December 2006 - Vermont Music Educators Association

Transcription

The Vermont Music Educator
Official Publication of the
Vermont Music Educators Association
December 2006
Evelyn DeBrune
Springstead
(1908-2006)
Educator for over 60 years
Past All State Music Festival Director
Past president of VMEA and VT-NEA
Author of “Music in Vermont Public Schools”
Advocate for music and teachers
(Photo courtesy of Janet Long)
THE VERMONT MUSIC EDUCATOR
DENIS LAMBERT, EDITOR
P.O. BOX 178
TUNBRIDGE, VERMONT 05077
PRESORTED STANDARD
U.S. POSTAGE PAID
TUNBRIDGE, VT
PERMIT NO. 4
RECOGNITION ISSUE
verm
i
s
u
m
ont
ors
t
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c edu
ion
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asso
President
GARY MOREAU
[email protected]
(802) 878-1388 ext. 214
President Elect
Immediate Past President
TOM HEINTZELMAN
BEAR IRWIN
[email protected]
(802) 775-3451 ext. 274
State Manager
[email protected]
(802) 885-7900
STEFFEN PARKER
[email protected]
(802) 862-6521
Secretary
Treasurer
PAUL RONDINONE
CINDY HALL
[email protected]
(802) 222-5214
[email protected]
(802) 228-4721
Librarian
FRANK WHITCOMB
[email protected]
(802) 864-8590
Journal Editor
DENIS LAMBERT
[email protected]
(802) 763-8289
Committee Chairs
General Music ........... SUSAN CHERRY
Choral Music ............. GLORY DOUGLASS
Instrumental Music .. BETZI IRWIN
Collegiate .................. RONALD SHERWIN
All State ..................... STEFFEN PARKER
Conference ................ ALLYSON LEDOUX
Technology ................ SANDI MACLEOD
Research .................... PATRICIA RILEY
[email protected]
(802) 748-8912
(St. Johnsbury Public Schools)
[email protected]
(802) 879-5546
(Essex High School)
[email protected]
(802) 796-3573
(Alburg Community Ed. Center)
[email protected]
(802) 468-1322
(Castleton State College)
[email protected]
(802) 862-6521
(Rice Memorial High School)
[email protected]
(802) 425-2771
(Charlotte Central School)
[email protected]
(802) 879-0065
(University of Vermont)
[email protected]
(802) 656-7770
(University of Vermont)
District Presidents
District I ................. CALEB PILLSBURY
District II ................ ANNE HAMILTON
District III ............... ALLYSON LEDOUX
District IV ............... CHRIS RIVERS
District V ................ MATT TATRO
District VI ............... MICHAEL ZSOLDOS
Vermont
Music
Educators
Association
[email protected]
(802) 899-4690
(Mt. Mansfield High School)
[email protected]
(802) 334-7921
(North Country High School)
[email protected]
(802) 425-2771
(Charlotte Central School)
[email protected]
(802) 244-5186
(Harwood Union High School)
[email protected]
(802) 453-2333
(Mt. Abraham High School)
[email protected]
(802) 457-1317
(Woodstock High School)
is a federated branch of...
Page December 2006
DECEMBER 2006

This publication was prepared
using a Macintosh computer
and Adobe InDesign software.
The Vermont Music Educator,
official publication of the Vermont
Music Educators Association, is
published four times a year, in
September, December, March,
and June. Copies are distributed
to all VMEA members.
Submission of pertinent articles
is encouraged. VMEA assumes no
responsibility for the individual
opinions expressed in this publication.
Please note that submissions may
be edited for grammar, clarity, and
length. Send manuscripts to:
Denis Lambert, editor
P.O. Box 178
Tunbridge, VT 05077
[email protected]
DEADLINES
July 15 for September issue
October 15 for December issue
January 15 for March issue
Features
Excerpts from Fall Conference Keynote Speech by Dr. Kenneth Raessler ...................... Page 11
“Etiquette” by Robert Swift ................................................................................................... Page 15
“Introducing the Clarflupet™ ” by Denis Lambert ............................................................. Page 18
“Developing Imagination in the General Music Classroom” by Pamela James ................ Page 22
“Audition Tips for Students” by Michael S. Milnarik ........................................................ Page 34
State News & Notes
President’s Message .................................................................................................................. Page 4
District Festival List ................................................................................................................ Page 6
Conference Review .................................................................................................................... Page 8
Hall of Fame Inductees ......................................................................................................... Page 12
VMEA Board Minutes .......................................................................................................... Page 29
Notes from the Road (Editorial) ......................................................................................... Page 38
Editor’s Note
At 48 pages, this issue of the journal is the largest one I have worked on to date.
Several new advertisers have come on board this year, and I would like to thank
them. It is, after all, their ads that cover production costs for this publication. As
always, the advertisers are listed below. I hope you will take a moment to read
the list, which includes a combination of local and national institutions.
With the increase in advertisements has come the challenge of expanding
the number of articles. In subsequent issues, you will have the opportunity to
read several articles that have appeared in other states’ MEA journals, selected
for re-print on the basis of their practicality. I hope you will find them to be
informative and helpful. Submissions from Vermont’s music educators are, of
course, welcomed with enthusiasm.
Thanks for reading and Happy New Year (just a bit early).
April 15 for June issue
If moving, be sure to notify MENC
headquarters of any change of
address to ensure proper delivery
of this and other journals. Send
address changes by e-mail to
[email protected]
or by postal service to
MENC
1806 Robert Fulton Drive
Reston, VA 22091
MENC Member Services can be
contacted by phone, as well, at
1-800-828-0229.
INDEX OF ADVERTISERS...
If the opportunity should arise, thank these advertisers
for their support of this journal.
Castleton State College
Champlain Music
DeMoulin Uniforms
Ellis Music Company
Fiesta-val Music Festivals
Frederick Johnson Pianos
Gordon College
Great East Music Festivals
High Note Music Festivals
Johnson State College
J.W. Pepper
Jupiter Band Instruments
Keene State College
Lakes Region Youth Orchestra
MusiCraft
Plymouth State University
Superscope Technologies
University of New Hampshire
University of Southern Maine
University of Vermont
Vermont Musical Instrument Repair
Yamaha Corporation
Printed by SPAULDING PRESS in Bethel, Vermont
Copyright © 2006 ~ Contact the editor for permission to reprint content from this publication.
December 2006
Page THE VERMONT MUSIC EDUCATOR
President ’s Message
One Conference Done; More Events to Come
Gary Moreau
Fellow Music Educators:
Wow! I just returned from the 2006
VMEA Fall Conference. What a conference
we had! It was so nice to see so many of
you there. I trust that you had as nice a
time as I did and took the opportunity to
not only learn something new, but also
network with some of our colleagues from
around the state on a variety of topics.
Hall of Fame Inductees
At the recent conference we honored
several individuals for their contributions
to music education.
Congratulations to the teachers from
Rutland for being selected by MENC as
one of twelve model music education
programs around the country. We are
proud of your accomplishments. As
a token of our appreciation for their
work, each was presented with a framed
certificate from the VMEA.
with the VMEA Executive Board as District
III Chair and Conference Chair, as a past
President of Vermont ACDA, and as a past
member of the VAAE. For many years
she has supported the work of these and
other organizations in pursuit of music
education for all, and we are very proud of
her accomplishments. We salute all these
individuals and congratulate them for this
recognition by their peers.
Onward Toward All State
Now we must prepare for the All
I want to take this opportunity
State
Music Festival. Auditions will be
to congratulate Allyson Ledoux, our
In addition, Ms. Christina Toner and
held
on
two consecutive Saturdays in
conference chair, for the stellar job she Dr. Morton Gold were presented awards for
January,
and
many of our high school
did in preparing for
their contributions
UPCOMING EVENTS
students
and
teachers
are working very
this day. Along with
to music education.
hard
in
preparation
for
these
auditions. I
her many committee
Christina
has
Eastern Division MENC Conference
congratulate
each
of
you
for
your
efforts
members and the
organized and run
March 8-11
and
wish
you
good
luck
in
this
endeavor.
VMEA
Executive
the Vermont High
Hartford, Conn.
Board,
she
was
School Band Festival
On another issue related to the All State
able to provide us
for the past two Music Festival, the VMEA Executive Board
All State Music Festival
with a first-class
years. She saw a is in the final stages of implementing
May 9-12
day of professional
need and through the long overdue All State Festival
Newport, Vt.
development.
careful
planning participation fee voted on in 2004. We
and
organization
brought
this
festival have discussed different options and will
I know that Allyson spent hundreds of
to
fruition.
Dr.
Gold
was
recognized
for suggest through a communication to
hours in preparation for this day, and it
his
many
years
of
educating
all
ages
superintendents, principals, and business
showed. We had well over 130 members
in
the
musical
arts.
During
his
career,
managers that these fees begin for the
who participated, not including vendors
spanning
several
decades,
he
has
assisted
2007-2008 school year. The fee structure
or student performers. The vendors’
many
individuals
in
recognizing
and
will be a graduated scale based on school
area was very nicely arranged and I hope
experiencing
the
joy
of
music
in
their
lives
enrollment. That fee structure is yet to be
many of you took advantage of some of
through
his
leadership,
guidance,
and
determined in its entirety but will start at
their offers and that you will remember
expertise.
around $50.00 for
to use their services in the future as the
“[T]he VMEA Executive Board is in
small schools and
need arises. We depend on the support
Michael Lenox,
the final stages of implementing
max out at $300.00
of these vendors, and they depend on band director from
the long overdue All State Festival
for some of our
our patronage. Please mention that you Fair Haven Union
participation fee voted on in 2004. We larger high schools.
saw them at the conference. As I spoke High School, was
have discussed different options and These
monies
with many of them, they said they were recognized as the
will suggest through a communication are necessary in
looking forward to working more closely Outstanding New
to superintendents, principals, and
order to increase
with many of you in the future. I would Music
Educator.
business managers that these fees
scholarship funding
like to offer a special word of thanks to His
enthusiastic
begin for the 2007-2008 school year.“ and pay a stipend to
Steffen Parker. Due to his ingenuity and work with students
the festival director.
foresight, all the vendors who needed has been observed
As
we
are
no
longer
tied to the Vermont
electricity had it... and that is no easy feat by many educators and his nomination
Principals’
Association,
we no longer
with only four outlets in the gymnasium!
spoke eloquently of the excitement he
receive
any
funding
from
them. By the
Conferences such as this don’t happen brings to our profession.
time you read this journal, these letters
without the support of many people.
Lastly, Allyson Ledoux was named will have been received by your school
To the Executive Board, Conference the 2006-2007 Music Educator of the administrators.
Committee, all the presenters and vendors, Year. Those of us who know and work
Another Conference Opportunity
and you, our members, I extend my closely with Allyson are well aware of her
heartfelt thanks for your work in making enthusiasm she brings to the classroom. In
We have a great professional
our Fall Conference so successful. Your addition, she has championed the cause of development opportunity knocking at
participation was greatly appreciated.
our profession through her involvement
Continued on Page Page December 2006
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ENSEMBLES
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December 2006
President’s Message
Continued from page our doors as of this writing. The 2007
All Eastern Honors Ensembles and
Conference are scheduled for March 8-11,
2007 in Hartford, Conn. Fourteen students
from Vermont high schools will represent
our state in the honors ensembles this
year. Congratulations to each of them and
their teachers.
This upcoming event marks the first
in the history of the Eastern Division
Conference that it will be supported
primarily by a state MEA rather than the
MENC. The Connecticut Music Educators
Association has taken on this financial and
organizational responsibility. Although
the conference is sponsored by MENC,
the main planning and implementation
is being carried out by the state of
Connecticut.
How can we help? Well, you could help
them by attending this conference. You
will be glad you did. I have been to two or
three planning meetings and can attest
that the organizers have done a great job
to ensure that we will have a wonderful,
educational experience. All they need
now are attendees. Won’t you join me in
Hartford in March?
Registration and housing materials
for the Eastern Division Conference are
available online at <www.cmea.org>
and the registration form is printed in
this journal. Please plan to attend. The
benefits of attending include great
performances, inspirational general
sessions, professional development, and
personal interaction with colleagues
from throughout the east coast. If you
need further information, contact the
CMEA through their website or contact
me personally. It would be awesome if
Vermont could be well represented!
Wrapping Up
Lastly, as my time as President winds
down, I want to tell you a little about my
experience over the past two years. I am
so lucky to be a member of this profession
and this organization. As a result of my
decision to be a music educator, I have
surrounded myself with some of the most
gifted, talented, hard working, intelligent
people in the world. The music educators
I have met around the state seem to have
the same common goal: a quality music
education program for all. In addition to
Festivals Around the State...
District I
February 8 & 9 - Festival at Mt. Mansfield
May 3 & 4 - Festival at Enosburg High School
District II
March 9 - Festival for junior high
March 29, 30 & 31 - Festival for high school
District III
February 2 & 3 - Middle School Festival at location to be determined, featuring
concert band, string ensemble, and chorus
February 6, 7, & 8 - High School Vocal Festival at Essex High School, featuring
chorus
District IV
February 1 & 2 - Jazz Festival at Chandler Music Hall, featuring high school jazz band
(conducted by Joe Davidian), middle school jazz band (conducted by Bear
Irwin), and high school chorus (conducted by Kate Paradise)
April 11 - Spring Festival at Montpelier High School, featuring concert band
(conducted by Brent White), chorus (conducted by Roger Grow), and orchestra
(conducted by Ken Andrews)
District V
February 2 & 3 - Festival featuring high school concert band and wind ensemble,
middle school jazz band, and middle school chorus
March 2 & 3 - Festival featuring middle school concert band and wind ensemble,
high school jazz band, and high school chorus
District VI
Feburary 2 & 3 - Winter Festival at Bellows Falls High School, featuring high school
chorus, high school jazz band, and middle school concert band
their time spent in the classroom, they
are performers, church music directors,
private vocal and instrumental teachers,
mothers and fathers, and advocates for
music in all walks of life. This office has
also afforded me the opportunity to
travel and interact with colleagues from
around the country. Speaking with them
has allowed me to share Vermont’s goals
and concerns while listening to new ideas
and concepts shaping music education
nationwide. Through these dialogues, it
is my hope that music will continue to be
an important part of educating America’s
children. I am truly humbled by my
experience and am very grateful for this
opportunity. Thank you for all you do!
Gary Moreau is the 2005-2007 President of
VMEA. He teaches at A.D. Lawton School in
Essex Junction.
?
“Music is the manifestation
of the human spirit, similar
to language. Its greatest
practitioners have conveyed to
mankind things not possible
to say in any other language.
If we do not want these things
to remain dead treasures, we
must do our utmost to make
the greatest possible number of
people understand their idiom.”
- Zoltan Kodály
Page December 2006
/NECLICKOPENSUP
AWORLDOFPOSSIBILITIES
#OMPAREALLMAJORBRANDSAND
DISCOVERTHESAVINGSWITH*UPITER
7ITHTHEINNOVATIVENEWONLINE0URCHASE0LANNERYOUCANCONDUCT
ACOMPETITIVECOMPARISONOFALLTHEMAJORBRANDSTOMAXIMIZE
YOURSCHOOLBUDGETDOLLARSANDHAVECHANGETOSPARE
6ISITJUPITERMUSICCOMTOBEGINSAVING
December 2006
“Aspiring to Excel” - A Conference Success
Allyson Ledoux
The VMEA Conference is now a
memory. It was a fabulous day, with more
attendees, clinicians, and exhibitors than
ever! Randolph High School was the
perfect mid-state location, and our hosts,
Jennifer Moore and Josh Stumpff, could
not have made it more welcoming.
LEFT: Susan Cherry shares
her knowledge during an
educational session.
BELOW: Eileen Rossetti has
teachers involved playing
percussion
during
her
workshop.
Evaluations of the day poured in. Here
is what people had to say:
“Bill Reed and Dawn Willis – amazing.”
“The conference had great variety...
something for everyone.”
“This was my first VMEA experience, and
I loved it.”
“Music history
informative”.
session
was
very
“I learned a great deal of concepts that I
wish to study more”.
Here are some figures which might be
of interest:
e
139 registrants
(14 % were collegiate members!)
e
29 registered exhibitors
e
32 clinicians
e
12 Tri - M members
The conference was rated a 4.1 out of 5.
There were some great suggestions
for next year. Attendees would like to
see more K - 4 elementary offerings, jazz
workshops, and fruit at breakfast to name
a few. We are listening. Keep the ideas
coming.
So, in closing...
* Thanks to the many of you who
worked so hard to make it a success.
* Thanks to those of you who
attended.
* Mark your calendars for the next
VMEA Conference: Thursday, October 4.
ABOVE: Teachers listen intently
during one of the many sessions.
* Fill out the request for proposed
workshops form found on page 10 of
this journal to let us know who and what
would inspire you to attend next year.
ABOVE RIGHT: Orchestra students
from Rutland Intermediate School
perform in the gym, conducted by
Jim Sowards.
* Please feel free to contact me at any
time at <[email protected]> with
your conference suggestions.
RIGHT: Members of the VMEA
Children’s Choir.
(Photographs by Gary Moreau)
Allyson Ledoux is VMEA Conference Chair.
Page December 2006
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December 2006
Page 10
December 2006
Excerpts from the Fall Conference
Keynote Speech
Dr. Kenneth Raessler
Editor’s Note: For his speech, Dr. Raessler shared
an actual letter he sent to President Bush about
issues the country faces and how he believes
music education fits into the picture. His remarks
have been abridged to fit in the allotted space.
Dear Mr. President:
I know that you are a busy man, and
I know that what I care most about does
not necessarily correlate with what you
care most about, but could I have just a
bit of your time? Possibly I could provide
some rest from your concerns about
terrorism, the November elections and
the economy.
The purpose of this open letter is to
speak of music and art — actually music
and arts education — the importance of
the education of children in this country
through music and the other arts...
Mr. President, music is everywhere —
with the birds, the babbling brooks, with
laughter, with religion and all ceremonies
be they political, private or public. In
your presidency, you have music around
you for every event imaginable — could
you imagine the silence of these events
without music? For music is the universal
language and has a power that transcends
time and space. Your place in history will
be defined as much by your inaction as
by your action, and the greatest crime of
humanity is indifference. I am pleased
to note that Thomas Jefferson was a
violinist, that no president since Harry
Truman has so verbalized the importance
of music in his life, that no president since
John F. Kennedy has so appreciated the
importance of the arts in the human
experience, and that William Clinton, an
avid saxophonist, had great difficulty
walking past a high school band without
“sitting in.” Indeed, many of our presidents
supported the importance of music and
the other arts as a fundamental part of
the culture of this great country.
Presently, it seems that with all of our
talent, brains and sensitivity that could
add a defined dimension of stability to
the American life, this nation is being
driven into a great state of insecurity at a
time when the American psyche is based
solely on economic health, standardized
testing through No Child Left Behind and
an unsurpassed defense and aggression
potential. Thus we cry for beauty.
...And now I get to the part of my
message that concerns me the most,
the failure to recognize the arts — music
— as a major force in our supposedly
civilized society, and I do not mean the
rock music with the X-rated lyrics. I mean
quality music ... music that has historically
transcended the course of time.
I give you, Mr. President, the state of
music education in this country, the most
minor of subjects and all those who teach it
as proponents of minor matters, devoting
their lives to all things minor. That is why
music education constantly lives on the
brink of elimination, and that is why the
thinking, feeling and communicating
ability of our future generations is surely
to be significantly affected...
...[M]any of us firmly believe that the
key to a better world, a better nation, a
better state, city, neighborhood, block,
home, apartment, room is a greater
sensitivity toward humanity and the
ability to feel and communicate those
feelings. Clear evidence has shown that
no discipline in education is looked upon
with such indifference as music and arts
education. We still only record academic
(cognitive) and athletic (psycho-motor)
achievement.
The emptiness echo’s
greatly, but no one hears it, nor do they
know that something miraculous is
missing. Throughout my school life, there
were severe penalties inflicted upon
many of us for loving music, because of
the national unimportance that music
and the other arts occupy in our society
as reflected in our public schools - the
very place where the spark should be lit,
the nurturing begun, and the cultivation
and the seasoning demonstrated by adult
example. Instead, by adult example, the
arts are all but ignored and education
is chaotically incomplete and tragically
indifferent to all that art is. The study of
the elements, the manifestations and
the fulfillment of the inner life: beauty,
aesthetics, feeling, thinking, wondering,
understanding, longing, fantasizing,
translating symbols into sound, vibration
into pitch, the reflections of government,
philosophies and most importantly,
“GOOSE BUMPS.” Oh that we had a test
that could measure the size of GOOSE
BUMPS! That is what music is, and that
is what is being sacrificed in education
today as a result of this long-term attitude
of indifference. Thank you for your recent
increase for the National Endowment for
the Arts, however, I strongly suspect that
the annual budget of the NEA and the
National Endowment for the Humanities,
all state arts councils, the budgets for
all arts programs in every school system
in the United States combined would
not run the Pentagon for more than a
few months, but then the cost of just a
few missiles would easily support music
education in this country for several
years... The result, of course, of this
priority is that every spring throughout
the United States, music educators sit on
death row, waiting for some governor or
school board to commute the sentence...
Well Mr. President, this will not happen,
because we have been here since 1837,
we are still here, and we shall remain here
and in business! Creative, entrepreneurial
and imaginative people move mountains
rather than complaining that a mountain
is in the way. We have endured endless
budget cuts; “Sputnik”, “Back to the
Basics”, “Block Scheduling”, “Site Based
Management”, “Standardized Testing”,
and we will survive “No Child Left Behind”!
Thank you very much!...
And finally, Mr. President, something in
all of us is dying. In New Orleans music was
silenced by Mother Nature, in Iraq music
was silenced by a dictator and by guns and
missiles and in the United States, music is
gradually being silenced by No Child Left
Behind. We cry for beauty to replace the
barbarism that surrounds us. Please do
not be indifferent...while our government
tests, we teach; while our government
spends excessive funds on death, we deal
with life, with joy, with happiness...with
the senses...with feelings. Please help us
to have the opportunity to show that we
too can make a difference...
Kenneth Raessler is professor emeritus and
former director of the School of Music at
Texas Christian University.
December 2006
Page 11
Music Educator of the Year
Allyson Ledoux teaches
general music, grades K-8, and
directs the 6-8 grade chorus at
Charlotte Central School. Ally
is a tireless advocate for music
education and is an incredible
role model for other music
educators. Her work with the
Gordon method for teaching
young music students is nothing
short of brilliant. Ally has taken
many leadership roles at the
Charlotte Central School and in
VMEA District III, in addition to
serving on the VMEA Executive
Board as the Conference Chair.
The VMEA Conference has
blossomed into a very successful
event in every way under Ms.
Ledoux’s
expert
guidance.
Ms. Ledoux has also served as
the very able president of the
Vermont chapter of the ACDA.
It is not too early to
nominate individuals for
the 2007 Hall of Fame...
Contact VMEA past
president Bear Irwin
for more information.
CHRISTINA TONER
&
DR. MORTON GOLD
Special Recognition
MICHAEL LENOX
Outstanding New Music Educator
Michael Lenox has been
Instrumental Music Director at
Fair Haven Union High School
since 2004. The FHUHS Band
maintains a very energetic
public performance schedule.
Mr. Lenox led the local
band booster organization
in fundraising activities to
purchase the new marching
band uniforms. Mr. Lenox has
expanded the FHUHS music
curriculum to include a guitar
class, a piano class, and a music
appreciation course called “Rock
to Rap,” all of which are taught
by Michael in addition to the
marching/concert band and
extra-curricular jazz ensemble.
It’s through these diverse
offerings that the FHUHS music
classes reach out to students who
may not otherwise be involved
in music or the arts. Michael’s
colleagues are impressed by his
energy, and his commitment to
quality work, in addition to his
realistic approach to teaching.
Michael has been described as
“professional” and “especially
insightful for a young teacher.”
Christina
Toner,
music
educator at South Burlington
High School, thought it was
unfortunate that Vermont did not
have a large ensemble festival,
as many other states do — so
she created one. In designing
the VMEA Band Festival, she
incorporated the most positive
elements of other festivals she
had experienced. She developed
a format, designed rubrics,
contacted and hired adjudicators,
advertised, and made it all
happen. The festival, now going
into its third year, has been very
successful and well received. In
2005, ten schools participated
in the one-day festival. In 2006,
the festival was expanded to
two days, with northern and
southern performance venues
and 14 bands performing.
Special Recognition
ALLYSON LEDOUX
Outstanding New Music Educator
Music Educator of the Year
VMEA Hall of Fame
Dr. Morton Gold, presently
working at the Killington
School, has taught at all levels
of music education in the Green
Mountain Music District of
Vermont for 19 years. Dr. Gold’s
special contribution to music
and music education in Vermont
has been his presentation of
twenty concerts of his own
compositions (solo & chamber
and large ensemble instrumental
and vocal and choral) at the
Paramount Theatre and at the
College of St. Joseph in Rutland,
Vt.
Page 12
December 2006
Awards Ceremony 2006
e
Music Educator of the Year: for
outstanding professionalism and
contributions to music education and
children.
e
Outstanding
New
Music
Educator: for impacting music
education and children within the
first five years of service.
e
Special Recognition: for music
educators, non music educators,
or organizations who have made
significant contributions to music
education in Vermont.
Nominations can be made by music
teachers and are accepted through the
month of July. Award recipients must be
members of VMEA.
Awards are presented during the annual
Fall Conference.
RUTLAND CITY PUBLIC SCHOOL MUSIC EDUCATORS
Certificates of Acknowledgement
Each year, VMEA honors music educators
for their dedication and achievements. The
awards given include:
Certificate of Acknowledgement
...for being selected as one of twelve model music programs by
MENC: The National Association for Music Education
December 2006
Page 13
Keene State
College
Keene State College is a comprehensive public liberal
arts college offering 36 major programs of study. Of
the 5,235 full- and part-time students, more than 110
major or minor in music. The College is accredited
by the prestigious National Association of Schools of
Music, as well as by the New England Association of
Schools and Colleges and the National Council for
the Accreditation of Teacher Education.
Music Faculty
Full-time Faculty
Donald Baldini, BM (Indiana) – Double Bass, Jazz Ensemble, Orchestra,
Theory, Jazz History
James Chesebrough, DMA (University of Connecticut) – Concert Band,
Music Education, Conducting, Low Brass, Fundamental Music Skills
Joseph Darby, PhD (City University of New York) – Musicology, World
Music, Special Topics
Maura Glennon, DM (Florida State) – Piano, Harpsichord, Accompanying, Piano Ensemble, Piano Literature, Piano Pedagogy
Gladys Johnsen, PhD (North Dakota) – Music Education, Women in Music
Carroll Lehman, DMA (Iowa) – Voice, Choral Music, Conducting, Opera
José Lezcano, PhD (Florida State) – Guitar, Theory, Guitar Orchestra,
Latin American Music, Guitar Pedagogy
George Loring, MM (New England Conservatory) – Piano, Harpsichord,
Accompanying, Theory, Piano Ensemble, Piano Pedagogy
Craig Sylvern, DMA (Ohio State) – Chairperson, Saxophone, Composition, Music Technology, Saxophone Ensemble, Woodwind Pedagogy
Adjunct Faculty
Kathy Andrew, MM (Peabody) – Violin, Viola
James Boccia, MALS (SUNY-Stony Brook) – Trumpet
Diane Cushing, MM (Boston Conservatory) – Voice, Concert Choir, Voice
Class
Donna Dearth, MEd (Keene State) – General Music
John Ferraro, MM (UMass Amherst) – Clarinet, Clarinet Ensemble,
Woodwind Methods
Joy Flemming, MA (University of Akron) – Bassoon, Woodwind Quintet
Elaine Broad Ginsberg, DMA (University of Cincinnati) – Theory, Chamber
Singers, Fundamental Music Skills
Benjamin Greene, BS (Rhode Island College) – String Methods
Sussan Henkel, MM (Northwestern) – Oboe
Karen Horton, MM (Manhattan School) – Horn
Marcia Lehninger, MM (University of Connecticut) – Theory, Masterworks
Ted Mann, MA (University of NH) – Guitar, Guitar Methods, History of
Rock & Roll
Robin Matathias, MA (City University of New York) – Flute, Flute Ensemble
Scott Mullett (Berklee) – Improvisation
Timothy Rogers, MM (Bob Jones University) – Class Piano, Fundamental
Music Skills
Pamela Stevens, BA (Central Missouri State) – Voice
Christopher Swist, MM (University of Hartford) – Percussion, Percussion
Ensemble
R. Scott White, MM (Boston University) – Piano, Piano Class, Organ
Perri Zimmerman, MM (UMass Amherst) – Cello
Facilities
The Redfern Arts Center on Brickyard Pond features a superb recital
hall, two theatres, practice modules,
rehearsal rooms, a 17-station piano
lab, a music resource library, and an
electronic music studio.
Auditions
Auditions for the 2007-08 academic
year will be held on the following
Fridays:
December 1, 2006
January 26, 2007
February 16, 2007
March 2, 2007
March 23, 2007
For an audition application or for
more information call, e-mail, or
write:
Deborah Butler
Administrative Assistant
Department of Music
Keene State College
229 Main Street
Keene, NH 03435-2402
603.358.2177
Fax 603.358.2973
[email protected]
www.keene.edu/programs/mu
Degrees
Bachelor of Music
• Music Education
• Music Performance
Bachelor of Arts
• Composition
• History and Literature
• Music for Elementary Teachers
• Music Technology
• Theory
Performance Groups
Chamber Singers, Concert Band, Concert Choir,
Orchestra, Guitar Orchestra, Jazz Ensemble,
Brass Ensemble, Clarinet Ensemble, Flute Ensemble, Latin American Ensemble, Opera Workshop, Percussion Ensemble, Piano Ensemble,
Saxophone Ensemble, String Ensemble, Vocal
Chamber Ensemble, and Woodwind Quintet
Scholarships
Three Music Department Scholarships of
$12,000 each, distributed over the course of the
four-year music degree, are awarded to incoming
freshmen. To be eligible, prospective students
must audition by February 16. Other scholarships grants, loans, and work opportunities are
available, with the majority of students receiving
some form of financial assistance.
Keene State College • 229 Main St. • Keene, NH 03435-2402 • 603.358.2177 • Fax 603.358.2973 • www.keene.edu • [email protected]
Page 14
December 2006
Public Performance
Etiquette
Robert Swift
Item:
It was a professional
embarrassment for my wife, and she
related it to me with some chagrin. That
it occurred in church made it doubly so —
on Easter Sunday, no less! She attended
the 8:00 service, a compromise between
the Sunrise Celebration and the 9:30
Raise the Roof. Generally there is only the
spoken word at 8:00... no music at all. But
as this was Easter, the choir arrived early
to sing “Hallelujah” from Messiah. It was
as she drove home that my better half
realized that no one in the congregation
had stood when the music was sung!
Item: The Symphonic Band performed
a splendid concert to a good-sized
audience made up of students and
faculty, many parents, townspeople, and
“special invited guests,” including some
of the college administration. Holst’s
Second Suite for Military Band concluded
the first half. It was slightly disconcerting
to hear spontaneous applause in the
pause following the first movement
(the “March”). When applause again
occurred after “Song without Words,” it
was annoying. By the end of “Song of the
Blacksmith,” the conductor even held his
baton to signal for quiet, but that subtle
gesture was wasted on the handful who
again clapped enthusiastically. With the
conclusion of “Fantasia on the Dargason,”
a few of us thought that silence would
have been a better way to signal their
appreciation. Applause had become so
commonplace!
Item:
In a large, metropolitan,
“traditional”church, the organist practiced
diligently each week. The prelude was
designed to prepare worshippers for the
morning service. Yet for many of them
it was apparently viewed as background
music for chit-chat... a time to catch up
on news of the previous week. Often a
pianissimo passage became inaudible
because of conversation. Enough was
enough! One Sunday, to teach a lesson,
the organist selected a prelude that began
at a whisper but then gradually built
to a thunderous “pull out all the stops”
chord that was then abruptly released.
It worked! As the music increased in
volume, two older parishioners walking
down the long main aisle spoke more and
more loudly to be heard over the music.
When the music stopped in mid-air, one
lady said to the other in tones heard
throughout the building, “I like mine fried
in butter...” (Coincidentally, the sermon
that morning was titled “How Do You
Share Your Faith?”)
Good music demands full attention
and respect, whether in performing or
listening. A degree of cultural etiquette
is required and expected. Each of the
three preceding incidents speaks to
the need for single-minded, thoughtful
attention. Conversation during listening
interrupts whatever the music is intended
to communicate. Premature applause
can have a similar effect, although the
interruptions are more sporadic. Then, too,
whatever the motivation for King George’s
rising to his feet at the first performance
of the “Hallelujah Chorus” in Dublin, that
tradition of the audience’s standing when
it is sung in live performance enhances
the experience for the listeners.
Who is to teach lessons in “musical
manners” if we music educators do not?
Several years ago, Byron Belt, erstwhile
critic-at-large for Newhouse News
Services, provided a list of “Thou Shalt
Nots” for attendees of live performances.
Here are a few.
Thou shalt not...
ü Talk.
ü Hum, sing, or tap fingers or feet.
Rustle your program.
Open cellophane-wrapped candies.
Sigh audibly.
Arrive late or leave early.
To those we now must add one “Thou
Shalt.” Do turn off your cell phone, pager,
and any other electronic device that
has the potential for interruption and
distraction.
One observes such guidelines out of
courtesy and consideration for others, not
only performers but also listeners.
The whole question of etiquette
(social graces, manners) has arisen lately.
Manners can be defined as “the socially
correct way of acting; polite bearing or
behavior.” In viewing that definition, the
title of this fascinating article is elevated
to a consideration of far more than just
appropriate behavior in the concert hall.
When did you last see or hear an
instance of deficient social graces? Was
it in the cafeteria, the hall, the rehearsal,
the main office, the faculty room? Sad to
say, one’s position vis-à-vis rank or wealth
has little correlation to his or her practice
of good manners. National leaders can
act inappropriately at an international
summit. Happy to say, education bears
a direct correlation on the development
and use of them. One can learn what
is appropriate and desirable. And the
benefits of such knowledge and actions
are inestimable. Lady Mary Wortley
ü
ü
ü
ü
Continued on Page 16
•
December 2006
Page 15
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Etiquette
Continued from Page 15
Montagu wrote, “Civility costs nothing
and buys everything.”
Kerby Anderson, president of Probe
Ministry, in an article entitled “Civility”
wrote: “We seem to be living in the midst
of an epidemic of rudeness. ...Cursing
and vulgar language are on the increase.”
U.S. News & World Report, in its article
“The American Uncivil Wars” stated that 89
percent of public school teachers report
abusive language now in elementary
schools.
In an upper division interrelated arts
course at Plymouth State, the question of
the importance of manners was discussed.
Ten individuals who represented a variety
of professions (librarian, realtor, college
student, manager, university provost,
retired music educator, etc.) were asked
to rank the importance of manners on
a Likert scale, 1-10, with 10 signifying
highest in importance. The results of
this unscientific poll were as follows: one
individual rated them at 6, two at 8, two at
9, and five at 10. (The reader is here asked
to do the same.) One of the ten then
wrote “in contemporary America, we’re
operating at about a 3.”
One respondent wrote, “Good manners
are absolutely essential in a well-educated
person, and they apply to language and
communication, table manners, posture,
dress, etc.” Another wrote, “Manners are
the key to success in all aspects of life —
social, political, professional, personal.” A
third wrote, “Simply and powerfully this is
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the Golden Rule put into practice. When
a good deed is done to you, return the
good deed. The giver and the receiver are
both enriched as kindness is reflected in
kindness.”
The nurture and practice of good
manners was considered important
enough that Harvard in the 1990s began
requiring courses in etiquette of MBA
students. They lacked social graces and
— it was determined — as a result were
experiencing financial setbacks.
What does all this have to do with us
as music teachers? Everything... if we
take seriously our responsibility for the
educational well being of our students!
We chose to be educators, whose field of
specialization happens to be music. Think
of the opportunities we have for instilling
an appreciation of good manners! Carpe
diem! Non scholae sed vitae discimus.
(Seize the day! We learn not for school
but for life.)
With respect to the teaching of
manners, it’s not only what we teach but
how we teach that transmits the lessons.
Have you thought of yourself recently as
a model? You are! “Your actions speak so
loudly that I can hardly hear a word you’re
saying.”
Dr. Robert Swift is Professor of Music
at Plymouth State University in New
Hampshire. His recent book, Teaching
Moments: Selected Memories of PSU
Faculty, is published by the University.
?
“I’ve outdone anyone you
can name — Mozart,
Beethoven, Bach, Strauss.
Irving Berlin, he wrote
1,001 tunes. I wrote 5,500.”
- James Brown
“People whose sensibility
is destroyed by music
in trains, airports, lifts,
cannot concentrate on a
Beethoven Quartet.”
- Witold Lutoslawski
“Music is everybody’s
possession. It’s only
publishers who think
that people own it.”
- John Lennon
Page 16
December 2006
ICSM040 MIE Changed
10/11/06
4:34 PM
Page 1
T he New
©2006 Yamaha Corporation of America
December 2006
Page 17
Innovations in Music Education
It’s a
Clarinet.
It’s a
Flute.
It’s a
Trumpet.
Introducing... the CLARFLUPET ™
Denis Lambert
When I was in fourth grade, someone
demonstrated a variety of band
instruments that my classmates and I
could choose to learn that year. I went
home the day of the demonstration with a
piece of paper listing several instruments
— none of which I knew much about —
and the daunting task of selecting one to
study. I chose trumpet. Why? Perhaps the
demonstrator played an exciting selection
on the trumpet. Maybe it was because of
the ease of assembly and reasonably-sized
case. Then again, it could have been the
way the word looked. (Words interested
me at the time.) I’m not exactly sure. In
any case, I wrote “trumpet” on that piece
of paper and returned it to my soon-to-be
music teacher.
Somehow I ended up with a trombone.
I vaguely remember the teacher asking
me if I would try the trombone... probably
because too many people in my class had
chosen the trumpet. Being an agreeable
sort and the type of student who always
wanted to please the teacher, I said
“okay” and ended up with this awkward
instrument that stood as tall as me. The
case was anything but easy to navigate
through the narrow isle of the school
bus, and my arm could not reach sixth
position, but I stuck with the instrument,
and it changed the course of my life.
My decision (or, rather, my teacher’s
suggestion) to play the trombone
occurred 20 years ago. It worked out
well — I still perform regularly and enjoy
the instrument — yet a different choice
could have led to boredom or frustration
and potentially ended my musical career
before it began.
Unfortunately, the important decision
of what to play is commonly left to chance
or other non-musical factors.
~ ~ ~
“Time is the mind’s workshop,” writes
David Heintz, who, at age nine, wanted to
play the banjo but ended up learning the
trumpet because it was the instrument
his parents happened to own. “When
I was twelve or thirteen,” he continues,
“my private teacher told me that though
I was a good trumpet player, I would have
made a fine clarinet player, too. And so, I
wondered. Would I?”
Heintz is a music educator with 24
years of teaching experience, a workshop
in his garage, and the idea for a versatile
instrument that could help kids choose
their musical path. His theory: if kids
have an opportunity to try each type of
instrument before they need to choose
one, they are more likely to make a choice
that will lead to success and satisfaction.
ABOVE: Music educator David Heintz shows
and explains his Clarflupet Pre-Band Primer™
to teachers at the VMEA Fall Conference.
(Photo by Denis Lambert)
His invention is the Clarflupet™ and
— as the name suggests — it’s a hybrid
instrument combining the clarinet,
flute, and trumpet. (Earlier rejected
names included “trumpflunet” and
“buzzcrowtoot”.) The instrument looks a
bit like a recorder but without so many
holes. At one end, there is a clarinet
mouthpiece. The other end is shaped like
a trumpet mouthpiece. Part way down
the tube is a hole that replicates a flute
embouchure plate. The entire instrument
is made of plastic for easy cleaning.
Heintz said he developed the
instrument through his experiences
teaching at Haverhill (N.H.) Middle School.
For the past two years, all fourth grade
students have explored wind instruments
in class with Heintz using mouthpieces
the school purchased for that purpose.
By the end of the class, they each have
learned to make music using single reed,
flute, and brass embouchures. They also
explore percussion. The Clarflupet™ that
Heintz created eliminates the need to buy
separate mouthpieces and build a flute.
One of the biggest challenges in
designing the Clarflupet™, Heintz said,
was getting all three mouthpieces to play
in tune. Heintz acknowledged that there
are scientific equations that could have
helped with this process but he chose to
design his instrument without them. “For
me it was an awful lot of trial and error,”
he said.
The single reed mouthpiece will
produce a ‘C’ when the thumb hole is
covered and a ‘B’ when open. The flute
tone hole produces a ‘B’ (low and high).
The brass mouthpiece will produce
the notes ‘G’ and ‘D’. The instrument
purposefully produces few pitches
because, Heintz said, the goal is to have
students focus on their embouchure and
basic tone production without worrying
about fingerings.
Students learn about percussion using
drumsticks and practice pads that can
be set on tables or desks. Twenty-five
Page 18
December 2006
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Page 19
Page 20
December 2006
Clarflupet™
Clarflupets™ and accessories fit neatly on
a cart that can be easily rolled between
classrooms.
It was important, Heintz said, to create
something that “captured students’
imaginations” and would lead to informed
instrument choices.
The invention seems to be working so
far. Heintz recently recalled a parent who
brought her fourth grade son to school
seeking help selecting an instrument. The
young boy had his heart set on flute, but
after trying the Clarflupet™, he discovered
that he preferred the clarinet. (His younger
sister, who just started school, surprised
both Heintz and her mom when she was
able to quickly produce a sound on all
parts of the Clarflupet™. Her number one
choice was trumpet.)
That’s the premise of the Clarflupet™.
Instead of facing the frustration of
struggling to producing a sound on
an instrument that has been rented or
purchased, students can begin with
the confidence of having successfully
conquered the initial challenge. Parents
are more willing to invest in an instrument
knowing their child can succeed with it.
Teachers face fewer requests to switch
instruments and increase their ability to
retain students.
According to Heintz, the Clarflupet™
can also be used effectively to introduce
music composition and improvisation,
teach about the science of sound
production, work with special needs
students, or help parents of band students
understand the challenges their children
face. But its greatest benefit may be to
individuals faced with the decision of
what instrument to play.
“I see this functioning at all levels,” said
Heintz, including “those [older students]
who wonder if they want to play a
secondary instrument and what that
would be.”
Whatever its use, Heintz hopes
that his invention will benefit music
education. It wouldn’t hurt to sell a few
instruments either. Aside from the costs
of development and production, research
and filing fees associated with patent and
trademark attorneys involves a significant
financial investment. Heintz has filed a
patent application for the Clarflupet™ and
expects to hear back from the government
within a year. According to the U.S.
Patent and Trademark Office, patents
grant individuals “the right to exclude
others from making, using, offering for
sale, or selling the invention in the United
States or importing the invention into
the United States.” Patents last for 20
years, with the intention, Heintz said, of
allowing the inventor an opportunity to
recoup the costs involved in developing
Frederick
Johnson
Pianos, Inc.
~Established 1930~
One of the largest selections in
New England – including digital
SALES, SERVICE & RENTALS
the product. After 20 years, the invention
becomes available for anyone to produce.
Trademarks, on the other hand, such as
the Clarflupet™ brand, last forever and can
actually be transferred through a person’s
will, said Heintz.
He keeps production costs at a
minimum by building the Clarflupet™
at his home using his own tools. “At this
point everything is done in my workshop,”
said Heintz. Though he is exploring
options for having the Clarflupet™
manufactured, he said he would prefer
to keep production “in house.” From
research and development to production
and marketing, the Clarflupet™ has been
a time-consuming project for Heintz.
Yet he admits to enjoying the learning
process. He also credits his wife for being
supportive of his latest undertaking.
Heintz still plays the trumpet. He
also has an extensive background in
competitive speech, juggling, and magic.
(Hence his desire to create something
“magical” in the eyes of future musicians...)
Heintz taught music in Northfield,
Minnesota, for three years before moving
east to earn a master’s degree from the
University of Lowell (Mass.), after which
he began working for the Haverhill (N.H.)
Cooperative School District. He presently
teaches instrumental music lessons and
directs bands at Haverhill Middle School
and Woodsville High School, working with
students in grades five through twelve.
His Clarflupet™ system includes 25
Clarflupet™ wind embouchure trainers,
reeds, drumsticks, practice pads, a cleaning
system, and a round cart for storing and
transporting all these materials. People
can buy the entire program kit or purchase
individual Clarflupet™ wind embouchure
trainers.
Though he hopes his invention catches
on, Heintz said he is still excited about
teaching and has no plans to quit his day
job.
To obtain more information about
the Clarflupet™, contact David Heintz
by phone (603-989-5436) or e-mail
<[email protected]>.
Located just south of Jct. I-89 & I-91 on Rte. 5 across from the VA
WHITE RIVER JUNCTION, VERMONT
Denis Lambert is the current VMEA Editor.
Tel: (802) 295-2674 • Fax: (802) 295-9246 • Email: [email protected]
December 2006
Page 21
Teaching Methods
Developing Imagination
in the General Music Classroom
Pamela James
Music is an aural art. It does not
come with pictures. Its symbol system
is unreadable to those who have not
learned how to interpret it. Music as
sound cannot be touched or held. Once
the sound dissipates, music is gone. So
how do we comprehend and retain
music? We comprehend and retain music
by using our imagination.
Imagination in Early
Childhood Music
Music in early childhood should
stimulate and encourage the imagination.
Music from different cultures, genres,
and styles opens children’s ears to many
possibilities. Using this music as an
accompaniment to creative movement
engages the kinesthetic aspect of
imagination. Suggesting ways in which to
move is a good way to start, but children
this age need time to discover their own
ideas and become comfortable with
movement. Simple free-style dancing
to a variety of music allows children to
develop at their own pace. Encouraging
children to listen for musical elements
such as tempo, dynamics, and phrasing
may persuade them to incorporate those
elements into their movement. The everpopular “Freeze Dance” (dance when the
music plays and “freeze” when the music
stops) creates an opportunity
for children to be creative
while moving and while
standing still. They may create
“statues” when they freeze,
then make those statues come
to life when the music starts
again.
Free instrument play is
another means of connecting
children’s imagination to
the music they hear. Simple
rhythm instruments such as
hand drums, tambourines,
rhythm sticks and triangles
can be used to accompany
recorded music.
Without
making any implicit suggestions, observe
how the children play their instruments.
This is not formal assessment, but notice
the following: Are the children listening
to the music or playing independently
from what they hear? Do the children
play softly when the music is soft? Is their
demeanor a reflection of the quality of
the music?
During music class, subtle modeling
by the teacher is preferred over verbal
instruction.
Few young children
understand musical concepts, but most
young children can imitate what they
see. If the children see a teacher playing
rhythm sticks with a steady beat, they
will often try to do the same. Engaging
facial expressions and a playful attitude
will attract the children’s attention while
non-verbal communication teaches the
children to refrain from speaking while
music is playing.
In addition to singing songs from the
standard children’s repertoire, include
opportunities for children to create their
own songs about favorite toys, friends,
and animals. Again, modeling is the way
to encourage participation. Consider
using a sol-mi or sol-la-sol-mi pattern in
a relaxed, recitative-like manner. Sing
about something in their world as this
adds legitimacy to the things that fuel
their imagination. The more child-like
(not childish) your example, the more
likely it is that children will attempt their
own songs. Their songs do not have to be
long; just one phrase is enough.
Children enjoy hearing a song sung
to them as much as they enjoy hearing a
story read to them. There are numerous
books created from songs that can be
sung instead of read such as “Mockingbird”
by Allan Ahlberg, “This Land is Your Land”
by Woodie Guthrie, and “Take Me out
to the Ballgame” by Jim Burke. Another
excellent source of songs to sing to
children is The Book of Children’s Songtales
by John Feierabend. These songs lend
themselves to the use of imagination
because there are only a few pictures in
the book. Children become wrapped up
in the sung story as they imagine what is
happening.
Imagination in Elementary Music
Between the ages of 6 and 12, children
become more literal in their ability to
interpret music. Continue to encourage
the children’s musical creativity with
works such as Peter and the Wolf, Carnival
of the Animals, and Sleigh Ride — program
music written specifically to stimulate the
imagination.
Children in elementary grades like
to know rules, parameters, facts, and
figures, so this is the time to introduce
the elements of music. Direct instruction
about melody, harmony,
rhythm, tone color, texture, and
form gives children the tools
necessary to activate musical
imagination. As the children
listen to music from a different
culture, highlight these musical
elements. Show the children a
map of the music’s country of
origin, discussing population,
language, and climate. Often
the relatively “exotic” nature of
a foreign country stimulates
a
child’s
imagination.
Introduce traditional dances
to accompany multicultural
Page 22
December 2006
December 2006
Page 23
Developing Imagination
UNIVERSITY
of
NEW
HAMPSHIRE
Your source for a
Master of Arts
in
•Music Studies
or
•Music
Education
( for certified
music educators)
•Convenient
class times
•Individual
attention
•Graduate
Assistantships
available
For more
information visit
www.unh.edu/
music
Or email
[email protected]
Dr. Robert Stibler
Graduate
Coordinator
Department of
Music
Dr. Mark DeTurk,
Chair
Department of
Music
music and continue to allow time for
creative movement exploration.
As children learn to read and write
music, have them compose music as soon
as they are capable. Composition forces
children to think in sound, stimulating
the musical imagination. Supply many
different rhythm instruments so the
children can experiment as they play their
compositions. Performing is yet another
way to engage imagination. When
children make music, whether singing or
playing an instrument, they experience
the elusive nature of sound in time.
Discovering that music is temporal is an
important milestone in the development
of musical imagination.
Despite their tendency toward the
literal and rational, children still appreciate
an engaging sung story. The Book of
Young Adult Songtales by John Fierabend
is appropriate for the upper elementary
grades. Having the children act out some
of the stories adds a dramatic, kinesthetic
component. Fashioning their own short
songtales leads children to a further
exploration of imaginative composition,
perhaps even an attempt at writing a
short musical or opera.
Classroom Suggestions
A child must feel secure in order to
exercise her musical imagination. The
general music classroom must be a
nurturing, positive, loving environment
where children can safely express
themselves without fear of ridicule.
When children are being imaginative and
creative, there are no “right” answers; this
is one element that makes music class so
special. Children appreciate time in their
day to work outside the strict confines
of paper and pencil activities. Through
listening, movement, performance, and
composition, children have opportunities
to develop and stimulate musical
imagination. These experiences can carry
over into other parts of their lives, enriching
their knowledge and understanding of
the world around them.
Pamela James is a general music teacher
and choral director at Green Hedges School
in Vienna, Va. She can be reached by e-mail
at <[email protected]>.
Youth Orchestra Announces
Solo Competition
The Lakes Region Youth Orchestra
(LRYO), through a generous grant from
the Anton Family Foundation, is offering
a $1,000 prize for the winner of a solo
competition to be held in the spring of
2007. In order to compete, students must
be members of the LRYO during the
Spring 2007 semester.
Located in Castleton and Rutland,
Vermont, the LRYO provides an orchestral
program for the youth of west central
Vermont and east central New York.
The LRYO has seven music ensembles
to serve musical abilities ranging from
mid elementary to senior high school
musicians.
The students will be competing not
only for the monetary reward, but for
the prestige of playing a solo with the
Orchestra for its Spring Gala Concert at
the Paramount Theatre on April 29, 2007.
For more information, contact
Laura Steere of the Lakes Region Youth
Orchestra, (802) 773-4689.
?
“I would teach children music, physics, and philosophy;
but most importantly music, for in the patterns of
music and all arts are the keys to learning.”
- Plato
Page 24
December 2006
Bjh^X:YjXVi^dc[dgKZgbdci#
Bachelor of Music
in Music Education
Bachelor of Arts in Music
At Castleton, we believe that in order
to become a successful music educator one must
develop superior performance skills. Our curriculum allows the student musician to earn a teaching
certificate without sacrificing the necessary training
in applied music or ensemble participation. Our
music education courses are designed to integrate
performance skills and teaching skills in multiple
lab and field settings. The music core, which must
be completed by all music majors, offers a wellrounded curriculum including music theory, history,
and performance.
Castleton’s on-campus music lab school allows
students seven semesters of actual classroom experience before they begin student teaching.
Auditions with the Music Department are
a requirement for the admissions process. The times
and dates are arranged throughout the year on an
individual basis.
For interviews and scholarship information,
please contact the Admissions Office.
2005-06 Collegiate Chorale
Faculty and Student Jazz Band
Music Education Faculty
Ronald Sherwin, Ph.D., The University of Maine,
Department Chair, Choral Music Education
Jonathan Lorentz, MA, New York University,
Instrumental Education, Theory
Sarah McQuarrie, MM, The University of Maine,
General Music Education, Piano
1-800-639-8521
www.castleton.edu
Richard Ullman, MFA, Sarah Lawrence College,
Graduate, Kodaly Pedagogical Institute, Hungary,
Aural Skills, Guitar
Marc Whitman, MM, Ithaca College, Secondary
Music Education, Percussion
December 2006
Page 25
Page 26
December 2006
December 2006
Page 27
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Page 28
December 2006
VMEA Executive Board Minutes
September 14, 2006 at Spaulding High School
Cindy Hall
Editor’s Note: The following text is formatted
to conform to the style of this journal. As part
of that process, punctuation and capitalization
may have been altered or added. The content is
otherwise unabridged.
Meeting began at 5:20 PM
Members present: Gary Moreau, Cindy
Hall, Steffen Parker, Glory Douglass, Bear Irwin,
Denis Lambert, Susan Cherry, Allyson Ledoux,
Tom Heintzelman, Betzi Irwin, Chris Rivers,
Anne Hamilton, and guest Jennifer Moore.
REPORTS
Secretary’s Report
Motion to approve as printed and
distributed: Steffen Parker. Second: Paul
Rondinone. Motion carried.
Treasurer’s Report
Paul presented a detailed treasurer’s
report.
Balance as of September 14, 2006:
$8137.31
Less magazine funds: -$3461.82
Current available VMEA balance: $4675.49
Motion to accept treasurer’s report: Steffen
Parker. Second: Glory Douglass. Motion
carried.
Steffen asked how well districts did last
year at paying their share of the insurance fee.
Paul reported that about 3/4 of the money
came in. Anne mentioned that it would be
helpful to have a written document or invoice
to present; in the case of her district the Rotary
Club pays all the bills. Steffen will put a pdf
form on the website.
Paul reported that there is now an
introductory MENC rate, so we are seeing a
slight drop in income as a result.
Conference Chair Report
Allyson reported that everything was
going very well for the conference. There was
a great spread in the journal and Allyson and
the Board thanked Denis Lambert for his great
work.
Twenty-eight exhibitors will attend —
more than usual. Letters have gone out to
principals announcing the conference and
encouraging them to pay the registration fee
for their teachers.
Allyson reported that if we don’t have a
larger crowd than usual, it will be baffling and
we may want to revisit whether or not to hold
the conference at all. It is now up to us as a
Board to get people to come.
Allyson reported that Steffen is in charge
of the exhibitors and is even bringing his
generator. Allyson asked the Board to step up
and do anything that they see needs doing at
the Conference - don’t wait to be asked.
Exhibitors with more than one person at a
table will be charged for lunch.
Cindy and Paul will do registration at the
door and Tom will sit at the pre-registered
table.
www.
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pRompt, excellent RepaIRs
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December 2006
Bethel, VeRmont
Page 29
Celebrating
22
YEARS
2007
Festival Dates
ATLANTA, Georgia
March 30-31, April 13-14, 20-21, 27-28
CHICAGO, Illinois
April 13-14, 20-21, 27-28
GATLINBURG/PIGEON FORGE
Tennessee
April 20-21, 27-28
Invitational Music Festivals
For Band, Orchestra
& Chorus
PERFORMANCE AREAS
Concert Band / Wind Ensemble / Orchestra / Stage Band
Jazz Band / Guitar Ensemble / Parade
Marching Drum Line / Percussion Ensemble
Indoor Guard / Drill Team / Majorette Squad / Dance Team
Flag Squad / Rifle Squad / Mixed Chorus / Men's Chorus
Treble Chorus / Chamber / Madrigal Choir
Gospel Choir / Jazz Choir / Show Choir
For Information
Call Toll-Free 1-800-222-6862
6223 Lakeside Ave., Richmond, VA 23228
(804) 264-8663 FAX (804) 264-6302
e-mail to: [email protected]
MYRTLE BEACH, South Carolina
March 23-24, 30-31, April 13-14, 20-21,
27-28, May 4-5
NEW YORK, New York
March 23-24, 30-31, April 13-14, 20-21
ORLANDO, Florida
March 30-31, April 13-14, 20-21, 27-28
VIRGINIA BEACH, Virginia
March 23-24*, 30-31*, April 13-14, 20-21,
27-28, May 4-5*, 11-12*, 18-19*
NEW WASHINGTON, DC
March 30-31, April 13-14, 20-21, 27-28
WILLIAMSBURG, Virginia
March 23-24*, 30-31*, April 13-14, 20-21,
27-28, May 4-5*, 11-12*, 18-19*
* Combined Festivals Williamsburg/
Virginia Beach
Page 30
December 2006
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#BOE*OTUSVNFOU3FQBJS5FDIOJDJBOT
VMEA Minutes
Allyson will approach exhibitors about
possibly buying breakfast (donuts or bagels)
for the drum line kids. Exhibitors are stepping
up to pay for things like folders, room
preparation, etc.
Glory, Susan and Betzi reported on their
clinicians.
All State Director’s Report
Steffen reported that the Mt. Anthony
festival went very well.
The website has been updated except
for jazz excerpts and jazz drum selections,
which are coming soon. Changes in rotation
discussed at the All State meetings will be in
place next year. The clarinet piece is not out of
print after all and will remain in the rotation.
Online applications went well last year.
The audition dates have been moved ahead
a week because some schools not back form
vacation until the 8th.
Steffen voiced concern over the All State
scholarship offerings. The All State group
voted to limit financial scholarships to three
per category.
The Lions Club is still supporting us well.
Steffen encouraged board members to thank
Lions Club members if we see them. Northern
VT Oral Surgeons are still paying for All State
T shirts.
Steffen reported that Evelyn Springstead
passed away recently. Her niece asked Gary to
speak at the memorial service. Due to a conflict
with the National Anthem Project VT visit,
Steffen will take Gary’s place at the service.
.PSFUIBOZFBSTFYQFSJFODF
Editor’s Report
District V
Denis thanked individuals for their help in
getting the mailing ready.
Bear reported that all is going smoothly.
We are $50 ahead of last year on ads.
Denis asked for district reports, award
recipient info, All State info and something
about Evelyn for the next journal.
Deadline: October 15. Steffen will prepare an
article about Evelyn.
DISTRICT REPORTS
District I
Betzi reported that District I has
restructured their festivals so that kids can
participate in both band and chorus. They will
have a February festival that includes HS Wind
Ensemble and Concert band, MS Chorus and
HS scholarships; a May festival with MS bands,
HS Chorus and HS Select jazz. Aron is retiring
as District I president and elections are now
being held.
District II
Anne reported that they are adding a oneday jazz festival. Auditions will be held for the
jazz band and nominations for chorus.
District III
Allyson reported that they have a meeting
coming up. Solos will be used for vocal
auditions. They will also try a scholarship
audition with outside judges. Possibly use it
to recommend who should and should not try
out for the All State Scholarship auditions.
District IV
Chris reported that three festivals are
coming up and conductors and managers are
in place for all.
District VI
Tom reported that many teachers were
returning to the district. They have also split
their festivals so that kids can do both band
and chorus.
PRESIDENT’S REPORT
National Anthem Project
The Project is coming to the Bristol Harvest
and Antique car Show on September 23.
Groups are being invited to perform. MENC
sent out an email to VT teachers. They are also
picking two vocalists that day to represent VT
in D.C.
Easterns
All names have been submitted. Students
will be notified in late October.
Eastern Division Conference
Gary and Cindy attended the planning
meeting in Hartford, CT this summer. The
conference will take place in Hartford, March
8-11. Excellent offerings. Unfortunately the
conference is up against the ACDA conference.
Very important to get people to go. For the first
time MENC is not sponsoring the conference
financially; CMEA is. If attendance is poor,
CMEA will take the hit. CMEA has done a great
deal of work preparing for the conference.
VAAE Partnership
VAAE got their grant. It was for less than they
hoped, but they got it. A new VAAE website
will tie all VT Arts organizations together, with
links back and forth.
December 2006
Page 31
VMEA Minutes
State Report to MENC
Due next week. Gary asked for input as
to what we would like to ask MENC to do for
us. MENC is really trying to listen to what the
states have to say.
Advocacy Pamphlet
This document needs to happen this year.
It could be handed out at school concerts
and festivals. Taxpayers would be the target
audience.
nomination forms to the entire email list
would take care of this.
the responsibility to pay membership fee and
ensure that their teachers are members.
We need to make the VMEA membership
requirement more clear.
The New England Music Festival requires
one member of the faculty to be a member.
Discussed what it means for home school
students.
Anne thought that reminders in the journal
would help in getting more nominations in.
More discussion on what we had decided
in terms of VMEA membership and how that
fits in the nomination process. Checked on
membership status of the nominees and
removed non-members.
The Board voted by ballot. Bear will count
the ballots and get awards ready.
Website
OTHER
Gary mentioned that Aron is no longer
assisting with website posting and asked if
anyone else would be interested in helping
so Steffen doesn’t have to do it all. See Gary
if interested.
Mandatory VMEA Membership
for Festival Participation
Capitol Campaign for Scholarships
Gary brought this discussion up as
an outgrowth of the T.O.Y membership
discussion. We have discussed it in the past.
We are one of a handful, if not the ONLY state
that doesn’t require MENC membership for
festival participation. Other state leaders are
very surprised that we don’t.
Lori Routhier has expressed interest in
helping with a capitol campaign to help raise
money for All State scholarships and help
sponsor things like the conference.
Glory and Allyson felt that now VMEA
oversees All State, it is time for that requirement.
The requirement could be announced at the
All State meeting for the next year.
T.O.Y.
Chris felt that since the participation fee
is starting next year, the requirement could
as well - the two could be under the same
umbrella. One big change would be easier to
swallow than two big ones in a row. Both of
these initiatives represent a huge change in
how we have operated. Schools would have
Scholarship Auditions
Gary needs two more judges.
Bear likes the at-large nomination process.
Recommended continuing this and sending
out nomination materials to the entire email
list.
Discussed how to find information
on veteran music teachers. Sending out
Jennifer Moore suggested having two
different fees - one for members, a higher one
for non-members. It would be a gentle way of
encouraging membership.
The board felt any further discussion
needed to wait for Steffen Parker’s input
(Steffen had to leave early for another
engagement.) The discussion could continue
online through the Google listserv. It is a timesensitive issue. Gary will speak with Steffen
and get more input as to what other states do
at the upcoming Eastern Division meeting. We
should resolve this issue soon, as budgets are
due soon in many schools.
Paul doesn’t like online voting and
discussion. He feels it is important to discuss
big issues face to face.
We
will
call
another
meeting
November 1 or 2. Gary will email us about the
date.
Gary thanked the Board for their
professionalism and dedication. He is excited
about how we are furthering music education
in Vermont.
Motion to adjourn: Paul Rondinone
Second: Bear Irwin
Meeting adjourned at 7:20 PM
Cindy Hall is the current VMEA Secretary.
?
“The life of the arts, far from being an interruption,
a distraction, in the life of a nation, is close to
the center of a nation’s purpose... and is a test
of the quality of a nation’s civilization.”
-John F. Kennedy
Page 32
December 2006
December 2006
Page 33
Guest Article
Copyright © 2006 by Michael S. Milnarik. All Rights Reserved.
Reprinted with permission.
Audition Tips for Students
Michael S. Milnarik
It’s officially FALL! That means there
will be auditions taking place soon! I hope
the following tips will help your students
audition more successfully!
PREPARATION, PREPARATION,
PREPARATION
There is no substitute for preparing
well for an audition. It’s very important
to obtain the audition piece as far
in advance as possible, and to begin
working on it. The better we prepare for
an audition the more confidence it gives
us. Not preparing well leaves too much to
chance. We get nervous because we have
less control over the situation and we’re
not sure how we will perform that day.
Prepare well!
SOME IMPORTANT THINGS
TO PAY ATTENTION TO
When you are auditioning for a band
or orchestra always keep in mind that
you are demonstrating how well you play
so that you can participate as a member
of a section of the ensemble. Rhythm,
time and pitch are areas to pay particular
attention to. Good ensembles are strong
in all of these areas.
Your interpretation, that is, how well
you know the piece and what you do
with it musically, is very important as
well. Composers are often very particular
about how they want notes articulated
and what the style of the piece should
be. This is even more so with the music
written in the last fifty years. Keeping this
in mind you must make sure that you pay
attention to all of the small details like:
accents, dynamics, slurs, length of notes,
etc. I say “small details” but they all add
up to a huge difference in how the piece
sounds. Musicians who pay attention
to the smallest details are the most
successful in the audition process and as
performers.
SOME TOOLS
There are tools to help us improve
on various aspects of our playing. A
metronome, a tuner and some sort of
recording device. A metronome is going
to help you with your rhythm and time.
You can improve your rhythm enormously
if you set the metronome on a subdivision
of the beat. A tuner can help you learn
to play in tune. Close your eyes, play the
note where you feel it’s in tune and then
open your eyes to see if you are correct.
It’s not good to watch the tuner and work
at making the needle stay in the middle.
In this case you are training your eyes, not
your ears!
of a solo by another musician, only after a
piece has been learned.
A recording device can be your best
teacher! First and foremost, be aware that
some microphones don’t have a very wide
frequency range, so in many cases this
recording will not reproduce an accurate
representation of your sound. Also, many
consumer devices have compressors
built in. A compressor automatically
makes the sound softer when it gets too
loud. This limits the dynamic range you’ll
hear on playback. So, unless you’ve got
professional equipment I’d say disregard
the tone quality and dynamics. The
things that you can get a very accurate
representation of are steady sound,
articulation, rhythm, tempo, missed notes,
places to breath and many other aspects.
Recording yourself is great because you
not only hear all of the things you are
doing incorrectly, but just as importantly,
all of the things you are doing correctly!
As I say to my students, even if you
don’t know what the year’s audition
piece is yet, you always can work on
scales. Not only are they essential to our
development, they’re “free points” in an
audition, if we know them! When it comes
to scales there should be no excuse for
not knowing them.
THE USE OF A RECORDING
WHEN LEARNING A SOLO
It’s important NOT to listen to a
recording of a solo before you’ve
prepared the piece very well. One of
the main reasons we prepare a solo and
participate in auditions while we’re in
school is to make us better musicians.
The preparation of a piece sharpens our
skills and brings us to a higher level.
When we listen to a recording before we
work on the important aspects of a piece,
we cheat ourselves. We need to learn the
pitches, rhythms, tempos, phrasing and
other parts of the solo on our own. Once
we’ve done this, we’re better.
Recordings should be used only after
we’ve learned a piece thoroughly. A
recording should serve as a reference for
us in regard to the musical interpretation
SCALES AND SIGHTREADING
Scales are fundamental. They are
important to know if you play an
instrument, period.
They help our
technique, our range, to “hear” within a
key, to recognize patterns, to be able to
improvise and in many other parts of our
playing.
Sightreading should be taken just as
serious. Most students don’t sightread
regularly and their scores show this. My
younger students are usually amazed
when I tell them that a professional
freelance musician makes at least 80% of
their income from sightreading! One of
the best ways to learn how to sightread
better is to buy an extra method or etude
book for your instrument. Each day, open
the book randomly to at least one new
page. Play everything from the top of
the page to the bottom of the page, and
don’t go back to fix anything. It’s very
hard to do, especially when we know we
made a mistake. When you’ve finished
playing everything on the page either
randomly choose another page or move
on to something else. If you do this on a
regular basis, your sightreading ability will
improve and you’ll begin to find that you
learn new pieces quicker. This is simply
because if you are a good sightreader you
begin to learn a new piece by starting
at a higher level. Sightreading...take it
seriously!
CONCENTRATION
This is one of the most difficult aspects
of taking an audition. We must stay
focused on playing the piece of music in
front of us and not think about anything
else. So many things can distract us
Page 34
December 2006
December 2006
Page 35
Audition Tips
in auditions — sirens, car horns, doors
slamming, someone accidentally entering
the room, the judge smiling or frowning,
a pencil dropping, and the list goes on
and on.
You must get yourself wrapped up in
the music you are performing. Get lost in
the moment and forget about everything
else that’s going on your life during the
actually audition. While you are in the
audition you cannot control anything else
except the music you are playing.
I often ask tuba and euphonium
students of mine, “If you glance up during
your audition and see the judge smiling,
what does that mean?” In every case
the response is, “Maybe the judge likes
what they’re hearing.” Maybe. What I can
guarantee it mean is that you just lost
your concentration! If you were doing
well, you begin to make mistakes. The
judge may have been smiling because
someone wrote something funny on the
desk they’re using. Who knows? The
point is, it doesn’t matter. All that matters
is that you focus on playing the piece the
best you possibly can!
IT DOESN’T MATTER WHO
ELSE IS AUDITIONING
It really doesn’t. Many students think
about playing well because they want
to do better than someone that they’ve
either heard somewhere else before or
perhaps the person got a higher score
than them the year before. This happened
to me in high school.
When I was in tenth grade I had gotten
second chair at a regional band audition.
The student that got first chair, wasn’t
very nice about it. The next year we were
both auditioning again and I was focused
on beating him. I prepared very well and
was ready for the challenge. Before I
went into the audition room I was talking
to the person that was bringing people
back and forth from the warm up room
to the audition room. In our conversation
she mentioned that the guy I wanted to
beat was very nervous before he went
into the room. She said he was shaking!
I was so excited! I thought that I would
score higher than him for sure this year.
I got into the audition room, was over
confident, and got extremely nervous.
The outcome? He got first chair and I got
second chair again. I asked him about
his nervousness and he told me that he’s
like that before every audition! If I would
have concentrated on what I was doing
instead of what he was doing, things may
have turned out differently. I learned a
very important lesson that day. By the
way, although he was a good player, he’s
now a dentist!
AUDITION DAY
Warm up as you usually do. Don’t
change your routine. It’s very common to
over practice the day of an audition and
then be too physically tired to perform
well. I always tell my students to do their
regular routine, lots of breathing exercises
(which help you to play well and also have
a calming effect), go over some scales,
and start sections of the piece to get the
tempos locked in your head. Don’t play
things over and over. If you don’t know
it at that point, you’re not going to know
it. (One of the reasons for preparing in
advance!)
One more bit of advice, don’t over
practice the day before your audition
either! Remember, your chops are muscles
like any other muscle in your body. You
can overwork them! When you use your
muscles they need time to rest in order to
repair any damaged tissue. Practicing too
much the day before your audition may
not give them the time they need to rest.
Practice smart!
ATTIRE
Ever hear the expression, “You never
get a second chance to make a first
impression.”? It’s true. Dressing up for
an audition tells the judge that you are
taking this audition very seriously. When
you walk in the door and appear to look
serious about the audition it gives the
judge a good feeling about you. This can
be to your advantage because the judge
may be more attentive to your audition.
(A side note...Some states have auditions
behind screens, and some have open
auditions with the judge facing you!)
more experience taking auditions than
others. Don’t read into what the judge
says or does. Like I said, they want you to
feel comfortable. So there are going to
be times when they’ll say “Good job!” or
“Thank you!”
The opposite is also true. Sometimes
a judge will purposely not smile or make
comments in order to appear neutral and
not distract the student. These comments,
or actions, should not have any connection
to the results of the audition. There may be
many other students, that play the same
instrument, that haven’t even auditioned
yet. I’ve seen many students get excited
because of polite comments, smiles or
other gestures. Don’t read into it.
FINAL THOUGHT
In order to prepare for a successful
audition we need to pay attention to
details and, very importantly, be patient.
When learning a new piece of music we
are training ourselves to play the piece by
the habits we create. To make sure that
we stay on track and help us set practice
goals, a private teacher is very important
in our development as a musician. I grew
up in a rural area and understand that
it is sometimes difficult to find a private
instructor on your own instrument. In this
case you should ask your school music
teacher for as much help as possible. A
local college or music store can be a good
way to find an instructor. Good luck!
I wish you much success with your
auditions and as always...
Got questions? Email me! <mike@
tubastudio.com>
Michael S. Milnarik is the tuba/euphonium
instructor at the University of Massachusetts
Lowell, Tufts University, University of
Southern Maine School of Music, Salem
State College, Anna Maria College and the
Lexington (MA) Public Schools.
?
THE JUDGE
It’s always very important to keep in
mind that the people judging auditions
want you to do well. They are not the
enemy. These people are chosen because
they are music educators and they realize
that this is a learning experience for you.
The judge wants you to feel comfortable
and understands that some students have
“Most of us go to our
grave with our music
still inside of us.”
(Unknown)
Page 36
December 2006
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December 2006
Page 37
Notes from the Road
Living in a New Age of School Security
The issue of school security has gained prominence this year, as the result of several
incidents, including one in Essex. Around the state, signs are being posted on school
entrances reading something like this...
ATTENTION ALL VISITORS, PARENTS, VENDORS, AND OTHER PERSONS NOT
REGISTERED FOR CLASSES OR EMPLOYED BY THIS DISTRICT!!!
As of September 1, 2006, all school doors will be LOCKED from 8:00 a.m. until
7:30 a.m., Monday through Sunday. We regret that our parking lot is now off limits.
Our main entrance is located approximately 2 miles beyond the moat on the other
side of the electrified fence. (You can find the door yourself.)
At our main entrance, you will need to ring the doorbell and wait for someone
to respond through the intercom. Once your presence is acknowledged, stand in
front of the video camera, state your name and the purpose of your visit, and turn
around in place slowly one time so we can check for visible weapons.
Once inside the building, you must report directly to the main office (through the
metal detector and 3 sets of non-handicap accessible double doors). At that point,
we will ask you to:
ü Sign our visitors log. You will need to write your name; address; phone
number; date of birth; mother’s maiden name; vehicle make, model, and
license plate number; and social security number.
ü Show at least 2 forms of photo ID, including your driver’s license. (Slide
these under the plexiglass barrier.)
ü Complete a visitor’s badge sticker by writing your name, the date and time,
the person you are visiting, and the specific room you will be in. This sticker
must be worn at the top right quadrant of your shirt.
ü Put on a special neon orange vest that identifies you as a visitor. This vest
must be worn at all times while in the building.
ü Leave your vehicle and house keys with the main office staff. They will be
returned after you sign out to ensure that you return the visitor vest and
exit via the main doors. (Using any other door will trigger an alarm.)
ALL bags, purses, packages, and other sealed containers you are carrying must
be searched and labeled with a blue smiley face sticker before leaving the main
office. Please note that the following items are now PROHIBITED and MAY NOT be
brought into the building: scissors and other sharp items, cameras, cell phones,
pens, homemade food items, and beverages (including bottled water).
You will be escorted to your destination by a student or staff member.
We do ask that you refrain from speaking to anyone other than the party you are
registered to visit. Any eye contact or other communication with students or staff
in violation of this policy may result in your immediate arrest. All infractions will be
prosecuted to the full extent of the law.
We apologize for any inconvenience and trust that you will be understanding of
our new visitors’ guidelines, as they are for the safety of all people in the building.
Enjoy your visit.
Denis Lambert
Finding the Root Cause
When the U.S. Secret Service studied
school shootings, they found that
80% of shooters were suicidal — and
actually many school shooting incidents
have ended with the aggressors killing
themselves. Virtually all shooters have
been male. Shooters rarely make any
effort to conceal their weapons. The
motivation is typically a traumatic
event (e.g., being expelled from school,
breaking up with a girlfriend) or general
anger/unhappiness (being treated as an
outcast, being homeless, etc.).
The deadliest school violence on
record in the United States occurred in
1927 in the state of Michigan. A school
board member, distraught over financial
hardships he felt resulted from property
taxes used to build a new school, set off
explosives he had planted in the school
building. The disaster killed 45 people
and injured even more.
The “copycat” phenomenon is another
motivation that has been documented
and can often be cited - many shooters
still referring to Columbine - but it does
not take a psychologist to understand
that the underlying issue in committing
violent acts is not simply a desire to copy
a previous incident.
Disturbed individuals need help;
these individuals need a place to go and
someone to listen. Governor Douglas
frequently suggests raising Vermont’s
student-to-teacher ratio as a way of
reducing education spending. I would
argue that it’s more important now than
ever to keep the ratio low. Vermont’s
leaders should also re-think their policies
that force small schools to close and join
regional schools, where students become
numbers instead of people. How many
violent incidents occur in Vermont’s
smallest schools? How many occur in its
largest?
There are steps for being better
equipped in the event that a violent
incident occurs inside a school, but they
Page 38
December 2006
School Security
do nothing to prevent violence in schools.
The real solution is the stuff that rarely
gets discussed or acted on. Societal issues
like access to quality childcare, affordable
housing, counseling, and mentoring
come to mind.
When Howard Dean was running
for president in 2004, he spoke about
his plan for tackling the issue of prison
overcrowding. The wrong approach,
he said, was to spend millions of dollars
building more prisons. Rather, he insisted
the real solution was to spend more money
on early childhood education. If children
grow up with proper values (like ‘don’t
hit other people’) they are less likely to
become involved with crime and violence.
Likewise, if middle school students play
basketball and sing in the jazz choir, they
are less likely to become drug addicts and
teenage parents. Research proves this.
Violence occurs when people react
physically to their anger. The solution is
simple. People must learn to deal with
their emotions in non-violent ways, like
talking to friends or being involved in the
arts.
In his keynote speech at the VMEA Fall
Conference, Dr. Kenneth Raessler spoke
of the importance for all people to make
music, linking crime and other societal
problems to “a certain need that is not
being met in present life and educational
environments.” He continued:
“Our cognitively based educational
system has desensitized our youth to the
point where violence is commonplace
in our schools. We eliminate music
programs and use the money to install
metal detectors at the doors of our
schools. In Fort Worth, we even had to
install metal detectors at high school
football games. I might add that this
posed real problems for the marching
bands! We simply must prioritize our
educational values for all children and
youth, establishing a training ground for
knowledge through things that last and
through the cultivation of the soul, for
the rhythm and harmony of life simply
cannot exist without these ingredients.”
Music can build individuals’ selfesteem, manners, basic decency,
appreciation of beauty, and respect for
others. The concept is nothing new. In
the 1994 MENC publication The Gifts of
Music, Erich Kunzel, conductor of the
Cincinnati Pops Orchestra, wrote “Give a
youth a clarinet, trumpet, or a drum, and
he won’t play with a gun!”
But the submission in that book
most pertinent to the issue of violence
came from Fred Rogers, a musician and
composer who for many years starred
in the children’s show “Mister Rogers’
Neighborhood.” (I grew up watching that
show.) Here’s what he wrote:
"To grow into 'builders' and
'enlighteners,' children need to find
healthy ways to express who they are
and what they’re feeling... I think of
music as one 'language' that can be
extremely helpful to such expression.
Through music, we can deal with our
thoughts and feelings – those interior
things that really matter to us.
When I was angry as a child, my family
wouldn’t allow me to crash and stomp
around through the house, but they did
encourage me to play out my feelings
on the piano. That’s when I discovered
the real power of music. I’d begin by
banging random notes – anything (like
a punch). The longer I played, though,
the calmer my music became, [and]
the calmer I became, too. That piano
probably got me out of a lot of trouble.
To this day, I can still laugh and cry and
express rage through the tips of my
fingers on piano keys.
Often on 'Mister Rogers’ Neighborhood'
I tell children that they can find ways to
manage their anger... ways that don’t
have to hurt themselves or anyone else.
Music is one way. I show and tell them
it’s one of my most important ways."
Think your job as a music teacher isn’t
important? Think again.
The Spark of Concern
On August 24, 2006, an angry man
entered Essex Elementary School with a
gun, looking for his ex-girlfriend. He shot
and killed two teachers and wounded a
third individual before being arrested by
police.
This incident resulted in most schools
changing their security protocol.
Approaches vary in magnitude from
keeping visitor logs to installing video
cameras and blockading the parking
lot. More schools are considering hiring
police officers to patrol the building
December 2006
Page 39
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Instrumental Music Education
Addressing musical and academic issues
facing today’s public school band and
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For more information about this and
other exciting graduate programs in the arts,
sciences, business and education contact:
college of graduate studies
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[email protected]
Page 40
December 2006
School Security
full-time. Students and teachers are
practicing “lockdown” drills evokative
of the “duck and cover” drills of the Cold
War. (NPR’s “Weekend Edition” produced
an interesting segment about such drills
recently, which is available to listen to
online.)
Where does it all stop? Metal detectors?
Video surveillance? Bars on windows and
doors? Armed guards at every entrance?
School officials certainly have a right
(and responsibility) to keep the school
building safe. Everyone deserves to feel
safe as they go about their daily lives.
How to get to that point is the ultimate
question. Unfortunately, today’s school
security measures leave many visitors
feeling more like suspected criminals
than guests.
As with any important issue, facts
provide a good starting point for rational
debate over how to best protect the
students and staff in our state’s schools.
Trends and Figures
There were an estimated 1.39 million
violent crimes in the U.S. in 2005, of
which murder accounted for 1.2 percent.
(Other violent crimes included in this
figure include forcible rape, robbery, and
aggravated assault.)
Violent crime in the United States
increased slightly in 2005 as compared to
2004, but longer term statistics showed a
decrease; the 2005 violent crime figures
represented a 17.6 percent decrease
as compared to 1996 figures. In 1980,
approximately 597 persons out of every
100,000 were affected by violent crime. In
2004, that figure was approximately 466
out of 100,000.
A look at the number of schoolassociated violent deaths occurring at
and away from school between 1992 and
2002 shows that a total of 390 individuals
(students, staff, or otherwise schoolassociated) were violently killed during
that ten-year period. The worst shooting
incident occurred on April 20, 1999, at
Columbine High School in Littleton,
Colorado. Ironically, overall homicides at
school decreased significantly during the
1999-2000 school year (from 33 in 19981999 to 16 in 1999-2000) and remained
relatively low through 2002. A current
timeline of school shootings retrieved
from the internet, though, seems to
suggest that 2006 has been a particularly
bad year for school gun incidents as
compared to previous years.
But is this a trend or simply a random
spike in violence? The question cannot
be answered without data from the
future. Is this issue worth investigating?
Absolutely. Parents, teachers, and other
community members have good reason
to be concerned, though panic does not
seem warranted. In many cases, plots
to carry out violent acts in schools have
been thwarted, leaving a total of only
eight school shooting incidents in the
U.S. through October of 2006. That is, of
course, eight too many but far from being
commonplace. There are thousands of
schools and millions of students.
If school violence were indeed an
epidemic, as certain media conglomerates
would have us believe from watching
their over-reported, under-investigated
segments, certainly one would think
college campuses would be among the
most dangerous places. Yet they are not.
Often times, the media associates
violence with schools, when in fact the
link is tenuous at best. The recent murder
of UVM student Michelle Gardner-Quinn
occurred off campus, yet the killing
probably spawned a discussion about
safety on campus. The murders in Essex
happened by chance to occur in a school
building. Had the shooter’s ex-girlfriend
worked at a department store, there
would have been two store clerks dead
instead of teachers. This, of course, does
not make the events any less significant
or less awful.
When violent incidents in schools are
reported, shocking details get repeated
over and over while important facts may
be overlooked. What security procedures
were in place when violent incidents
occurred at Platte Canyon High School
and West Nickel Mines Amish School, for
example? More importantly, what would
have been necessary to prevent the
events from happening?
It may not be possible to make a
building — school or otherwise — 100
percent safe.
Fighting Violence with
Guns and Walls
A typical response to violence in this
country seems to be introducing the
possibility for more violence. Airplanes
were perceived as unsafe, so we put
undercover police officers with guns
on the planes. Schools are perceived
as unsafe, so we put police officers and
sheriffs with guns in the schools. For some
people, this may help calm their fears.
Yet others may feel threatened by the
presence of guns. Consider this: prisons
are among the most “secure” buildings,
filled with armed guards, yet an awful lot
of violence occurs inside them...
Also it is worth remembering that
since 1996, most school violence has
been the result of acts by students within
the school. National media focused a
great deal of attention on incidents in
Essex, Vermont; Bailey, Colorado; and
Lancaster County, Pennsylvania — all of
which involved non-student older men.
Nearly all other school shooting incidents
in 2006 involved teenage students with
guns; these events received significantly
less coverage.
Recently, a student at BFA-St. Albans
stabbed several other students with a
used needle he found on the side of
the road. None of the school security
measures being discussed now could
have prevented that from happening.
Not so long ago, it seems there was a
movement afoot to make schools more
like community centers. These days,
however, the message coming from
schools is more like “keep out,” as main
entrances are being locked and plexiglass
countertop windows installed. It’s a
visible sign that fear is on the increase and
trust on the decline. The question is, does
this type of security make anyone safer?
Indeed, “in its study of school
shootings, the U.S. Secret Service found
that schools were taking false hope in
physical security, when they should be
paying more attention to the pre-attack
behaviors of students.”
Reacting with Logical Solutions
School secretaries have enough to do.
These days, they are also expected to be
security guards for schools, making sure
December 2006
Page 41
School Security
that everyone signs in, wears a visitor
badge/sticker, and signs out. More of
them are expected to watch security
monitors and operate door locks as well.
These extra duties could clearly have
a negative effect on their ability to be
productive and focused, as they would
anyone.
The “notice” that began this editorial —
which, by the way is based on actual signs
and policies, with some embellishment
— was meant to draw attention to some
of the inconveniences of being a school
visitor these days. I have a specific interest
in this topic since my job involves visiting
schools to make deliveries. It has indeed
been interesting to note the inconsistency
of security procedures from school to
school, even within the same town. Some
schools have implemented three or four
new procedures for visitors while other
schools have simply maintained their
previous system. Clearly, schools could
learn from one another about what works
best.
Ultimately, it is worth remembering
that life is insecure. A hundred terrible
things could happen to anyone, anywhere,
at any moment in time. We can focus
our energy on building walls or building
community.
As ever-greater amounts of money are
spent — and effort exerted — on security,
education becomes secondary. We can
have the most secure, safe schools on
the earth, but if they don’t inspire kids
to be passionate about reading, writing,
cooking, acting, automobile repair,
chemistry, physical fitness, or music, why
bother requiring school attendance in the
first place?
Let’s keep our schools safe, but please...
do it in a way that is positive, cost effective,
and practical for everyone involved.
BACKGROUND SOURCES
Crime in the United States 2005. U.S.
Department of Justice and Federal
Bureau of Investigation. www.fbi.gov/
ucr/05cius/data/table_01.html
Statistical Abstract of the United States,
2004-2005.
“Number of School-
Associated Violent Deaths Occurring
At and Away from School, 1992-2002.”
Accessed through Information Please
Database, <www.infoplease.com/ipa/
A0908221.html>
NPR Weekend Edition Sunday, “School”
segment, Nov. 19, 2006.
<http://
www.npr.org/templates/story/story.
php?storyId=6509659>
Coleman, Loren. The Copycat Effect: How
the media and popular culture trigger
the mayhem in tomorrow’s headlines.
<www.copycateffect.com>
“School Massacre” entry from Wikipedia.
<en.wikipedia.org/wiki/School_
shootings>
“Bath School Disaster” entry from
Wikipedia.
<en.wikipedia.org/wiki/
Bath_School_disaster>
“School Shooting” entry from dKosopedia.
www.dkosopedia.com/wiki/School_
shooting
Fred Rogers quote from The Gifts of
Music. Copyright (c) 1994 by MENC:
The National Association for Music
Education. Reprinted with permission.
MENC COLLEGIATE
For Our Future
Music Educators
Join MENC
www.menc.org
Page 42
December 2006
December 2006
Page 43
News from MENC Headquarters
Dana Arts and Cognition
Consortium at Dartmouth College
Six institutions and nine principal
investigators are studying the effects
of arts education on basic cognitive
processes and on brain regions
responsible for those processes, under a
three-year $1.85 million grant from the
Dana Foundation. For more information,
visit
<http://dana.org/press/hotnews/
hotnews_072604.cfm>.
New Study about Music's Benefits
Read “Music Programs in Public
High Schools Contribute to Higher
Attendance and Graduation Rates,” about
a study released by MENC and NAMM, the
International Music Products Association,
at
<www.namm.com/pressroom/
pressreleases/2006Oct30.html >.
Online Resource:
Mechanical Licensing
Have a concert coming up? Want
to record it and make copies? Some
information about mechanical licenses
will come in handy. Visit <www.menc.
org/information/mechanicallicensing.
html> for details.
Scholarship for Graduate Studies
The Nadeen Burkeholder Williams
Music Scholarships provide $1,000 for
tuition to an outstanding K-12 teacher
who is pursuing a graduate degree at an
accredited college or university, and who
either is a music education teacher or
applies music systematically in teaching
another subject. More information is at
<www.pilambda.org/benefits/awards/
ScholarshipsAwards.html>.
Call For Entries: VSA Arts
International Young Soloists Award
Seeking talented musicians who have a
disability. Selected musicians will receive
$5,000 and will perform in Washington,
DC. Any musician (instrumental or
vocal) from the United States who has a
disability and is age 25 or under is eligible
to apply. Guidelines and application are
posted at <www.vsarts.org>. Deadline:
December 1, 2006.
at any possible correlation might exist
between those falling SAT scores and
failing school music programs, resulted in
responses from 26 states. The data were
inconclusive.
Music In Our Schools Showcase
This year, instead of presenting a
“World’s Largest Concert” MENC is
encouraging members to create a video
to spotlight their music program and
raise awareness of the importance of
music education during Music In Our
Schools Month 2007. Visit <www.menc.
org/miosm> for more information on this
new advocacy program. The deadline for
video entries is December 22, 2006.
SATs and Music Programs
National news outlets recently
reported that SAT scores across the nation
had fallen in ways not fully explained by
changes in the tests. An appeal to state
leaders about the state of music programs,
with the intent to take an initial look
VERMONT MENC
MEMBERSHIP FIGURES
(as of October 31, 2006)
167 active
13 retired
15 collegiate
87 tri-M
Total: 282
CALL FOR SUBMISSIONS: Special June 2007 Journal Focus on Quality Music Literature
There seems to be a deluge of music available for performance these days. Much of it, some would argue, has little or no educational and
musical merit. The issue of quality literature deserves serious consideration by all music educators. Here is an opportunity to voice your
opinion. A few questions to consider:
ü
What are your opinions regarding the music presently being marketed to schools?
ü
How do you select music for your classroom, band, choir, or other ensemble?
ü
Is it necessary to perform “pop” music to maintain student interest and enthusiasm? How much is too much?
ü
Looking back on your own career as a performer (as far back as elementary school), what pieces of music do you remember
the most and what made those pieces so memorable?
ü
What are the pieces of music you believe every student should study and perform during the course of their education?
Your answers to these questions, as well as editorial comments, stories from your teaching experiences, copies of concert programs, and
more are needed to make this special focus happen.
Send your submissions by e-mail to: [email protected] Please write “Quality Music” in the subject line and be sure to include your
name somewhere in the text of the message.
Alternately, you can send materials by postal mail to: The Vermont Music Educator, P.O. Box 178, Tunbridge, VT 05077
DEADLINE: March 1, 2007
Page 44
December 2006
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Page 45
Full Page BW
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Page 1
Tri-M Music Honor Society
National Recognition for Music Student Leaders
Tri-M Music Honor Society
for Grades 6–12
� Complete Recognition System
� Character Development
� Service Opportunities
®
For chapter activation form and information:
www.menc.org/tri-m, 800-336-3768, [email protected]
Page 46
December 2006
In Memorium
Evelyn Springstead
Stephen Weibust
Evelyn DeBrune Foster Springstead, 98, died on Aug. 20,
2006, in the Greensboro Nursing Home.
Stephen Warren Weibust, 56, of South Burlington
died on Nov. 9, 2006, in Vermont Respite House with his
family at his side after a short but courageous battle with
cancer.
She was born Feb. 26, 1908, in Greensboro, the daughter
of Albert B. and Florence (Peel) DeBrune. Evelyn was first
married to Dr. Clarence B. Foster and later to J. Reginald
Springstead. She was predeceased by both.
Evelyn was educated in Greensboro and then the
University of Vermont, where she majored in music and art
and minored in languages. She taught school in Vermont
for over 60 years. From 1936 until 1940 she worked as
the first itinerant music and art teacher in the state and
organized and supervised music and art for grades one
through eight in 38 schools. She also taught in Greensboro,
Hardwick, Craftsbury, Johnson, Stowe, Hyde Park, Bradford,
Fairlee, Newbury, Vergennes, Ferrisburg, Addison, Bristol,
Waltham, Panton, and Barre Town over the years. She was
involved in the education of more than 33,000 Vermont
students.
Evelyn was part of the group that organized the first
Vermont All State Music Festival, and she attended every
festival through 2004. From 1965 to 1969, she was All State
Music Festival Director - at that time the only woman in the
United States to hold that position. Evelyn was president
of VT-NEA in 1969 and also served as president of the
Vermont Music Educators Association (VMEA). Evelyn also
was active in many civic organizations, and she authored
a book entitled “Music in the Vermont Public Schools from
the Turn of the Century to the Nineties.” She was tireless and
enjoyed many hobbies, including painting, fishing, cooking,
gardening, and taking slides of her travels throughout the
world to share with friends and organizations.
In honor of her 90th birthday, she received the Governor’s
Honorarium and a joint resolution from the Vermont
Senate and the Vermont House of Representatives for her
contributions to the good of society. The VMEA honored
Evelyn with its Special Recognition Award in 2001.
He was born in Hartford, Conn., on Aug. 2, 1950, the
son of Warren and Dorothy (Eastman) Weibust. Stephen
earned a bachelor’s degree in 1972 and a master of
education in 1974 from the University of New Hampshire.
He earned a second master of education from the
University of Vermont in 1979.
Stephen retired in 2005 after 30 years of teaching
music at Edmunds Middle School, where he touched
thousands of students’ lives. At Edmunds, he was the
director of En Masse, a student performance group that
traveled around the Northeast performing at nursing
homes and hospitals.
He was a member of the Vermont Jazz Ensemble for
almost 30 years. He was an avid reader who also enjoyed
movies, music, and art.
After his retirement, Stephen followed a lifelong dream
to teach in New Orleans. After just three weeks there,
however, Hurricane Katrina destroyed the school where
he was teaching. Despite the hurricane, Stephen spent
four more months in the area volunteering in shelters in
Shreveport, Louisiana.
Stephen is survived by his wife of almost 34 years,
Kathie (Schmidt) Weibust; his son, Erik Weibust of Boston,
Mass.; his daughter, Kristin Weibust of Burlington; his
brother, Richard Weibust of Windsor Locks, Conn.; his
stepmother, Patricia Weibust of Glastonbury, Conn.; and
his sister, Ingrid Gove, and her husband Dan Gove of
Ipswich, Mass.
A memorial celebration to honor Stephen’s life was
held at Edmunds Middle School on November 19, with
several hundred friends and colleagues attending.
December 2006
Page 47
Photographs by Gary Moreau and Denis Lambert

December 2006 - Vermont Music Educators Association

Transcription

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