixing With The Pros by James Tuttle, published by ASK Video, 2006. Learn EQs, compressors, limiters, reverbs, delays, amp simulators, automation, and mastering plug-ins; all of which are used to craft a mix that has charity, depth, punch, pop, and sizzle. It is great to see how to mix as a whole rather than simply through independent techniques. The concepts in this tutorial can be applied to any software
The Everything Home Recording Book by Marc Schonbrun, published
and more. It uses Cubase to explain operating procedures. Users will like the kindness with which it introduces newcomers to music technology.
Marketing Your Music MySpace for Musicians by Frances Vincent, published by Thomson Course Technology and distributed by Hal Leonard, 2007. MySpace is one of the most popular sites on the Internet today. This
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