Newsletter of the American Orff-Schulwerk Association • Fall 2008 • Volume 8, No. 1
Patschwerk of Possibilities By Jessie Vance and Diane Sabourin, National Conference Chairs
November 12-15, 2008
atschwerk of Possibilities is layered with a mosaic of general sessions, concerts and evening sessions that are stitched together for your enjoyment and enlightenment. Committees under the guidance of Local Conference Chairs Jane Hoch and Noreen Hofmann have been hard at work planning, organizing and innovating to make this conference a memorable one for you.
OPENING SESSION Get an early start Thursday morning with an 8:00 session before making your way to the Charlotte Convention Center for the procession of banners with music by the Virginia Highlands Chapter Orff Ensemble under the direction of Brent Holl. “Come In, Come In” to a Cherokee legend, a Opening Season mountain tale and a ghost story as David Holt and over 130 fourth and fifth graders from Durham Academy (Kathy Pause) and Cannon School (Aimee Pfitzner) help to unwrap these stories with traditional and original songs, instruments, movement and dance. Be sure to look for the opening session booklet, A Patschwerk of Stories, Music and Song, on sale at the AOSA Boutique containing many of the songs, arrangements, prop/scenery ideas and resources needed to experience your own version of this performance.
BUSINESS MEETING Third through fifth graders from Carolina Forest Elementary School, Myrtle Beach, South Carolina, under the direction of Tim Peterman will have your jaw dropping in amazement to the sights and sounds of the school’s Taiko Drum Ensemble. Taiko Drum Ensemble
AFTERNOON CONCERTS Scheduled between afternoon sessions on Friday and Saturday, three concurrent concerts will be available for your listening pleasure and enlightenment. These groups have been working for more than a year to prepare for these performances and we are hoping that audiences will be standing-room-only to support their hard work. Choose from the following.
Friday Hillandale Children’s Chorus This Durham, North Carolina elementary chorus under the direction of Dena Byers demonstrates how a non-auditioned group of singers in an urban setting can produce a high-quality performing group. Thoroughgood Orff Ensemble Traveling from Virginia Beach, Robert Scott Foxwell’s group of youngsters perform music from the Volumes and other pieces sure to entertain.
Hillandale Children’s Chorus
Thoroughgood Orff Ensemble
Farmington Woods Handbell Choir Elementary students from Farmington Woods Elementary School in Cary, North Carolina, will surprise and amaze. Director Ann LeGarde approaches handbells from an Orff Schulwerk perspective and arranges music alive with ostinato patterns. Farmington Woods Handbell Choir
Saturday Atlanta Chapter Honor Orff Ensemble Children from the greater Atlanta area join forces with five directors to create this ensemble. In addition, guest conductor Deanna Stark will conduct her commissioned arrangement of “Georgia on My Mind.”
Atlanta Chapter Honor Orff Ensemble
Sound Waves Through singing, creative movement and Orff accompaniments, director Dee Piecuch-Siebert leads 18 fifth and sixth graders from Rose Hill Elementary in Alexandria, Virginia,“to teach through entertainment.”
Crooked River Ensemble Laura Webster, Jenny Burnett and Robin Brian direct this regional Orff ensemble for students in northeast Ohio currently enrolled in grades 3-6. They Crooked River Ensemble blend modern dance choreography, student composed works and Orff repertoire.
EVENING CONCERTS Thursday Embe Marimba Band This middle school group from Asheville, North Carolina, directed by Susan Ford, performs primarily on handmade Embe Marimba Band Zimbabwean style marimbas, as well as a variety of other percussion instruments. “Embe,” a Swahili word for mango, dishes out sweet and juicy tunes in a variety of styles.
ture has fueled a successful performing and recording career. He has earned four Grammy Awards and performed and recorded with many of his mentors including Doc Watson, Grandpa Jones, Bill Monroe, Earl Scruggs, Roy Acuff and Chet Atkins. Today he tours the country performing solo, with Doc Watson and with his band The Lightning Bolts.
LATE NIGHT SESSIONS Thursday On Thursday, you may choose to dance the night away as Peter and Mary Alice Amidon lead a Community Dance or discover a youth cantata composed by Carl Orff at yet another unique meeting of the Midnight (not really at midnight!) Historical Society. Attend as a member of the audience or participate in the performance by attending the daytime session/rehearsal, Carl Orff as a Choral Composer. Singing and dancing not your cup of tea? Then enjoy the camaraderie in a drum circle. Matt Savage, nationally known percussionist who has been leading drum circles since 1987, is bringing lots of drums, so don’t hesitate to join in!
Friday More choices abound on Friday evening. Try your hand at Irish dancing – no experience necessary – as guest researcher Marie McCarthy shares her heritage with attendees. Join Raymond Wise in a gospel singing session sure to inspire or jam with Jon Madin as he introduces his varied repertoire of marimba music from “down under” to participants.
Saturday North Carolina Youth Tap Ensemble Imagine Stomp, Riverdance, vaudeville, Fred Astaire and “Bring in ‘Da Noise” all on the same bill. That’s North Carolina Youth Tap Ensemble NCYTE! This nonstop percussive dance review is a trip through time and into the future of this American art form.
Friday Charlotte Children’s Choir The Charlotte Children’s Choir serves children between the ages of eight and 18 and enriches the lives of Charlotte Children’s Choir children from diverse backgrounds in the Charlotte area. The renowned choir, directed by Sandy Holland, will be a conference highlight. David Holt Kick back, relax and enjoy an “old-time” concert with David Holt. For over three decades, David’s passion for traditional music and cul2
Closing Session Following session four on Saturday, all participants are invited to join Steven Calantropio, Vivian Murray-Caputo and Raymond Wise as we join together in movement and song to close yet another unforgettable AOSA conference. Banquet Don your favorite shade of blue and join us in celebrating AOSA’s 40th birthday as we enjoy a sophisticated “Blues in the Night” celebration. A varied buffet menu to delight all palates (including vegetarians) will be followed by dancing to strains of the Doug Burns Band. Late Night Charlottetown is Movin’ ‘Round: A Collection of American Folk Dances follows as Thom Borden leads us through the final hours of conference.
Conference Chairs Jane Hoch, Diane Sabourin, Jessie Vance and Noreen Hofmann
“Nothing could be finer than to be in Carolina” from November 12-15 for a Patschwerk of Possibilities! Please join us! Volume 8, Number 1 • Fall 2008
A Special Thank You
members and administrators) had no idea that the instruments could sound so wonderful, be played so skillfully by third, fourth and fifth grade students and add so much to the overall sound of the opera.
ach year, AOSA lends ten sets of Orff instrumentaria to local music teachers between AOSA national conferences. For the 2007-2008 school year, teachers in the Charlotte area received their instruments following the 2007 AOSA National Conference in San Jose. Here is a letter received from one of those grateful teachers: Lisa Lashley, CharlotteMecklenburg Schools, Charlotte, North Carolina.
Thank you for the AOSA instrument loan. We have enjoyed using the instruments during the school year on a daily basis. Several highlights come to mind as the school year draws to a close: • We used the instruments during a demonstration lesson with local guest artist David Crowe. David arranged six of the opera segments my students composed. The students demonstrated his orchestrations for our grant providers, the ArtsTeach board of directors. They were quite impressed! • The instruments were used during the students’ original opera, Crenshaw’s Curse. Even though Orff ensembles are a part of everyday life for us as Orff teachers, the audience (including my team and several staff
• The use of the instruments at the fall in-service will make it possible for other teachers to participate without having to bring too many instruments! The bad news – I was so heavily involved in the endeavors described above, that no photos were taken – I’ll try to do better from now until November!!
Lisa Lashley poses with the "Big Blues" on instrument pick-up day.
Again, thank you does not seem sufficient, but please know that this has been a once-in-a-lifetime type of wonderful opportunity for us at University Park!!
Don’t Miss the President’s Panel Survival: Yours, mine, ours Mission: To create the future in music education
Help AOSA Celebrate Its 40th Anniversary!
Join President Jo Ella Hug and friends old and new at the Blues in the Night Banquet for a grand dinner buffet, birthday cake and dancing to the sounds of the Doug Burns Band as we celebrate 40 years of active, joyful music-making and movement with the Orff Schulwerk approach. If you forgot to purchase your banquet ticket when registering for the 2008 AOSA National Conference in Charlotte, it’s not too late! Contact AOSA Headquarters at firstname.lastname@example.org or 440.543.5366 before October 12th.
Georgia A. Newlin, Organization of American Kodály Educators Barbara Geer, President, MENC Judy Bond, Alliance for Active Music Making Leslie Timmons, American Recorder Society Kathy Thomson, Dalcroze Society of America Jo Ella Hug – moderator, President, AOSA
PODCAST SCHEDULE (All podcasts remain available at www.aosa.org.) Podcasts began on March 1st, 2008. Please visit www.aosa.org to see the complete listings. Watch for a new podcast every two weeks through the end of October.
Teaching with Technology
Toni Jové and Susan Ahmad
Music a la Cart
Early Childhood/Urban Focus
July 15th August 1st th
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First North American Alliance Award of Recognition Announced By Carolyn Tower and Wilma Salzman, North American Alliance Committee
Canada which later became Carl Orff Canada. Although in 1986 Doreen retired as Professor Emeritus from the University of Toronto, her work “nurturing the seeds of Orff Schulwerk” continues. She has received numerous awards and accolades, including the AOSA Service Award (1977). In February of 2008, Doreen received Canada’s highest honor: The Order of Canada. The citation states, “Her Wilma Salzman and Doreen Hall work has continued over a lifetime and countless students are beneficiaries of her passion and commitment.” n Saturday, April 26, 2008, at the Carl Orff Canada National Also participating in the NAA Award Ceremony were NAA members: Conference in Edmonton, Alberta, the first North American Alliance Lucie Allyson, Immediate Past President, COC; Debra Giebelhaus(NAA) Award of Recognition was presented to Doreen Hall of Maloney, President, COC; Leslie Bricker, Past President, COC; Jo Ella Hug, Toronto, Ontario. In a formal ceremony which took place at the evening President, AOSA; Carolyn Tower, Past President, AOSA and Chair of NAA. banquet, Wilma Salzman, member of the North American Alliance Following Wilma Salzman’s address, Doreen was presented with a Committee and one of AOSA’s founders, gave an framed certificate specially designed and craftoutstanding tribute address which painted an aweed in original calligraphy. The inscription reads, inspiring portrait of Doreen’s life story and her “To Doreen Hall in recognition of exemplary ongoing pursuit of excellence in Orff Schulwerk. service, unfailing support and devotion to OrffBorn in Ireland, growing up in Ontario, Canada, Schulwerk in North America.” In honor of this Doreen Hall began her career as a violinist, evenspecial occasion, personal letters of congratulatually becoming head of the string department at tions, greetings, memories and photographs Mount Allison University in New Brunswick. In from members of both COC and AOSA were 1951, she began further studies at the Royal compiled into a lovely tribute book which was College of Music in Toronto where she was presented to Doreen at this time. selected to travel to Salzburg to work privately In her concluding remarks, Carl Orff Canada with Carl Orff and Gunild Keetman and to bring President Debra Giebelhaus-Maloney stated, their approach to music education back to Doreen Hall “Your selfless dedication to this life’s work Canada. During 1954-55, while working with Orff leaves us all in awe. ... We salute you and say and Keetman, Doreen completed the first English thank you for this legacy! Viva la musica!” adaptation of Volume I of Das Schulwerk. In 1955-56 she joined the Elegant and composed, Doreen gave a spontaneous speech of University of Toronto Faculty of Music. Soon after, Doreen began trainacceptance in which she urged all of us to continue to strive for quality. ing sessions for teachers at the conservatory. In 1958, her wellAfter the ceremony, AOSA President Jo Ella Hug spoke for us all stating received demonstration at the MENC Conference in Buffalo, New York, “that it was a rare priviled to the first American course in Orff Schulwerk at Ohio State lege to be participating in University the following summer. During this busy period (1956–61), an amazing point of Orff Doreen, together with Arnold Walter, managed to complete the English Schulwerk history.” translation of the other four volumes of Music for Children (Schott). Doreen Hall has planted In the summer of 1962, Doreen organized the historic conference at and nurtured the seeds of the University of Toronto. Carl Orff and Gunild Keetman were among Orff Schulwerk. The roots those leading the sessions. Educators from across the continent attendhave taken hold and the ed this conference and returned home inspired with the possibilities of garden continues to flourOrff Schulwerk. In 1963 Wilma Salzman, a recent graduate of the ish and bloom. University of Toronto Faculty of Music, following Doreen’s example and advice, studied in Salzburg with Orff and Keetman at the newly opened Carolyn Tower was an Orff AOSA President Jo Ella Hug and North American Orff Institute. Wilma became Doreen’s first student to receive a full time specialist and private piano Alliance Award recipient Doreen Hall “Orff” teaching position. teacher at Cranbrook By 1966, Doreen had devised a three-year sequence of training Schools in Michigan for 36 classes at the University of Toronto, bringing in international teachers. years. She is a Past President of AOSA and is presently serving as The founding of the American Orff-Schulwerk Association occurred two Chair of the North American Alliance. years later by a group of ten teachers, most of whom received their first Wilma Salzman graduated from the University of Toronto in 1963 as a Orff exposure and early training in Toronto under the inspiration and student of Doreen Hall. She completed her Orff Specialist degree at the watchful guidance of Doreen Hall. Training courses in both Canada and Orff Institute in Salzburg in 1964. She taught the first Orff Pilot Program the United States still follow the original model established in Toronto. in llinois from 1964-1969 while leading teacher training courses. In 1974, Doreen became the founder of the Orff Schulwerk Society of The North American Alliance is a joint, collaborative committee of AOSA and Carl Orff Canada. From its beginning five years ago, it has worked to establish firm ties of friendship and communication between the two organizations.
Volume 8, Number 1 • Fall 2008
NBT Welcomes Newly Elected Members he AOSA National Board of Trustees recently welcomed newly elected Recording Secretary Kay Lehto and Regional Representatives Judy Sapegin (Region I), Paula Van Houten (Region II), Sally Trenfield (Region III) and Amy Fenton (Region VI). Sue Mueller was appointed as National Conference Chair for the 2010 AOSA National Conference in Spokane. In addition, Michelle Greenlaw was elected Industry Representative by AOSA industry members. These seven people have all followed different paths that have led them to servant leadership. Their rich and varied experiences are the result of seeds planted years ago by dedicated Orff Schulwerk teachers throughout the country. We are inspired by their stories as we wish them the best of luck in their new responsibilities as members of the National Board of Trustees.
Kay Lehto, Recording Secretary By Linda Agnello, Contributing Editor ay Lehto began teaching music in Michigan. A Peace Corps assignment took her to Kenya. Following that, Kay moved to the Cayman Islands where she was the first primary schools music teacher, traveling to six Kay Lehto schools and flying to schools on Cayman Brac twice each year. She recorded music lessons broadcast over Radio Cayman to reach everyone. Upon arriving in Clark County, Nevada, she began as an itinerant teacher, picking up classes in both Jeff Kriske and Randy DeLelles’ schools, and her connection to the Schulwerk began. Kay remembers, “I was all eyes and all ears.” Having served as secretary and president of Nevada’s Desert Valley Chapter, Kay has also co-chaired two AOSA National Conferences: Rochester in 2000 and Long Beach in 2004. An active workshop presenter, she has taught Introduction to Schulwerk courses as well as movement in many Orff teacher training courses. Kay teaches at Gilbert Magnet School for Communication and the Creative Arts in the Clark County school district, Las Vegas. She enjoys exploring the connections between children’s literature and the Schulwerk. Most of Kay’s family still lives in upper Michigan where she grew up. She shares her home with a “quirky” cat, and when time permits, she enjoys traveling and reading.
Judy Sapegin, Region I Representative By Jessie Vance, Editor udy explains her first experience with the Schulwerk with this anecdote: “I first became involved with Orff Schulwerk when Judy Sapegin I realized during my first year of teaching that sixth graders did not like sitting in folding chairs and singing out of a song book or listening to records. So, when I finally got the ropes off my wrists and escaped from the storage closet, I began to search for ’Plan B!’ Plan B arrived soon afterwards in the form of a flyer in my mailbox advertising a series of Orff workshops that would take place on Saturdays. I immediately signed up and was instantly hooked.” Judy wrote a grant for some instruments and the following summer, started Orff Schulwerk teacher training. Judy Sapegin has been active in the Rocky Mountain Chapter for about 30 years, serving as president and various other board positions. As part of the college liaison team, she has presented workshops for universities in the area. Many people have had a profound influence on
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Judy, but the most important person of all was, and still is, Barbara Grenoble. Judy declares, “She saved my life and my career!” Having retired this past spring from Mountain View Elementary School in Broomfield, Colorado, she is looking forward to working part time at the college level where she has the opportunity to mentor new teachers. In her spare time, she loves to read, travel and spend time with family. “In the fall, I am an avid Broncos football fan and go to all the home games.” Judy and husband Nick, married 46 years, have two grown sons and five grandchildren. “My 11 year old grandson is the most musical of the group and has been a student at the Grenoble Studio since he was four. We are very lucky that our entire family lives in the Denver area.”
Paula Van Houten, Region II Representative By Charles Palella, Contributing Editor hen Paula’s college professor at Nazareth College (Rochester, NY) required music education majors to Paula Van Houten attend a Saturday workshop of the Greater Rochester Orff Chapter, her life changed forever. When she arrived, she found a community of teachers who were willing to help as she joined the profession. Paula currently teaches at the Esperanza Elementary School in Los Angeles where she enjoys the challenges brought by her pre-school class of children with special learning needs. She is especially drawn to the beauty of choral singing. “In choral singing, you can’t do it alone, and you end up creating something bigger than yourself.” Paula served the Greater Rochester and Los Angeles chapters as president and other board positions and co-chaired the Children’s Performances Committee at the 2004 AOSA National Conference in Long Beach. Her workshops for the Los Angeles Unified School District focus on the practical applications of the Schulwerk in urban settings. Her son Nick, a theater technology student at California State University, Fullerton, needed the family car for an internship, so Paula took on the challenge of learning to navigate Los Angeles without a car and is thrilled with the experience. Her walk to school from the bus stop has brought her closer to her school community. She is greeted in the morning by her students and their families and feels more of a connection to them. In addition to her son, Paula has twin daughters. Rachel is an academic administrator in Los Angeles while Elizabeth works in the publishing business in New York City. Paula is proud to report that both young ladies sing in two choirs each. In April, she traveled to Brazil on a mission immersion trip. She sings with the St. Charles Borromeo Choir and enjoys languages and linguistics, including conversational Portuguese and Biblical Greek.
Sally Trenfield, Region III Representative By Jaree Hall, Contributing Editor ally Trenfield’s first encounter with Orff Schulwerk came as an undergraduate when she volunteered in Mary Goetze’s classroom in Bloomington, Indiana. She fell in Sally Trenfield love with the folk songs and improvisation. After moving to south Texas and teaching three years, she encountered Avon Gillespie and soon enrolled in Level I. He was joined by Doug Goodkin and Rick Layton, all of whom were incredible influences on her. She says she “greatly admired Avon for his choice to teach elementary music when he could have been a jazz musician or choral director.” Avon’s teaching sent her on a mission to expose more people to Orff Schulwerk. She served as president and other positions for the Wild Horse Desert Chapter, and was secretary and a founding member of the Rio Grande Valley Chapter. With the support of the department chair, she initiated Orff Schulwerk teacher training at the University of Texas at Brownsville where she is the course director. It is now entering its fifth year. Sally has been the recipient of an AOSA Gunild Keetman Grant to attend the International Orff Course in Santander, Spain. She wanted to attend an Orff course in Spanish to gain empathy for her students who come to school not speaking English. She also wanted to learn more Spanish language activities for her music classes. Orff process can be a powerful tool to help second language learners succeed in learning music, sharing their own culture and learning a second language Sally teaches courses for elementary classroom teachers and elementary music majors at the University of Texas at Brownsville. She also serves as undergraduate music education faculty advisor and sponsors the student chapter of MENC. Her husband teaches high school speech and English. They have two sons, three cats and a dog. Her spare time activities include baking bread, exercising and enjoying time with family.
Amy Fenton, Region VI Representative By Sarah Bright, Contributing Editor my Fenton was in her last year of undergraduate studies majoring in vocal performance when Nancy Ferguson was Amy Fenton hired at the University of Arizona. Along with being a full time student, she was also on staff at the music department main office. Speaking with Nancy throughout the year, Amy remembers admiring her enthusiasm and dedication to music education. Nancy convinced Amy to observe an Orff Schulwerk Teacher Training course (Level I) that was being taught that semester. “Watching that class absolutely changed my life.” Of Nancy, Amy said, “I will always be grateful and thankful for the guidance and mentorship that Nancy provided.” Amy was a founding member of the Southern Arizona Orff Chapter. She served that chapter as treasurer from 1995-1998. When she moved to Michigan in 1998, she immediately got involved in the MidMichigan chapter, serving in many capacities through the years in positions ranging from scholarship committee, treasurer, vice president and president (twice!). Amy is an active clinician and has presented workshops for the Mid-
Michigan Chapter and several school districts in the surrounding area. A special interest in the Schulwerk more recently has led to an intensive study of the recorder, and she has taught recorder for an Introduction to Orff course and for Orff Schulwerk Teacher Training (Level I) at Central Michigan University. She also taught recorder for Levels I and II at the University of Connecticut this past summer. Amy currently teaches grades 3-5 at Murphy Elementary and grades 4-5 at Ralya Elementary in Haslett, Michigan. Her husband, a forensic anthropologist, is a professor at Western Michigan University. In their spare time, they enjoy traveling, hiking and reading. Additionally, they enjoy their 18-year-old maroon-bellied conure (small type of parrot) who is very spoiled.
Sue Mueller, National Conference Chair By Jessie Vance, Editor ue Mueller is no stranger to the National Board of Trustees or to AOSA members. She has served as a Regional Sue Mueller Representative and as AOSA Vice President and President. She was National Conference CoChair, with Joan Middlebrook, for the 2002 AOSA National Conference in Las Vegas and now she is ready to serve AOSA again – this time as the National Conference Chair for the 2010 AOSA National Conference in Spokane. Sue first became involved in the Schulwerk when she moved to Las Vegas and started teaching with colleagues in the Clark County School District in 1979. When asked about influences in her career, she states, “I have been influenced in many different ways over the years by individuals with strengths in the various media used in Orff Schulwerk: Avon Gillespie’s spirit and energy, first witnessed at the Chicago conference, made me aware of the contagious love of Schulwerk; Jos Wuytack’s clear process; Shirley McRae’s mastery of melody; Randy DeLelles and Jeff Kriske’s practical classroom application; Jo Ella Hug’s improvisatory insistence; Nancy Ferguson’s love of jazz, to name a few.” Sue has been a workshop presenter for about 18 years, and has taught teacher training courses in Louisiana, California, Nevada, Alabama and Florida. She taught K-5 public school music for 27 years and currently is Assistant Professor of Music at the University of Nevada, Las Vegas. When not teaching or involved with AOSA, she loves to garden, walk and swim. Those of us who attend board meetings or see Sue at conferences are not surprised when we are on the elevator heading down to breakfast to see Sue coming up the elevator after completing an early morning walk. Sue tells us that she has “three wonderful adult children, an Orff husband (who has accepted Orff as part of our lives), two grandsons and another on the way."
Michelle Greenlaw, Industry Representative By Linda Agnello, Contributing Editor
ichelle Greenlaw, Vice President of MMB Music, has been aware of Orff Schulwerk for many years, dating back to music school when she met the late Jean
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Wilmouth. He was teaching at Duquesne University and she soon took a private teaching job (violin) in his store. Although she was not an Orff Schulwerk teacher, Michelle enjoyed participating in his workshops just for fun. Also among her early influences, Michelle cites Norm Goldberg, a founding member of AOSA and the founder of MMB Music. Michelle credits his influence for her appreciation of the beauty of the Orff philosophy and the teachers who embrace that way of educating children. She also works closely with Brian Crisp, MMB’s Music Education expert, spending hours observing him with young students and teachers-intraining, and co-creating the framework for the curricula he writes. Michelle says, “It’s inspiring to know that the work I do in the music industry has such an important impact on music education.” Michelle spends most of her professional time at MMB on the Studio 49 division of the business. MMB proudly imports Studio 49 instruments from Munich, Germany, and distributes them to retail channels throughout the United States. Planning to complete her Executive MBA degree at Washington University in St. Louis this year, Michelle looks forward to participating in the EMBA residency program in China this October: “Working fulltime at MMB, finishing this degree and parenting our two children are about all I have time for these days!” Her daughters, Gillian and Paula, are seven and two. She also makes time in her busy schedule for yoga. Michelle is married to Ian Greenlaw, an opera singer who frequently performs throughout the world. They just returned from his debut at La Scala in Milan. As an opera spouse, Michelle enjoys some nice perks!
AOSA Bouti e h t qu it s i e V We're fueled with materials to help you teach! Games and manipulatives such as Rhythm Twister or Note Catch . Bid on silent auction items includ ing hand-made quilts. Props like “Carolina Chords” (stretchy bands) or Ribbon Wands Lesson plan ideas Materials from presenters includ ing Randy DeLelles and Jeff Kriske Unique instruments like the “Ocean Stix” and triangle holders Assessment tools Opening session booklet: A Patschwerk of Stories, Music and Song
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In Memoriam: Wilhelm Keller 1920 – 2008 By Jaree Hall, Contributing Editor embers of our community were saddened by the loss of Professor Wilhelm Keller on June 4, 2008. He was invited by Carl Orff to join the faculty at the newly established Orff Institute in 1962. Keller and Orff, along with Gunild Keetman, Barbara Haselbach and Hermann Regner worked to create a world-class training facility for elementary music and dance pedagogy. In connection with the Orff Institute, he founded and directed the Institute for Research in Musical, Social and Therapeutic Pedagogy. He retired from the Orff Institute in 1981. For his work in presenting and adapting Orff Schulwerk, the Carl Orff Foundation recognized him with the Pro Merito award in 1991. Wilhelm Keller Keller was born in Austria and grew up in Salzburg. Before joining the faculty of the Orff Institute, he was a professor of composition and song accompaniment at the Hochschule Mozarteum, worked as a music journalist and also taught music theory and music education in Germany. He was an active composer as well as a painter and poet. AOSA member Carol Erion, who was a student of Keller’s, relates that he was instrumental in translating quite a few of Orff’s directions in the Volumes and also wrote a small booklet that laid out the Schulwerk philosophy for students at the Institute in Salzburg. The English translation is entitled Introduction to Music for Children (translated by Susan Kennedy, Schott, 1974). She also recalls that “no one who studied with him at the Orff Institute will ever forget his version of Ferdinand the Bull, which he did with every special course. In an obituary by fellow Austrian Karl Müller (translated by Miriam Samuelson), Keller is described as “one of the quiet greats of our country whose genial creativity and constant achievements for the spirit and soul, humanity and peace, cannot be assessed with words.” He goes on to characterize Keller as “one of the few intellectuals and artists from Salzburg who spoke of his continuing great love for folk music.” Keller himself wrote,“Perhaps I can allow art music and folk music to play together.”
INDUSTRY NEWS By Linda Agnello, Contributing Editor
Zoom to the Exhibitor's Extravaganza! Be among the first to see what delights the exhibitors have brought for you to take home to your classroom! In Charlotte, the Exhibit Hall opens at 7:00 P.M., Wednesday, November 12. New and familiar classroom instruments, storybooks, recordings, print materials and more will welcome you to another year of great teaching resources at your fingertips. The AOSA Boutique will be brimming with teacher-crafted materials. Meet your conference friends from years past as you shop the many booths and greet our exhibitors. AOSA provides complimentary snacks and a cash bar. Don’t miss it! All the instruments and materials you’ve been considering, curious about or simply have to have will be there. And the puppets need some attention!
CHAPTER NEWS Milestones inda Ahlstedt, a lifetime member of the Greater Rochester Chapter (NY), has announced her retirement effective July, 2008. Linda, Past President of AOSA (19992001), is a long-time supporter and friend of GRAOSA. She is also active in the Pittsburgh Golden Triangle Chapter (PA). We all wish Linda Ahlstedt her well in her retirement. The Atlanta Chapter (GA) celebrated its 30th anniversary this year. As a part of the celebration, past presidents from the chapter presented some of their favorite lessons. The North Texas Chapter is also celebrating their 30th anniversary. The chapter was originally chartered as the Dallas Metroplex Chapter and had 13 members. Their membership has now grown to over 200 members. To celebrate the occasion, Keith Terry was invited to present on June 15th at Southern Methodist University. The Keith Terry, AOSA workshop was followed by refreshments and an Advocate interactive demonstration and lecture by Keith. Celebrations will continue through the rest of 2008. The Central Florida Chapter celebrated their 25th anniversary. In March, during a workshop featuring Peter and Mary Alice Amidon, they had a pot luck lunch and an historical PowerPoint presentation before they danced the day away!
Central Florida Chapter
By Charles Palella, Contributing Editor
Members of the Mt. Lassen Chapter (CA) are saddened by the loss of Deborah Reinhardt. She died in a car accident in September, 2007. She had joined the Mt. Lassen Board of Directors in 2000 and was instrumental in bringing about the collaboration of the California Music Educators Association, the Mt. Lassen Orff Chapter and California State University, Chico for their first joint workshop.
Awards and Grants
Central Florida Chapter celebrates with the Amidons.
Steve Myer from the Orange County Chapter (CA) has been named Elementary Teacher of the Year for Orange County. He was nominated by colleague Diana Cranny.
In the Community Members of the Twin Tiers Chapter (NY and PA) have given two “Make and Take” workshops in teacher outreach centers in the Southern Tier of New York and the Northern Tier of Pennsylvania, bringing the Schulwerk to many new teachers. Chapter members led other teachers in making floor staffs, streamer wands and leaf streamers. Attendees also participated in a composition project for Boomwhackers®.
Do You GoodSearch? What if AOSA had a penny for every time you searched the Internet? AOSA is now registered as an approved charity with www.goodsearch.com. GoodSearch is a Yahoo!-powered search engine that donates 50% of its revenue – approximately one cent per search – to charities designated by its users. Just go to www.goodsearch.com, and enter AOSA as the charity that you would like to support. If every AOSA member searched once a day, we would raise over $15,000 in a year.
FROM THE EXECUTIVE DIRECTOR By Katharine P. Johnson Dear Friends, his is an exciting time for AOSA! We are celebrating 40 years of service to active, joyful music and movement educators. As we mark this milestone, we realize the importance of building the infrastructure that will support AOSA into the next 40 years and beyond. We are celebrating many accomplishments this year. One especially worth noting is that we have granted the first Barbara Potter Scholarship Award for advanced Orff Schulwerk study at the Orff Institute in Salzburg. We established this scholarship to commemorate and honor the bequest that Barbara Potter left to AOSA when Barbara included AOSA as a beneficiary of her estate. In her will, some of the gift was restricted to the Keetman Fund, but Barbara also designated a significant portion to the AOSA Endowment Fund. This gift was quite a testament. This thoughtful and profound gift spoke to Barbara’s love of AOSA, her confidence in our ability to support music and movement teachers across the country, and her conviction
that we at AOSA were just beginning our journey. AOSA permanently invests its endowment gifts, and we only spend the investment earnings. Barbara’s gift to the Endowment Fund allows AOSA to use the income from her gift where it will have the greatest impact each year. As AOSA evolves and our needs change, we are able to continually adjust how we utilize these funds. AOSA is grateful for the legacy that Barbara left, and we work to be good stewards of her legacy. Unfortunately, we were not aware of Barbara’s generosity until it was too late to thank her for this gift while she was healthy enough to celebrate with us. If you have included AOSA in your will or other estate plans, or if you are considering such a gift, please let us know. We would love the opportunity to thank you and recognize your generosity. Take care, Kate Volume 8, Number 1 • Fall 2008
MAKING A DIFFERENCE Grant Recipients Say Thank You
Each year AOSA grants thousands of dollars to deserving members through its scholarship funds. Below are letters written by recipients to inspire us all. For more information about contributing to any of the AOSA scholarship, research and endowment funds, visit our Web site at www.aosa.org.
Amber Price Mooresville, Indiana On behalf of the students from the Nicholson Visual and Performing Arts Academy in Indianapolis, Indiana, I would like to thank AOSA for awarding our school new Orff instruAmber Price ments through the TAP fund. This is the first year our school has had an Orff-based curriculum. Our students have enjoyed learning musical elements through instrumental ensembles. It is because of constant support of AOSA members that our children are given the opportunity and desire to create. Thanks to all of the AOSA members for making this happen in our school. Viva la Musica!
Student of Amy Fitzner
Lori Conlon Khan Boise, Idaho
Students of Amber Price
Amy Fitzner Cheektowaga, New York A great big thank you to AOSA for helping to bring even more joy to the students at Theodore Roosevelt School in Cheektowaga, New York. The instruments went to use right away as they arrived the day before our concert. Not only will the instruments be used in a concert setting, but they will be enjoyed by all students K-2 during music class. Throughout the school year, students will learn more about improvisation as they improvise on all the instruments found in the music room. Kindergarten students learn about playing steady beat, and first grade students play two-part songs. Meanwhile, second grade students put together small three and four-part songs using pitched and unpitched instruments. In closing, we truly thank AOSA for the opportunity to build an even stronger music program in Cheektowaga-Sloan UFSD. We also thank you for allowing all of us at our school to enjoy these beautiful instruments. Volume 8, Number 1 • Fall 2008
hat an awesome privilege to be in the presence of one of the true “Masters” of Orff philosophy, Jos Wuytack! Because of the financial assistance of the Gunild Keetman Scholarship Fund, I was able to Lori Conlon Khan be a part of this unique and enriching experience at the University of Memphis. Jos stretched us musically and challenged each one of us every day to create, to listen, to evaluate and to grow in our understanding of the Schulwerk. I felt a real presence of Carl Orff throughout the week as Jos filled us in on the history and evolution of the Schulwerk process and led us through a myriad of examples to inform and enrich our writing of melodies, canons and ensemble arrangements. I marveled at how Jos so effortlessly came up with beautiful melodies, both in the arrangements he gave us to play and in the examples he created in class, and his work has inspired me to continue to improve my own compositions. Along with enjoying the coursework and growing as a musician and teacher through Orff training, another treasured benefit is the relationships made with fellow students. These relationships may become lifelong friendships and sources of support as you continue your years in the music classroom. I will cherish the time I spent in Memphis under the watchful eye of Jos Wuytack and with a special group of music educators, and I thank AOSA for that wonderful opportunity!
RECORDER CORNER By Leslie Timmons, Co-Chair of the Joint AOSA/ARS Committee
Tips on Choosing a Recorder from the American Recorder Society The American Recorder Society brochure, "Tips on Choosing a Recorder," was compiled from articles that originally appeared in the journal, The American Recorder. For more detailed information, refer to these articles: • • • • •
“Opening Measures” (Frances Blaker, January 1997) “Which Wood Should I Choose?” (Philip Levin, May1986) “Q & A “(Judith Linsenberg, June1990) “Recorder Clinic” (Friedrich Von Huene, February 1963) “Choosing an Instrument” (Theo Wyatt, August 1977)
Try several recorders of the same voice and model following the steps below. Be gentle with the instruments; don’t overplay or overblow. Set instruments you don’t like aside, and gradually narrow the pool of possibilities.
What kind of recorder do you need? • Do you want to play solo repertoire? Look for a sound that will project. • Do you want to blend with other instruments in an ensemble? Look for a less penetrating sound. • Will you want this instrument to function in a variety of contexts?
Get a feel for the general sound of the recorder • Play long tones in each range. (Play the same range on each recorder and compare.) • Play a simple melody that you know well. • Play slow slurred major and minor scales, both sharp and flat keys. • Listen for fuzzy or unclear notes, or air noise in the high register. • Pay attention to how hard you must blow and how difficult it is to find the right thumb hole opening.
Check intonation with the tuner • Play a slow chromatic scale over the entire range using your own natural blowing. • Play intervals, especially octaves, watch the tuner, but do not automatically adjust.
• On the alto, check high A, B-flat, C, D, E, F; on the soprano, check high E, F, G, A, B-flat. • Play a variety of arpeggios and major and minor scales. • A consistently sharp instrument can be adjusted by pulling out the head joint, but a consistently flat instrument will be more difficult to play in tune.
Check responsiveness • Play long tones. (Check soprano low C, D, high G#, C; alto low F, G, high C#, F.) • Experiment with left thumb position on the high notes; they should respond easily and clearly. • Play a long tone, starting softly and gradually increasing pressure until the note cracks; the more dynamic range, the better. • Listen for a burble on the low F, F#, G and A (alto); low C, C#, D and E (soprano) • For high notes, play four rapid staccato notes in a row on one pitch; do they sound clear without much “chiff”? Try different tonguing syllables, TK, DG, Tdl, Ddl. • For low notes, tongue lightly, then increase pressure, checking where the sound cracks.
Helpful tools • An electronic tuner for checking pitch • A recorder-playing friend or your teacher for a second opinion
Look for instruments with curved windways! Look down at the top of your recorder: Wide, straight windways do not allow for variation in tone; intonation may be faulty and high notes difficult to play.
More suggestions Attend workshops where you can interact with professional players; hear them perform; ask what recorders they play and recommend. Visit the Web site http://americanrecorder.org to locate chapters, consorts and recorder teachers in your area. If you would like access to ARS online publications such as the articles quoted here, watch for a new electronic American Recorder Society membership (exclusively for educators) to be announced at the Charlotte conference November, 2008.
Plastic vs. Wood: Pros and Cons PLASTIC – PRO
PLASTIC – CON
WOOD – PRO
WOOD – CON
Cheaper than wood recorders of comparable quality
Not as aesthetically pleasing
Less likely to clog
Wood can crack
Windways tend to clog since plastic does not absorb moisture
More pleasing to hold and play
Consistent in quality
Slippery in the hands
Tone appears to be more flexible and pleasant
Heavier than plastic
Can be played in a variety of temperatures and venues (even camping!)
Much of the building and voicing can be done by hand
Can be washed AOSA thanks the Joint AOSA/ARS Committee for its contributions to the “Recorder Corner” column. The archive of “Recorder Corner” columns will be available at www.aosa.org. Watch for our new column, "Patschwerk: Orff Schulwerk Applications" to begin in the next issue.
Volume 8, Number 1 • Fall 2008
LESSON IDEAS By Diane D. Whitney, Tallahassee, Florida • Column Coordinated by Sarah Bright, Contributing Editor
HAVING FUN WITH “Hot Cross Buns” For grades 3 and higher Hot cross buns! Hot cross buns! One a penny, two a penny! Hot cross buns!
With each added challenge, there are groans, and then smiling faces and exclamations of joy because they manage to do it all!
ost children have learned “Hot Cross Buns” somewhere along the line. If they don’t know it, they pick it up quickly and play it with glee! Here are two fun activities I have used with this tune, using recorders and barred instruments.
Quick Change Artists
Marching Recorder Band Prepare students for making sharp 90-degree pivot turns and ending with both feet together. Have a whistle ready to begin and end the marching. Have the students practice walking randomly, playing the tune. When they have adjusted to playing and marching at the same time, line them up in 2 parallel rows, choosing responsible leaders for each row. Provide a beat on a drum, or on the piano, using a 2/4 vamp, with an underlying G chord (or with a preset on a keyboard, using a march rhythm). Ask students to play the tune marching in place, with accompaniment. Then have them play the tune after an interlude of 8 beats – you may consider blowing the whistle like a drum major! Continue to play the accompaniment while the leaders lead them in two rows, side by side, pivoting sharply to the outside (left to right), then coming back up the middle side by side. Have the students practice alternately crossing to the other corners of the room, returning along the outside, and repeat the side by side march, playing all the while! The activity ends when you blow the whistle for the stop! This is, of course, much more fun, when they then play the song in a round! Prepare the canon by practicing it without moving first. Divide the students into four groups, and let the leaders decide which way to march, being careful to avoid the other groups!
Invite your students to sit at the barred instruments, with their recorders. Review the tune and play it. Discuss the melodic structure of the tune (three notes down, three notes down; lowest note four times, next note four times, three notes down). To introduce the idea of transposition, discuss the idea of the possible need to play a song lower or higher than usual. Explain that there is a process for doing this. To apply this idea, have the students explore playing the tune beginning on C’ instead of B. (Accompany them in A minor at this point at a contrabass bar or piano, and call their attention to the effect of the harmonic change.) They will be amazed at how different the song now sounds! Explore the transposition again, this time beginning on low E. (Accompany the students in C major this time.) Finally, give the students the choice of beginning either on C’ or low E, and subsequently, they will be delighted with their success! Ask your students to find the original melody (BAG) on the barred instruments. Explore transposing the melody on the barred instruments as you did on the recorders, beginning first on C’, then on E, then together, as described above. You may explore beginning on other notes. Discuss how the tune changes depending on what note you begin on. As a class, decide which tonality you enjoy the most. Diane Whitney teaches at Holy Comforter Episcopal School in Tallahassee, FL, grades 3-5 Music and 6-8 Musical Theater. She also teach humanities at Tallahassee Community College and is President of the Tallahassee Area Orff Chapter.
Thank You, Sarah Bright
Happy Birthday, Sarah Goldstein!
Reverberations Contributing Editor
By Linda Lunbeck, Longmont, Colorado
arah Bright served as Contributing Editor for a three-year term that was completed on June 30, 2008. She served as "Lesson Ideas" and "DIY: Improvised Solutions" Editor and thanks to her diligence and pursuit of Sarah Bright excellence, readers have had quality lessons and strategies to use in their classrooms in each issue. We are grateful that Sarah was willing to share her writing and editing experience with us. The Reverberations Contributing Editors are volunteers who offer their time and expertise in service to the members of AOSA. If you are interested in writing for AOSA’s newsletter either as a contributing editor, a column coordinator or a column contributor, please contact the Editor at email@example.com.
arah Goldstein, Orff Schulwerk pioneer and Mid-Atlantic Chapter founder, turns 100 years old on October 12, 2008! For more on Sarah and her contributions to the early years of AOSA, see the Winter 2006 issue of The Orff Echo and the February 2006 Reverberations. Sarah may be reached at 1912 Marsh Rd., #140 Health Center, Wilmington, DE, 19810. Sarah Goldstein
Volume 8, Number 1 • Fall 2008
WHAT’S NEW By Linda Agnello, Contributing Editor
American Orff-Schulwerk Association Music and Movement Education
PO Box 391089, Cleveland, OH 44139-8089 (440) 543-5366; FAX: (440) 543-2687 E-mail: firstname.lastname@example.org • http://www.aosa.org
Alfred Publishing Co., Inc.
Affiliate of the National Association for Music Education: (MENC)
I’ve Got To Play! — Tim Brophy: Eight original musical pieces are written especially for Orff ensembles. Ensemble and mallet skills are taught and musicianship encouraged as learners work. These classroom-tested arrangements are suitable as classroom or performance pieces. Book and CD $24.95.
AOSA Executive Board and Staff President: Jo Ella Hug, MT Vice President: Julie Scott, TX Recording Secretary: Kay Lehto, NV Treasurer: Jennifer Hartman, KS
S. O. S. Songs of the Sea — Lynn Kleiner: Not only will your students enjoy learning about the sea and marine life in the music classroom, but this resource also has ideas for classroom curriculum, crafts and even snacks (ever tried octopus hot dogs?) to augment the music, creating total immersion for your students. Book and CD $24.95.
Executive Director: Katharine P. Johnson, OH Editor, Reverberations: Jessie Vance, NC Reverberations Contributing Editors Linda Agnello, GA (What’s New; Industry News) email@example.com Jaree Hall, AR (Features) firstname.lastname@example.org
Beatin’ Path Publications, Ltd. Simply Speaking – Sue Mueller: Teachers with technology-enhanced Orff classrooms will welcome this resource. Lesson graphics and manipulatives are prepared in useful formats for a wide range of technology capabilities, including white boards and overhead projectors. Based on playful original poetry and prose set in 14 Orff arrangements, students, grades K-6, explore “expressive speech,” body percussion and unpitched percussion. These pieces include a variety of meters and themes with process notes, followed by a helpful glossary, teaching suggestions and objectives aligned with the MENC National Standards. An enclosed CD provides black-and-white and color visuals and manipulatives. $19.95.
J. D. Wall Publishing Co. In the Beginning – 6 Songs for the Beginning Recorder Player — Don Muro: These accessible songs may be used alone or as supplementary repertoire for most recorder methods. The music includes one song for the note B, three songs for B and A, and two songs for B, A and G. Use of quarter and half note values, a limited number of rhythm patterns and large, easy to read parts make this accessible to beginners, as they play along with unique accompaniments in several musical styles. Score and CD $14.95. Economy pack of ten scores $9.95. Items are listed in this column for informational purposes only. Inclusion does not imply promotion or endorsement by AOSA. Unless otherwise indicated, materials are available at your favorite music dealer. Check the AOSA Web site for Industry Member phone numbers, Web sites and e-mail addresses.
Research Poster Session Orff Schulwerk related research is alive and well as demonstrated by the list of Posters that will be on display at the 2008 AOSA National Conference in Charlotte. Visit with the researchers or just peruse their displays. The Research Poster Session is scheduled for Friday afternoon from 12:30 – 2:00 inside the Exhibit Hall. Visit www.aosa.org for a complete list of Research Poster Session presenters and their topics.
Charles Palella, NY (Chapter News) email@example.com Chris Tranberg, CT (Lesson Ideas; Patschwerk: O-S Applications) firstname.lastname@example.org The American Orff-Schulwerk Association is a professional organization dedicated to the creative teaching approach developed by Carl Orff and Gunild Keetman. We are united by our belief that music and movement – to speak, sing and play; to listen and understand; to move and create – should be an active and joyful experience. Our mission is: • To demonstrate and promote the value of Orff Schulwerk • To support professional development opportunities • To align applications of the Orff Schulwerk approach with the changing needs of American society Reverberations Editorial Office: 9109 Palm Bay Circle Raleigh, NC 27617 Phone/Fax: (919) 293-0016 E-mail: email@example.com Reverberations is the quarterly newsletter of the American Orff-Schulwerk Association. Please send news, photographs, press releases and other materials to the Reverberations Editorial Office. Reverberations makes every effort to trace ownership of copyrighted materials and to secure permission from copyright holders. In the event that there is a question regarding ownership of any materials, we are pleased to make the necessary correction in an upcoming issue. Submission deadlines are as follows: June 10th December 10th
Mention of products and events is intended to provide information and does not imply endorsement. Reverberations Copyright Policy AOSA members may make up to 50 photocopies of up to two articles from one issue for educational purposes only. Nonmembers, or members wishing to make more than 50 copies, must seek permission in writing from the Editor. All publications, nonprofit or commercial, seeking to reprint material from Reverberations must request permission by Jessie Vance Editor writing to the editor. An exception to the above occurs when authors retain exclusive rights to their work. This is indicated at the end of the article. In these cases, permission must be granted from both the author and Reverberations. ©
September 10th March 10th
Copyright 2008, American Orff-Schulwerk Association
Volume 8, Number 1 • Fall 2008
Chapter Workshop Calendar
Volume 8, Number 1 • Fall 2008
The alliance between local chapters and the national organization affords members the opportunity to learn from outstanding teachers of the Schulwerk from across the country. No other organization has members who so freely share their knowledge and expertise as do the members of AOSA. The list of Chapter Workshops below demonstrates the success of this network of members and chapters working together to form the American Orff-Schulwerk Association. For further information about specific workshops in your area, contact your local Chapter President via e-mail through AOSA’s online Member Directory, or link to your local chapter Web site by clicking on Chapters at www.aosa.org. ALABAMA Alabama #92 Oct 11 Joint Workshop with AMEA featuring Susan Ramsay Feb 21 Thom Borden Summer TBA Chapter Sharing ALASKA Alaska #88 TBA ARIZONA Arizona #39 Aug 16 Oct 25 Feb 21 Apr 18
Dick Watt Doug Goodkin Matt McCoy David Adee
ARKANSAS Central Arkansas #112 TBA Northwest Arkansas Travelers #115 TBA CALIFORNIA American River #98 Oct 4 Karen Medley Feb 7 Kay Lehto Mar 28 Chris Judah-Lauder Inland Counties #91 Sep 20 Connie Van Engen Nov 1 Doug Bowser Jan 31 Dick Watt Mar 21 Kay Lehto Los Angeles #21 Oct 4 Keith Terry Jan 17 David Connors Mar 7 Anne Fennell Mount Lassen #77 Oct 25 Susan Tevis Jan 31 Chapter Sharing Mar 7 Liz Keefe Northern California #27 Oct 11 Roger Sams Feb 21 Carlos Abril Apr 24-26 Western Mini Conference Orange County #40 Sep 20 Doug Goodkin Oct 18 Kerri Lynn Nichols Feb 7 Randy DeLelles & Jeff Kriske
Mar 7 Chapter Sharing San Diego #59 Sep 20 Anne Fennell Oct 11 Make-it-take-it; Chapter Sharing Feb 7 Chapter Sharing Mar 7 Marilyn Shepard & Karen Stencil May 9 Doug Goodkin Santa Barbara #102 Oct 5 Jessica Baron Jan TBA Marimbas! Mar TBA Chapter Sharing COLORADO Rocky Mountain #33 Aug1-3 Peggy McCreary (Music in the Mountains Breckenridge retreat) Sep 13 Matt McCoy Oct 11 Rob Amchin Jan 10 Paul Cribari & Tanya LeJuene Jan 22 CMEA - Rocky Mountain Chapter sponsored clinician: Rick Layton Mar 14 Karen Petty May 09 Chapter Sharing Rocky Mountain West #79 Aug 30 Liz Keefe Apr 4 Melissa Roth CONNECTICUT Connecticut #19 Sep 27 Jos Wuytack Oct 18 EGMC Nov 22 Chapter Sharing Feb 7 Jay Broeker Mar 14 Artie Almeida May 2 Don Dupont & Brian Hiller FLORIDA Feb 7 State Workshop: Sofia Lopez-Ibor Alino Central Florida #76 Sep 6 Mary Helen Solomon Oct 11 Chapter Sharing Apr 25 Sue Mueller
Greater Tampa Bay #108 Aug 23 David Connors Oct 11 Sheila King Feb 28 Chapter Sharing Mar 21 Will Schmid Heart of Florida #109 Sep 13 Vivian Murray-Caputo Oct 11 Artie Almeida Jan 24 Jacque Schrader Mar 14 Chapter Sharing North Florida #71 Aug 23 Jim Solomon Sep 27 Alice Pratt Mar 21 Brent Gault Apr 25 Chapter Sharing South Florida #86 TBA Southwest Florida #37 Sep 20 Chapter Sharing Oct 18 Chris Judah-Lauder Mar 21 Charise Lindsay Jun 11 Annual Breakfast Tallahassee #82 Sep Gretchen Wahlberg & Sandy Lantz Oct Diane Whitney & Martha Stanley Mar Alice-Ann Darrow Apr Chapter Sharing GEORGIA Atlanta Area #57 Sep 20 Karen Medley Oct 25 Penny Mahoney Feb 28 Thom Borden March 14 Chapter Sharing Apr 25 Chris Judah-Lauder Coastal Empire #95 Sep 20 Anne Green Gilbert Mar 7 Thom Borden Apr 25 Chapter Sharing HAWAII Hawaii #85 Sep 6 Snowbird Puananiopaoakalani Bento Oct 25 Chapter sharing Feb 28 Karen Drozd & Gayla Traylor Apr 18 Marvelene Moore
IDAHO Idaho #61 Oct 2 & 3 Randy DeLelles & Jeff Kriske Jan 24 Chapter Share Feb 21 Warren Ainley ILLINOIS Greater Chicago #4 Sep 20 Renee Boyer Oct 18 Sanna Longden Jan 24 Chapter Sharing Feb 28 Karen Medley Mar 21 Lillie Feierabend Apr 18 Matt McCoy Heart of Illinois #123 Oct 18 Carlos Abril INDIANA Indiana #15 Sep 13 Oct 11 Mar 14 Apr 18
Liz Keefe Chapter Sharing Joyce Stephansky Brent Gault IOWA
First Iowa #28 Oct 11 Esther D’Agrosa Jan 17 Chapter Sharing Apr 18 Jo Ella Hug Greater Des Moines #48 Sep 25 Esther D’Agrosa Nov IMEA conference (informal gathering) Jan Chapter Sharing Apr TBA Sioux Valley #69 Sep 26 Timothy Brophy Oct 25 Gloria Harrison Jan 24 Lynn Kerrigan Mar 7 Chapter Sharing KANSAS Kansas #150 Aug 1-2 Janet Mattke Oct 4 Robert de Frece Jan 24 Tim Wiegand KENTUCKY Kentucky #65 Sep 6 BethAnn Hepburn Oct 11 Joyce Stephansky Jan 24 Chapter Sharing Mar 14 Carlos Abril
MAINE #87 TBA MARYLAND Greater Baltimore #119 TBA MD-DE-DC-VA Middle Atlantic #14 Sep 20 Sofia Lopez-Ibor Oct 4 Chapter Sharing/ Beginner Workshop Oct 25 Lisa Sullivan Jan 31 Chapter Sharing Mar 28 Sarah Hassler Apr 18 Shoshana Drake MA, VT, NH, RI New England #16 Sep 27 Julie Scott Oct 25 Judy Sills Dec 13 Debra GiebelhausMaloney Feb 6 Chapter Sharing Mar 14 Matt McCoy Apr 11 J.S. Kofi Gbolonyo MICHIGAN Greater Detroit #2 Sep 20 Judith ThompsonBarthwell Oct 11 Thom Borden Feb 07 Chapter Sharing Mar 21 Sarah Hassler Apr 25 Todd Schreiber Mid-Michigan #23 Sep 20 Grand Ledge Music Teachers & Karen Salvador Oct 25 Don Dupont & Brian Hiller Jan 24 Chapter Sharing Feb 21 Chapter Sharing March 21 Bonnie Brenner West Michigan #32 Sep 27 David Frego Oct 25 John Feierabend Mar 14 Julie Scott Apr 25 Lynn Kleiner MINNESOTA Minnesota #9 Sep 20 Roger Sams Oct 11 Margaret DuGard Jan 31 Chapter Sharing Mar 7 Lynn Kleiner MISSISSIPPI
LOUISIANA North Louisiana #13 Oct 18 Artie Almeida Jan TBA Chapter Sharing
Mississippi #100 Oct 4 Deanna Stark Mar 28 Gretchen Wahlberg & Sandy Lantz
Redstick #111 Sep TBA Chapter Sharing Jan TBA Chapter Sharing Mar 7 Michael Chandler Apr TBA
MISSOURI Heart of America #60 Sep 13 Chapter Sharing Oct 11 Lynn Kleiner Feb 7 Artie Almeida Mar 7 Greg Gooden
Ozark Mountain #74 TBA Saint Louis #6 Aug. 18 Chapter Sharing Sep.13 Roger Sams Oct. 18 Anne Fennell Feb. 21 Cindy Hall Mar. 7 Chapter Sharing Apr. 18 Julie Scott MONTANA Treasure State #97 Sep 27 James Harding Mar 21 Debra GiebelhausMaloney NEBRASKA Great Plains #94 Sep 27 Peter and Mary Alice Amidon Jan TBA Chapter Sharing Mar 28 Michael Chandler NEVADA Nevada’s Desert Valley #62 Sep 20 Shirley McRae Oct 25 Chapter Sharing Jan 24 Denise Gagne Apr 18 NMEA Sierra Nevada #83 Sep 20 Kay Lehto Oct 11 Jo Ella Hug Jan 31 Chapter Sharing Mar 7 Carla Cose-Giallella NEW JERSEY Central New Jersey #53 Sep 27 Michelle Fella Przybylowski Oct 18 John Feierabend Feb 7 Kodály Sharing Mar 7 Sheila O’Shea Northern New Jersey #49 Sep 20 Artie Almeida Oct 25 Alice Pratt Nov 22 Chapter Convention Sharing Feb 7 Chapter Sharing Mar 7 Stan Spotswood Apr 4 BethAnn Hepburn NEW MEXICO New Mexico #34 Oct 4 Michael Chandler NEW YORK Berkshire-Hudson #17 Sep 20 Sue Mueller Oct 25 Shawn Funk Jan 24 Chapter Sharing Apr 25 Jill and Michael Gallina Greater Rochester #3 Sep 27 Werner Beidinger Jan 24 Alice Pratt Mar 21 Deborah Stehlik
Oct 18 Peter & Mary Alice Amidon Nov 8 Sheila O’Shea Jan 31 Chapter Sharing Mar 21 Sanna Longden Apr 4 Jim Solomon Apr 25 Missy Rozelle New York City #84 Sep 30 Dixie Piver & Margie Barab Nov 1 Matt McCoy Dec 6 Chapter Sharing Jan 31 Peter & Mary Alice Amidon Apr 25 Alejandro Jimenez Northern Lights #107 Sep 27 Artie Almeida Oct 25 Deborah Imiolo-Schriver Jan 24 Chapter Sharing Mar 28 Penny Mahoney Twin Tiers #101 Sep 6 Deborah ImioloSchriver Fall TBD Colleen Ludeker Mar 21 Martha Glaze-Zook Western New York #46 Sep 20 Jim Solomon Nov 22 Chapter Sharing Jan 31 Mary Helen Solomon Apr 25 Rachel Batchelor Jun TBA Chapter Sharing NORTH CAROLINA Joint North Carolina Workshop Mar 7 Steven Calantropio Central Carolina #56 Aug 20 Randy DeLelles Jan 31 BethAnn Hepburn Piedmont #58 Aug 23 Make & Take; Chapter Sharing Jan 10 Conference Celebration NORTH DAKOTA Prairie Winds #69 Sep 27 Jay Broeker Nov 22 TBA OHIO Central Ohio #113 Aug 29 Mary Helen Solomon Sep 20 Lisa Sullivan Oct 18 Steven Calantropio Feb 21 Lissa Ray Mar 7 Chapter Sharing Greater Cincinnati #7 Sep 20 Bob de Frece Oct 11 Sue Mueller Feb 21 Chapter Sharing Mar 21 MaryEllen Haynes
Long Island #10 Sep 13 Denise Gagne
Volume 8, Number 1 • Fall 2008
Greater Cleveland #1 Sep 20 Sarah Hassler Oct 17-18 Sue Mueller (NEOEA weekend) Jan 10 Terry Boyarsky Mar 7 Tim Brophy Northwest Ohio #90 Sep 20 Susan Ramsay Jan 19 Chapter Sharing Feb 14 New Presenter Invitational Mar 14 Tim Purdum Apr 18 TBA OKLAHOMA Green Country Oklahoma #114 Oct 11 Mary Helen Solomon Mar 7 Beth Nelson Oklahoma #75 Aug 16 Matt McCoy Sep 27 Chapter Sharing March TBA Festival OREGON Portland #29 Sep. 22 Chapter Sharing (Orff 101) Oct. 11 Jacque Schrader Feb. 21 Anne Green Gilbert Apr. 4 David Adee PENNSYLVANIA Philadelphia Area #5 Sep 20 Cindy Hall Oct 18 John Feierabend Jan 31 Orff in Action Feb 28 Lisa Sullivan Mar 28 Kit Bardwell Jun 6 Chapter Sharing Pittsburgh Golden Triangle #35 Sep 20 Don Dupont & Brian Hiller Oct 18 Gwen Hargrove Jan 24 Margaret Wells Apr 18 Artie Almeida SOUTH CAROLINA South Carolina Foothills #96 TBA SOUTH DAKOTA Black Hills #80 TBA TENNESSEE Memphis #12 Sep 20 Judy Lasko Oct 18 Chapter Sharing Jan 24 Chris Judah-Lauder Middle Tennessee #11 Aug 16 Chapter Sharing Sep 13 Artie Almeida Feb 21 Susan Ramsay Mar 28 Jim Solomon May 9 Chapter Sharing Feb 21 Judy Herrington
Volume 8, Number 1 â€˘ Fall 2008
Southern Appalachian #122 Aug 2 Jonathan Vest Oct 4 Nancy Boone Allsbrook Jan 10 Chapter Sharing/Silent Auction May 2 Randy DeLelles & Jeff Kriske TEXAS Central Texas #36 Sep 20 Jacque Schrader Oct 18 Matt McCoy Jan 9 Chapter Sharing Mar 7 Randy DeLelles & Jeff Kriske Heart of Texas #116 Sep 20 Jennifer Hartman Jan TBA Chapter Sharing Mar 28 Sally Trenfield
WEST VIRGINIA Mountain Laurel #118 Sep 13 Rachel Batchelor Feb Chapter Sharing Apr TBA West Virginia #106 Oct 18 Karen Medley Jan 31 Janet Mattke Apr 25 Lisa Sullivan WISCONSIN Greater Milwaukee #26 Sep 13 Doug Bowser Oct 11 Christopher Roberts Jan 10 Conference Planning Meeting
Feb 7 Wendy Valerio Mar 7 Beatriz Aguilar North-Central Wisconsin #121 Sep 13 Cyndee Giebler Oct 11 Ann Kay Nov 8 Chapter Sharing Jan 31 Brian Burnett WYOMING Wyoming #78 Aug 15 & 16 Jim Solomon Aug 23 Artie Almeida Sep 20 & 22 John Feierabend Oct 4 Bob Mathews
North Texas #55 Sep 20 Rick Layton Feb 28 Jim Solomon Apr 18 Diane Lange Rio Grande #117 Oct 25 Jacque Schrader Jan 24 Chapter Sharing Texas Gulf Coast #44 Aug 23 Karen Medley Oct 11 Kathleen Turner Jan 17 Deborah ImioloSchriver Wild Horse Desert #104 TBA UTAH Utah #93 Sep 20 Judith Cole Nov 1 Chapter Sharing Mar 7 Susan Swidnicki VIRGINIA Tidewater #99 Sep 20 Michael Chandler Jan 24 Joyce Stephansky Feb 14 Kofi/African drumming Apr 4 Carol Erion Virginia Highlands #72 Sept. 27 Chris Judah-Lauder Nov 8 Brent Holl Mar 21 Betty Adkins WASHINGTON Evergreen #42 Sep 20 Chapter Sharing Oct 11 Don Dupont & Brian Hiller Jan 17 BethAnn Hepburn Mar 7 Charles Peterson Inland Empire #64 Sep 27 Randy DeLelles & Jeff Kriske Feb 28 Keri Lynn Nichols
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• Advocacy for Orff Schulwerk Select > AOSA Advocacy • 2008 Children's Performing Groups Select > Children's Groups • 2008 Exhibitor List with Links to their Web Sites Select > Conference & Events Select > Exhibits to Date • Register for the 2008 Conference Online Select > Online Conference Registration • Renew Your AOSA Membership Online Select > Join AOSA • Donate to the Annual Fund or Endowment Fund Select > Donate to AOSA • Order Conference Logo Items Select > Conference and Events Select > Order Conference T-Shirts and Logo Items
What’s inside? This Issue 1
2008 AOSA National Conference in Charlotte: Children's Performing Groups and more
Podcast Interview Schedule
Honoring Doreen Hall
Introducing New Members of NBT
In Memoriam: Wilhelm Keller
Recorder Corner: How to Buy a Recorder
Lesson Ideas: Diane Whitney
Chapter Workshop Calendar
... And much more! Check out Conference Notes at www.aosa.org in the Members Only section prior to attending conference. Several presenters are providing notes for you to print out before you leave for conference. If you have registered for Hobey Ford's puppetry session, there is a 17-page study guide to bring with you to the session! Be sure to check out this Web site section after the conference as well for supplemental notes and information provided by presenters following the close of conference. Contact the National Conference Chairs at firstname.lastname@example.org if you are having trouble downloading the notes.
Published on Sep 24, 2008