Cadenza 2013/14 - Music Education Online

Transcription

CADENZA
The official journal of the Saskatchewan Music Educators Association
SASKATCHEWAN
E D U C A T O R S
ASSOCIATION
2013 - 2014
CADENZA 2013 - 2014 The Official Journal of the Saskatchewan Music Educators Association
CADENZA 2013-2014 The Official Journal of the Saskatchewan Music Educators Association
contents
The Journal of the
Saskatchewan Music Educators Association
2013 - 2014
President’s Message page 1
Executive Director’s Message page 2
Heart of the City Piano Program page 5
Saskatchewan Music Alliance Update page 7
Saskatchewan’s First Wind Bands page 8
SMEA Bursary page 8
2014 Saskatchewan Music Alliance:
Summer Camp Program page 9
Music For Young Children (SK) page 10
Carl Orff Canada page 11
SMEA Junior Honour Choir 2014 page 11
SMEA 2013 Awards! page 12
SMEA Workshops 2013 page 14
SMC 2013 Music For Life page 17
ISME International Music Conference page 18
Sask Junior Honour Groups 2013 page 26
Intonation Tendancies page 31
Saskatoon Children’s Choir 2013/2014 page 36
SMEA Honour Groups 2013 page 38
Five Star YouTube groups for 2013-2014 page 40
(Cover art by Lauren Lohneis, Rivier Academy (Prince Albert))
SMEA
Box 632,
510 – 4th Ave.
Cudworth, Sask.
S0K 1B0
Phone: 306-256-7187
Email: [email protected]
SMEA Board of Directors 2013
SMEA Board of Directors 2014
President
[email protected]
President
Lee Adams [email protected]
[email protected]
Past President
Kara Helms
[email protected]
[email protected]
Vice President
Celia Hammerton
[email protected]
Aaron Thingelstad
Past-President
Kara Helms
Vice-President
Lee Adams
[email protected]
Executive Director
Valerie Kuemper
Region 1 Director
Syndey Lenzen
[email protected]
Region 2 Director
Amy O’Hara
[email protected]
[email protected]
Region 3 Director
Jerry Lisitza
[email protected]
Region 4
Region 4 Director
William Martin
[email protected]
Region 5
[email protected]
Executive Director
Val Kuemper Region 1
Syndey Lenzen
Region 2
Celia Hammerton
Region 3
Jerry Lisitza
[email protected]
Pat [email protected]
[email protected]
[email protected]
Lauren Campbell
[email protected]
Region 5 Director
Lauren Lohneis
Kendra Worman
[email protected]
Region 6 Director
Kendra Worman
[email protected]
[email protected]
Region 7 Director
Sarah Adams (Roe)
[email protected]
Region 6
Region 7
Sarah Roe
Heart of the City Piano Program:
HCPP PROVINCIAL BOARD / SASKATCHEWAN
Melinda Anderson-Grass
Lana Currie-Lingelbach
Stefanie Stefanson-Pexa
Peggy L’Hoir
Saskatoon Children’s Choir:
Phoebe Voigts 242-7470
Honour Groups:
Chairperson: Lenora Bells
Registrar: Graeme Steen
Newsletters: E-Notz: Lauren Campbell
Memberships/Contibutions/Business: Valerie Kuemper
Heart of the City Piano Program:
HCPP PROVINCIAL BOARD/Saskatchewan
Melinda Anderson-Grass
Lana Currie-Lingelbach
Peggy L’Hoir
Michelle Wheeler
Saskatoon Children’s Choir:
Phoebe Voigts 242-7470
Honour Groups Chiarperson: 2014 – Darrell Bueckert
Registrar: Graeme Steen
Newsletters: ENotz: Lauren Lohneis
Memberships/Contributions/Business: Valerie Kuemper
SMEA/IT Coordinator: Graeme Steen [email protected]
SMEA/IT Coordinator: Graeme Steen, [email protected]
PRESIDENT’s message
SMEA members, its board and executive director have
been working hard this past year to deliver quality programming and represent music educators across the
province as your special subject council. We are proud to
be one of the first special subject councils created in the
province and one of the largest.
Professional development and workshop grants are two
areas in which we have successfully gotten the word out
and many of our members have benefitted from increases
in existing budgets, new forms and clearer policies. The
number of workshop grants that we have given out this
year has been 21. This is an increase from the previous
year where we helped fund 6. This is an excellent display
of all of the great programming that is occurring throughout our province. We have also helped fund extra professional development opportunities for music educators
throughout the province.
Saskatchewan Junior Band is a joint project between the
Saskatchewan Music Educators’ Association and the Saskatchewan Band Association to provide a provincial junior
honour band for Saskatchewan students in grade seven or
eight. Saskatchewan Junior Band South took place at Martin Collegiate in Regina March 7th and 8th with Nick Fanner conducting. We launched a new project which was the
addition of Intermediate Band South, which took place on
the same day and was conducted by Christa McBride. The
Saskatchewan Junior Band North took place at Centennial
Collegiate in Saskatoon with Dr. Darrin Oehlerking conducting on March 7th and 8th. The committee attempted to
plan for an Intermediate Band North, but due to issues finding a venue that would work for both events, we could only
put on the Junior Band. The Junior Band North committee
is happy to announce that a venue has been found to hold
both events simultaneously this coming spring, and is well
on its way to being planned.
director of music and where Felix Mendelssohn was a
conductor of the Gerandhaus Orchestra.
The Saskatchewan Music Alliance Summer Music
Camp was held again this year in Regina, Saskatoon and
Prince Albert. This camp is also in partnership with the
Dream Brokers who work in many schools in all three
communities The Regina Camp was held July 2- 5 at St.
Augustine School. The Saskatoon Camp was held at the
University of Saskatchewan July 15 -18. The Prince Albert Camp was held at W.J. Berezowski School July 21 –
24. . The 2014 SMA Summer Music Camps were a huge
success. Enrollment increased, students, staff, Dream
Brokers, sponsors and parents all shared very positive
feedback about their experiences at the camp. The number
of students who participated increased this year – Prince
Albert – 48, Saskatoon – 60, and Regina – 29
SMEA continues to look for new ways
to help educators and the youth of our
province connect with music and ensure
that music and the arts in general is woven into the fabric of our multicultural
province, communities and schools.
Respectfully submitted;
Lee Adams SMEA President 2014
The Saskatoon Children’s Choir is planning another
international choral trip. The members of its concert choir
will travel to the European Choir Games in Magdeburg,
Germany from July 1- 14, in 2015. The Trip to Germany
will be an inspiration to its members, who will get a chance
to see Thmaskirche in Leipzig where J.S. Bach was a
1
SMEA EXECUTIVE
DIRECTOR’S message
2013-2014 has been a very busy and exciting year. As
you read through this annual report you will see all the
great things that have been happening this past year.
2013-2014 SMEA total budget was $621,267 of which
$208,307 was received in lottery grants. These funds
enabled the SMEA to lever an additional $412,960 in
self-generated income represented 66.4% for the total
budget in the 2013-2014 fiscal year. The SMEA is very
program focused and 71.9% of our total expenditures in
2013-14 were directly spent on programming and member services.
playing with their high school band!
This year the SMEA Board of Directors have made
available five (5) bursaries in the amount of $200 each.
Criteria: Awarded to a Saskatchewan Music Educator
Association member planning to take postsecondary
classes to pursue his/her master/graduate degree or an
advanced certificate in music education. This application form is available on our website at www.musicloud.ca .
Thank you to all our SMEA members who applied for
Region Workshops this past year. The SMEA Board
of directors approved 21 workshops/PD assistance
last year! This number is increasing each year and it
is great to see such growth in music workshops and
clinics for students and for our teachers! A full report is
found in the SMEA Programs Report.
The SMEA partnered with the Sask. Band Association,
At every board meeting your Region
Sask. Choral Federation, Sask. Music
The highlights that appear Director brings information of what
Festival Association, and the Sask.
throughout this CADENZA tell is happening in your area! Please
Orchestral Association (Sask. Music
the Sask. Music Educators As- continue to answer your director’s
Alliance) to present the Sask. Music Alliance Summer Music Camp in partnersociation’s story for 2013-14. request for news. It is very exciting
ship with the Dream Brokers. This is
In all of these successes, you to hear about wonderful programs
that are happening in your area of the
the third year that the SMA presented
will see significant evidence
province!
this fantastic summer music camp,
that these activities address
thanks to the generous financial support
both the mandate and vision I would like to welcome all new memfrom SaskCulture and corporate sponstatement of the association. I bers – teachers, students and beginning
sors. We had three camps, July 2 – 5
strongly encourage you to read teachers to the SMEA. I would like
in Regina at St. Augustine School, July
CADENZA in total, because it to express my sincerest gratitude to all
15-18 in Saskatoon at the University
contains so many positive and our SMEA members for your continof Saskatchewan Music Department,
ued support and congratulate you all
successful stories
July 21-24 in Prince Albert at the W. J.
for the excellent work you do to make
Berezowski School. Thanks to the hard
the SMEA a culturally vibrant associawork of the Dream Brokers we were able to connect with
tion.
Thank
you
for all you do for Music Education
these students from all three locations who attended the
and Music Excellence in this wonderful province! It is
‘Dream Broker’ schools in their city. This year we saw
a privilege to work with you all.
an increase in registrations – Regina – 49, Saskatoon – 60
and Prince Albert – 48! Following the 2014 camp – 60
students signed up for their school band, music lessons or
other cultural activities. 41 of these students had never
been enrolled in these activities before. There were also
22 students who signed up for private music lessons. 15
of those students had no taken private music lesson prior
to attending our camp. There were 19 students that we
were unable to track, due to their families moving cities,
changing schools, etc. There were also 6 students that
left the dream broker program as they were going into
high school, however we know that at least
on at these students has already started
Respectfully submitted,
Val Kuemper
SMEA Executive Director
Celebrating 56 years of
wisdom, patience,
commitment and leadership....
SMEA
Presidents
1957 - 2014
Reg McFarland (1957)
Lloyd Blackman (1958)
Don Cowan (1959)
Mikel Kalmakoff (1961)
Lloyd Blackman (1963)
David Kaplan (1965)
William Otis (1967)
MusicLOUD.CA is
Saskatchewan’s own music education web.
From MusicLOUD.ca you can follow a handful of the richest links you will find to Saskatchewan Music Education Events,
resources, information and people. Links around the world with
MusicEducationOnline.org (also based in SK)
You can contribute. Send cleared videos to post to electric.arts.
[email protected] (Graeme). Please send great links you have
seen that will make a difference - either a richer background or specific solutions for clear problems. Those good links need encouragement. We improve our link lists every year - with your help!
Contact [email protected]
Tom Magnuson (1969)
Blaine McClary (1971)
Alastair Browne (1973)
Phil Johnson (1975)
Brian Hartsook (1977)
Dennis Humenick (1978)
Joan Therens (1980)
Robert Latimer (1982)
George Charpentier (1984)
Colin King (1986)
Joe Hary (1988)
Debbie McPherson (1990)
Stephanie Stefanson-Pexa (1992)
Jack Jones (1994)
Fred Barker (1996)
Murray Rausch (1998)
Kevin Dyck (2000)
John Poettker (2002)
Doug McCosh (2004)
Mary Jane Schuler (2006)
Peter Pizurny (2008)
Kara Helms (2010)
Aaron Thingelstad (2012)
Lee Adams (2014)
3
Rj STAPLES AND FRANK CONNELL
MEMORIAL SCHOLARSHIPS RECIPIENTS
1979
1981
1982
1983
1984
1985
Murray Rausch (U of S)
Michael McCawley (U of S)
Stewart Smith (U of S)
Moira Kitsch (U of S)
Calla-Dawn Lissel (U of R)
2003
Alexandra Raney (U of S)
Alison Thiele (U of R)
2004
Shantelle Barber (U of S)
Chris Leeson (U of R)
Mary Lynn Rooney (U of S)
Michael Herle (U of R)
2005
2006
Brent Pittman (U of S)
Valerie Boyetchko (U of R)
2007
Lauren Campbell (U of S)
Amanda Ruda (U of R)
1986
1987
Cheryl Skibinski (U of S)
Roxanne Anderson (U of R)
2008
Kerstin Hettings (U of S)
Jessica Riley (U of R)
1988
Colleen Hickie (U of S)
Jean Marie Gusway (U of R)
1989
Lecia Nickel (U of S)
Verna Ahner (U of S)
Jillane Rackow (U or R)
continued
Stephen Cocks (U of S)
Jillane Rackow (U or R)
David Ray Bindle (U of S)
Sherri Leah Torgrimson (U of R)
Kerry Kirtpatrick (U of S)
1990
1991
Holly Cooper (U of S)
Jillane Rackow (U of R)
1992
Richard Dube (U of S)
Shawn Grocott (U of R)
1993 Christine Shaw (U of S)
KatherineAnderson (U of R)
1994 Maureen Hay (U of S)
Leanne Burns (U of R)
1995
Andrea Pray (U of S)
Trent Reschney (U of R)
1996 1997 Stacey Mortenson (U of S)
Nathan Degenhart (U of R)
Graham McDonough (U of S)
Colleen Sutton (U of R)
1998
Jennifer Horvey (U of S)
Maury Michie (U of R)
1999
Jason Caslor (U of S)
Kathryn Bechdolt (U of R)
2000
Jennifer Korven (U of S)
Aaron Thinglestad (U of R)
2001
Bradie Reeds (U of S)
Jeff McLeod (U of R)
2002
Alexandra Raney (U of S)
Kristan Kuntz (U of R)
Heather Lake (U of S)
Lindsay Richardson (U of R)
Jillane Rackow (U ofR)
Tanis Lindsay (U of S)
Kurt Gillett (U of R)
2009 Stephen Folnovic (U of S)
Rylan Goudreau (U of R)
2010
Kathleen McLaren (U of S)
Sarah Creurer (U of R)
2011
Samantha Stewart (U of S)
Richard Wade Cummings (U of R)
2012
Samantha Stewart (U of S)
Sydney Dunn (U of R)
2013
Colin Elliott (U of S)
Tanya Tazziolit (U of R)
The R.J. Staples and the Frank Connell memorial scholarships of
$500.00 each are awarded annually to a third or fourth year music
student from the University of Saskatchewan and the University of
Regina.
SMEA continues to challenge all members to make a donation to our
Special Scholarship Fund Raising Program, to ensure that we are
able to continue supporting our up and coming music educators. All
contributors will receive a charitable tax receipt will be acknowledged in our Newsletters and Annual Report.
Maureen Patterson Memorial Fund
Assisting participation in SMEA Honour Groups.
Contributions can be made to
SMEA
General Office, Cudworth.
Heart of the City Piano Program – Biggar
January - May 2013
(submitted by Peggy L’Hoir)
“Nurturing Success and Empowering
Children”
The program has many volunteers at the ground
level teaching the children piano lessons, organizing folders and music, helping with recitals
and programs. This position listed here requires
some coordination of the different facets.
Program Objectives
• build pride, self-confidence and increase self-esteem in at risk youth
• provide practical teaching experience to future music educators
• promote the participation of people of all origins to contribute to
the evolution of society
• share in activities that bring diverse group together to promote
values of understanding, acceptance and
mutual appreciation
• develop opportunities community
participation and strengthen community
linkages by helping to overcome barriers and create a greater
sense of overall community
ing
k
o
o
l
ways
a
e
r
’
We
rs!
e
e
t
n
u
l
for vo
The Heart of the City Piano Program is continuing
to make wonderful music in Biggar by doing small
things with great love!
We have been blessed with continued financial support
from the community as well as a strong volunteer
base. Our teacher base continues to remain constant,
with a nice mix of student and adult teachers.
Our capacity continues to be 12 students, however,
due to unbridled enthusiasm from a student teacher
and aspiring musician, we ran at 13 students for a few
months at the end of the year.
A unique situation has emerged at one our schools. A
long time student has taken leadership and motivated
the students to all eat lunch together in a location convenient to the practise area, facilitating a peer support
system for noon time practising. Practising is rarely
missed and looked at as a fun time as well as a time of
consistent commitment!
Our activities included performing in Biggars’ annual
Spring Music Festival as well as our Year End Recital.
Both performances were held at our local theatre on
our grand piano, a special treat for everyone. It is a
special joy to see the pride in the faces of the students
and parents with each performance. The gratitude
expressed by the parents and the students is inspiring
and rewarding to all involved. Having had this opportunity in our community for almost five years, we
have observed the confidence of these students grow.
As a result the performance level
and concert etiquette increase with each event.
It is clear that the Heart of the City Piano Program
not only builds stronger musicians, it builds stronger
people. It is an honour to have this program in our
community!
The Heart of the City Piano Program in
Moose Jaw
continues to thrive in its 14th year.
Always evolving and growing, the program has
always got something exciting going on. The HCPP is
running in five schools with thirteen volunteer piano
teachers with about 25 – 30 students. As of this year
the schools involved are Empire Community School,
Prince Arthur Community School, Westmount School,
Riverview Collegiate and Central Collegiate.
5
Community School also
participated in a Christmas concert in December and a
year-end concert in May. HCPP executed a very successful
fundraising concert and silent auction with local musician
Jeffrey Straker at the Artful Dodger in May 2013. Jeffrey gave a master class at Coronation Park where the kids
composed their own music. This event was very successful and was covered by the CBC local news station. The
children performed both their new composition and solo
music in between Jeffrey’s set later that evening at the Artful
Dodger. Jeffrey wrote about HCPP in an online blog article
titled “Finding Joy in Giving Away a Bit of Yourself.” HCPP
expanded to two more schools in October 2013: Albert Community School and St. Augustine Community School.
One very exciting change is that the program has brought
Volunteer violin teachers come in to give lessons. So far
in well known, Regina-classical guitarist Derek Arvidson at
there are three teachers but hoping that there will be more St. Augustine School. St. Augustine generously offered the
soon. Violins have been purchased and donated for the
use of the school’s guitars. Many Heart of the City Chapters
program.
across Canada have adopted other instruments; the Regina
The HCPP of Moose Jaw has had very good financial sup- chapter is very pleased to offer classical guitar lessons
port from the Kinsmen for the past 13 years. Other regular alongside piano lessons to the HCPP participating school in
donations come from the Rotary Club of Wakamow,
Regina.
Church of Our Lady Gospel Band, and The Moose Jaw
Businessmen’s Club. This year HCPP Moose Jaw received The Heart of the City Piano Program in –
a $20,000 grant from the CHAB Children’s Fund.
Each year the students in the Moose Jaw HCPP attend one
to two concerts such as the symphony, play in a Christmas
and year end recital and play in the Moose Jaw Music.
Every spring the students from all the schools come to
Empire to attend a Piano Conference which features guest
speakers, practising, drumming, door prizes and a pizza
lunch.
Each Fall, there is a wine and cheese appreciation night
for the volunteer teachers. The teachers share teaching tips
and techniques and new music. Some good ideas come up
at these sessions. Several students will be taking Royal
Conservatory of Music Exams this year. Starting in October, the program will be extended to the Heart of the City
Fiddle Program
Saskatoon
The Heart of the City Piano Program in –
Regina
(Submitted by Allison Litt)
Heart of the City Piano Program Regina, SK (HCPP) is
a non-profit organization that provides music lessons to
underprivileged and at-risk youth in Regina community
schools. Volunteer piano teachers provide supervised
daily practice. Through their dedication, children in this
program gain self-confidence, a greater sense of overall
cultural community, pride and self-esteem.
The 2012 school year started off with some national attention—CBC The National did a short spot on HCPP
as part of a mini series titled “Only in Canada.” Also in
September, HCPP expanded to a new school: Holy Rosary
Elementary School in Cathedral.
The biggest event of the season took place in April when
all of the Heart of the City children participated in the
Regina Music Festival. This was a one day event where
the children went to
the University of Regina, Luther College to play in a noncompetitive piano class where they
received some positive reinforcement and guidance from
a visiting, professional musician. The children at both
Coronation Park Community School and Holy Rosary
In the 2012-13 school year, the Saskatoon Heart of the City
Piano Program operated in five community schools. Eleven
volunteer teachers and thirty-six students participated in
programs in W.P. Bate, King George, St. John, Princess
Alexandra, and Westmount Schools.
Thanks to the assistance of Saskatoon Music Festival President Darren Schwartz, twenty-eight of our students were
able to perform in a special Heart of the City portion of
the Festival on April 11. There were also year-end recitals
or assemblies that included piano performances in each of
the Heart of the City Piano schools.
Since September of 2013, we have been working to recruit
new volunteer piano teachers and board members. The Heart
of the City Piano Program has been reinstated at St. Mary’s
Wellness and Education Centre after a two year hiatus. We
are grateful for the assistance of Laurel Gill, a former school
coordinator at W.P. Community School, who has begun to
assist new coordinators in several of our schools. We look
forward to welcoming her as an official board member in the
near future. Current board members include Erin Bentley,
Maureen Shadden, Tanis Lindsay and Stefanie StefansonPexa.
Saskatchewan Music Alliance Update
Winter 2014
2013 saw continued collaboration among the five provincial
music organizations – Saskatchewan Band Association (SBA),
Saskatchewan Choral Federation (SCF), Saskatchewan Music
Educators Association (SMEA), Saskatchewan Music Festival
Association (SMFA) and Saskatchewan Orchestral Association
(SOA). While a formal structure has not officially been adopted,
the five groups operate as the Saskatchewan Music Alliance
(SMA) with a view to moving toward a formalized governance
and operational structure.
Given that SaskCulture is no longer willing to support the proposed initiative, they have asked the five
music organizations consider coming together with
SaskCulture in a mediated session. This session
would not be a replacement for the visioning session
that was proposed in 2013 but rather a session to
enable all parties to share their perspectives, build
trust and determine next steps.
The Chair of the Transition Team (Joy MacFarlane-Burton),
and the Chair of the Management team (Val Kuemper) and Pat
Rediger Consultant met with the SaskCulture Eligibility Committee on November 15, 2013 to discuss the current status of the
proposed Saskatchewan Music Alliance Initiative.
We have been contacted by the mediators appointed
by SaskCulture, and they have asked to attend
our next SMEA Board meeting to learn about our
perspective on the events over the last number of
years involving the SaskCulture funding review,
the proposed amalgamation of the five PCOs, Sask
January of 2014, President James Ingold (on behalf of SaskCulMusic Alliance etc. Also, what outcomes the SMEA
ture) sent a letter advising that the Memorandum of Understandwould be hopeful in achieving thinking about the
ing between SaskCulture Inc and the five music PCOs – Saslarger meeting involving representatives from Saskkatchewan Band Association , Saskatchewan Choral Federation,
Culture, SaskArts Board, 5 PCOs and possibly other
Saskatchewan Music Educators Association, Saskatchewan Music partners/stakeholders who are connected to “music”
Festival Association and Saskatchewan Orchestral Association,
in the province.
operating as the Saskatchewan Music Alliance would be terminated. The letter also stated that “the proposed model does not meet
the vision for music programming and delivery for the province
“SaskCulture firmly believes that
as described in the MOU. Its focus is infrastructure and working on the programs, for the most part, that are currently being
a single organization would be
done by the five organizations. SaskCulture firmly believes that a
much more diverse and responsive
single organization would be much more diverse and responsive
to the changes taking place in our
to the changes taking place in our province. From SaskCulture’s
perspective, a significant effort to maintain and increase music
province. From SaskCulture’s
opportunities , particularly for young people throughout the provperspective, a significant effort to
ince by increased advocacy work is essential; given the amount
maintain and increase music opof time the various levels of infrastructure the proposed service
portunities , particularly for young
delivery model will incur, SaskCulture does not see the capacity
for that to take place.”
people throughout the province by
“While SaskCulture recognizes that some components of the
proposal, including working together, the vision, mission and
values, have merit, SaskCulture strongly believes the mechanism
has the potential to be a very ineffective, inefficient and cumbersome organization that will require more funds for infrastructure.
An effective and responsive organization must be focused first on
outcomes and service delivery then a means (in this case, structure) put in place to deliver on those outcomes.”
increased advocacy work is essential; given the amount of time the
various levels of infrastructure the
proposed service delivery model
will incur, SaskCulture does not see
the capacity for that to take place.”
7
NEW: Saskatchewan Music
Educators Association Bursary
SMEA Board of Directors has made available five (5)
bursaries in the amount of $200 each.
Regina’s first Brass Band, 1886.
Saskatchewan Archives Board R-B7425
Saskatchewan’s first wind bands
Saskatchewan’s first wind bands were modeled on prototypes brought by British immigrants in the late 1800s:
industrial brass bands, and military brass and reed bands.
The North-West Mounted Police organized the earliest,
first at FORT WALSH in 1878, with others following at
FORT QU’APPELLE (1880), BATTLEFORD (1882),
and REGINA (1883). The PRINCE ALBERT Cornet
Band, established in 1883, was probably the first civilian
band. Before the turn of the century, similar aggregations were assembled in Regina, MOOSE JAW, GRENFELL, Qu’Appelle, INDIAN HEAD, MOOSOMIN,
WHITEWOOD, Kolin, and conceivably elsewhere.
Brass bands were also formed in Indian RESIDENTIAL
SCHOOLS at LEBRET (1892) and Regina (1894). The
number of “town bands” or “citizens’ bands” increased
steadily from the turn of the 20th century to the outbreak
of WORLD WAR I. Bands were frequently the first
large concert ensembles established in prairie towns
and villages, providing MUSIC for all civic occasions:
sports days, sporting events, special ceremonies, public
skating, ice carnivals, fairs, and parades.
The two World Wars and the GREAT DEPRESSION
adversely affected civilian bands. During the Depression, funding shortages often forced bands to stop
operations. Similarly, many civilian bands ceased during
the wars, as musicians and bandmasters left to serve
overseas. Concurrently, the number of MILITIA, cadet,
and military bands increased. Service organizations such
as Kinsmen, Kiwanis, Lions, and Elks clubs assumed a
major role in sponsoring the bands re-established after
WORLD WAR II. Unlike the earlier town bands, the
majority of these post-war community groups were “junior” or youth bands. By the early 1960s, an increasing
(continuted on page 13)
Criteria: Awarded to a Saskatchewan Music Educator
Association member planning to take postsecondary
classes to pursue his/her master/graduate degree or an
advanced certificate in music education.
Eligibility requirements are as follows:
• Applicants may only apply for courses successfully completed from September 1, 2014 – August 31,
2015.
• Applicants may apply for advancement in a Certificate Program already obtained –example – Applicant with a 2Year Certificate in music could apply for
a class to pursue a 3 year certificate.
• Applicants with a Bachelor’s Degree may apply
for a class to pursue a Graduate Degree.
• All applicants must be a Regular Member of the
SMEA in good standing.
• Applicant must provide transcripts indicating the
dates of enrollment and successful completion of class.
• Applicants must provide receipts indicating the
tuition paid for the class.
• Applicants must declare any other received bursaries or scholarships which are in recognition of the
same classes the SMEA assistance is sought.
• The class must be completed during the current
SMEA membership year.
• Applicant can apply once per year.
• Application is for one class per year.
• Preference will be given to the applicant with no
other source of funding.
Forward a copy of the application form with transcripts and receipts by October 1, 2015 to:
Saskatchewan Music Educators Association
Box 632,
Application form: http://www.musiceducationonline.
org/smea/SMEA bursary application.pdf
2014 Saskatchewan Music Alliance
Summer Camp Program
Introduction
The Saskatchewan Music Alliance’s offered Summer
Music Camps to students with financial barriers in Regina,
Saskatoon and Prince Albert in July 2014. These camps
ran for the first time in 2012 and have continued to grow in
popularity each year.
The goals of the camp continue to be:
• increased participation of children and youth in
existing sport, culture and recreation programming
• increased participation of families in the activities of children and youth and their capacity to sustain ongoing participation is developed
• reducing or removing barriers to participation
• promoting the benefits of participation in sport, culture
and recreation programming to children, youth and families.
• Increasing the number of existing sport, culture and
recreation programs/organizations that can accommodate the
needs of children and youth attending inner city schools
• providing Dream Brokers with clear direction and an
expectation of measurable results
• ensuring Dream Brokers have a customer service ethic
with regard to their consultation with children, families and
community
• Ensuring that the relationships Dream Brokers have
with the children, families and community are valued and
nurtured.
Program Delivery
potential new candidates, to place under contract to serve
at each camp
• developed a contract, camp schedule and detailed info sheet and forwarded to each clinician
• ordered t-shirts for students and staff
• ensured camps were promoted (a representative from the SMA traveled to PA to speak at an Prince Albert activity fair)
• monitored student registrations and fielded questions with Dream Brokers weekly
• designed invitations for the camp concerts and mailed to members of arts organizations,
government officials, partner boards, stakehold
ers, sponsors and donors, and media
• ordered and confirmed catering for each camp venue (including food and drink for the receptions that followed each concert)
• collected registration forms and entered data into a master spreadsheet
• compiled equipment list and confirmed rental and equipment needs with Long and McQuade stores in Regina and Saskatoon
• ensured liability insurance was purchased for each camp
• confirmed bus transportation and logistics and
provided to the Dream Brokers
• compiled binders for all staff with student emergency contact information, facility maps, an SMA
contact list and other important information
• made name tags for each participant involved in the camps monitored expenditures to ensure
adherence to the budget
• designed and printed concert programs
• arranged transportation of camp co-ordinator and equipment
• creating a schedule for the Dream Brokers in each city
I was hired in March 2014 to coordinate, deliver, and
evaluate the 2014 camps on behalf of the Saskatchewan
Music Alliance. The following activities were completed
between April and when the camps began in early July:
• Met frequently with Carol Donhauser of the SMA to report on progress and address any questions or concerns
• Confirmed camp dates and venues
• distributed registration forms and promotional posters to
Dream Brokers through email
• created a signed agreement of expectations and respon
This year we had the budget to accommodate 60
sibilities between the SMA, myself and the Dream
students per camp. In 2012 and 2013, we learned that
Broker’s co-ordinator
• held a conference call with the Dream Broker’s Coordi there are a large number of students who sign up for camp
but end up not able to attend for various reasons. Due to
nator and all Dream Brokers
• hired three camp assistants to work at all three camps
continued on page 17
• contacted clinicians from the past camp, as well as
Camp attendance
9
Music For Young Children
(Sask. Chapter)
(Submitted by Anita Kuntz)
We are happy to report that MYC has had a good year
with growth in both the teacher and student numbers. The
pre-keyboard music program (Sunrise) continues to be very
popular and parents are excited to take organized movement
and music classes with their toddlers.
Our Spring Professional Development day involved the
meeting of 6 different small groups throughout the province.
We concentrated our efforts on increasing our profiles in each
of the areas by working on marketing, advertising and performance opportunities.
Our 2014 Fall Professional Development Days were held
on October 3 and 4th in Regina, SK under the theme – Elements of S.O.S. Sessions like – Structure offered in Sunrise
and Suggestions Orientated for Solutions were led by various
teachers besides myself. We did not need to apply for a grant
from the SMEA this fall – as our guest speakers costs were
covered by our Head Office in Kanata. We again experienced
a 90% attendance from our teachers – something we are very
proud of. We spent 2 very full days together as teachers and
came away with teacher aids, classroom ideas, and much
food for thought.
Our guest speaker was Debora Cossee, a bookkeeper who
works in our International Office in Kanata. She spoke on
‘Tax Saving Tips for the Self Employed’. As she worked in
the industry for over 25 years, her session was very beneficial
in helping our teachers understand how self employment can
have huge benefits.
RMT member, Corrine Groff spoke to us briefly, bringing
greetings as well as promoting the Cecilian Chamber Series.
Many of our teachers are also part of the RMT as well as
many of them serve on local SMFA boards.
We are pleased to see our student and teacher numbers
rebound a bit, but there is still ongoing concern over the fact
that the discipline of music education does not seem to be as
much of a priority as it was even 10 years ago.
Some MYC teachers have planned special Canadian Music Week recitals for November. Also, there are a few of the
MYC teachers who will be attending the SMC conference.
Once again, we would like to thank the SMEA for the
funding we receive as an affiliate member. MYC teachers
are committed to provide an excellence in beginner music
education and do our best to contribute to the overall music
education within the province of Saskatchewan.
In 2015 our MYC® International organization will be
celebrating their 35th year (30th year in Saskatchewan!). We
look forward to planning some special recitals to commemorate that.
Saskatchewan Registered
Music Teachers’
Association 2014
Every fall, members of the Saskatchewan Registered
Music Teachers’ Association (SRMTA) begin another
season of music lessons, planning repertoire and establishing musical goals for their students. In addition, many
take advantage of the professional development opportunity that is offered at our Annual Convention/AGM. Last
October’s convention was held in Unity, hosted by the
Battlefords Branch, and featured clinicians Dale Wheeler
and Dianne Gryba. Entertainment was provided by Kamala Youth Choir (conductors JoAnne Kaspar and Dianne
Gryba) complemented with piano duets performed by
Bonnie Nicholson and Dianne Gryba. The 2014 SRMTA
Convention will be held in Saskatoon.
SRMTA organizes a number of competitions for the
students of our members: Florence Bowes Memorial (held biennially for piano); Lyell Gustin Memorial
(piano); Gordon C. Wallis Memorial (piano); and the Jean
McCulloch Memorial Junior Piano. These competitions
were all held at the end of May. We are most appreciative
to Hearn’s Pharmacy of Yorkton, SK and Roger & Marie
Jolly of Yamaha Piano, Saskatoon for sponsoring the Jean
McCulloch Competition awards.
SRMTA also offers a number of awards for students - the
Community Music Award and a Summer Music Camp
Award - as well as one for our teachers, the Dorothy
Bee Memorial Scholarship. In addition, throughout the
year, our Branches provide opportunities for professional
development on a variety of topics, often as part of their
regular meetings, frequently utilizing their own members
as clinicians and speakers, but also inviting other professionals to give presentations on non-music related topics.
We are grateful to SMEA for the grant they provide us.
Funds from SMEA are used for professional development
assistance to the branches, enable us to send two delegates
each year to our National organization’s meetings and
conference, and contribute to the Dorothy Bee Scholarship.
As a member of the national body, the Canadian Federation of Music Teachers Associations (CFMTA), some of
our programs are provincial level competitions that are
part of, or feed into, the national competition, such as
the SRMTA/CFMTA Student Composer; CFMTA Young
Artist; and the CFMTA National competition, held in conjunction with the biennial National Convention – the next
to be held in July 2015 in Vancouver, BC. As a member
organization of SMEA we are grateful for its support of
SRMTA.
Junior Honour Choir 2014
(Report submitted by Kayleigh Skomorowski)
Greetings from the Saskatchewan Orff Chapter! On
Saturday September 27th we are having our fall classic workshop in Regina at Jack Mackenzie School. Our
clinician is James Harding. James has studied classical
clarinet at Yale University and the Mozarteum in Salzburg
and has played Balinese music in Gamelan Sekar Jaya
since 1990. He currently teaches children from preschool
through middle school at The San Francisco School,
where he has taught since 1990. At this workshop James
will focus on Traditional music, games, dances and stories from many cultures explored through Orff-Schulwerk
media. The Saskatchewan Orff Chapter is also busy planning for the 2016 National Orff Conference that will take
place in Saskatoon! We are organizing this conference
with the help of the Lethbridge and Calgary Orff chapters. More information will be available closer to the date
of the conference, so stay tuned!
Submitted by
Jennifer Yim-Rodier
President of the SK. Orff Chapter
University
of Saskatch-
University Student Chapters
(University of Saskatchewan & University of Regina)
The SMEA’s University Music Student Chapters are
actively
involved in preparing either for a career as a professional
musician or for an occupation in the area of music
education.
The funding they receive from SMEA enables them to
conduct workshops that focus on professional development for the professional musician and practical teaching strategies for future educators. Opportunities are
provided for coaching and mentoring by professional
educators and musicians. University Chapter programs
are evaluated by the SMEA Board of Directors via annual reports received by the SMEA.
The Junior Honor Choir program was piloted in Prince
Albert Saskatchewan on Friday May 30th and 31st at St
Mary High School. Sacred Heart Cathedral was also used
as a rehearsal space and for the concert which wrapped
up the event on Saturday afternoon. The program was
originally scheduled for February 7th and 8th 2014 but the
Cathedral’s renovations scheduled to be done by Christmas
2013 took until March 2014 to complete. All participants
and teachers were contacted about the change of dates in
early January 2014 via e-mail and mailed letter.
The honor choir committee consisted of Janice Manning
and Kayleigh Skomorowski. Megan Fornier-Mewis was
hired as the guest conductor and chose the repertoire which
was borrow from Prince Albert Children’s Choir. Hired Accompianists included Samantha Stewart and Chris Borsos.
Leaders for the sectionals which occurred Friday afternoon
were Lauren Lohneis and Karen Langlois.
There were 27 students who participated: 3 boys and 25
girls. Approx 60 people attended the concert on Saturday
afternoon.
Shirts were ordered from North Star Screenprinting in
Prince Albert, each student received one and wore them for
the final concert. Food and Beverages were done by Carol
Gareau, kitchen manager at St Mary High School.
The program consisted of group and sectional rehearsal
time, breaks, and was concluded with the concert on Saturday Afternoon.
The program was well received by participants, parents,
and community members.
Communication with music teachers was a challenge
encountered. Teachers were contacted via e-mail and information about the program was provided at SMC as well
as posted on the SMEA website. We really struggled to get
applicants; most of the participants in our program were
from Prince Albert and area as those teachers we were
most easily in contact with.
I believe that the reason we struggled to get the word out
there is because many elementary school choir programs
are not necessarily run by music specialists who have
contact with professional organizations. I believe that this
continued on page 16
11
SMEA 2013 Awards
Wayne Toews
2013
Lifetime Achievement
Wayne Toews began
studying the violin at the
age of 4. He sang with the
Westmount Boys Choir
under Donald Forbes and
served as concertmaster of
the Saskatoon Youth Orchestra. Wayne studied violin and composition with
Dr. Murray Adaskin at the
University of Saskatchewan. He played for nine seasons in the Saskatoon Symphony first on violin and later on viola. He also performed
on the double bass and percussion in the University of Saskatchewan Concert Band under Dwaine Nelson. He holds
a Master of Music degree from Northwestern University,
Evanston, Illinois. Wayne taught music in Saskatoon from
1969 until his retirement from Aden Bowman Collegiate in
2001. From 1983 to 2009, he was the director of the Saskatoon Youth Orchestra. The orchestra won the Canadian
Music Educators Association’s national performance award
for excellence six successive times and held the award from
1993 until 2005. Since his retirement, Wayne has been
active as a clinician and adjudicator across Canada. After
studying conducting at the Toho Gakuen School of Music
in Tokyo in 1983, Wayne edited the English edition of the
Saito Conducting Method textbook that was published in
Tokyo in 1988. In 2005, Wayne founded ConductorSchool
and is known internationally for his teaching of the Saito
conducting method. Musicians have travelled from around
the world to study with Wayne. In addition to eight annual
international workshops in Saskatoon, Wayne has taught
conducting at the Universities of Memphis, Saskatchewan,
Alaska (Fairbanks) and at Rivers Conservatory in Boston.
In 2012, Wayne travelled to Salvador, Bahia, Brazil to help
establish a conducting componenet for the NEOJIBA or-
chestral program. Wayne has been the guest conductor
of professional orchestras, honour bands and honour
orchestras. He conducted the premieres of fifteen
works by Canadian composers, and has composed for
band, orchestra, choir, solo instruments and small ensembles. Wayne received the “Outstanding Achievement Award” from the SMEA in 1987, the “Golden
Wheel Award for Excellence in Arts and Education”
from the Rotary Clubs of Saskatoon in 1990, the
“Orchestral Development Award” from the Saskatchewan Orchestral Association in 2001 and the SBA’s
“Distinguished Band Director” Award in 2009. Wayne
lives in Saskatoon with his wife Judy. Their daughter
Regan is a professional violinist and son Adam is a
tubist. Wayne serves as national chair of the orchestra
division of Musicfest Canada and is secretary of the
Saskatchewan Orchestral Association.
Melinda AndersonGrass 2013
Outstanding Achievement
Melinda Anderson-Grass is a passionate elementary
Music and French teacher at Empire Community
School in Moose Jaw. A University of Regina graduate, Melinda’s programs are grounded in her specialized training in piano, Orff, World Music Drumming,
Village Music Drum Circle Facilitation and Métis
fiddle. As the coordinator of the Heart of the City
Piano Program for the past 14 years, Melinda enthusiastically works to bring piano lessons to students in
five schools across Moose Jaw using volunteer piano
teachers. Melinda also facilitates a school community
drum circle two mornings a week before school and
has a performing student drum group called H.T. n
SpicE. Melinda hopes that all children will be touched
and empowered by their musical experiences and
opportunities. Through numerous grants, Melinda has
been able to purchase a variety of instruments and
feels that this dream is becoming a reality and that all
students will come to feel a part of the larger community.
bravo!
SASKATCHEWAN MUSIC
EDUCATORS ASSOCIATION
SASKATCHEWAN MUSIC
EDUCATORS ASSOCIATION
Rj Staples, the Provincial Supervisor of Music was one of the founding members
of SMEA in 1957. He acted as the editor of the SMEA News Bulletin. He was
appointed Honourary President to SMEA. Rj conducted a 1000-voice provincial
choir at several SMEA Conventions and was instrumental in the Sask. Sings
broadcasts and the publication of the Sask Sings songbooks to celebrate the
Diamond Jubilee of the province. In 1964, Rj, as the Department of Education
representative on the Curriculum Committee, encouraged SMEA to outline specific recommendations regarding equipment, teaching aids and trained teaching
staff required to provide a full music program in Division III with consideration
of a possible Division IV course of studies for a full music program. In 1968,
Rj Staples organized the provincial Honour Choir (later referred to as
the Provincial Honour Choir).
Frank Connell came to Canada from Shotts, Scotland in 1958 as the Music
Director of the Moose Jaw Lions Junior Bands. He was the founder of the Sask
Music Camps in 1962, which later became known as the Sask School of the Arts
with its permanent home at Fort San. Frank served as a member of the Executive
of the SMEA, member of the Saskatchewan Arts Board, President of the Sask
Chapter of the Canadian Bandmasters Association and was awarded the Order
of Canada Medal.
Rj Staples Memorial Scholarship
Frank Connell Memorial Scholarship
Tanya Tazzio;i (U of R)
Colin Elliott (U of S)
Colin Elliott is currently in his fourth year of the combined Bachelor of Music & Bachelor of Education program at the University of Saskatchewan. Originally from
Russell, Manitoba, music has been a passion of Colin’s
since early childhood. He has always embraced the opportunity to pass his love of music on to others, and he has
discovered that a career in Music Education makes this
endeavour possible. Growing up, Colin was involved with
the Vagabond Theatre Company in Binscarth, Manitoba,
and continues to work with the company each summer as
an instructor at the Actin’ Up Theatre Camp. In 2012 and
2013, Colin performed with the Saskatoon Opera in their
main stage productions of Don Pasquale and Carmen.
While in high school, Colin was a member of school and
church choirs, and established and directed an all male a
capella group. Colin is now involved with choral education, having worked at the International Music Camp
as an intern with a capella pop choirs. He has also led
section rehearsals for numerous high school choirs in
Saskatoon and is the Choir Director at Grosvenor Park
United Church. This is Colin’s fifth year singing with the
Greystone Singers at the University of Saskatchewan and
he has spent three years on the executive for the choir,
most recently as President in the 2011-12 and 2012-13
school years.
R j Staples
.
Tanya Tazzioli is a third year piano major pursuing her
Bachelor of Music Education at the University of Regina.
She is also working towards becoming an Associate of the
Royal Conservatory of Music (ARCT) in Piano Pedagogy.
In her first years as a university student, Tanya quickly
became involved with several student societies on campus.
She joined the Music Student’s Association, the Education
Students Society, and volunteered as a Senior Ambassador.
Most recently, Tanya became the keyboard lab instructor
and is excited to expand her teaching abilities and range
of her students. Tanya has been teaching private piano
lessons for over three years and she is rapidly growing her
home studio. As a new teacher, she has a unique teaching style that incorporates a blog and custom-made board
game to motivate students to become well-rounded musicians. Playing piano for fifteen years, Tanya also enjoys
challenging herself to learn new instruments and grow as a
musician. In addition to the piano, she enjoys singing and
learning to play flute, percussion, saxophone, trombone,
and cello. When she isn’t playing music, Tanya enjoys
swimming, biking and horseback riding. Inspired by all
the great music teachers she has met, Tanya strives to
make music engaging and enjoyable so all of her students
can benefit from the joy music brings.
Frank Connell
13
SMEA Workshops 2013-2014
Provincial Member Funding Programs are specific on-going
programs that are governed by the SMEA Provincial Funding
Policy and are administered and supervised directly through
the SMEA general office. These programs are covered by the
SMEA general liability insurance coverage.
K- 5 were exposed to and took part in ‘old time fiddle
music, dance and vocabulary presented by the Northern
Lights Bluegrass and Old Tyme Music Society. It was
a wonderful and worthwhile experience that they will
not soon forget. Thank you for your support.
Regional Workshop Funding Report 2013-2014
Region 2 – Old Time Music And Dance Workshop was
held at Central School in Swift Current on January 29,
2014. Coordinator was Celia Hammerton. Students
were introduce to a number of different old time dances
including waltz, polka and reel. By the end they were
able to perform a number of different steps and perform
sequences of movements with smooth transition. They
were also given the opportunity to express themselves
through creating their own dance movements. The
workshop allowed the 250 students to learn while having a lot of fun! This was also presented by the Northern Lights Bluegrass and Old Tyme Music Society.
2013-2014 saw many wonderful workshop requests. The
SMEA board of Directors approved 21 Regional Workshops/
PD Funding and 2 Special Projects funding this past fiscal
year! Here is a snapshot of the great and wonderful clinics and
workshops that happened in our wonderful Province. This is
from the Follow up reports submitted by the coordinators of
each workshop!
Region 1 – Music For Young Children Inc. Professional Development Day Workshop was held in Saskatoon – October
4-5, 2013 Anita Kuntz, Estevan was the coordinator. Music
education is MFYC primary interest and there were 38 teachers attending this professional development day. Professional
development in singing, solfege, keyboard, classroom management, technique and community involvement.
Region 2- Swift Current & District Beginner Band Clinic was
held in Swift Current September 6-7, 2013. Coordinator was
Jennifer Switzer. Once again we had a very productive clinic.
All of our beginners had the opportunity to work with a talented clinician to learn to play their instruments. They left the
clinic with an understanding of how to play and were highly
motivated! Thank you for supporting our project! There
were 138 youth attending this workshop and thank you to our
volunteers.
Region 2 – Maple Creek Composite School - U of R
Clinic and Sectional Workshop under the direction of
Brent Ghiglione was held at the U of R May 23, 2014.
Coordinator was Amy O’Hara. The objective of the
workshop was to allow students to make music under
the direction of a high level teacher and conductor in
preparation for music festival performances. 38 students
had the opportunity to work with Professional musicians
and directors in a capacity never experience before.
Their musicianship skills, ensemble skills and techniques all greatly improved during the workshop.
Region 2 – Music Camp in the Grove was held July 28
– August 1, 2014 at the Lyric Theatre/Gowan’s Grove
in Swift Current. Coordinators were- Dana Rempel,
Region 2 – Maple Creek Composite School Beginner Band
Darnell Stewart, Brady Frank Kelsey Chabot and Shann
Blast was held at the Maple Creek Composite School Friday
Gowan. Music Camp in the Grove was designed to help
September 13, 2013. Coordinator was Amy O’Hara. 30 stuyoung musicians with an interest in performing and credents had individualized instruction from a professional musi- ating contemporary popular music discover their potencian and teacher. The students had advanced and condensed
tial and build their music appreciation skills. This year,
musical training ranging from notes, rhythms, articulations,
the camp targeted seven young musicians from ages 13
breathing , posture, etc. They received a month’s worth of
-17 and took place in both the historic Lyric Theatre
specified instruction in one day.
in downtown Swift Current and at Gowan’s Grove, a
Region 2 – Old Time Music and Dance Workshop was held at Creekside campground south of the city, providing both
Ashley Park School in Swift Current on January 29, 2014. Co- a real-world professional context for making music and
a natural environment to promote creativity and healthy
ordinator was Roxanne Snyder. All our students ( 250 ) from
recreation. The Camp allowed these young musicians to
meet others in their community and age group with similar
interests, as well as professional instructors and educators
who introduced them to the fundamentals of composition, technique, and performance in an intimate setting.
Throughout the week, as well as many private and group
lessons from staff members Darnell Stewart (guitar bass).
Brady Frank (keyboards, brass, vocals, song writing), and
Dana Rempel (woodwinds, bass, drums, production, sound
tech). Guest professionals were also hired to provide a
greater breadth of experience, such as drummer Stephen
Leidal (BMus), recording engineer Ken Friesen (DipMus,
EBd.), and Saskatoon band Young Benjamins, who additionally performed with the students the last evening of
the camp to a public audience. By offering top-of-the-line
equipment, professional venues, and experienced instruction, Music Camp ensured that young musicians received
thorough training in their area of interest in addition to the
opportunity to learn about other aspects of music performance and production. They were able to build a professional community with like-minded peers, develop selfefficiency, confidence, and creativity and gain exposure to
existing musicians and related organizations within
our community, ultimately strengthening our local music
scene and improving quality of life in Swift Current area.
excitement for being a part of a group. The clinician had
valuable suggestions for improvement and by the end of
the weekend much growth was apparent. The 20 students
worked with the directors on choral technique and practice
repertoires for festival as well as other musical selections.
Region 4 – Shekinah Retreat Workshop was held October
25-27,2013 at Shekinah Retreat Centre. Phoebe Voigts
–coordinator. 44 choristers participated in rehearsals and
sectionals Friday and Saturday. They also engaged in a team
building workshops and recreational activities. Sunday they
participated in a dance/music workshop.
Region 6 – Traditional Drumming Workshop was held
at the Leask Community School February 25-27, 2014.
Coordinators were Kendra Worman and Garry Smith.
The objective of this workshop was to learn to build hand
drums, learn the traditional protocol for honoring drums,
and to learn have to use the hand drums. There were a
total of 22 participants –13 youth , 8 adult and 1 senior.
Students built a Floor Drum under the instruction and
supervision of a shop teacher and a ‘Drummaker Elder’.
Students learned from the Elder the “rules of use” and
the3 traditional protocols involved in building and using
the drum. A Drum ‘feed’ ceremony was held to ‘bring the
drum to life’. Students have begun learning how to play
the drum. They also learned how to make drum sticks.
Region 4 – Saskatoon Brass Band Summer Camp was held
at the University of Saskatchewan August 5 – 11, 2013.
Michelle Styles-Tacik was the coordinator. There were 36
participants – 4 – youth (19 and under), 22 Adults (20-54)
and 4 seniors (55+). The objective of this camp was to
further student and adult musical education through working
closely with world class clinicians and soloists in sectionals,
rehearsals and master classes culminating in a final performance and to promote both Saskatchewan and the over 100
year old tradition of Canadian Brass Bands and its English
roots through lectures and cultural trip. The concert was
well received with over 250 people attending.
Region 5 – Quest at Christopher Lake PACC Workshop–
was held at Christopher Lake Feb 28 – March 1, 2014.
Dennis and Monica Corcoran and Megan Fournier-Mewis
were the coordinators. The choral workshop was very well
received by all involved- including directors, choristers,
parents and our clinician. The social bonds within the choir
were certainly strengthened and choristers had renewed the
Region 5 – PA Catholic Jumpstart Band Clinic was held
at Ecole St. Anne School in Prince Albert September 15th
2013. Coordinators were Lauren Lohneis and Janice
Manning. This was an intensive two days for students to
have the opportunity to work with specialists. They provided beginner students with instruction on their instrument to “jump start” their development in band. There
were 145 students participating – division wide.
Region 6 – Battlefords Beginner Band Workshop was
held September 24, 2013at the Don Ross Center in North
Battleford. Coordinator was Barb Mutch. The objective
of this workshop was to give students a strong start on
their instruments for a positive band experience. 120 students returned to their school with the knowledge/ability
to assemble their instruments and produce good sounds on
the first few notes, without needing individual instruction
from their teacher. They also learned how to care for and
maintain their instruments.
Region 7 – Mandolin Instructors Teaching & Techniques
Workshop was held in Regina on September 24, 2013
as part of the Canadian Mandolin Society of America
Convention. Coordinator was Susan McLaughlin. This
workshop was to provide mandolinists with advanced
instruction in playing techniques specific to the mandolin,
such that they acquire the ability and confidence to pass
this knowledge on to others. 39 participants attended this
workshop all adult mandolin players and/or teachers.
Region 7 – Johnson Area Beginner Band Workshop was
held at the FW Johnson Collegiate September 15-16,
15
2013. Coordinator was Amanda McArthur and Raelynn Smith.
All Johnson area beginner band students attended the 2 day
workshop to get started on their instrument. 70 students participated and were introduced to instruments and worked with
clinicians to develop instrument specific skills.
Region 7 – Wind Band Conducting and Repertoire Session
Workshop was held at the University of Regina November
1-3, 2013. Coordinator was Brent Ghiglione. 110 youth, 45
adults and 30 seniors participated in this well attended workshop. It was a wonderful weekend with Craig Kirchhoff. His
conducting session and Repertoire was pretty wonderful. This
was well attended by band directors. There was an amazing
concert at the University Theatre, Riddell Centre following this
workshop.
There were 4 Professional Development Assistance – SMEA
member grants issued. Funding was granted to assist three
SMEA members attend the Midwest Clinics in Chicago, December 18-21,2013. Comments from the follow up reports: “I
gained several new resources and contacts by attending this
conference. In particular this conference sparked ideas and
plans for my specific work in my school division. The networking and connecting with other North American colleagues
was as valuable as the conference sessions themselves.” “The
conference was amazing! There were over 20,000 people in
attendance. I brought back many ideas and suggestions for
clinicians to approach for the SMC and Provincial Honour
Groups. The experience was great.” One PD assistance was
for an SMEA member to attend an ORFF Workshop. number of school bands were also active. However,
First Sask Bands continued...
it was a program introduced by the Department of
EDUCATION in 1966 specifically to encourage the
creation of school bands that triggered their general
proliferation. This initiative was highly successful, and
by 1975 bands were an established component of Saskatchewan’s educational system. Though the specific
details of Saskatchewan’s “school band movement”
are unique, general trends mirrored those across North
America.
Many community bands disbanded or reorganized as
school bands when funding became available through
the Department of Education. Some community bands
such as the Regina Lions Band continued to flourish outside the school system, while others devised
idiosyncratic arrangements between service clubs
and school boards (e.g., MELFORT Kinsmen School
Band). Since the early 1970s, band proponents worldwide have striven to elevate the wind band as an artistic
medium, particularly through improvements in the
quality of the repertoire. However, owing to trends in
both popular culture and art MUSIC, the wind band’s
role at the dawn of the 21st century remains primarily
educational.
Edwin B. Wasiak
FURTHER READING
Wasiak, E.B. 2000. “School Bands in Saskatchewan,
Canada: A History,” Journal of Historical Research in
Music Education 21: 112–31.
Jr. Honour Choir: continued from page 11
is why the Honour Band program has an easier time
getting student applicants where we struggled greatly.
I do see a need for this program based on my own
teaching experience and conversations with other
choir teachers. Students in the senior grades of elementary often don’t feel they have a place in school
choral programs with a higher population of younger
students and grade 9 students lack the confidence
to take leadership roles in high school programs.
However, being that it is difficult to communicate with
elementary choir teachers across the province I don’t
know how to ease this challenge in the future.
2013 Saskatchewan Music Conference
“Music For Life”
The 2013 Saskatchewan Music Conference was a joint venture of the Saskatchewan Music Alliance. The partners were
the Sask. Band Association, Sask. Choral Federation, Sask.
Music Educators Association, Sask. Music Festivals Association and the Sask. Orchestral Association. “Music For
Life” was the theme for this year’s conference. The Keynote
presenter, Dr. Will Schmid gave an enlightening address
‘Sustainable Music For a Lifetime”.
ended with a fantastic SMEA Provincial Honour Groups
Concert held at the Orr Centre in Regina on Saturday
evening.
Approximately 220 people registered for this conference
held at the Delta Hotel & Resort in Regina. The conference
was a success and feedback from delegates was largely positive. The venue – Delta Hotel was excellent.
There were many different sessions for all to participate in
and enjoy. Sessions were very well received from all sponsoring organizations.
As Special Subject Council of the Sask. Teacher’s Federation for Music educators, the SMEA is mandated to
provide professional development for music educators.
The Saskatchewan Music Conference demonstrates the
commitment of the SMEA to fulfill its Mission Statement to promote high standards of music and music
education ant to sponsor conventions, clinics and other
means of musical development, information and education. The SMC also addressed the SMEA commitment
to its Vision Statement to participate in partnership and
cooperative ventures to maximize the use of available
resources.
Once again the music industry was represented at the conference in the display area and also as corporate sponsors. The
Awards Banquet, held on Friday evening, provided each
organization to present their organizational awards and
recognized their outstanding volunteers. The conference
The Saskatchewan Music Conference is perhaps one of the most significant, premium
learning experiences for our members and
the members of the other music PCOs.
SMA Summer Camp 2014 continued from page 9
the large demand to attend the camp, we had to limit the
registrations on a first come first served basis. We cut off
registrations at 70 students in each city.
The number of students who actually attended the camps
were: Regina - 49 Saskatoon - 60 Prince Albert – 48
Following the 2014 camp, 60 students signed up for
their school band, music lessons or other cultural
activities.
41 of these students had never been enrolled
in these activities before. There were also
22 students who signed up for private music
lessons. Fifteen of those students had not
taken private music lessons prior to attending our camp. There were 19 students
that we were unable to track, due to their
families moving cities, changing schools,
etc. There were also six students that left the
dream broker program as they were going int high school, however we know that
at least one of these students has already
started playing with their high school band.
17
International Society of Music Educators (ISME)
International Music Conference
2014
www.isme.org
ISME International Music Conference – 2014
July 18, Kara Helms, Lee Adams, Celia Hammerton and
I left Saskatoon to embark on a most fascinating, educational and culturally exciting adventure to attend the
International Society of Music Educators (ISME)
International Music Conference in Porto Alegre, Brazil.
There were over 1200 delegates from all over the world
attending this five day conference. Each day was packed
with sessions, poster sessions, key note addresses, trade
show area to visit and many wonderful performances by
students from all over South America and the world.
Sunday July 20, 2014- Opening Ceremony. The
President of ISME and the Conference Chair welcomed everyone to the conference and presented many awards to distinguished guests for their excellent work in Music Education. This was the first time ever that the ISME Conference
has been held in South America! Following the formalities
we were treated to a spectacular musical extravaganza of
Brazilian Musicians directed by Leandro Maia. There
was dance, percussion, jazz, puppets, and choirs depicting
the diversity of cultural and artistic manifestation in multidimensional processes that illustrated the musical richness
of Brazil.
Monday, July 21,2014 – Kara, Lee, Celia and I
attended the key note address by Carlinhos Brown –
“ From the Community to the World, From the World
to the Community”. Carlinhos is a very popular pop star
in Brazil and told his story. Excellent presentation.
Tuesday, July 22, 2014 – We attended another
key note address by Katherine Zeserson –“Being Music,
being ourselves – diversity authenticity and the wild
spirit” She has won an international reputation as a trainer,
music animateur and educator having led creative projects
across a notably wide range of community educational and
social contexts. She has taught at Higher Education and
post graduate level; led animateur, teacher and leadership
development programmes within the education, cultural
and third sectors in the UK and internationally and is currently co-leading an innovative 3 year Brazil-UK music
education research collaboration as part of the British
Council’s TRANSFORM programme.
Wednesday, July 23, 2014 – Eckart Altenmuller
presented a key note address on “Musician’s health and
wellness”. His presentation was very interesting as he
talked about various scenarios about musician’s medical
issues dealing with auditory sensory and motor learning, dysfunction of fine motor skills due to overuse and
emotional processing of music. He would be an excellent
speaker to bring to our SMC – as a key note speaker on
Health and Wellness.
There were so many different sessions to choose
from. It was difficult to decide. We all tried to attend different sessions so as to get in as many sessions as possible.
The conference program was very difficult to work through
as there were many different strands of sessions. Each night
we all sat down and worked through the sessions we would
all attend the next day! As we all know organizing such a
huge conference is very difficult and one unfortunate thing
that happened was that sessions would be cancelled with no
notification. There were still lots of sessions to find quickly
to get to in the appropriate building and room.
Some session Highlights –
Cultural Diplomacy and Engagement: Working Toward
(Mutual) Understanding and Appreciation of Other
Peoples through the Arts – Greg Hurley
- Music Education Advocacy: Why and how we should
support the profession?-Patricia Adelaida Gonzalez, Gary
McPherson, Segio Figueiredo and Kari Veblen
- Multi-Cultural Songs (Native American, African American Caribbean) with accompanying movements and instruments for Elemetary Students – Gail Fleming
(Excellent clinician for SMC)
- Workshop Songs of Forest – Indigineous peoples from
Brazil – Magda Dourado Pucci, Maria- Berenice Simoes De
Almeida
- Body Percussion Rhythm Activities for Elementary
Students including “African American Stepping”
– Gail Fleming
The musical entertainment was superb!!! We took lots of
videos of the various groups that performed during noon
time and at the Federal University. We heard children from
the USA –Tiger Music ORFF Ensemble, performing various
musical selections. They were elementary school children!
Amazing performance. There were percussion groups, marimba groups, jazz groups, tambourine performances, string
performances and of course the symphony of Brazil! These
groups were from Chile, Argentina, Brazil, South Africa, and
Mexico.
19
It was amazing networking with educators from all over
the world. We met up with Joan Therens and were introduced to the VIP delegates that were attending the conference! Joan has been a part of ISME for many years – and
she is from Regina and a former SMEA president and ISME
Governor General! I made some connections with the Music
Educators from Australia. They have a very similar member
base as we do. We exchanged some ideas of what our organizations do, our programming and special projects. We will
continue to keep in touch!
Some inspirational sayings:
Theme of ISME Conference “ Listening to the Musical
Diversity of the World”
“Through music we can manifest social change”
“We don’t make music….we are music”
I would like to thank the SMEA Board of Directors for
allowing me to attend this conference. It was a trip of a
lifetime! I have brought back so many ideas for clinicians for
our own SMC and also a new appreciation of what we have
here in Saskatchewan and how fortunate we are to have the
financial support of the Lotteries and SaskCulture so we can
do all that we do for Music Excellence and Music Education!
One keynote of the day particularly stuck with me.
It was a session about Musician Health and Wellness.
Eckart Altenmüller spoke about how things such as
performance anxiety (or just anxiety in our daily lives) can
have many different and negative impacts on our ability to
function as musicians. We were shown videos of students
who had some sort of debility that negatively impacted
their ability to play or perform. Eckart then talked about
how small changes in our lives (or specific changes he recommended) could make positive progress on the debility
that they were experiencing. This session was something
that I could clearly relate to, as I have experienced and
continue to experience issues with performance anxiety.
I would love to have Eckart come to our conference and
speak as a keynote.
Mark Reid (CMEA – President), Kara, and myself
met with the current ISME president to discuss why our
application to host ISME for 2018 was turned down, and
turned down with no feedback. After much discussion, we
did get some feedback and some suggestions on how to
improve our application, and what the adjudicating board
actually is looking for in applications for hosting ISME.
We (CMEA) are hoping that in the near, but not too distant
future we will be able to host ISME. In the meantime,
we look forward to hearing more about the 2016 ISME
Val Kuemper
World Conference in Scotland.
Once again, I would like to thank the SMEA and
Executive Director
its board members for electing to send us as an executive
to the 2014 ISME World Conference. This was an amazLee Adams, SMEA President
ing experience for all of us, and one that we will never
It was an amazing summer for the executive members of
forget. Our students will benefit from our new found
the SMEA as we made our venture down to Porto Alegre,
Brazil for the 2014 ISME World Conference. I am sure I can knowledge, and we are hoping that the rest of the music
community in Saskatchewan can also benefit from the
speak on behalf of each of the SMEA Executive, that this
names that we bring forward for our own provincial music
experience is one that we will never forget. We attended
conference.
several different sessions which included large amounts of
different cultural aspects. While many of the sessions in
this conference were centered around the elementary music
Lee Adams
world, many of the concepts could be carried over to other
SMEA President
areas. Several of our sessions included learning different
folk songs, dances, and cultural instruments. It is always
interesting to learn about many different cultures, especially
Kara Helms, SMEA Past President
those that we don’t see in North America.
Bom dia! Porto Allegre, Brazil hosted music educators
The concerts and performances were absolutely amazfrom around the world at the 2014 ISME Conference, July
ing and out of this world! As you looked around the room
you could see toes tapping, heads bobbing, people clapping, 20th-25th. As part of the delegation for the Saskatchewan
Music Educators’ Association, I felt extremely priviand bums moving in their seats. What an amazing experience! We were always left in awe with the energy that these leged to have the opportunity to learn from such talented
performances came with, and the sounds and music that they musical colleagues, listen to phenomenal concerts that
reflected diverse folk music influences, and leap into the
could make. We hope to bring some of the names of some
global community of music education. From the opening
of these clinicians forward so that others can enjoy these
ceremony, to the lunch hour concerts, spirited conference
experiences at our provincial conference.
sessions, and final awe-inspiring closing performances,
I was overwhelmed by the sheer volume of outstanding sessions and concerts that were offered. The atmosphere had a
general buzz of excitement as music teachers from different
continents gathered to learn new techniques for working with
students, discuss contemporary research projects, or watch
local Brazilian musical groups perform for appreciative international audiences.
of their important music education programmes. If there
was a highlight of the ceremony for me it would have to
be the Fabrica de Gaiteiros or “Accordionist’s Factory”
featuring some quite amazing young accordion players.
Wow!
There were so many sessions it was difficult at times to
decide what to go to. I really enjoyed all those I attended, including the one where the presenter didn’t turn
Picking which sessions I wanted to attend was the biggest
up and
challenge during my time at ISME. Everything sounded so
the delegates decided to turn it into a sharing session.
interesting, and was offered only once in the timetable. How
I found the hands on sessions particularly useful and
could I possibly choose? I ultimately decided to pick sessions enjoyable and if I were to pick a favourite it would have
that were offered by presenters who were active music teachto be the Brazilian Tambourine workshop - I hope to
ers, sharing their ideas about topics that were less familiar
take some of these rhythms of Brazil back into my own
to me. Having recently finished graduate studies, I choses
classroom.
sessions that focused on learning through doing rather than
Other sessions I attended included “Hellenic rhythms,
learning through listening. Highlights from these sessions
songs and dances”, “Swing it Possum” , “Using Body
include learning how to incorporate percussion into movePercussion to teach Rhythm, Form, with African
ment by Chico Santana; experimenting with tambourine rolls American Stepping”, “Orff Shulwerk and traditional
with Andre-Felipe Marcelino; playing traditional Chinese
Chinese folk songs : an active exploration”, “Step by
folk songs on Orff instruments with Mai Xu; creating African step: Renaissance court dances in the music class”,
American step dance choreography with Gail Fleming; and
and “ The African American Spiritual in the Kodaly
participating in Greek traditional dances with Nikos Theodo- Music Classroom, Listen, Leap and Learn! “
ridis and Dimitra Koniari. Part of the ISME magic is learn- In addition to all the workshop sessions there were
ing from professionals who share music from their part of the interesting, informative and entertaining keynotes and
world, inspiring future plans to bring these unique ideas into
outstanding concerts every day. I particularly enjoyed
my classroom here in Saskatchewan. If only I can recapture
the keynote speech by Carlinhos Brown, a Brazilian
some of the magic that was created in these sessions!
pop star who is also a percussionist, teacher and artistic
leader in Brazil. He created the Pracatum Association
Having attended my first ISME gathering, I can easily say that which has developed educational and cultural projects in
it won’t be my last. The spirit of the delegates, meeting music Candeal Pequeno de Brotos, including a school project
educators from other parts of Canada or around the world,
which involved the construction of a music school, a
and feeling proud to be part of such vibrant and motivational
music studio and many improvements in this underevent, hooked me into wanting to attend future ISME gatherserved region in Salvador, Bahia.
ings. Don’t be surprised if you see me learning how to jig or
I was blown away by the number of performances
dance a reel at ISME 2016 in Glasgow!
and by the amazing talent. One evening we attended a
wonderful concert by the Orquestra Sinfonica de Porto
Musically yours,
Alegre and on another evening we attended a concert by
Kara Helms Past-President, Saskatchewan Music Educators’ groups from around the world. My favourite had to be
the Brazilian drumming group, “Grupo de Percussao
Celia Hammerton, SMEA Vice President de Itajai. The many concerts also included several
I feel extremely lucky and privileged to have been given the
wonderful ensembles of young recorder players which I
opportunity to attend the 31st ISME World Conference on
particularly enjoyed as I teach recorder and direct school
Music Education in Brazil from July 20 -25. It was an
recorder ensembles. I would love now to try incorporatopportunity to connect with music educators and presenters
ing some Brazilian pieces and rhythm sections into my
from all over the world, learn about practices and research
ensembles at school! I had not expected to necessarily
from around the globe and learn about the beauty and diverhear recorders in Brazil and found it interesting that the
sity of Brazilian music and culture.
recorder is so popular and taught widely in schools there.
The opening ceremony gave us a taste of what was to come
The closing ceremony, featuring some outstanding
with an outstanding cast of musicians and dancers sharing the young performers of the Brass and Scottish Music
musical richness and diversity of Brazil. One of the things I
Department of the Royal Conservatoire of Scotland,
liked about the opening ceremony was the inclusion of some certainly wet my appetite for ISME 2016 in Glasgow. I
21
hope very much I may be able to venture over the
Atlantic to Scotland for another musical and educational
experience of a lifetime (and enjoy a wee bit of haggis, neeps
and tatties too!).
I would like to thank SMEA for making this incredible trip
possible. It had many highlights - amazing concerts and sessions, meeting and networking with some wonderful people
from all over the world, one particularly memorable and
hilarious taxi ride and the most amazing pizza place I have
ever been to - and will never be forgotten!
Respectfully submitted
Celia Hammerton
SMEA Vice President
“Through music we can manifest social change”
“We don’t make
music….we are
music”
“Listening
to the
Musical
Diversity
of the
World”
SJBNorth/South
2014
Saskatchewan Junior Bands
The Junior Band Program is a partnership project between
the Sask. Band Association and the SMEA. This program
is an example of the commitment by the SMEA and the SBA
to respond to emerging needs in a cooperative, cost effective
manner. Volunteers are appointed by the SMEA and SBA to
facilitate the project.
and perform, acting as ambassadors for their schools
and music programs. Congratulations to all of the
students who participated and their dedicated teachers
who nominated them. Your committee members for
this joint SMEA and SBA project were: Lee Adams
and Kara Helms (SMEA); Ali Peters and Darcy Warrington (SBA). Thank you to Centennial Collegiate
Institute and host, Stacey Mortenson, for generously
providing superb rehearsal and concert facilities.
Junior Honour Band South Report
Submitted by Kristen Myers
On Friday, March 7 and Saturday, March 8, over
100 students gathered at Martin Collegiate in Regina
The program is designed to afford an opportunity for approxifor two days of fun and music-making as part of the
mately 150 beginner and intermediate band students to particiSaskatchewan Junior Band South and Saskatchewan
pate in a two-day musical experience with their peers in a unique Intermediate Band South. This was the first time an
and affordable manner. The program provides the opportunity
Intermediate Band was held and the program was very
for young aspiring musicians and music educators to directly
successful. Led by conductors Nick Fanner (Junior)
interact in a very specialized musical experience with the proand Christa MacBride (Intermediate) from Saskatoon,
fessional music sector. The program also promotes leadership
the students engaged in full band rehearsals, sectionand musicianship for young people who are able to take their
als, and recreation activities. The weekend culminated
personal experiences from the program back to their individual
with a concert held on Saturday night at the Martin
communities and thus provide leadership as role models. ParCollegiate auditorium where the students performed to
ticipation in the Junior Band Program is for students up to and
a full house.
including grade eight, who have received at least two years of
band instruction
The Junior Band program, in a sense, represents an extension of
the existing SMEA Provincial Honour Band. It targets a younger
age group than the Provincial Honour Band, whose target age
is grade nine to grade twelve students. A spin off effect of the
Junior Band Program is that it has the potential to act as a feeder
group to the Saskatchewan Provincial Honour Band.
Junior Honour Band North Report
Submitted by, Kara Helms & Lee Adams
SJB North 2014 was another exciting weekend of music making!
This two-day event took place on Friday, March 7th, and Saturday, March 8th, under the direction of Dr. Darrin Oehlerking.
This annual project provided an enriched musical experience for
talented young musicians from twenty-seven different band programs in the northern half of the province. Our audience, roughly
350 parents and family members, was very appreciative of their
efforts. These students came together to rehearse, interact, learn,
Our Bridges 2016
presenters are
sure to inspire
and delight!
Saskatoon!
Presenters/Animateurs
Lisa Armstrong
Brian Hiller and
Don Dupont
http://briananddon.com
Chris JudahLauder
Richard Dubé
Debra GiebelhausMaloney
Jan Nordstrand
...and many more!
https://sites.google.com/site/
bridges2016orff/home
27
The Prairie Music Residency was set up by Saskatoon Brass Bands Inc. in 2013 to help
further enrich the long-standing tradition of British-style brass banding in Saskatchewan
and North America, while offering players a chance to work with world class brass band
musicians and improve their skills in an intimate and inclusive environment.
The 2015 course takes place at the University of Saskatchewan (Saskatoon) from Aug 5-9
and is divided into two streams: brass band and percussion. Each course runs
simultaneously during each day, combining a mixture of rehearsals, clinics, masterclasses
and other performance opportunities that culminate in two concerts with the guest
soloists, conductors and clinicians.
The 2015 course welcomes Michael Bach as guest conductor, cornet soloist
Mark Wilkinson as guest clinician and performer and Simone Rebello, percussion
soloist and clinician.
pmresidence.com
choose fee ☐ $350, with $100 non-refundable deposit by April 30, 2015
choose fee ☐ $500 from May 1st, 2015
High School and University Students....
choose fee ☐ $250, with $50 non-refundable deposit by April 30, 2015
choose fee ☐ $500 from May 1st, 2015
***Cheques payble to Saskatoon Brass Bands Inc.***
First and last name: _____________________________________________________________
Email: __________________________________________________________
Phone #: _______________________Address: _______________________________________
_______________________________________________________________________
Is this your first year on the course? Yes
Age range: 16-25
25-55
55-105
*Age information needed only for grant applications
Dietary restrictions: _________________________________________________________________________________________________
Choose a course: No
Brass Band Residency Percussion Residency
Instrument(s) (in order of playing preference):
____________________________________________________________________________________________________________________
Position(s) played (Ex: Band name, 2nd Cornet), or years experience on instrument:
_______________________________________________________________________________________________________
Please return to Will Martin OR Michelle Styles, or visit the PMR website
(306) 281-9930
[email protected]
www.pmresidence.com
SJBNorth2015
SJBSouth2015
SIBNorth2015
SIBSouth2015
Where: St. Thomas Elementary School
5216 – 44th Street, Lloydminster, AB T9V 1R6
When: Friday, March 6th and Saturday, March 7th, 2015
Where: Emerald Ridge Elementary School, White City, SK
When: Friday, March 6th (starting after school) and all
day Saturday, March 7th, 2015.
Where: Holy Rosary High School
6611A – 39th Street, Lloydminster, AB T9V 2Z4
When: Friday, March 6th and Saturday, March 7th, 2015
Where: Emerald Ridge Elementary School, White City, SK
When: Friday, March 6th (starting after school) and all
day Saturday, March 7th, 2015.
Saskatchewan Junior and Intermediate Honour Bands
Putting “U” in HonoUr
29
SMEA SMFA SCF SOA SBA
Vision:
The Saskatchewan Music Alliance provides a strong and unified voice
for the music community throughout the province.
Mission:
The Saskatchewan Music Alliance will provide visionary leadership to
promote and develop music for the benefit of all through its member organizations.
Values:
The Saskatchewan Music Alliance’s core values are:
A. Collaboration: We are committed to enhancing communities through progressive partnerships.
B. Innovation: We develop music programming that incorporates the best of the past to create
the future.
C. Respect: We are founded on mutual respect, demonstrating honesty and integrity with all
stakeholders.
D. Community Focus: We think globally and act locally by bringing music alive in the community while partnering provincially and nationally.
E. Leadership: We demonstrate strong visionary leadership making music accessible to everyone in our province.
F. Education: We believe music is to be experienced, shared and gifted to future generations
Intonation Tendancies in
Brass and Woodwind Instruments
Clarence Sawhill & Glenn Matthews
As a practical approach to good intonation, we suggest that
The purpose of this manual was to assist the teacher of
several factors should be examined: 1 . Personal:
wind players, either individuals or groups, in handling
A. General intelli
intonationproblems. There are
gence.
certain tuning problems, sharp
The
handbook,
“Intonation
Manual for Wind Instruments”, or flat tendencies, that are built
is the result of the combined efforts of Professors Matthews B. Desire to learn.
into each wind instrument.
and Sawhill to improve the intonation of young musicians,
Suggestions are made to both
collectively and individually. These clips are only a portion of C. Ability to hear.
the teacher and the individual
what was a complete guide to the issue.
performer, to improve their
D. Embouchure and The handbook, “Intonation Manual for Wind Instruments”
ability to develop a better
(1969 Byron Douglas), was the result of the combined efforts control of facial concept of pitch control.
of Professors Matthews and Sawhill to improve the intona- muscles.
The statements concerning
tion of young musicians, collectively and individually. The
probable pitch tendencies on
association of these two teachers covered a ten-year period E. Control of aistream.
certain instruments are made
with reserve. Naturally, instru- of summer work-shops for the annual two-week session of the
ments have points of variance, Siskiyou Band Camp at Southern Oregon College at Ashland,
2. Mechanical:
Oregon.
such as quality of materials,
The
occurrence
of
certain
tuning
problems,
the
probability
of
manufacturing methods,
instrument response, and the ability and tonal concept of the A. Instrument : Quality environmental conditions, and
numerous others. The response performer were carefully considered by both educators. They and condition.
were assured, in analyzing the results of the recognition and (An instrument should of the instruments depends
also upon the performers, who, correction of tonal problems, that a guidebook on the subject be of an acceptable standard make in first would be of assistance to students and teachers.
in turn, have more points of
class condition.
variance than the instruments.
The aim of the authors is to
state, plainly, the likelihood of instrument response, based B. Mouthpiece and Reed: Suitability to instrument and
on the performing and teaching experiences of the authors player.
and their contacts with professional musicians, colleagues, C. Fingerings: Basic and alternate.
and students.
When the individual player can anticipate the naturally defective notes of his instrument and apply the proper remedy,
RECOGNITION OF PROBLEMS
he helps his group toward becoming an expressive musical
Pitch control problems are approached in this manual
organization.
in several ways, such as ,by personal characteristics and
A good instrument is naturally quite an asset to the player.
qualifications, improving mechanics, instrument grouping
No instrument, however, can be trusted to do the whole
system, alternate fingerings, and the Composite Chart of
job in regard to correct intonation. When a young player
Intonation Tendencies. (following)
becomes aware of the intonation tendencies of his instrument
Too many times, we feel , the student is told to listen, but
he/she will naturally be interested in ways to compensate for
not shown how to listen, what to listen for , what to listen
these faults. This manual suggests ways to correct faulty
to , nor how to make the correction. The ability to play in
intonation, and indicates the notes likely to need correcting.
tune on wind instruments is not limited to a given level; it
For purposes of general testing of intonation and to conserve
can be improved.
rehearsal time, the instruments have been organized into four
basic groups......(continued)
31
When the instructor applies methods and experiences outlined in this book, he/she will find that his players tend to identify more closely with the group. The players will be more aware of the intonation problems of others. The group will gain
in self-confidence. It is quite likely that the instructor will gain new sympathy and understanding in the handling of intonation. He/she will know in whose ears the “perfect pitch” can be heard; they will be able to help the less talented, as
well as the independent, or those with more potential than they are achieving. It is our hope that this manual may help to
accomplish these purposes. (authors)
(continued)
33
Instrument Grouping
Group 4 - Bass Voices:
String Bass
Tuba
Baritone Saxophone
Contrabass Clarinet (Eb or Double Bb)
Tympani (at certain rehearsal times)
Bass Trombone (may be used in either Group 4 or 3)
Group 3 - Baritone Voices:
Bass Trombone (may be used in either Group 3 or 4)
Baritone Horn
Bassoon
Bass Clarinet
Tenor Saxophone
Group 2- Tenor and Alto Voices:
Tenor Trombone
French Horn
Alto Saxophone
Alto Clarinet
English Horn
Group 1 - Soprano Voices:
Flute
Piccolo (C or Db)
Oboe
Bb Soprano Clarinet
Eb Clarinet
Bb Trumpet and Cornet
From the chart , the keys which are most adaptable to
wind instruments can be determined.
Unison Tuning
Unison tuning of a given pitch name (at the same or
different octaves) can be done. Here reliable instruments
at a given pitch can be used to check those with out-oftune tendencies. Tuning
is probably best made from Group 4, with all other
groups listening to Group 4. Other groups are then
added to this unison. A number of different pitches may
be used. This in turn will aid the student in thinking concert pitches relative to his instrument.
Cross Tuning
Using different people and different groups, cross tuning
at a given pitch (unison or other octave) can be used.
This procedure sustains group. interest and helps all to
concentrate on pitch.
Group 3 is the most difficult. In any group, select a
person with the most accurate pitch. For example, if you
are tuning to “A” concert pitch and you find the bassoon
most accurate, build the other voices around this instrument. The chart will keep you informed of the notes that
may be high or low on the instrument selected. The
written “B” on tenor saxophone will be flat. The tenor
saxophone, like all single reed instruments, can raise
Fingerings
the pitch by having more lip against the reed with the
Discussion of both basic and alternate fingerings is necessary.
One should use fingerings that assist in pitch, unless the techni- jaw slightly forward or with possibly more reed in the
mouth. It is always helpful to keep the idea in mind of
cal problems of a musical passage will not permit the use of
pulling one muscle against the other.
this fingering.
For baritone saxophone, the written third space “C#” (“E”
concert) may be improved by adding two lower side keys or by Group 2 has better intonation in general than Group 3
on an “A” concert pitch. If a “Bb” concert pitch is used
using the same fingering as low “C#”.
in tuning, the alto saxophone will be flat on the second
line “G” and the French horn will be sharp on the first
In connection with fingerings, as previously mentioned , we
space “F”. The flatness of the alto saxophone can be imshould consider the pitch connections which can be made
proved with lips pushed more into the side of the reed.
through alteration by mechanics. The pitch can be modified .
The sharpness of the horn may be improved by pushing
Reducing the size of the hole will raise the pitch.
the hand farther into the bell or by having less lower
Enlarging the hole will lower the pitch.
lip in the mouthpiece. This example has been cited to
If the pad closes too far , the pitch will be too high, and if the
show a means of compensating for the deficiencies of
pad allows for too much space between the hole and the pad
certain tones that are normally out of tune on certain
the pitch will be too low.
instruments. As students begin to realize the tendencies
of their instruments to be high or low, they will start
Use of Chart
compensating.
The intonation tendencies chart on the preceding pages can
be used to check the sharp or flat tendencies of certain basic
fingerings on each kind of wind instrument.
Players in Group 1 should all tune from p to mf. They should
avoid over-blowing, trying instead to fit together. Select
different pitches, but keep close check on the chart. Beware
of_the upper and chalumeau registers on the clarinet. Less
reed in the mouth will lower pitch and more will raise it.
Keep the flute lower on the lip for the best intonation.
Chords
It seems best to tune the outside voices of a chord first. For
example, sound the tonic, then the fifth, and then the third.
Even in diminished or augmented chords this procedure
seems to aid students in listening to pitch:
many parts. The student with more potential begins to
listen to all groups, but uses Group 4 as a guide.
Students learn to listen from the lower voice up and from
the middle voices up and down. They also become better
acquainted with concert pitch and begin to learn intervals
and chords in general, as well as in the number being studied.
The student learns to listen, how to listen, what to listen
for, what to listen to, and how to make the needed correction.
BETTER PHYSICAL ENVIRONMENT AND EQUIPMENT
Establish the outside voices, then add the inside voice (or
When the student realizes that many intonation probvoices).
lems are caused by faulty equipment, environment, and
The intervals of the major third or perfect fourth should be
mechanical differences inconsistent with good tone
made secure in each player’s mind.
production on their instrument, they will conquer many of
their problems. When they know what to do about those
This also applies to other common intervals. By this method,
mechanical problems, they will become less discouraged
students seem to learn how to fit the voice each is playing into
with their own playing and will have an added encouragethe harmonic structure.
ment to master their instrument.
Inversions should be checked. For example, the second inverAN ENTHUSIASTIC REHEARSAL
sion of the C-E-G chord, with the “G” in the bass, is always
Improved intonation will give more inspiration and
difficult. Tune the outside intervals and then add the middle
enthusiasm for a rehearsal. In the school field, it is the
voices.
rehearsal which is the real objective, because this is the
place where a student really learns. Performances such as
festivals, marching contests, programs, civic appearances,
Instructor
etc., while they are a motivation, are all secondary to the
The instructor saves rehearsal time by calling on a group
instead of individual instruments; for example, “Group 4 plus rehearsal. What one learns at the rehearsal is what will be
used throughout one’s career, and the schools are intended
Group 1 minus trumpets”. The instructor adds to rehearsal
interest and helps create a feeling of unity by having competi- to be just such a training ground.
tion between groups in playing scales or rhythms.
COMPREHENSIVE OBJECTIVE
Working together on a common objective is, after all, the
ultimate aim of an intermediate, high school, college or
university organization. Being “in tune” with each other,
by attitude as well as by instrument, will make for memoBETTER IDENTIFICATION WITH THE GROUP
As one works with the respective groups, he will find that all rable and significant experiences. It is the wish of the
players in each group have a better understanding of the pitch authors that this manual will be a stepping stone toward
problems_ of each instrument in their group. As they identify fulfilling a worthwhile, harmonious relationship among
themselves with the group they gain confidence. The perform- students and teachers.
ers also become more sympathetic with other players. They
learn who and what to rely on in their group; such sources
of reliability might be a student who has perfect pitch or the The complete manual is out of print and not
instrument that has the best pitch on a given note.
available online currently (although listed).
RESULTS
Check Amazon.com etc for future availability:
IMPROVEMENT OF PITCH ENSEMBLE
Amazon.com
As the pitch improves the entire ensemble improves, and
with this comes enthusiasm on the part of all. Those with less
talent begin to improve because they don’t try to listen to so
35
Saskatoon Children’s Choir
2013/14
Overview of 2013-2014 performing season
The Saskatoon Children’s Choir (SCC) was formed in the
fall of 1996. In the eighteen years since their inception they
have developed a reputation for their musical sound, creative
spirit and commitment to artistic excellence. The choir performs a wide variety of choral compositions with a particular
emphasis on classic literature, international fold music and
Canadian works.
Participation in the choir is determined by adjudication and
is open to any child between the ages of six to sixteen years
of age. There are presently three choirs: a Preparatory, an
Apprentice and a Concert Choir under the direction of the
Artisitic Director, Phoebe Voigts.
The SCC captures the fundamental principles of the SMEA
Mission, Vision and Key Result areas. The SCC promotes
the development of high standards and music education and
contributes to the development and appreciation of vocational
arts activities and musicians in Saskatchewan. The Saskatoon Children’s Choir also captures the spirit of SMEA in that
touring is an integral part of the culture of choirs. Touring
provides opportunities for singers to connect with the people
in other parts of their own country and extend their experiences beyond their own borders. When young people extend
their experience beyond their community, they are putting
in place a capacity to understand the world beyond home.
When singers bring their music to different audiences, they
are sharing a rich part of who we are. It is in this spirit that
the Saskatoon Children’s Choir endeavors to travel each year.
The SCC fosters an understanding and appreciation for music
from Canada while studying and performing musical works
from other parts of the world. The SCC extends through choral music an understanding of their role in a global community. The SCC inspires audience members and others affiliated
with the choir to support artistic and humanitarian endeavors.
The activities of the choir communicate a message of hope
and serve to demonstrate that all young people can make a
difference towards creating a more peaceful world
Accompanists
The choir employs two accompanists. Michelle Aalders, the
principal accompanist, plays for the Apprentice and Concert choirs. The Preparatory choir is accompanied by Kerry
Agnew.
The choir has two managers:
General Manager: Dr. Rita McLeod
The General Manager directs and coordinates the overall
operations of the choir, including all details related to
special projects, retreats, recording and touring; and all
performances except our two home concerts. The General Manager is also responsible for research, records,
communications, documents, grant applications, budgeting, concert programs, financial records, festival audition
packages, public relations, communicating with potential
sponsors, musical instrument purchases, advertising and
volunteer committees; and serves as our liaison between
the choir and Third Avenue United Church.
Administrative Manager: Gaileen Willick
The Administrative Manager facilitates all details related
to our Christmas and spring home concerts; and coordinates auditions, voice checks, registration, uniforms,
t-shirts, and courtesy.
Responsibilities associated with rehearsals (such as
memo minders, rehearsal suppers, and attendance) are
shared between the General Manager and the Administrative Manager.
Leadership Assistants
Each year, SCC hires experienced choristers from Concert choir to assist in work with the Apprentice and Preparatory choirs. These senior singers provide valuable
leadership at rehearsals and serve as strong role models
for the younger choristers. In 2013-14, the leadership
assistants were Gabrielle Cousyn, Dana Blumrich, Dale
Wilson, Cassidy Ens, Dana Blumrich, Brooklyn Mattila and Veronica Maestrocampo, and Aiden McRorie
Wilson as a substitute.
Parent Volunteers/Committees
The choir is dependent upon the expertise and leadership of the parents in our organization. Parents chair and
serve on the following committees:
•
Archives
•
Fund raising (Usually six/seven member committee, which organizes at least five fundraisers each
year.)
•
Choral library
•
Special projects
•
Receptions after our home concerts
•
Apprentice choir suppers
• Lighting and equipment
• Chaperones, both at concerts and on tours. Each choir
has four chaperones during each concert. We have a team
of five chaperones who accompany the Concert choir on
tours and other projects. One of the chaperones is a designated medical person. This year, these chaperones came
to Shekinah Retreat and to Chorfest in February.
• Concert assistance, such as Merry Men (who set up the
risers and prepare the stage for the performance), ushers,
ticket takers and CD sales. This mainly happens at our
“home” concerts, and to some extent at our tour concerts.
• Rehearsal helpers - parents rotate as rehearsal helpers,
taking attendance and dealing with the many details that
comprise a successful rehearsal.
Highlights of the 2013-14 performance season
• Outing to a Master Series SSO concert with concert
choir.
The concert choir outing consisted of a dinner at 2nd
Avenue Grill and attendance of a Master Series concert
(March).
• “Sing Choirs of Angels” – two concerts, November 28
and 29.
• “United in Song” April 11 concert (750 in attendance).
• Also in March, we organized a “Bring a friend to
choir” rehearsal for the Apprentice choir. We had over 90
singers in the rehearsal hall! As one way of promoting the
choir and recruiting new singers, this proved to be a success. Several parents signed their children for auditions
in May. The practice will continue next year also, and we
are planning on adding similar event for Preparatory choir
as well.
• As every year, the Apprentice choir sang at Third Avenue United Church Service in April, as a way of saying
thank you to the congregation for welcoming us warmly
into their church.
• The Apprentice Supper tradition continued this year.
The suppers are organized, prepared and supervised by
choir parents, and provide choristers with an opportunity
to socialize with fellow choristers.
• Six days of auditions for the public – May and August.
We auditioned over 80 children.
• Mozart’s Magic Flute: In June 2014, a group of 14
concert choir choristers participated as spirits in the
Saskatoon Opera Society’s performances of Magic Flute.
It was a great opportunity for our choristers to work with
a professional theatre director, a guest conductor, as well
as an adult chorus and professional orchestra. There were
five sold-out performances. The production was a huge
success and our choristers received many compliments
from the artists and production crew of the opera for their
professional approach to the performance.
“vocal prowess
beyond their
years”
(Star Phoenix review, June 16, 2014.)
Touring provides opportunities for
singers to connect with the people
in other parts of their own country
and extend their experiences beyond
their own borders. When young people extend their experience beyond
their community, they are putting in
place a capacity to understand the
world beyond home. When singers
bring their music to different audiences, they are sharing a rich part
of who we are. It is in this spirit that
the Saskatoon Children’s Choir endeavors to travel each year.
37
SMEA Honour Groups 2013/2014
Lenora Bells, HG Chairperson
-In 2013 the best high school student musicians from the province
of Saskatchewan form a Concert Band, Concert Choir, and Concert orchestra which perform a Gala Concert under the direction
of an acclaimed guest conductor. Students were recommended
or auditioned by music specialists / teachers / directors and then
attend 3 days of rehearsals in November. The event took place at
the Orr Centre in Regina. The rehearsals led to an excellent Gala
Concert.
Honour Choir Director: Dr. Lee Willingham EdD (66 participants) Associate Professor, Faculty of Music
Director, Laurier Centre for Music in the Community
Honour Choir Coordinator: Shaun Bzdel
Honour Band Conductor: Clinton C. Marshall, (59 participants)
A band guest conductor, adjudicator, and clinician. For more than
thirty years, he has traveled across North America sharing his
knowledge, experience, and sense of humor with student musicians and music educators. He currently resides at Lake Murray in Prosperity, South Carolina and remains active in many
aspects of music as a clinician, adjudicator, and a guest conductor.
Honour Band Coordinator: Adam Streisel
Honour Orchestra conductor was Michael Massey (15 participants) Honour Orchestra Coordinator, Rudolf Sternadel.
It was very good to have the orchestra students join us at the
venue and participate in all activities.
The Orr Centre located at 4400 – 4th Ave. in Regina. The office
staff, custodians, chefs, all were very accommodating. This facility was somewhat overbooked.
The Choir and Band were able to do rehearsals in this venue,
and the orchestra was about 4 blocks away in a church. They
did share snacks and lunch and were encouraged to be part of
the Social evening. Fairly pleasant surroundings, lots of room,
washrooms easily assessable, and food service worked out well.
The Social included an interactive performance with the accapella
group HOJA and then nachos for snacks.
A huge vote of appreciation to Martin Collegiate for supplying
the majority of the equipment and terrific equipment managers.
school band and choir.
The Choir and Band coordinators, Shaun Bzdel
and Adam Streisel, worked long hours and were
fantastic with all the duties involved – from organizing student participants, music, equipment, rides,
and basically stepping in with whatever activity and
organizing needed doing.
Photos went well, and recordings happened through
“Bambo Shoots” for Sasktel MAX/TV.
We had many volunteers for equipment that were
much appreciated. I think the Gala Concert was of
excellent quality, and the students had a strong experience musically and socially.
Huge thanks to Adam and Shaun, Val, Graeme and
the support of the SMEA Board Members.
Thank-you for an excellent experience. I enjoy the
process of planning and the connections made along
the way. I met wonderful people, enjoyed meeting
students and most appreciated the professional
musicianship of our directors.
How fortunate I am to meet many through this valuable provincial event – community members, facility
workers, connecting with directors, principals, students, professors; in all locations – that leads to a
good quality, professional and hopefully classy Gala
Performance. Thank-you all- you have an important
role in the history, and present, and future of our
young musicians!
Equipment Manager: Martin Collegiate Lindsey and her students
The quality of music and friendships formed during this event
made it a unique experience that will be a highlight of the year.
Students were challenged both musically and personally and take
their new knowledge and enthusiasm with them back to their
SMEA Saskatchewan Honour Groups’ Conductors
Clinton Marshall
Honour Group Conductors & Commissions
Saskatchewan Honour Band Conductor 2013
One of most dynamic and engaging directors in North
America, Clinton Marshall guarantees a very special experience for all players.
Clinton Marshall is active as a band guest conductor,
adjudicator, and clinician. For more than thirty years, he
has traveled across North America sharing his knowledge,
experience, and sense of humor with student musicians and
music educators.
As a guest conductor, Mr. Marshall has successfully led numerous honour bands including the Maryland All State Band
and bands at the University of Wisconsin, the University of
Alabama at Birmingham, and Duquesne University. At the
International Peace Gardens, he directed the Wind Ensemble
and Youth Bands which were comprised of students from
eleven different countries. For nineteen years, he conducted
the concert band at the Maryland Center for the Arts, a
program for Maryland’s gifted and talented students. Mr.
Marshall has guest conducted the Saskatchewan Provincial
Honour Band and numerous honor bands in the Maryland/Washington D.C./Virginia Area. In addition to his
experiences with student musicians, he enjoys making music
with adult community bands.
Lee Willingham
Saskatchewan Honour Choir Conductor 2013
Lee came to Laurier in September, 2004, to coordinate the
music education and choral programs. From 1998 to 2004,
he was on the faculty of the Ontario Institute for Studies in
Education of the University of Toronto, teaching in the preservice program in music education. Prior to that, he taught
in the public high school system, and was coordinator of
music for the Scarborough Board of Education.
He is the founding director of the Bell’Arte Singers of Toronto, and conducted the choir for twenty years. Willingham
served as the principal of the OISE/UT Summer Music program for a number of years, providing certification programs
for teachers in music.
A contributor of chapters, papers, and articles to a number of
publications, Willingham was for ten years the editor of the
Canadian Music Educators Journal/Musicien éducator au
Canada He co-edited the book, Creativity and Music Education. He is a past president and Honourary Life Member of
the Ontario Music Educators’ Association.
Willingham has guest conducted many choirs, including the
Unisong Choir with the National Arts Centre Orchestra on
Canada Day in the nation’s capital, and most recently the
Waterloo Region Choral Festival at Centre in the Square,
Kitchener, Ontario.
Honour Groups – debuted in 1975
First co-ordinators
Band – Charles Hendrickson
Choir – Stewart Wilkinson
Orch – Ernest Kassain
1979 – Moose Jaw
Band – Jimmie Howard Reynolds
Choir – Joyce Eilers
Orch – Dr. Norman Burgess
Commission – orchestra – ‘Prairie
Wildflowers’ – Thomas Schudel
1981 – Regina
Band – Christopher Izzo
Choir – Robert Cooper
Orch – Ed Schlueter
Commission – choral – ‘The Poet’s Song’;
‘She is the Prettiest of Creatures’; ‘Turtle
Soup’ – Alfred Kunz
1984 – North Battleford
Band – Harry Begian
Choir – Earl Davey
Orch – Vahe Khochayan
1985 – Swift Current
Band – Loran Eckroth
Choir – Dr. David Greenlee
Orch – Dr. William Jones
1986 – Regina
Band – Howard Cable
Choir – Barbara Clark
Orch – Dwight Bennett
Commission – band – “Divertimento #8’
Murray Adaskin
1987 – Prince Albert
Band – Frank Wickes
Choir – John Standing
Orch – David Ford
1988 – Moose Jaw
Band – Dr. Peter Demos
Choir – Don James
Orch – Don Wasilenko
Commission – ‘Little Suite for Strings’ –
Malcolm Forsyth
1998 –
Band – William Schmidt
Choir – Dr. Burt Allen
1999 – Regina
Band – Dr. Dennis Prime
Choir – Dr. Geoffery Paul Boers
2000 – Saskatoon
Band – Allan McMurray
Choir – Diane Loomer
2001 – Regina
Band – Richard Blatti
Choir – Elaine Quillichini
Orch – Andrea Bell
2002 - Saskatoon
Band – Joseph P. Missal
Choir – Scott Leithead
Orch – John Thompson
2004 – Saskatoon
Band – Dr. Dale Lonis
Choir – Dr. Laurence Ewashko
Orch – Jean-Louis Barbier
2005 – Regina
Band – Connie Turner
Choir – Lisa Fielder
Orch – Mark Rudoff
SOA com. – ‘ Prairie Tides, Op. 17’ – Jonathan
Ward
2006 – Saskatoon
Band – Dr. Glen Gillis
Choir – Dr. Gerald Langner
Orch – Yaru Aloni
2007 – Regina
Band – Dr. Denise Grant
Choir – Elaine Quillicini
Orch - Ken Hseih
2008 – Saskatoon
Band – Dr. Shelly Jagow
Choir – Heather Johnson
Orch - Michael Gilbert
1991 – North Battleford
Band – Allan McMurray
Choir – Henry Engbrecht
Orch – Stewart Grant
2009 - Regina
Band - Brent Ghiglione
Choir - Dr. Aaron Mitchell
Orch - Dennis Simmons
1992 – Saskatoon
Band – Claude Lapalme
Choir – Dr. George Evelyn
Orch – David Currie
Commission – band – ‘Three Prairie
Folksongs’ – Waterhen Waltz, City of
Bridges, song of the Campground Squirrel – Scott Rogal
2010 - Saskatoon
Band - Clinton Marshall
Choir - Scot Leithead
Orch - Martin MacDonald
1993 – Regina
Band – Dennis Prime
Choir – Gerald Fagan
Orch – John Gomez
Young Composers Competition
‘Saxophone Silhouette’ – Michael Ibrahim
‘Euphonic Melodies’ – Cari Perih
‘Daffodils’ – John Guzik
1995 – Moose Jaw
Band – Dale Lonis
Choir – Diane Loomer
Orch – Robert Skelton
Commission – choir – ‘The Right Combination’ – Elizabeth Raum
2011 - Regina
Band - Gillian MacKay
Choir - Stephen Hatfield
Orchestra - Edmond Agopian
Gentle Rain From Heaven - Stephen Hatfield
2012 - Saskatoon
Band - Robert Taylor
Choir - Catherine Robbins
Orch - Leanne Zacharias
2013 - Regina
Band - Clinton Marshall
Choir - Lee Willingham
Orch - Michael Massey
1996 – Saskatoon
Band – Dr. Gerald King
Choir – Henry Engbrecht
Orch – Wayne Toews (SYO)
39
Saskatchewan Honour Choir 2013
Lee Willingham, Conductor
Shaun Bzdel, Coordinator
Soprano
Kennedy Buchanan Regina
Sarah Cunningham St Brieux
Avery Dillabough Saskatoon
Brenna Feher Prince Albert
Sierra Francis, Swift Current
Chloe Golden Swift Current
Katelyn Hicks Outlook
Chandra Hollands Prince Albert
Michelle Kent Prince Albert
Amaya Lucyk Regina
Aren Mackenzie Wanner, Regina
Kiara McDade Raymore
Bethany McQuaid North Battleford
Danielle Miller Regina
Emily Myers Saskatoon
Kate Nachilobe Saskatoon
Kayla Parker Saskatoon
Michaela Peterson Swfit Current
Kelsey Ronn Saskatoon
Hannah Wildman Flaxcombe
Alto
Madisson Andrzejewski Swift Current
Alana Barr Saskatoon
Olivia Bolen Regina
Emmarae Dale Saskatoon
Jordan Feher Prince Albert
Nicole Garies Regina
Danielle Guina Humboldt
Aurora Hermann Saskatoon
Erin Hughes Swift Current
Carlie Judge Regina
Rachel Kay Maple Creek
Merike Lepnurm Saskatoon
Laura Massie, Regina
Danika Nickel Prince Albert
Victoria Orthner Swift Current
Nicoie Rapin, Saskatoon
Sheree-Ann Sadler Regina
Diana Sarauer Annaheim
Maddi Sutor Prince Albert
Alicia Totten Regina
Tenor
Emmanuel deGala Swift Current
Daylen Friesen Saskatoon
Josh Lees Humboldt
Dylan McInnes Saskatoon
Armando Medina Regina
Tanner Wilhelm-Hale Swift
Current
Kurtis Pratt, Swift Current
plus guest singers
Bass
Markus Braun Swift Current
Dalton Lam Swift Current
Connor Gillot Saskatoon
Eric Patterson Saskatoon
plus guest singers
SOA Saskatchewan
Honour Orchestra
Michael Massey, conductor
Rudolf Sternadel coordinator
Violin 1
William Boan
Hannah Weger
Chen Chen Peng
Sarah Tsoi
Karley Parovsky
Violin 2
Rebecca Weger
Arthur Boan
Xinyi Mao
Alysse Sailor
Viola
Megan Zak
Knut Lokken
Eleanor Hector
Violoncello
Lehman Kennedy
Nathaniel Paquet
Taylor Gravelle
Caleb Fiorante
Contrabass
Shelby Lang-Perry
***Co-Concertmaster
** Co-Principal
* Principal
Saskatchewan Honour Band 2013
Clinton Marshall, Conductor
Adam Streissel - Coordinator
Flute:
Jessi Gilchrist Asquith
Katherine Cole Vanscoy
Jessica Choi Saskatoon
Tia McInnes Saskatoon
Suun Shin Yorkton
Sarah Lee Regina
Clarinet
Madison Engen Regina
Julie Nunweiler Eatonia
Lauren Liebe Regina
Brianna Ludwig regina
Jessica Engele Muenster
Jourdan Witt Saskatoon
Mark Ancheta
B. Alex Huzil
Chloe Runalis Saskatoon
Jennifer Si Saskatoon
Sheree Zoerb Saskatoon
BassClarinet
Emily Jackson North Battleford
Brent Casement Saskatoon
Oboe
Sarah Longstaff Saskatoon
Jessica Scott Regina
Bassoon
Zachary Senick Saskatoon
Jamie Bell Saskatoon
Saxophone
Cole Knutson, North Battleford
Devyn McIntyre, Churchbridge
Abigail Seidle Humboldt tenor
Carmen Sebastian Regina baritone
French horn
Andrew Kim Saskatoon
Benjamin Knorr Regina
Candice Huculiak Lloydminster
Kara Shevchuk Saskatoon
Matthew Praksas Saskatoon
Meagan Powers
Trumpet
Abby Fuller Earl Grey
Brennan Schommer Swift Current
Everett Schwab Estevan
Nolan Fuller Earl Grey
Robyn Binsfeld Lloydminster
Matthew Grunert Estevan
Anna Munro Saskatoon
Euphonium
Elizabeth Smith Lloydminster
Kelsey Firkola Moosomin
Sean Eastley Regina
Quinn Bell Regina
Tuba
Simon Tubello Regina
Jesse Eisenkirch Eatonia
Evan Morhart
Samuel Wall Regina
Percussion
Jasmine Tsui Regina
Haleigh Lorinczy Lloydminster
Elizabeth Reid Yorkton
Mikeal Farthing Saskatoon
Jake Decker Saskatoon
Kearston Pfeifer Weyburn
Trombone
Marc Dumont, Regina
Kelsey Briens, Regina
Tiess McKenzie Saskatoon
Dominic Ghiglione Regina
Donovan Sullivan Lloydminster
SMEA Saskatchewan Honour Groups • November 9, 2013
Watching these students come together from all corners of our province is a truly magical experience as there is one ultimate
goal – to make music together. Seeing young people come together and acting in a positive manner can only filter into creating more positive experiences in our world today. Thank you for coming out and support these young people.
SOA Saskatchewan
Honour Orchestra 2013
Michael Massey, Conductor
Suite for Strings
- John Rutter
Orawa
- Wojciech Kilar
Saskatchewan Honour BAnd 2013
Clinton Marshall, Conductor
Saskatchewan Honour Choir 2013
Lee Willingham, Conductor
Mark Turner Accompanist
His Honour
Come Away Sweet Love
Henry Filmore (ed. Frederick Fennell)
John Dolan
Hounds of Spring
Earth Song
Alfred Reed (Arr Robert Longfield)
**Frank Ticheli
Old Churches
Michael Colgrass
*Son de Camaguey
Marching Song
(Cuban Folk Song) arr by **Stephen Hatfield
God of Our Fathers
Jeff Enns
Gustav Holst (arr John Moss)
*Life
Hymn by George Warmen
Arranged by Claude T. Smith. ASCAP
*Roses I send to You (from “Songs of a
Prospector”)
Henry Filmore (ed. Frederick Fennell)
Song of the Dove
His Honour reprise
Stephen Chatman
Traditional
SPECIAL THANKS TO:
Our Honour Musicians!
Conductors - Clinton Marshall, Lee Willingham & Michael Massey.
Choir accompanist Mark Turner. St. James Anglican Church for the rehearsal space. Richard Carnegie and Stephen Krueger for helping with
SYO, Sara Cryderman and Alan Denike for the help with SSYO and Tara Solheim (SOA) for assisting in hosting Mr. Massey. Band auditioners and section leaders: Julia Scott - Edmonton Alberta, Tara Semple - Regina, SK, Will Martin - Saskatoon, SK, Karen Finnison - Regina,
SK, Tamsin Johnstone - Regina, SK. Richard Burdick - Regina, SK, Arlene Shiplett - Saskatoon, SK. Margaret Wilson - Saskatoon, SK,
Sara Hahn – Flute, Edmonton, Alberta. Nicholas Papador - Percussion, University of Windsor, Ontario. Michael Eastep – Baritone, tuba,
Calgary, Alberta, Brent Longstaff – baritone, tuba - Saskatoon. Colin Neufeld – Regina, SK, Don Schmid – Saskatoon, SK. Brian Unverricht
– Saskatoon, SK, Alan Denike- Regina, SK. Stephanie Unverricht – Saskatoon, SK. Miles Newman – Regina, SK. Randi Nelson – Saskatoon,
SK. Glen Gillis – Saskatoon, SK. Sheldon Corbett – Saskatoon, SK. Brent Ghiglione – Regina, SK. Allison Balcetis – Univ. of Alberta Edmonton, Alberta, Gordon Kerfoot - Regina SK
Thanks to Martin Collegiate - Lisa Allen, Principal: Lindsay Sterner and Yvonne Redant. Orr Centre andstaff (Merv and May)
MC: Aaron Thingelstad
Photographer - Imagery Photography, St. John’s Music, Audio recording and post production: Bruce Wilkinson, Val Kuemper, Graeme
Steen - SMEAHG support & accounting,
SaskTelMax (video), Our Volunteers in every area
Five Star YouTube sites for 2013- 2014
The Saxophone Standard µµµµµ
https://www.youtube.com/watch?v=EE8c_Z4g0-s&spfreload=10
Published on Dec 12, 2014
The Concert Band and Jazz Ambassadors saxophone sections of The U.S. Army Field Band present The Saxophone
Standard, the latest in the Army Field Band’s Instructional
While sites on YouTube come
and go, lets hope this incredible
set stays forever. This unprecedented site sets the standard
indeed! With exceptional
production values and emarkable playing skill, the U.S. Army
Field Band Saxophone section
not only plays, but teaches probably the best saxophone clinic(s)
on the internet. Even experienced professionals can watch
and learn!
For programs with little exposure to professional saxophonists this would be a must-see for
any saxophone section. Bravo!
-- Classical -1:13 History
4:16 Meet the Saxophone Family
9:02 Assembling the Instrument
12:20 Choosing the Right Reed
14:05 Breaking the Reed In
16:27 Reed Storage
17:32 Posture
Video Series. The Saxophone Standard offers valuable
information for saxophone students of any skill level, as
well as demonstrations of some of the most important works
from the saxophone repertoire.
18:52 Hand Position
20:02 Embouchure
22:40 Tuning and Pitch Tendencies
24:52 Breathing and Air Support
28:52 Starting the Tone
32:39 Legato and Staccato
36:25 Working on Finger Speed
38:21 Articulation/Tongue Speed
39:56 Vibrato
43:47 Vibrato Concept/Voicing
45:27 Mouthpiece Exercises
50:10 Intonation
54:27 Altissimo
57:33 Circular Breathing
1:00:20 Slap Tonguing
1:02:38 Double Tonguing
1:06:02 Palm Key Tips
1:07:18 Low Register Stack Tips
1:09:18 Tools of the Trade
1:09:52 Practice Routine and Tips
1:11:52 Over the Break
1:14:21 Chromatic Fingerings
1:16:32 C# Fingering
1:18:18 Sticky G# and Low C# Key
1:18:51 Adjustment Screws
1:19:33 Reed Warping
1:23:23 Chamber Music/Ensemble Playing
- Jazz -1:26:11 Jazz Saxophone
1:27:17 Jazz Articulation
1:29:54 Jazz Sound
1:32:35 Jazz Equipment
1:36:25 Jazz Embouchure
1:39:32 Jazz Feel
1:41:54 History of the Jazz Saxophone Section
1:49:17 Each Role in the Section Explained
Other super pages in this series:
Flute Fundamentals
Trombone: A Player’s Guide
A Trumpeter’s Resource
The Complete Percussionist
Horn Playing Past & Present
Tuba and Euphonium
Understanding the Oboe
Inside the Big Band
Bassoon Basics
Improving Your Clarinet Section
The Joy of Singing
Links to these pages can be found as a
group on MusicLoud.ca (Video Vault)
BBC Howard Goodall’s Story of Music µµµµµ
random? If not, what are the familiar melodic patterns
composers of all types of music have fallen back on
again and again, and why do they work?
Part 2 Rhythm
Search the title above in YouTube!
Acclaimed music educator and composer Howard Goodall
presents several separate programs on various music history
and theory topics, but this series “The Story of Music” is a great
starting point for all the YouTube content of his programs.
The Story of Music is a 6 part series (each an hour long), the
titles are descriptive...
1. The Age of Discovery
2. The Age of Invention
3. The Age of Elegance and Sensibility
4. The Age of Tragedy
5. The Age of Rebellion
6. The Popular Age
approximately 50 minutes
From the moment our hearts start beating, rhythm is integral to us all. From walking to dancing, from clicking
our fingers to tapping our toes, we are all programmed
to respond to rhythm. In this film Howard looks at the
common rhythmic patterns that have been used by musicians from all cultures, from Brahms to rappers, from
the founders of Cuban son to Philip Glass, from Stevie
Wonder to Fats Waller.
Why do some rhythms make us want to dance, while
others make us feel tranquil? How does rhythm ‘work’
when there is no obvious pulse, as in much classical
music? What links African drumming to J S Bach?
Why do virtually all popular singers sing ahead of the
beat?
And how is it that a tiny Caribbean island has produced
a rhythm that dominates popular music the world over?
Part 3 Harmony approximately 50 minutes
In the late middle ages western harmony started on a
journey that would take it in a completely separate diWhat sets this series apart is that history is presented beside
rection to that of the music of other parts of the world.
current context, bridging the gap between the abstracts of music It discovered chords, and, over the next seven centuhistory (which may be remote to students) with a context of cur- ries, began to unlock their harmonic possibilities. In
rent music we hear every day. No borders here. This ability to
this film Howard looks at how western harmony works,
connect “today” with “yesterday” is very effective to viewers/
and how, in the present day, it has fused with other
students who blossom when they are communicated in a modforms of music to create new styles.
ern, high production value way - contemmporary television is
not all bad!
Chords led to chord progressions, and Howard looks
E!
R
MO
BBC How Music Works with Howard Goodall
µµµµµ
Search the title above in YouTube!
Part 1 Melody approximately 50 minutes
Why does melody affect us so deeply, from the moment we are
born? Tunes touch our deepest emotions, and are capable of
inspiring love, sorrow, faith, and hope. But how does a melody
actually work?
In this film composer Howard Goodall looks at melody’s basic
elements. Why are some melodic shapes common to all cultures across the world? Can successful melodies be written at
at how familiar patterns of chord progressions give all
kinds of music - from classical to popular - their sense
of forward movement. Why do the same chord patterns
appear again and again, from Renaissance Italy to the
latest chart hit?
Musicians have always liked to tamper with the basic
chords, and experiment with dissonance. We see how
these tricks of the trade actually work, and the emotional and musical effect they have. From the folk
musicians of the middle ages to Bach, Beethoven, and
Wagner, from Chuck Berry to David Bowie, Hendrix to
Coldplay, the same harmonic techniques surface again
and again.
continued
43
Part 4 Bass
approximately 50 minutes
the age of two when his nanny gave him an old keyboard.
His parents arranged for him to attend the Linden Lodge
Music is usually broken down into melody, rhythm and har- School for the Blind in London. On his introductory visit
to the school, in the music room he broke free from his
mony. But what about the very lowest notes in music, that
parents, then headed straight for a piano being played, and
can have an impact on all three? In this film Howard looks
then pushed the player, Adam Ockelford, aside to take
at the abiding fascination musicians and composers have
over. Ockelford encouraged him and arranged first weekly
had with the bass.
and then daily lessons.[3][4] Aged seven, he gave his first
concert in Tooting Leisure Centre in South London.
For half a millennium instrument makers have been trying
In 1989, at the age of nine, Paravicini had his first
to construct instruments of all shapes and sizes capable of
major public concert at the Barbican Hall in London when
thudding, sonorous low notes. Only with the arrival of the
he played with the Royal Philharmonic Pops Orchestra. In
synthesizer did they succeed in producing a rival to the
that year he appeared on Wogan and was the main subject
mighty organ. With disco, dance, and drum ‘n’ bass, the
of a documentary called Musical Savants. Aged ten he was
bass has arrived centre stage.
presented with a Barnardo’s Children’s Champion Award
But bass notes have another, crucial role. Far from just plod- by Diana, Princess of Wales.[2] More opportunities folding away in the background, bass lines can have a critical lowed, including playing at Ronnie Scott’s Jazz Club.[4]
effect on the whole structure of a piece of music, helping to Paravicini is a resident at the Royal National Institute of the
Blind.[4]
drive the chord progressions.
He was featured on an episode of Channel 5’s
Extraordinary People in an episode titled “The Musical
Howard looks at the dark horse of the musical family,
Genius”, which showed his journey to Las Vegas to play in
and its use in the hands of such diverse musical talents as
a charity concert with another savant, Rex Lewis-Clack. He
Johann (and Richard) Strauss, John Philip Sousa, Stevie
Wonder, Elton John, Albinoni, Bach and Motown’s resident was interviewed twice by Lesley Stahl for 60 Minutes.[3]
In 2009 he was one of the subjects of the NOVA series’ epibass maestro, James Jamerson.
sode, “Musical Minds”, featuring neurologist Oliver Sacks,
on PBS.[5] He was featured a second time by 60 Minutes
on 14 March 2010.[6] In 2009 he performed for the former
Extraordinary People - The Musical Genius
Chancellor Alistair Darling, when he unexpectedly played
µµµµµ approximately 50 minutes
Big Spender.[2]
On 13 May 2010 Paravicini made legal history
when the United Kingdom’s last remaining secret court
was opened for the first time to discuss his future care. The
Court of Protection, which controls the future of adults incapable of managing their own affairs, appointed Paravicini’s family to look after his welfare and commercial future.
Until that legal decision was made the Official Solicitor
from the Ministry of Justice had been looking after his
affairs, rather than his divorced parents, Nicolas Paravicini
and Mary Ann Parker Bowles.[2]
On August 26, 2010 Derek was featured on the
History Channel’s Stan Lee’s Superhumans. On the show
Derek was subjected to testing which verified his savantism and superhuman musical ability. After improvising at
two pianos with the composer Matthew King, for a radio
Derek Paravicini was born extremely prematurely, at 25
programme made for BBC Radio 4, Derek and Matthew
weeks.[1] His blindness was caused by oxygen therapy
collaborated on a new Piano Concerto entitled Blue which
given during his time in a neonatal intensive care unit. This was first performed with the Orchestra of St John’s in the
also affected his developing brain, resulting in his severe
Queen Elizabeth Hall, London in September 2011. This is
learning disability.[2] He also has autism.
believed to be the first concerto ever composed for some
He has absolute pitch and can play a piece of
one with learning disabilities.
music after hearing it once. He began playing the piano by
www.heartofthecity.ca/circleofpeace.
html
www.musiceducationonline/smea/honour.html
www.saskatoonchildrenschoir.org
www.heartofthecity.ca/regina
SMEA members now have the option of receiving brief email news
pointers (links to news). They are small emails which occassionally
can point you to the newest news in SMEA and the music education
community. Messages may include deadline reminders, program news
which is important etc. NOTZ (printed) and CADENZA (printed) will
still be distributed to all members. If you do not “sign-up” you will not
receive E-Notz. Your email is kept confidential.
name
Sign me up!
current email:
musiCLOUD.ca
Why not join SMEA?...
Complimentary Membership for Beginning Teachers
All beginning teachers of music can receive a one
year complimentary membership in SMEA
FREE Resource Access
SMEA offers its members free access to all Honour
Band/Orchestra scores and classroom resources at the
Stewart Resource Centre. In partnership with the
Saskatchewan Choral Federation, we provide free
access to choral resources too!
STF SPECIAL SUBJECT COUNCIL (music)
Since 1957, SMEA has represented Saskatchewan
Music Education professionals in issues related to
Saskatchewan Education and the Saskatchewan
Teachers Federation.
Communications
SMEA members receive newsletters and journals from
both the SMEA and CMEA. Check out our website!
You can receive e-news via your email.
SMEA Honour Groups
The SMEA Honour Groups Program provides the
opportunity to showcase our gifted band, choir and
orchestra students from across Saskatchewan!
Support of Provincial University students!
SMEA supports the U. of S. and U. of R. by providing
funding for student workshops and scholarships
Inclusive Advocacy
SMEA promotes the interests of the entire music
community through provincial, national and international affiliations. We also have advocacy materials
available through our office and online at our website!
Funding for Workshops, Special Projects &
Festivals. SMEA members can access funding for
workshops and special projects. Your Regional
Application forms are easily accessed online or
through conventional mail. We also provide funding
to Prairielands Jazz Camp and to Summer School for
the Solo Voice.
Saskatchewan Music Conferences (SMC)
In partnership with other Saskatchewan music
organizations, SMEA provides a yearly music conference to promote professional development for all
educators involved in music.
National Affiliations!
All SMEA members automatically become members
of the Canadian Music Educators Association and
receive the CMEA Journal and Newsletter.
SMEA Supports Excellence.
SMEA sponsors the “Heart of the City” piano
program, the “Circle of Peace” drumming program,
the “Saskatoon Children’s Choir” and other projects
which benefit the youth of our province.
DEDICATED and DIVERSE
The SMEA Board of Directors
represents ALL corners of
Saskatchewan and ALL music
education specialities. We are open
to new and creative initiatives.
We’ll do everything we can
to make music happen!
Canadian Choral Centre
380 - 550 Century St.
Winnipeg, Man R3H 0Y1
is a corporate member of SMEA
THE BANDSTAND
4824-93rd Ave. Edmonton, Alberta. T6B 2P8
Fehr-Way Tours
The Saskatoon Parents of Suzuki Piano
are proud to present
Music Sales
Inc.
The Dalcroze School of the Rockies
Colorado State University
6-1050 Henderson Hwy, Winnipeg, Manitoba R2K 2M5
A two hour workshop for teachers on
Dalcroze Eurhythmics and Rhythmic Solfège
Saturday, March 14th, 2015
2:30pm – 4:30pm
McClure United Church
SMEA AFFILIATIONS / NATIONAL AND
INTERNATIONAL ORGANIZATIONS:
Canadian Music Educators Association (CMEA)
International Society for Music Education (ISME)
Affiliate of the United Nations
National Symposium on Arts Education
International Music Camp (North Dakota)
Tickets: $50
To Register: www.picatic.com/dalcrozeinsaskatoon
For more information: www.dalcrozeschooloftherockies.com
or call Nicole Wilton at (306) 966-5625
or Darla Saunders at (306) 491-8112
Canadian Coalition for Music Education
Canadian Conference of the Arts
Music Edventures
14925-112 Ave. Edmonton, Alberta. T5M 2V6
University of Regina
Department of Music
The Saskatchewan Music Educators
Association
is the STF Special Subject Council for
Music Educators in Saskatchewan
47
Outstanding
Achievement Award
Honourary
Life Membership
2015
The time has come again to honour colleagues who have put forth that extra effort to make
music education a strong and vibrant part of their community.
The Outstanding Achievement Award recognizes either one outstanding accomplishment or an
ongoing dedication to excellence in music. The recipient need not be or have been a member of
SMEA
The Honourary Life Membership is given to someone who has made a significant contribution
to SMEA and to music education in Saskatchewan. The recipient must be a retired teacher and
either a retired or current member of SMEA.
These awards are adjudicated at the next SMEA Board Meeting and presented at the
Saskatchewan Music Conference.
Nominations should be sent to any SMEA Board Member or the SMEA office in Cudworth.
SMEA OUTSTANDING
ACHIEVEMENT AWARD
Blaine McClary
Loraine Arnold
Greg McLean
Gene Aulinger
Sharon Meredith
Rhonda Baker
Dwaine Nelson
Dean Bernier
Corinne Olson
Cindy Burham
John Panio
George Charpentier
Maureen Patterson
Lana Currie
Carol Petrie
Richard Dube
John Poettcker
Margo Fournier
Marvin Shields
Gary Gullickson
Melinda Anderson-Grass Stefanie Stefanson-Pexa
Joan Therens
Marlene Hinz
Wayne Toews
Chris Hamilton
Brian Unverricht
Colin King
Phoebe Voigts
Tom Magnuson
Janet Marek
SMEA HONOURARY
LIFE MEMBERS
Gene Aulinger
Lloyd Blackman
Alastair Browne
William Browne
Marjorie Burns
George Charpentier
Don Cowan *
William Duignan
Gary Evjen
Verla Forsyth **
Robert Gibson
Gary Gullickson
Gloria Herauf
David Kaplan
Bina Keyser
Colin King
Marilyn King
Robert Latimer
Tom Magnuson
Debbie McPherson ***
Isabelle Mills
Dwaine Nelson
Floyd Nelson
John Stienecker
Marlene Taylor
Joan Therens
Wayne Toews
* Recipient of ISME Jewel Award 1978
** Recipient of CMEA Honourary Life 1991
*** Recipient of CMEA Honourary Life 2011
CLIP OUT
&
FAX
or mail
Honourary Life Membership /
Outstanding Achievement Award
nominating form for fall 2015
nominee’s information
name
address
telephonecity/town
postal code
institution(s) conferring degree(s)
Membership in SMEA (past or present) yes no If yes, #of years_____
Past involvement
[ ] music educator [ ] classroom teacher
[ ] music supervisor
[ ] principal
other(specify)__________________________
Years teaching_______
Years teaching in Saskatchewan_______
List other professional organizations in which the nominee has held/holds membership
Principle reasons why nominee should be considered for Honourary Life Membership or
Outstanding Achievement.
(please include a short biography of your candidate)..........
nominator’s information
name
address
city/town
telephone
postal code
please forward this form to the SMEA office box 632 Cudworth, SK S0K1B0
Phone: 306-256-7187
49
SMEA MEMBERSHIP APPLICATION/RENEWAL FORM
The following information will be used to contact members for renewal and membership drive
purposes, to send newsletters or journals, and to forward conference, program, services and professional development opportunities information.
A membership in SMEA also entitles you to a membership in the Canadian Music Educators
Association. Your name, address and membership catalogue will be shared with the CMEA. The
SMEA is a Special Subject Council of the Saskatchewan Teacher’s Federation and receives grants
based on membership.
Your name, address, membership catalogue and teaching Certificate Number will be shared with
the STF. Information gathered regarding individual members will be retained on database in the
SMEA general office for a period of twenty-four months along with this signed and dated consent
form.
Name:__________________________________________________________
Address:________________________________________________________
__________________________________Postal Code ___________________
Teaching Certificate Number (if you are a STF member) ____________________
Home Phone__________________ Business Phone _____________________
Email address____________________________________________________
Type of Membership:
__________Regular $50 __________Administrative $100
__________Associate $30 __________Parent/Group $25
__________Retired $30 __________Corporate $75
__________Student $15
Areas of Interest:
__________Instrumental
__________Choral
__________Classroom
__________Mentor
__________Consultant
[ ] Yes. I do hereby consent to SMEA and its affiliated organizations, sending me emails,
newsletters, invitations, event notices, notifications, and any other materials via email, text, or
other electronic means. I understand that I can unsubscribe from receiving materials at any time
[ ] No I do not wish to receive electronic communications from the SMEA
I am enclosing $__________ for membership fees.
Signature: _________________________________ Date:_______________
Please forward this form and your cheque for your membership to:
SMEA Box 632, Cudworth, Sask. S0K 1B0
Musicloud.ca

Cadenza 2013/14 - Music Education Online

Transcription

Similar documents

Inside the Fall/Winter Issue 2015 – Front Line

Saturday, May 22, 2004, Saskatoon Star Phoenix

attached

saskatoon starphoenix fast facts - Postmedia Integrated Advertising

University of Regina Student Residence

3rd World Conference on Safety in Science, Industry

March ing Band Photograph - Spirit of Waxahachie Indian Band

Grade 11 Lesson Plan - Native Plant Society of Saskatchewan

Plan for 2015-16 Ministry of Labour Relations and

Aiming for the Moon - College of Engineering