1 - Connecticut Music Educators Association

Transcription

CMEA NEWS
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
volume LXV, number 2
www.cmea.org
QuaverCurrAd_CT_CMEA_Dec13.pdf
1
10/17/13
5:28 PM
Introducing…
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©2013 QuaverMusic.com, LLC
CMEA NEWS
Volume LXV, Number 2
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
INSIDE THIS ISSUE
www.cmea.org
President’s Report
by Stephanie Zak...................................3
All State Mixed Chorus Conductor
Brad Holmes...................................... 19
Collegiate Council
by Sarah Petersen..................................7
CMEA Elementary Honors Choir.......................... 20
In-Service Conference Proposals...........................9
West Hartford’s Mastroianni Named Connecticut
Teacher of the Year.............................. 23
Southern Region Report/Conductors
by Theresa Voss................................... 11
The Quest for Generational Diversity
by Harvey Felder................................. 25
Measuring Creative Products and Process:
What are We Afraid of?
by Kim Yannon.................................... 18
Yearly Calendar............................................ 30
NAfME Membership Application.......................... 31
MUSIC
December 7, 2013
January 25, 2014
February 1, 2014
February 8, 2014
AUDITIONS
For Those Considering:
Majoring in Music (Composition, History, Jazz, Performance, Theory)
Majoring in Music Education (Five-Year Integrated Bachelor’s/Master’s)
A Double Major with Music
Minoring in Music
Begin Your Journey With Us
www.music.uconn.edu
[email protected]
860.486.3728
Credit: J. Spillane
2
CMEA News, Winter 2013-14
President’s Report
by Stephanie Zak, CMEA President, Music Instructor, Meriden Public Schools
H
ello everyone! As you read this, you
will probably be in the middle of
the hustle and bustle of concerts, midyear assessments, regional adjudications
and holiday celebrations.
As I stated
in my last newsletter, my focus for the
year is Orchestrating Success: Effective
Networking, Effective Leadership, and
Leadership in a time of Rapid Change and
Organizational Effectiveness. It has been an
interesting AND busy first six months as
CMEA President.
Early this fall, CMEA received
word of two retirements – our Executive
Director Bill Sittard and our State Arts
Consultant Dr. Scott Shuler. John
Mastrioanni received 2013 Connecticut
Teacher of the Year (visit www.cmea.
org to view news story). Please join us in
celebrating their hard work and dedication
to Music Education at the April 2014 InService Conference. Stay tuned for more
information in the coming months.
We would like to inform you
that the search for CMEA Executive
Director was challenging. Since there
were no documented processes in place,
it was my initiative that we establish a
working document defining roles and
responsibilities along with interview
procedure standards. I reached out to other
state organizations’ to gather information
pertaining to best practices. The CMEA
Executive Council was then able to develop
and implement our own procedures. We
look forward to building on this document
to insure an equitable interview process in
years to come.
It is my pleasure to announce that
Mrs. Barbara Skrebutenas has been chosen
as the next CMEA Executive Director.
She is a dedicated fine arts advocate who
is extremely organized; detail oriented and
a creative thinker. Mrs. Skrebutenas has
held many positions within CMEA and the
All Eastern Division level. Within all of
these positions, she continues to strengthen
her networking skills and is capable of
executing multiple projects. Her start date
is January 1, 2014 and has already started
taking an active management role with the
April 2014 Conference!
The position of CMEA Advocacy
Chair is now open! The volunteer position
entails monitoring legislation, working
with our lobbyist to identify legislation
of concern to arts education, plan and
coordinate with other arts education
organizations for Annual Arts Slam at
State Capitol (March), organize and
attend legislative meetings with the
CMEA team on NAfME Hill Day (end
of June), contribute to the CMEA news,
attend necessary conferences and serve
as a resource to members. Any member
who is interested in the position or has
any questions, please feel free to contact
me. We would like the position filled as
soon as possible.
In October I attended the 2013
NAfME All National Conference at the
Gaylord Opryland Resort and Convention
Center in Nashville, Tennessee . The five
days were filled with sessions, concerts and
planned NAfME evening activities (you
can view pictures online at www.nafme.
org). The All National Honors groups
performed on the last day of the conference
– 52 students represented Connecticut. I
am hoping that this was a great experience
for the students and hope they plan to
participate again. The preconference days
were chock full of information regarding
building and evaluating Effective Music
Education in General Music and School
Ensembles. The books consist of three
components: an instructional manual,
an eight page form that principals and
teachers can use for evaluation, and a
series of worksheets offering rubrics in
areas from general knowledge to classroom
management to professional development.
I highly recommend purchasing these
workbooks as a resource to guide those in
evaluating music teachers. To purchase
a workbook, please visit shop.nafme.org.
The Professional Development
workshop on Election Day was a huge
success! 180+ educators attended the
SEED workshop for music educators.
The general session presenter was Michael
Ances (CMEA President Elect) followed
by break-out sessions directed by Lynn
LeClaire, Gina Ostuni, Barbara Freedman
and Kim Yannon. Workshop materials are
available on the CMEA website.
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Look Forward
To Practice!
You spend so much time practicing, you really
should enjoy it. That’s why Yamaha created the
SV-150 Silent Practice Plus violin. It feels, plays and
sounds like an acoustic violin but it’s got some
major advantages... The SV-150 comes
with a music player/controller that
can hold gigabytes of your favorite
songs and performance pieces.
Play along with them and
listen—in privacy—through
headphones. You can slow
down any song to
learn it, or speed it up for a challenge. ■ The SV-150’s
violin tone is rich and natural. Use the 24 included
digital effects to sweeten it up and create any sound
you want. ■ Last but not least, the SV-150 packs a
tuner and metronome in the controller; it’s everything you
need in one package. ■ Visit www.4wrd.it/svconmea2
to learn more about the SV-150
and to find a dealer near you.
Practice will never be dull again.
Save your favorite
MP3, WAV, AAC
and MIDI files on
an SD disk, put it
in the controller,
then play along.
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Adjust the tempo
of songs by up to
25% without
affecting pitch
to practice at
your own speed.
©2013 Yamaha Corporation
of America. All rights reserved.
Shoulder rest not included.
For the Good of the Order:
* In June 2013, two candidates for
NAfME 2014-16 President Elect
addressed the National Leadership
Assembly. Deneese Odegaard is
Fargo (North Dakota) Public Schools
Performing Arts Specialist and John
L. Kuhner, K-12 Music Department
Chairman for Cheshire (CT) Public
Schools shared a vision for the
Association’s future. To view each
candidates speech visit NAfME.org.
Online voting will begin in January
2014.
* NCCAS Standards final review in
March 2014 – look for an email from
NAfME regarding the final review of
the K-12 Arts Standards.
* Please visit the CMEA website to
complete a short survey concerning
the Election Day workshop. CMEA
is considering revising the current
professional development plan. Input
on how we provide professional
development to the membership will
guide us in planning future events.
* 2014 CMEA Conference session
proposals and Honors Group
applications are now available on the
CMEA website
* Elementary Honors Chorus
applications are due December 13,
2013. Joy Hirokawa will be the
conductor. Forms and additional
information can be found in the
“Student Events” link on the CMEA
website.
* MARK YOUR CALENDARS –
the 2015 CMEA All State and In
Service Conference will return to the
Connecticut Convention Center. The
date has changed - April 30 – May 2,
2015.
* Make sure to “friend” our Facebook
page and visit NAfME Groundswell
page. Join Groundswell for up to date
advocacy information – encourage
students and parents to do so also.
Bucknell
Bachelor of Music in:
Performance
Composition
Music Education
Bachelor of Arts
expressive performance
creative improvisation
discovery and invention
cultural and historical analysis
FULL-TIME FACULTY
www.bucknell.edu/music
Paul Botelho | Composition, Music Theory
Bethany Collier | Ethnomusicology, Gamelan Ensemble
Kimberly Councill | Music Education
Barry Hannigan | Piano
William Kenny | Department Chair, Horn, Symphonic Band
Barry Long | Jazz Studies, Jazz Band
Christopher Para | Violin and Viola, Orchestra
Catherine Fowler Payn | Voice, Bucknell Opera Company
William Payn | Choral Studies, Rooke Chapel Choir
Annie Randall | Musicology
Sezi Seskir | Piano
and 22 Artist Affiliate Faculty
BucknellUniversityDepartmentOfMusic
CMEA_2-3_AUG_23.indd 1
@BucknellMusic
8/23/13
5
3:23 PM
3rd Guinness World RecordTM Attempt - Largest Trumpet Ensemble
Brass Blast
Calling all trumpet and brass players of all ages and ability!
Join us for the 3rd Guinness World RecordTM Attempt
DATE: Saturday, April 26, 2014
WHERE: Southington High School
Make history with us as we attempt to break the Guinness World RecordTM for the Largest Trumpet Ensemble.
All Bra
ss
Welco
me
1,200
Trumpeters
Needed
7:00 PM Concert with NO BS! Brass!!
Visit No BS! Brass website for more information on the band: www.nobsbrass.com
For more event details and to register, visit www.southingtonbrass.com.
6
Collegiate Council
MUSIC EDUCATION
Sarah Petersen, CNAfME State Council
I
s it winter already? The semester has
flown by! The collegiate chapters were
quite busy this semester with activities
and workshops for collegiate music
education students. The e-board has been
busy planning and coordinating events
that we’re all looking forward to sharing
with you!
This year’s Collegiate Council has
been working towards wonderful events
that seek to join all of the music education
programs of the state of Connecticut
together. We feel that it is in all of our best
interests to get to know one another, our
future colleagues, through workshops as
well as social events. With that stance in
mind, we are planning a benefit concert,
a conducting workshop and an end of
the year social.
Though our benefit concert was
intended to be this holiday season, in
observance of the holidays the collegiate
council has decided to postpone the
benefit concert. With that said, we would
love to reach out and remind collegiate
students to contact us with any interest
in performing in the event! As music
educators, we are also performers and it
is always fun and fulfilling to play and
listen to music with one another! Like
last year’s benefit concert, we will once
again benefit Horns for Kids and we are
thrilled to be helping this program! For
AT THE BOSTON CONSERVATORY
more information, visit their website:
www.hornsforkids.org.
In addition, we’d like to start to
promote our conducting workshop this
spring. Last year’s event was extremely
successful, so we are excited to announce
that we will be expanding the workshop
to include chorus and orchestra as well
as band! As the spring semester gets
underway, keep posted for information
about this event – we would love collegiate
conductors and as many collegiate players
and singers as we can to round out the
band, orchestra and chorus!
Finally, as an e-board, we would
love to hear from you! Please send us any
news about your collegiate chapters as
well as other events that we may be able
to promote! We were happy to hear from
Valerie Stickles, president of the UConn
NAfME chapter who informed us that
UConn students have been observing and
leading sectionals in local high schools.
We would love to share other stories, so
please feel free to share them with us.
Together, we can support each other as
future music educators and the Collegiate
Council hopes to facilitate that. If you
wish to get in contact with any member
of the council, please send a note to our
e-mail address: ctcollegiatecouncil@
gmail.com
2013-14 State Council
Executive Board
Sarah Petersen, senior,
Western Connecticut State University,
President
Wesley Marchena, senior,
Western Connecticut State University,
Vice President
Jennifer Allin, senior,
Central Connecticut State University,
Secretary
Mary Gorry, junior,
Central Connecticut State University,
Activities Chair
WHERE MUSIC MATTERS
Offering degrees in:
Master of Music in Music Education
with Initial Licensure
Master of Music in Music Education
non-Licensure program
Graduate Diploma in Music Education
with Initial Licensure
HANDS-ON CLASSROOM TRAINING
UNIQUE AUTISM PROGRAM OPPORTUNITIES
18-MONTH DEGREE TRACK
SUMMER AND EVENING CLASSES
Application deadline: April 1
For more information:
Rhoda Bernard, Ed.D.
P: (617) 912–9104
[email protected]
www.bostonconservatory.edu/musiced
100% JOB PLACEMENT
IN THE MUSIC EDUCATION
FIELD IN THE LAST DECADE.
7
When You’re Serious About Music,
Media, Education & the Performing Arts
Bachelor Degree Programs
• Jazz/Commercial Music Mus.B.
• Music Education Mus.B.
Masters & Doctoral
Degree Programs
• Master of Music M.M.
• Doctor of Musical Arts D.M.A.
Magazine Names
One of the Top 35
Music Business Programs
in the United States
Open House
Saturday,
January 18 at 1 pm
Scholarships Available
631.656.2110
305 N. Service Road Dix Hills, New York 11746 www.ftc.edu
8
The 69th
Connecticut Music Educators Association
In-Service Conference
April 3-5, 2014
Crowne Plaza Hotel, Cromwell, CT
Music educations professionals, companies, and organizations are invited
o submit session proposals for the 69th CMEA In-Service Conference being held in Cromwell at
the Crowne Plaza Hotel, April 3-5, 2014. Electronically submitted proposals are due November
1, 2013. You can access the session proposal form with this url: http://goo.gl/YUi5yn.
Proposals received by the deadlines will be reviewed by the Conference Planning Committee.
The Committee will be guided in the selection of sessions by the following criteria: Quality of
presentations (objectives and organization clearly communicated); innovativeness (brings new
learning to conference attendees); importance and relevance to the profession (connects o
statewide and national initiatives in arts education); practical and useful to our membership
(easily replicable in a classroom).
All sessions are 60 minutes in length and all presenters are expected to be registered for the
conference. Registration includes a reduced rate of $50.00 for all three days, and no charge for
attendance only the day of the presenter’s session. Accepted sessions will not be scheduled
unless registration is received. Presenters will be notified of acceptance by January 30, 2014.
Co-presenters must also be registered for the conference at the reduced rates.
Steps to proposal completion:
1. Complete online session proposal form below by November 1, 2013. Link for online
form will be available by September 1 and will be posted on the website
(http://www.cmea.org/), sent via email and on our Facebook page.
2. Upon acceptance, pre-register for conference.
Tentative schedule will be available online by the end of February. Schedule is subject to
change at any time before conference, but once tentative schedule is made public, presenters
will be notified of any changes.
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Music
@
Central Connecticut State University
Programs
BA, Music
BS, Music Education
MS, Music Education
Certification &
Post-Master’s Study
Audition Dates
Thursday, November 7, 2013
Friday, January 24, 2014
Saturday, February 22, 2014
Tuesday, April 8, 2014
CCSU —
• One of Princeton Review’s
“Best Northeastern Colleges” &
“America’s Best Value Colleges”
• Jazz Ensemble Wins First
Place at Villanova Collegiate
Jazz Ensemble Festival 2013
• University Singers
Perform Worldwide —
China, France, Spain,
Germany, Japan
Music@CCSU
• Music ensembles open to all
CCSU students
• Excellent faculty committed to
teaching & to creating innovative
performing opportunities for students
CCSUCCESS
Success Begins
with CCSU
• NASM (National Association of
Schools of Music) accreditation
• State-of-the-art
Music Microcomputer Lab
Welcoming
Dr. Lauren Heller:
Director of Bands
Dr. Drew Collins:
Director of Choral Activities
www.ccsu.edu/music
Dr. Charles Menoche,
860-832-2912
[email protected]
10
www.ccsu.edu
SOUTHERN REGION NEWS
2014 Southern Region High School Festival
January 10-11, 2014
Band Chair – John Gage
Maloney High School
Choir Chair – David Pelletier
121 Gravel Street
Orchestra Chair – Aaron Barkon
Meriden, CT 06450 Jazz Band Chair – Erik Elligers
Festival Co-Chairs & Site Hosts – Brian Cyr, David Pelletier
CONDUCTORS
BAND: James Miller
James Patrick Miller is Assistant
Professor and Director of Wind Studies at
the University of Massachusetts in Amherst,
MA, where he conducts the wind ensemble,
symphony band, and teaches graduate and
undergraduate conducting. From 2002-2006
he served as Assistant Conductor of Wind
Ensembles and conductor of the University
Chorale at Cornell University, in Ithaca,
NY, where he directed the Wind Symphony,
Chorale and Low Brass Choir. His past faculty
appointments also include Ithaca College in
Ithaca, NY and Gustavus Adolphus College
in St. Peter, MN. Miller also served as coartistic director and founding member of the
Sapphire Chamber Consort, a professional
vocal and instrumental chamber ensemble
based in Minneapolis, MN, from 2006-2009.
Very active as a clinician and guest conductor,
Miller has appeared throughout the Northeast
and the Midwest with public school and
festival ensembles. Recent and upcoming
engagements include: the All-New England
Music Festival High School Band (NEMFA),
The Capital Region Wind Ensemble, St. Olaf
College Band Day, NYSSMA Area All-State
Festivals, Massachusetts Music Educators
Western (2010), Central (2011), South
Eastern (2012), and North Eastern (2013)
District High School Festival Bands, the
NYSBDA All-State Middle Level Band, the
Connecticut ASBDA concert band, as well as
district and large ensemble festivals in Vermont,
Maine, Massachusetts and Connecticut.
In 2003 Miller received national recognition
by winning the American Choral Directors
Association National Conducting Prize at
the graduate level, and throughout his career
with the Chorale at Cornell University, the
choral ensembles at the Performing Arts
Institute of Wyoming Seminary, festivals and
public school ensembles, and teaching and
mentoring at the UMass Summer Conducting
Institute Miller is also in demand as a choral
conductor, working diligently to promote a
holistic study of the art of conducting from
both choral and instrumental perspectives.
Dr. Miller has been involved in the
commissioning of more than 30 works for
a wide variety of vocal and instrumental
ensembles over the last 10 years, and his
ensemble’s performances have been noted by
such composers as Shawn Allison, Karel Husa,
James Stephenson, Steven Stucky, Judith
Weir and Dana Wilson. Miller’s mentors have
included Steven Amundson, Craig Kirchhoff,
Timothy Mahr, Stephen Peterson, Kathy
Romey, Robert Scholz and Scott Tucker.
Originally from Winona, MN, Dr. Miller
holds the DMA in conducting from the
University of Minnesota where he was named
a College of Liberal Arts and School of Music
Graduate Research Fellow for the summer of
2008, the MM degree in conducting from
Ithaca College, and a BM in music education
magna cum laude from St. Olaf College.
Professor Miller has been affiliated
professionally with the College Band Directors
National Association, MENC, Massachusetts
Instrumental and Choral Conductors
Association, the American Choral Directors
Association, and the World Association of
Symphonic Bands and Ensembles, and was
inducted as an honorary member of Kappa
Kappa Psi at UMass Amherst in 2012 and
elected into Pi Kappa Lambda in 2001
CHOIR: Dorothy Barnhart
A native of Kansas, Dorothy
Barnhart received her degree in music
education from Kansas University, and a
Master’s Degree in music education from
Wichita State University. She moved to
New Haven, Connecticut in 1979, where she
established the Barnhart Voice Studio while
studying conducting under Maestro Otto
Werner Mueller at Yale University. At the same
time, she served as the director of music at the
First United Methodist Church of Meriden,
conducting choirs and a brass ensemble. During
her early years in Connecticut, Ms. Barnhart
studied voice with master teachers Madam
Marga Mueller in New Haven and Madam Eva
Likova in New York City.
11
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Ms. Barnhart was fortunate to sing under
Robert Shaw’s direction during her college years
in Kansas. Later in her career, she attended oneweek choral workshops held at Carnegie Hall
in New York City. She has also participated as
a conductor at the Keene Choral Festival under
Dennis Keene, Master Conductor and director
of the choral group “Voices of Ascension,” and
held at the Kent School in Kent, CT. Ms.
Barnhart has studied singing with professional
soloist and master teacher Beverly Myers in New
York City and with Robert Edwin, a master
teacher specializing in Broadway technique.
Ms. Barnhart was the Director of the
Wallingford Chorus from 1990 through 1996,
and taught voice in the music department of
Choate Rosemary Hall of Wallingford, for
a number of years. Ms. Barnhart founded
Chorale Connecticut in 1996, a not-for-profit
auditioned choral ensemble based in Meriden,
CT. Since the Chorale’s inception she has served
as its Artistic Director and conductor. Ms.
Barnhart was also the director of The Travelers
Choral Club, a non-profit organization under
the auspices of Travelers Insurance of Hartford,
CT, from 2006 to 2009.
In addition to directing Chorale
Connecticut, Ms. Barnhart teaches voice in her
Southington studio. She is also the director of
the First United Methodist Church hand bell
choir and substitutes as the pianist and Choir
director as needed.
ORCHESTRA: Eckert Preu
Eckart Preu is Music Director of the
Spokane Symphony (WA) and the Stamford
Symphony (CT).
Previously, he held the positions of Associate
Conductor of the Richmond Symphony (20012004), Resident Conductor of the American
Symphony Orchestra (1997-2004) and of the
American Russian Young Artists Orchestra
(1999-2004). Other former posts include
Music Director of the Norwalk (CT) Youth
Symphony and Principal Conductor of the New
Amsterdam Symphony (NY). He was associated
with the Bard Music Festival from 1997 to 2004
as both Assistant and Guest Conductor.
In Europe, Mr. Preu served as Music
Director of the Orchestre International de Paris
(1993-1995).
As a guest conductor, he has appeared with
the Jerusalem Symphony (Israel), Symphony
Orchestra of Chile, Auckland Philharmonia
(New Zealand), Radio Philharmonic of
Slovenia, Pecs Philharmonic (Hungary), Varna
Philharmonic (Bulgaria), and in Germany with
the Jenaer Philharmoniker.
Recent and upcoming guest conducting
engagements include concerts with the Memphis
Symphony Orchestra, the Delaware Symphony,
the Duluth Superior Symphony, the Fairfax
Symphony Orchestra, the Wichita Symphony,
and the Portland Symphony (Maine). Recent
international appearances include performances
with the Orquesta Sinfonica de Chile, the
Auckland Philharmonia in New Zealand, and
the Philharmonie Baden-Baden in Germany.
Career highlights include performances at
Carnegie Hall, the Sorbonne in Paris, a live
broadcast with the Jerusalem Symphony, and
his first commercial recording of the world
premiere of “Letters from Lincoln” - a work
commissioned by the Spokane Symphony from
Michael Daugherty featuring baritone soloist
Thomas Hampson. 2012 also saw a live CD
recording featuring Paganini’s Violin concerto
no. 2 with Sergey Malov and the New Zealand
Philharmonia.
His concerts have been aired from coast to
coast and on Jerusalem Radio.
His tenure as Music Director saw the
opening of the newly renovated Martin
Woldsen Theater at the Fox in Spokane (WA).
The theater now serves as the new home for the
Symphony as well as the regional performing
arts center.
He has collaborated with internationally
renowned soloists including Sarah Chang, Anne
Akiko Meyers, Jean-Phillipe Collard, Vladimir
Feltsman, Horacio Gutierrez, Leila Josefowicz,
Louis Lortie, and Richard Stoltzman.
A passionate performer of the core repertoire,
Mr. Preu also believes in presenting neglected
works. Past seasons featured compositions
by Bloch, Berio, Markevich, Kabalevsky,
Weinberger, and Schreker.
A supporter of contemporary music he has
presented compositions by Arvo Part, Carlos
Surinach, Anne Clyne, Clint Needham, Avner
Dorman, Pierre Jalbert and others. In his 201314 season he will conduct works by no less than
13 living composers.
In 2010 Mr. Preu initiated the exploration
of the extraordinary music collected in Spokane
in the Archives of Hans Moldenhauer which
includes compositions by Griffes, Hartmann,
Honegger, Kabalevsky, Schoenberg, Wagner,
Webern and Weinberger. Music from the
archives has been performed over several seasons
in the main series as well as at a special festival.
Promoting and furthering the performance
of American music, Mr. Preu conducted the
world and New York premieres of William
Thomas McKinley’s Clarinet Concerto no. 4
with soloist Richard Stoltzman, “Prayer for
Peace” by Roger Davidson, the Connecticut
premiere of “Made in America” by Joan Tower,
and the world premiere of “Lewis and Clark”
by Leigh Baxter with the Richmond Symphony.
He also conducted the premiere of Michael
Daugherty’s “Letters from Lincoln” with
baritone Thomas Hampson.
As opera conductor he has lead fully staged
productions of Rigoletto, The Magic Flute, Don
Giovanni, La Finta Giardiniera, and Les Enfants
Terribles among others.
A native of Germany, Mr. Preu came to
the United States as winner of the National
Conducting Competition of the German
Academic Exchange Service (1996) for graduate
studies with Harold Farberman at the Hartt
School of Music where he also received the
Karl Boehm Scholarship. In Germany he
earned a masters degree in conducting from
the Hochschule für Musik in Weimar studying
under Gunter Kahlert and Nicolas Pasquet. He
also studied under Jean-Sebastien Bereau at the
Conservatoire National Supérieur de Musique
de Paris in France. Mr. Preu’s education
was made possible by scholarships from the
Herbert von Karajan Foundation, the Konrad
Adenauer Foundation and the French Ministry
of Culture. In November 1998, Mr. Preu took
3rd place at the International Competition for
Young Conductors of the European Union in
Spoleto, Italy.
Eckart Preu’s early musical training was in
piano and voice. At the age of 10, he became
a member of the Boys Choir Dresdner
Kreuzchor and went on to work with
13
WESTERN
CONNECTICUT
STATE UNIVERSITY
AUDITION DATES
December 7, 2013*, January 11, 2014*, February 1, 2014*, February 22, 2014, March 8, 2014*Scholarship audition date
MUSIC DEPARTMENT
181 White Street
Danbury, CT 06810
wcsu.edu/music
(203) 837-8350 Music Dept
(203) 837-8614 Summer Camp
(203) 837-WCSU Toll Free
The WCSU Music Department is an accredited institutional
member of the National Association of Schools of Music.
14
them as soloist, rehearsal pianist, and Assistant
Conductor. He subsequently served as a vocal
coach with the Altenburg Opera and the Erfurt
Opera House in Germany. Mr. Preu was a
Visiting Assistant Professor at Bard College, NY
(1999-2000) and in summers 2000 and 2001
he served on the guest faculty of the C.W. Post
Chamber Music Festival.
Eckart Preu is also a frequent guest speaker
for local businesses, community organizations
and schools. He contributes a music column
to the Stamford (CT) Advocate. In 2007 he
received the Communicator of the Year Award
of the Public Relations Society of America
Spokane Chapter.
Recognizing music as tool for outreach,
Eckart Preu conducted concerts in a unique
collaboration with the Spokane Tribe of Indians,
Wellpinit.
JAZZ BAND: Kevin Blancq
KEVIN BLANCQ began his musical
life listening to his parents, both performers
and teachers, Betty, a pianist, and Charlie,
a percussionist. At 10, he started trumpet
lessons with George Jansen, the man who
would change his life. A very passionate and
dedicated educator, Kevin flourished under
Jansen’s tutelage and was accepted to attend the
prestigious New Orleans Center for Creative
Arts (the LaGuardia High School equivilent in
New orleans) where he received classical and
jazz training from Ellis Marsalis and Bert Braud.
At 17, Kevin was awarded a full scholarship
to the Tanglewood Summer Music Institute
where he performed under the batons of
Leonard Bernstein and Gunther Schuller in the
Tanglewood orchestras, and studied privately
with Boston Symphony trumpet legend Roger
Voisin. Following his undergraduate work at
the University of North Texas on scholarship,
Mr. Blancq settled in New York and has since
worked with jazz greats Frank Foster, Benny
Golson, Wynton Marsalis, Slide Hampton,
Sahib Shihab, Doc Cheatham, Bob Dorough,
Eddie Bert, and Jimmy Heath, among others.
His graduate work at the Manhattan School of
Music with Justin DiCioccio, Chris Gekker,
and Cecil Bridgewater was completed in 1998.
As a trumpeter, conductor, and/or educator
Mr. Blancq has appeared at Birdland, Iridium,
Symphony Space, Carnegie Hall, Lincoln
Center, WKCR, and WBGO. Mr. Blancq
currently directs the jazz bands at LaGuardia
High School of Music & Art in New York City.
2014 Southern Region Middle School Festival
February 28-March 1, 2014
Band Co-Chairs – Matthew Fried, Olivia Malin
Naugatuck Valley Community College
Mixed Choir Co-Chairs – Keith & Laura Traver
750 Chase Parkway
Treble Choir Co-Chairs - Keith & Laura Travers
Waterbury, CT 06708
Orchestra Co-Chairs – Chris & Katie Jones
Festival Chair – Scott Ferguson
Jazz Band Co-Chairs – Brian Hutton & Marta Kwiczor
World Drumming Chair – Kathy Dravis
CONDUCTORS
BAND: Lauren Heller
Originally from Burke, Virginia, a suburb
of Washington, D.C., Lauren Heller is
Assistant Professor of Music and Director of
Bands at Central Connecticut State University,
where she conducts the Wind Ensemble,
Symphonic Band, and athletic bands, and
teaches courses in conducting and music
education.
She holds a Doctor of Musical Arts degree in
wind conducting, cognate in flute performance,
from the University of Cincinnati CollegeConservatory of Music, where she served as an
administrator and graduate assistant in the Wind
Studies department, taught conducting courses,
and was a regular conductor with the Wind
Symphony, Wind Ensemble, Chamber Players,
and Chamber Winds. Her Master’s degree in
Wind Conducting and Bachelor’s Degree in
Instrumental Music Education are both from the
University of Delaware. In addition to collegiate
work, Dr. Heller taught high school band for
several years in Calvert County, Maryland.
Dr. Heller was previously the conductor and
music director of the Cincinnati Youth Wind
Ensemble, an auditioned year-round honor
group comprised of the best young wind players
and percussionists in the Cincinnati/NorthernKentucky area.
For thirteen years Dr. Heller has been on
the professional staff of the George N. Parks
Drum Major Academy, a nationally recognized
leadership training program for young band
leaders.
MIXED CHOIR:
Todd Helming is a general and
choral music instructor at the Middle School
of Plainville where he founded the chamber
singers ensemble. In addition, he is
15
DE PA RTME N T O F M U S I C , T H E AT R E A N D DA N C E
2014
AUDITION
DATES
Auditions required
for entrance into all
music programs.
February 1, 15
March 1, 8
• Rigorous programs for the
• Extensive chamber
ensemble offerings
Bachelor of Music in Performance,
Bachelor of Music in Music Education • Exceptional facilities in
and Bachelor of Arts in Music
the John Nazarian Center
for the Performing Arts
• Full range of scholarships available
• First-class symphony orchestra,
wind ensemble, chorus, jazz band
• Outstanding artist/teacher faculty
• Affordable tuition
For further information, contact the Rhode Island College
Department of Music, Theatre and Dance
(401) 456-9883 | [email protected] | www.ric.edu/mtd | www.facebook.com/ricmusic
16
the Minister of Music at Gloria Dei Lutheran
Church in Bristol, CT overseeing 5 choirs and
managing a concert series. Todd was named
Plainville Community Schools 2009 Teacher
of the Year and was selected as Connecticut’s
“Teacher who makes a difference” by SBO
magazine in 2011. He completed a two year
term as the Northern Region Director and
previously served as Choral Co-Chair for
the Middle School Festivals in the Northern
Region. Todd has helped with the founding of
a number of groups and organizations including
Main Street Singers Inc, The Interdistrict
Choral Experience (ICE), as well as a number
of other community and faith based groups. His experiences working with choral ensembles
include all school ages with an emphasis on the
middle school level, community ensembles,
and festival ensembles. Most recently Todd
presented two workshops at the NAfME’s 2013
Eastern Division Conference and one workshop
at the 2013 ACDA State Conference. Todd
received a Master’s Degree in Music Education
from the University of Connecticut and his
bachelor’s degree from The Eastman School of
received both the Teacher of the Year Award
from UHMS and the Outstanding Elementary
Music Educator Award from the Connecticut
Music Educators Association. Lillie is a frequent
clinician at local, state and national conferences.
She also teaches at Silver Lake College in
Manitowoc, Wisconsin, Gordon College in
Boston, and The Hartt School at the University
of Hartford. She is Past President of KESNE,
and a member of NAfME, OAKE, CMEA
and ACDA, where she served as the National
Children’s Honor Choir Chair for the 2010
JAZZ BAND: Dominic Talotta
ORCHESTRA: emmett drake
TREBLE CHOIR: Lillie
Feierabend
in February, 2012.
Conference.
Music, Rochester, NY.
Lillie Feierabend is known for her
work with young children and for instilling a
love of music within them. This is her thirteenth
year at the University of Hartford Magnet
School and her fourteenth as a director for the
Connecticut Children’s Chorus. In 1998 she
received the Teacher of the Year Award from
Canton Schools (CT) for her innovative and
inclusive music programs. In 2008, Lillie
the Hartt School, including Opus 89 Youth
Orchestra, which made its Carnegie Hall Debut
Originally from Long Island, Emmett
Drake has been involved in music throughout
life. Since graduating from the Hartt School
of the University of Hartford in 2008, he
has been an active composer, conductor,
teacher, pianist and violinist. His original
compositions have been performed all over
the world, and he has worked with thousands
of students as a teacher and a clinician. He
has presented workshops in string writing at
the Connecticut Music Educators Association
All-State Conference, conducted regional and
all county orchestras, and in May, 2012, he
will conduct the Suzuki Youth Orchestra of
the Americas in Minneapolis, MN. He has
served as music director for over 50 musical
theatre productions ranging from school level
to professional regional theatre performances.
Currently, Mr. Drake teaches orchestra at
King Philip Middle School in West Hartford,
CT. He also serves as the music director and
conductor of the five Suzuki Orchestras at
Dominic Talotta directs the concert, jazz and
marching bands at Plainville High School and
the eighth grade concert band at the Middle
School in Plainville, CT. Before teaching in
Plainville, he taught at Maloney High School
in Meriden. His bands have participated in
a number of festivals, performing often in
Virginia Beach, Toronto and Disney World
in addition to the Berklee High School Jazz
Festival in Boston and other area jazz festivals.
Dominic has been the Jazz Band Chairman
of the Northern Regional High School Jazz
Band for the last three years. He was also a
guest conductor of the Future Musicians Inc. All
State Concert Band that performed at Central
Connecticut State University and Lincoln
Center in New York City.
Mr. Talotta earned a Bachelor of Music Ed
degree from the Hartt School of Music and a
Master’s in Administration and Supervision
from CCSU. His trumpet teachers have
included Roger Murtha, Ray Mase and Robert
Poggio. In addition to his duties at Plainville
High school, he has a large studio of private
brass students.
17
Measuring Creative Products and Process: What Are
We Afraid Of?
Kim Yannon, DMA, [email protected]
This article is the first in a series dedicated to creative exercise in the music classroom.
N
ow that the conversation has made its way around to the quantifying of music performance
and the majority of music educators are in agreement that at least we must participate in
data collection in order to march in the Core Parade, the question becomes “what do we do with
the process of creativity?” How do we objectively measure the creative process and the products
of creativity? Is it appropriate to subjectively evaluate creativity? Well, I have good news. Yes!
Research has narrowed down the creative process to observable and teachable behaviors and the
subjective evaluation of the products of creativity has been shown to be reliable. This article
will focus on a general overview of the creative process.
The process of creativity hinges on
student’s ability to think divergently and
convergently and to develop an idea into
a cohesive whole that is novel and an
appropriate response. The creative process
also includes the ability to revise and refine,
and, lastly, to reflect. These abilities not only
can be taught and nurtured through regular
exercise, they are the core of the second
generation of National Arts Standards.
Granted, for many teachers, this means
a dramatic shift in the way they teach.
According to Ken Robinson, in his book
Out of Our Minds, developing the ability to
be creative and innovative is of the utmost
18
importance as we send students out into an
uncertain and swiftly changing economy
and work life:
“Creativity is the greatest gift of human
intelligence. The more complex the world
becomes, the more creative we need to be to
meet its challenges.”
In order to understand the impact this
new way of teaching will have on you and
your students, it is important to recognize
the skills necessary to engage in creative
practice. The first is the ability to generate
multiple solutions to a given problem, or
divergent thinking. Divergent thinking is
basically brainstorming and was described
by JP Guilford in his Structure of Intellect
model published in 1955. Guilford dissected
divergent thinking into four factors: 1)
fluency, the ability to generate multiple ideas,
2) flexibility, the ability to generate ideas
that could be used in many different ways,
3) elaboration, the ability to build upon
an idea and add detail, and 4) originality,
the ability to generate ideas that are novel.
Divergent thinking practice, or what might
be called the exploration phase of creative
practice, must be followed by convergent
thinking in order to shape an idea into a final
product. Convergent thinking is part of the
development phase of creative practice.
Researchers describe convergent
thinking as the ability to choose the most
likely solution to a problem from among
many ideas, or what most of us would refer
to as problem solving. JW Getzels and Mihaly
Csikszentmihalyi (1976) distinguished
between the acts of problem-solving and
problem-finding. Problem solving usually
involves a very narrow, algorithmic approach
to creativity. The strict parameters described
in the problem leave students with a recipe
for success. Asking students to write a four
measure melody that starts and ends on Do
and uses simple duple rhythmic patterns
in common time is an example of problem
solving. While there is room for some
brainstorming and divergent thinking,
only a narrow selection of responses can be
considered appropriate; the problem itself
funnels one’s thinking toward a solution.
Problem finding activities, or a heuristic
approach, allows for more diverse solutions.
The “ill-defined” problems posed resemble
those described in Problem Based Learning.
Asking students to create a piece of music
30 seconds long that demonstrates unity
and variety using an instrument of choice is
an example of problem finding; the student
must first define and refine the problem
before solving. There is no clearly suggested
path to a solution and divergent thinking
will result in any number of appropriate
responses.
How many times do we set our students
free to, as Maud Hickey describes in her
book Music Outside the Lines, “scribble”
with sound? Could we consider, as Hickey
suggests, allowing time and space in our
classes for the compilation of musical “germs”
or ideas which, collected in composing
journals, could become the beginning of
songs, sound poems, instrumental or vocal
works throughout the year? If the journals
became portable from one grade level to
the next, imagine the wealth of potential
compositions!
I studied the connection between
problem-finding and problem-solving and
creativity for my dissertation. I did not
find instructional style (algorithmic or
heuristic) significantly related to final product
creativity when taking into account creativity
aptitude. This is good news! These results
may suggest that whichever method you are
most comfortable with will allow students
with varying degrees of creativity aptitude to
produce creative musical responses. However,
I would ask that you consider the following
principals for creating in the music classroom:
1. Students should experience both
algorithmic and heuristic creative
exercises in the music classroom in
order to develop both divergent and
convergent thinking ability and to
accommodate different creativity
aptitude levels among students.
2. Students should create alone and in
collaborative groups.
3. Composing experiences should
include the elements of the creative
process: planning, exploration,
development, refinement/revision,
performance, reflection/assessment
(self, peer, teacher).
4. Students should be given not only
short-term, but also long-term
composing opportunity in order to
experience the creative process over
time and with extended opportunity
for refinement.
Principles 2, 3, and 4 as well as the
assessment and evaluation of creativity will
be elaborated on in subsequent News articles.
I would ask that you do some of your own
research, using the following resources to
start your inquiry. Teaching and evaluating
creativity will be an important topic in
the months to come as we unveil the new
National Arts Standards. We can and should
continue this dialogue as a professional
development strand throughout the year.
Resources:
Getzels, J.W., & Csikszentmihalyi,
M.(1976). The creative vision: a
longitudinal study of problem-finding
in art, New York, NY, John Wiley &
Sons
Hickey, Maud, Music Outside the Lines:
Ideas for Composing in K-12 Music
Classrooms, New York, NY, Oxford
University Press, 2012
Robinson, Ken, Out of Our Minds, West
Sussex, UK, Capstone Publishing,
2011 (2nd ed.)
All State Mixed Chorus Conductor: BRAD HOLMES
Dr. Brad Holmes is Director of Choir
Programs at Millikin University in Decatur,
Illinois. Dr. Holmes’ has guest conducted
more than two-hundred-thirty festival choirs
including twenty-three All State choirs, ACDA
honor choirs, district festivals and church
music clinics throughout the United States.
International conducting engagements have
taken him to England, Austria and the Far
East where he has directed choirs from Korea,
Japan, China and the Philippines. He served
two academic terms as Visiting Fellow in
Residency at Cambridge University, England.
Choirs under his direction have toured to 35
countries in Europe, South America, East Asia,
the South Pacific and Australia. In addition to
self-published music, he is published by Santa
Barbara Music Press, Morning Star Publishing
and First Step Publishing.
Upon earning the DMA degree from
Arizona State University, Dr. Holmes became a
member of the choral faculty at Luther College.
In 1991 he accepted his current post at Millikin
University. During his 23-year tenure at
Millikin, the choral program has grown to four
traditional choirs and a variety of smaller vocal
ensembles involving more than 275 singers and
four nationally recognized choral staff.
Under Dr. Holmes’ direction the Millikin
University Choir has gained national
recognition, due in part to six invitations to
perform at national and regional conferences
of the American Choral Directors Association
(ACDA). In addition to annual two-week
tours across the United States, the choir has
recently toured to China and Taiwan, Haiti and
the Dominican Republic and throughout the
United Kingdom. The choir embarks on a 10day tour of the Baltic region in May, 2014. They
recently recorded their seventh CD, How Sweet
the Sound on Millikin’s First Step Records label.
19
367 Main St.
PO Box 174
Cromwell, CT 06416-0174
www.cmea.org
Mr. William Sittard – Executive Director
Please join us for the 5th Annual
CMEA ELEMENTARY HONORS CHOIR
CMEA will sponsor its fifth annual Elementary Honors Choir as part of the CMEA In-Service
Conference in Cromwell, April 3-5, 2014. The choir will rehearse and perform on Friday, April
4, 2014 with conductor Joy Hirokawa. This is a great opportunity for exemplary choral music
students in grades 4-6 from around Connecticut to join together.
All elementary music educators are invited to bring up to four students from either general music
or choral classes. These students must be in grades 4-6 and represent exemplary vocal
musicianship. Teachers are expected to help students prepare the selected music in advance. All
sheet music will be provided with the registration fee, and Joy Hirokawa will also be providing
rehearsal notes for each piece. Lunch and a festival t-shirt will also be provided. Concert dress
will be tan pants, white sneakers, and the festival t-shirt, which students will receive upon
arrival.
Teachers are required to accompany their students to the Crowne Plaza Hotel and be available in
the rehearsal room to chaperone for a portion of the day (to be assigned after registrations are
collected). Teachers are free to attend the conference when they are not scheduled to chaperone,
provided they have registered and have a badge to attend sessions.
Please complete the registration form and mail with the appropriate registration fee to:
Connecticut Music Educators Association
Attn: Elementary Honors Choir
PO Box 174
All forms must be received by Friday, December 13, 2013.
If you have any questions, please do not hesitate to contact us at: [email protected]
-
20
Shanna Crimi, Danielle Horan, Nicole Lucas
2014 Elementary Honors Chorus Chairwomen
CMEA Elementary Honors Choir
Friday, April 4, 2014
Crowne Plaza Hotel, Cromwell, CT
School Name___________________________________________________________________
Teacher/Director________________________________________________________________
Email________________________________________
Phone_________________________
School Address_________________________________________________________________
City/Town____________________________________
Zip Code______________________
Please complete the following for each participating student:
Name
Grade
T-shirt size
1. _______________________________
________
Youth: S M L Adult: S M L
2. _______________________________
________
3. _______________________________
________
4. _______________________________
________
Enclosed Registration Fee:
___CMEA Member: $110
Member Number:________________
___Non-Member: $130
Registration fee includes participation, music, lunch, and t-shirts for four students. It does not
include conference registration for teacher/director. Teachers who wish to attend the conference
must register as per CMEA registration policy. Music must be returned in original condition
following the performance or schools will be assessed a replacement fee.
Teacher/Director signature________________________________________________
School administrator signature____________________________________________
Position/Title____________________________________________________________
21
University of Massachusetts | Amherst
Department of Music and Dance
BA in Music
BM in Jazz, History, Music Education,
Performance & Theory/Composition
MM in Collaborative Piano, Composition,
Conducting, Jazz Composition/Arranging,
Music Education, History, Performance & Theory
For More
Information:
AUDITION DATES FOR 2014 ADMISSION
Spring & Fall Early Action: December 7
Fall: December 7, February 1 & 15, March 1 & 29
[email protected]
Fall Transfer: March 29
or 413.545.6048
STRING AUDITION DATES FOR 2014 ADMISSION
Spring & Fall Early Action: December 2
Fall: December 2, February 10, March 1 & 26
Fall Transfer: March 26
www.umass.edu/music
22
West Hartford’s Mastroianni Named
Connecticut Teacher Of The Year
I
nstrumental music teacher and band director John
Mastroianni was named the 2014 Connecticut Teacher of
the Year at a lively ceremony at Hall High School on Tuesday.
Gov. Dannel P. Malloy, state Sen. Beth Bye and Mayor Scott
Slifka were among those in attendance. And, according to all
those present, the recognition was well-deserved.
“John is the closest thing we have
to a celebrity teacher in West Hartford,”
said Board of Education Chairman Bruce
Putterman. “I know of families that
actually moved to West Hartford so that
their children could participate in the Hall
music program.”
Indeed, in addition to teaching
and directing at Hall, Mastroianni, who
lives in Southington, is a professional
musician who has performed and recorded
with notable artists such as Mel Lewis,
the Vanguard Jazz Orchestra, Smokey
Robinson, and Louie Bellson.
But there is far more than Mastroianni’s
mini-celebrity status that makes him such
an effective teacher.
“You are approachable, supportive,
and exhibit a calm, understated passion
that has connected with and inspired
countless students,” Putterman said. “You
believe in your students, and as anyone who
has ever been to Pops ‘N Jazz can testify,
you get them to believe in themselves. You
have been a leader in modeling relationship
building with students throughout Hall,
throughout our district, and now, you’ll be
able to do so throughout our state. And we
are thrilled to share you.”
Junior Emily DiMatteo, an alto
saxophone player, said that Mastroianni’s
passion is what sets him apart.
“You can tell he cares a lot about us,”
she said. “He puts so much time in. We
have night rehearsal on Tuesdays, which
he holds even after he’s had a long day
teaching. He cares about us so much and
the music.”
Principal Dan Zittoun said that
Mastroianni has students take ownership
of what they do.
Zittoun noted that at football games,
the students choose the music and conduct
their own pieces.
While he was named West Hartford
Teacher of the Year in May, Mastroianni,
for his part, was still in disbelief that he
received the state honor.
“It’s surreal,” he said in the band room
at Hall before the ceremony. “I think I’m
still walking around mumbling. It hasn’t
sunk in yet. ... It’s life-changing, aweinspiring and exhilarating. It’s been the
greatest experience of my life.”
Mastroianni said that caring is easy,
because he loves what he does; he’s been a
teacher for 32 years.
“I never thought about doing
anything else,” he said. “My teachers were
so inspiring to me.”
Mastroianni, 52, came to Hall from
New Canaan High School 15 years ago.
In 2002, he was named one of the “50
Directors Who Make a Difference” by
School Band and Orchestra Magazine.
Going into teaching has made
Mastroianni “the biggest spoiled brat in
the world.”
He said he teaches the best students at
the best school during the day, then play
with the best musicians at night and go
home to the best family.
Mastroianni said that he counsels his
students to find the one thing they love
to do and they will never feel like they are
working.
He added that the award is a
“celebration of the arts.”
Part of that celebration included
a performance at the ceremony by the
William Hall Jazz Band and the Rittenberg
Big Band from Germany.
As much as it’s an honor for
Mastroianni, the award is quite a feather in
the cap for West Hartford public schools.
Indeed it’s the second time in four
years that a West Hartford teacher was
named Connecticut Teacher of the Year.
In 2010, Kristi Luetjen Laverty, a
Whiting Lane teacher the time, was named
Connecticut Teacher of the Year.
As teacher of the year, Mastroianni
will join a council that advises on policy.
He will also travel the state and the nation
as one of the 50 teachers of the year in the
country. He will travel to Washington,
D.C., in the spring to meet with President
Obama and U.S. Secretary of Education
Duncan, according to a press release. He
also becomes Connecticut’s representative
for National Teacher of the Year, whom
the president will select in late March and
honor in April 2014.
Mastroianni was chosen from among
four finalists, 15 semifinalists, and over 100
district-level Teachers of the Year. In March
2004, the Connecticut Music Educators
Association chose Mr. Mastroianni as the
Secondary School Teacher of the Year.
Most recently, he was a quarterfinalist for
a 2014 Music Educator Grammy Award,
according to a press release from the state.
“West Hartford has been leading the
way in public education for years,” state
Commissioner of Education Stephan
Pryor said.
“I’m jealous of teachers every single
day,” Malloy said. “To be a teacher is a
calling. To be a great teacher is a gift. ...
Thank you for what you give on a daily
basis.”
23
2014 NAfME Music Research &
Teacher Education National Conference
This conference is designed for the needs of the higher
education and research communities. It will provide
a forum for music education researchers (SRME or
SRME-SRIGs), music teacher educators (SMTE), music
program leaders/music administrators/curriculum
specialists (CMPL), and all interested NAfME members
to consider current research and pedagogical
innovations that will shape the future of the
profession.
Don’t miss the keynote speaker,
Daniel Levitin, at the Conference
opening on April 10, 2014. He is an
award-winning scientist, musician, and record producer and is
the author of the number one best
seller This Is Your Brain on Music,
which was published in nineteen
languages and spent more than
one year on the New York Times
best seller list. His newest book,
The World in Six Songs, topped the
bestseller lists in its first week of
release.
Plan ahead and save the date!
April 10–12, 2014, St. Louis, Missouri.
http://musiced.nafme.org/events
24
Music Education • Orchestrating Success
The Quest for Generational Diversity
The
Quest
for
by Harvey Felder
To connect with younger audiences, orchestras must understand and embrace the values of Generations X and Y.
As music teachers we teach fingerings, rhythm, key signatures,
and all of the elements of making music to our students. However,
what we ultimately wish for each student who passes through
our programs is that they leave with a deep and abiding passion
for music—a passion that leads them to be independent lifelong
learners, practitioners, and admirers of music and the creative
process.
The groundswell of innovative and before unimagined
technologies has created an environment for learning that goes
far beyond the classroom or the rehearsal hall. For our students
technology has fostered a level of independent learning that is
both astonishing and exciting. With the mere touch of a screen
an endless amount of information is available to every student
with access to this technology.
The following article was originally written to encourage
discussion on the subject of technology’s evolving role in the live
concert experience. As Generation X and Y and their younger
counterparts enter into the marketplace, symphony orchestras
are struggling with ways to attract and fulfill the expectations of grades 4 through 12 in Wisconsin and Michigan. Additionally
this new and technologically savvy slice of the demographic pie. he has served on the faculties of Eastern Michigan University,
Symphony orchestras are finding that if they wish to embrace Haverford College, Bryn Mawr College, West Virginia University,
our students as the patrons and audiences of the future, dramatic and the University of Connecticut where he currently serves as
changes in both day-to-day operations and institutional attitudes director of orchestral studies. He will be the guest conductor
the CMEA Eastern Regional Symphony in January of 2014.
must take place. This article explores some of the possibilities. byofHarvey
Felder
This article originally appeared in the Winter 2013 issue of
Harvey Felder is entering his twentieth season as music
director of the Tacoma Symphony Orchestra in Tacoma, WA. Symphony, the magazine of the League of American Orchestras,
He has appeared as guest conductor with many of the country’s and is reprinted by permission.
leading symphonies, Atlanta, Baltimore, Chicago, National, and
Saint Louis to name a few. He has taught instrumental music
Generational
Divers
To connect with younger audiences, orchestras must
understand and embrace the
T
he lights dim, a hush settles over the audience, and
all eyes turn to the lone
figure of the conductor
walking to the podium
to begin the concert, as
concerts have begun for centuries. Except,
something is different with this audience.
In the darkness of one section of the concert hall, the ghostly faces of dozens of
young people are illuminated by the pale
blue light of handheld electronic devices.
The opening chords of the Beethoven are
the same, the soaring strings and thundering brass are the same, but with the added
presence of an unseen and silent guide.
The glowing faces are interacting with
the guide, then with the music, the musi-
68
cians, and each other in ways never before
imagined. This is the brave new world of
the modern concert experience. At the core
of this sea change is the American symphony orchestra’s never-ending pursuit of
relevance. This time Generations X and Y
are informing that pursuit.
The challenge of broadening the appeal and relevance of symphony orchestras
is not new. The notion of culturally and
ethnically diversifying symphony boards,
administrations, musician rosters, and audiences was one of the most pressing issues facing American symphonies in the
1980s and ’90s. One could suggest that the
symphony orchestra’s cultural and ethnic
diversity struggles were 20th-century issues. That is not to say that they have been
solved—nothing could be further from
the truth. However, generational diversity
is the challenge of the 21st century. More
specifically, how do we generationally diversify symphony audiences?
A wealth of research has been done
about the demographic we seek to embrace, referred to as Generations X and
Y. Their worldview and approach to life
are unique. Any organization seeking to
interact with Generations X and Y—be
it an institution of learning, media outlet,
retailer, political action group, or source of
entertainment—has come to understand
that their needs and expectations are different. These differences require specialized
and innovative marketing and engagement
strategies.
symphony
W I N T E R 2 025
13
CMEA News, Winter
2013-14
Tacoma Symphony Orchestra
Music Director Harvey Felder.
Far left: Felder leads the Chicago
Sinfonietta and violinist Tai
Murray, October 4, 2010 at
Symphony Center in Chicago.
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s ity
values of Generations
One could argue that the dominant influence on their lives has been technology
such as computers and cell phones. On a
broader level, technology has shaped their
way of thinking, listening, and processing
information. Any discussion of Generations
X and Y cannot occur without an acknowledgement of the dominant role technology
plays in their lives. To embrace Generations
X and Y is to embrace technology.
New Attitudes:
Authority and Institutions
As orchestras develop strategies to become
more attractive to Generations X and Y,
and because orchestras all work with limited human and financial resources, understanding of the following shared traits can
X and Y.
inform our efforts: 1) their view of authority and institutions; 2) their requisite need
for interactive engagement; and 3) their expectation of immediacy and service.
The symphony is often perceived as an
inflexible bastion of authoritarianism. The
image of the all-powerful maestro, baton
held aloft ready to strike down any dissention or challenge, is part of the folklore of
this “mighty” institution. Clearly this image, justified or not, will not endear the
symphony to Generations X and Y.
The mistrust of institutions held by most
from Generations X and Y means that
earning trust is an essential first step. Efforts toward establishing trust and showing
respect begin with an acknowledgement
of their attitudes and preferences. Any ap-
americanorchestras.org
26
Tacoma Symphony
Share ideas, concert events,
report “Good News” in your
school/district/college campus!
proach that implies even the slightest “this
is good for you” subtext needs to be abandoned. Any attempt to position musicians,
classical music, or the concert hall itself as
representing something above the ordinary
will likely not be received well.
Promotional materials should be reviewed carefully, with particular scrutiny
given to graphic-design elements of advertisements, brochures, and websites that
convey an implied superiority. Those of us
who have worked in this field for years are
often blind to these subtle yet powerful
embedded messages. Something as standard as an image of an individual in white
tie and tails can send a subliminal message
of smugness. Fresh, outside eyes are needed
to help us see what we are saying to people.
Generations X and Y have witnessed
their parents lose savings as a consequence
of how the “experts” handled their investments, permanently reshaping their thinking. Having seen how a company laid off
their mother or father after years of being a
loyal employee, they have a natural mistrust
of institutions. Growing up with unlimited
access to information at the touch of a button, they are skeptical about “experts,” be
they in business, science, or the arts. These
factors have shaped who they are and how
they respond to authority, institutions, and
experts. If we truly value them and want
them to value us, we need to change who
we are and the images we project in order
to better serve them.
Interactive Engagement:
Listening Styles
When considering Generation X and Y’s
approach to entertainment, we must first
accept that they will not perceive, experience, or relate to things as we do. The primary element in their preferred style of
engagement is interactivity. Without it, activities are often viewed as unsatisfying.
The classical music audience is traditionally thought of as quiet and attentive: passive admirers of what is happening onstage.
They have been taught to sit still and remain in their seats until given the appropriate cues to move, and admonished to
keep their thoughts to themselves. With
the onset of beeping watches and cell
phones, it has become necessary to remind
people, via pre-concert announcements,
of their traditional role as silent, isolated
observers. We cling tightly to our expec-
69
70
•
•
via interviews and YouTube posts.
Backstage docents could live-stream
thoughts and observations as the music
is being rehearsed.
A permanent “orchestra-cam” could be
set up onstage, allowing us to peek in
on selected rehearsals.
How Can We Help You:
Needs and Expectations
Looking at our organizations from a consumer-retailer perspective, can we say that
we are prepared to meet the basic consumer needs of Generations X and Y? Their
expectations are high in regard to consumer service and satisfaction. Consequently, it
goes without saying that consumer-retailer
interactions must be state-of-the-art and
continually adapting. We have all experienced the exasperation associated with
technical shortcomings.
At a minimum, orchestras must ensure
that our customers have the online ability
to:
• Peruse ticket purchase options.
• Take virtual tours of the concert facility.
• View seating options via virtual tours.
• Make last-minute changes without
penalty.
• Learn about the performance and performers, with links and other background information about the coming
performance.
Music Director Harvey Felder addresses
the audience at a concert by the Tacoma
Symphony Orchestra.
Tacoma Symphony
and silent video screens can co-exist with
tations of what an audience should and
live music. Problems may arise when the
should not be doing during a concert.
interactive style of Generations X and Y
Generations X and Y, given their love
interferes with the listening style of other
of technology, have a fervent need to stay
audience members. One easy solution is
connected. For them, an experience is into designate a section of the concert hall
complete unless they have played some
“silent mobile device friendly” (with emrole in its creation or outcome, which
phasis on silent), allowing the virtual comseems at odds with the rigidity of classical
munity to engage in the multitasking and
music presentations. They are not inclined
interactivity that is second
to be passive participants in
nature to them.
anything. At a minimum,
One mistake made in
Another idea that should
they want the opportuour initial attempts
be
considered is having a
nity to comment. How do
at cultural and ethnic
backstage
internet docent
these individuals fit into
diversity was to view
engage
in
various
activities
the world of the traditional
ethnic communities as
during the week leading up
classical music patron?
monolithic. The entire
to an orchestra’s concert,
Clearly, symphony conspectrum of incomes,
giving access to musicians
certs have to continue to
education levels, and
and selected rehearsals:
evolve by becoming multilayered. There will be layers social values exist within
these communities.
for the traditional audi• Humanize the musience, such as pre-concert
cians of the orchestra via
lectures, program notes, and the occasional
daily blogs, YouTube posts, and Twitter
visual enhancement. For multitasking
updates. An interview with the princiGeneration X and Y, there must be mulpal trombonist in Mahler’s Symphony
tiple layers, all designed to broaden the exNo. 3, or a discussion with the principal
perience beyond what has been thought of
oboist in Strauss’s Don Juan, could ofas sufficient for a symphony concert.
fer great personal insight. To be privy to
Consider the baseball fan who brings a
their excitement, psychological prepaportable radio or television to a game; perration, and even nervousness would be
haps the modern-day equivalent is an iPad
fascinating.
or smartphone. The fan now has access
• Guest artists could be tracked as they
to a stream of information he or she will
make their way to the orchestra’s city,
miss by merely observing the game without electronic enhancement. In the concert
hall, some Generation X and Y audience
members undoubtedly would find the concert experience more attractive if they were
offered a stream of information about the
event they are witnessing.
An interactive virtual community could
be a part of every concert. With little effort, symphony orchestras could provide
real-time concert blog entries, streaming
video, commentaries from performers, or
a running “play by play” about the concert. Modern technology means anyone in
the audience can communicate thoughts,
questions, and observations to a backstage
docent who, via mobile device, could serve
as a silent guide during performances for
patrons wishing to partake of his or her
expertise.
Conversation, of course, must be curtailed during a concert, since it competes
with the sonic creation emanating from
the stage. But written communication
symphony
WINTER 2013
27
Generations X and Y
A spate of recent studies points to some general characteristics.
l They have a tendency
They grew up as a part GENERATION Y
(born 1977 – 1998)
of a service society,
to rewrite rules to fit
not a manufacturing
their reality.
l The first generation
l Sometimes referred to
one. Their expectations
l They embrace the
to grow up with
as “Millennials.”
are high with regard to
computers, they have
notion of institutional
l They are at the
customer service and
a natural comfort level
irrelevance.
satisfaction.
forefront of how
with technology. Both
society combines
l They are independent,
Generations X and
communication,
Y do not consider
resilient, and adaptable.
X and Y Shared Traits
entertainment, and
the computer to be
Many grew up as
innovation.
l They both prefer the
technology, just as
latchkey kids and have
internet to television,
l Unlike baby boomers
their parents and
learned to approach
because it provides
grandparents do not
problem-solving
and many in the
the crucial element of
consider the toaster
from an independent
Generation X, they
interactivity.
to be technology.They
perspective.
have internet lives,
have a pragmatism and l
existing as avatars and l Doing is more
They are qualitycynicism that affects
escaping to fantasy
important than
seekers. They do not
their interaction with
and social-networking
knowing. The concept
mind spending more
everything from the
sites at regular
of an “expert” is rarely
for quality, and remain
media and institutions
intervals.
embraced.
passionately loyal
of higher learning to
l They believe it is “cool”
toward those who
l Static knowledge is
corporate America.
provide it.
to be smart, and have
irrelevant to them;
l They possess a casual
an insatiable fascination if needed, it can be
disdain for authority
with technology.
found on the internet.
and are somewhat
l They tend to be
l
less loyal toward their
Results and actions
team-oriented, and
employers.
are considered more
band together to date
important than the
and socialize.They
accumulation of facts.
enjoy the hubbub of
crowds; multitasking is
endemic.
GENERATION X
(born 1965 – 1976)
•
•
l
Determine parking availability and
mass-transit options.
Find pre- and post-concert activities at
or near the concert hall.
A critical reason to have members of
Generations X and Y among us is simply
to have them serve as reverse mentors—
providing technological guidance and advice to the older generation. The level of
service and immediacy expected by Generations X and Y as a result of their technical prowess may seem trivial. However,
we ignore their proclivities at our peril.
Fortunately, We Have Been Down
This Road Before … Sort Of
Symphony orchestras have already struggled with issues of diversity. The symphony world discovered during early attempts
at cultural and ethnic diversity that if we
made no efforts to understand and value
the communities we sought to add to our
base, we could expect those communiamericanorchestras.org
28
ties to look askance at our organizations
or continue to ignore us all together. Our
implied message was, “We don’t care who
you are as a culture, we just want you to
support our culture (the symphony).” The
institutional disrespect was palpable and
could only lead to failed efforts. Seeking
diversity is a two-way street.
I am heartened by the growing number
of admirable exceptions to failed or ineffective attempts at cultural diversification.
One of note is the St. Louis Symphony’s
IN UNISON program, inaugurated
in 1992 after the orchestra recognized
that the African-American population
represented a substantial percentage of
the city but was not equally represented
among the supporters of the symphony.
IN UNISON began with five churches
and quickly established itself as the model
for the St. Louis Symphony’s community
programs. Musicians in the program now
perform for 20,000 members from more
than 30 churches serving the African-
l
l
l
l
l
l
Generations X and Y
multitask. Listening to
music is rarely done
without texting or
some other form of
engagement.
Staying connected
is essential; isolation
or disconnection is
dreaded.
They have a strong
demand for immediacy
and little tolerance for
delays.
They expect service
24/7.
They have a videogame
trial-and-error
approach to solving
problems, rather than a
logic-and-rules-based
approach.
They blur the lines
between creator,
owner, and consumer
of information.
American community in St. Louis.
The SLS understood that something
more substantial than the traditional “outreach” program had to be developed. The
symphony listened to this community and
•
•
•
•
•
identified an underserved segment of
the community;
developed systematic steps toward understanding the culture of that community;
identified and placed value on elements
of that community;
interacted with that community from a
position of mutual respect;
based success on the amount of human interaction between the orchestra
and the African-American community,
rather than on the type of repertoire
performed.
The IN UNISON program represents
an organization’s willingness to change its
thinking and notions of engagement. A
71
League Resource Center on Diversity & Inclusion
Diversity and inclusion is a key area of challenge and opportunity for the orchestra
field. It is at the heart of how orchestras will better connect with their communities.
But recent research by the Marmillion Company indicates that orchestras are still
perceived by critical stakeholders as insufficiently serving the country’s diverse
communities.
The League’s new Resource Center, made possible by The Andrew W. Mellon
Foundation, is designed to provide League members with a range of free resources
on diversity and inclusion that are practical and helpful for those working in orchestras.
Resources are categorized by topic and include:
• A “Quick Start Section”
• Best Practices in Orchestras and Arts Organizations
• Best Practices in Other Fields
• Business Case for Diversity & Inclusion
• Board Resources
• Management Resources
• Readings/Publications/Research
To access the Resource Center, visit americanorchestras.org.
new and successful raison d’être for the St.
Louis Symphony grew out of their seeking
to understand and embrace the African
American segment of their community
before they sought to be understood and
embraced. In seeking to generationally
diversify symphony patrons, we will again
have to understand, embrace, and respect
the values espoused by Generations X and
Y as one of the first steps in this process.
Over the past three decades many attempts at cultural and ethnic diversity have
been initiated, with the best of intentions.
Most have had little or no impact upon
the makeup of audiences, supporters, administrative staffs, boards of directors, and
the musician rosters of this country’s symphony orchestras. It is important to understand that these efforts cannot be judged
as failures. Perhaps the most important
lesson is that this is a complicated issue
that will not be solved with superficial gestures, and it’s going to take time. The same
can be said of efforts to generationally diversify. The issue is complex and will not
be solved with halfhearted, cursory efforts.
Common Strategies,
Approaches to Avoid
We have been wringing our hands over
the graying of symphony audiences for
decades. However, these concerns were
72
usually assuaged with comments such as,
“Symphony audiences have always been
gray” and “We will always be able to find
the 50- and 60-somethings to fill our concert halls.”
Our thinking on this has begun to
change. We have discovered that the vast
majority of the younger generation does
not naturally evolve into symphony lovers. A successful shift in institutional attitudes and policies will only result if we
clearly articulate a strategy reached via
careful self-examination and embraced by
all within the organization.
One of the mistakes made in our initial attempts at cultural and ethnic diversity was a tendency to view ethnic
communities as monolithic. Within the
African-American, Hispanic-American,
and Asian-American communities one
finds great diversity. The entire spectrum
of incomes, educational levels, and social
values exist within all of these communities. With an understanding of the diversity within each community comes a more
enlightened and potentially successful approach to reaching out to these communities.
Approaching the younger generation
with an understanding that someone who
is 25 years old carries a different relationship to the world than someone who is 35
represents an enlightened strategy. With
each group comes a different set of expectations and characteristics. The younger
generation’s receptivity to the symphony
hinges on our ability to present an organization that reflects each group’s unique
consumer needs, cultural values, and experiential expectations.
Brave New World
The lifestyles of Generations X and Y represent dramatic changes in how individuals perceive and interact with the world.
Their coming of age coincides with the
exponential growth in technology that our
society is currently experiencing. This pairing has created an experiential and intellectual gap between young and old unlike
any we have experienced.
Rather than seeing the shifting personal
traits and characteristics of Generations
X and Y as temporal quirks at best and
character flaws at worst, we need to understand them and how they govern their
lifestyles. As is the case with any organization that serves the public, our challenge is
the changing society in which we live. We
can fight for the expectations and norms
of the past, and in doing so continue to
exclude people with different experiential
needs. Or we can see the new and evolving
expectations as ours.
Our paralysis or ineffective gestures toward diversity are, more likely than not, a
manifestation of our resistance to change,
or fear of change. Redesigning our organizations in ways that make us more attractive and relevant to our communities
will be difficult. We may need to try not
once or twice but multiple times before we
discover a new model that effectively embraces the change we seek.
What we are trying to accomplish with
regard to cultural, ethnic, and generational
diversity is appropriate and honorable. We
should celebrate our successes and rejoice
in the changes in our industry. With ongoing, well-meaning, and carefully designed efforts, our relevance and place in
our communities is likely to continue and
even grow.
HARVEY FELDER is music director of the
Tacoma Symphony Orchestra in Washington
State and associate professor of music at the
University of Connecticut.
symphony
WINTER 2013
29
Yearly Calendar
September 21
Leadership Meeting (9-1pm), SAC and EB
October 1
SAC meeting (Regional Prep)
November 5
SAC Meeting
December 3
EB meeting
December 10
SAC meeting
January 21, 2014
SAC
February 4
SAC
March 4
EB meeting
March 11
SAC meeting (prep for All State)
April 8
SAC
May 6
SAC (budget prep)
June 3
SAC and EB meetings
All meetings start at 4:15pm except for September 21st
30
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CMEA Executive Board 2013-2014
Advertiser Index
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