Alabama Vocal Association Fall Workshop: September 11, 2015, Montgomery, 1st Baptist Church, Advance Registration deadline: September 4 All-State Auditions Board meeting @ FBC: September 10 6:00 p.m. All-Districts All-Districts Event Date Area Location Registration Date Absolute Deadline/payment due All-Districts All-Districts Friday, 11/13 Cullman St. Bernard Prep October 2 October16 All-Districts All-Districts Saturday, 11/14 Cullman St. Bernard Prep October 2 October 16 All-Districts All Districts Sunday, 11/15 Florence Florence HS October 2 October 16 Honor Choir Screening District I Monday, 11/16 Gadsden Gadsden City HS October 2 October 16 District II District III Tuesday, 11/17 Gadsden Gadsden City HS October 2 October 16 District IV District V Wednesday,11/18 Montgomery FBC October 2 October 16 District VI District VII Thursday, 11/19 Montgomery FBC October 2 October 16 OCS/OA/ME District I Friday, 11/20 Mobile Spring Hill Baptist October 2 October 16 District II District III Event Date Location Reg. Date Absolute deadline/payment due District IV District V October 29 Austin High School October 1 October 15 District VI District VII October 27 Tuscaloosa County HS September 29 October 13 SCPA District I November 2 Gardendale HS October 5 October 19 District II November 2 Alexandrea HS October 5 October 19 District III District IV November 17 James Clemens HS October 20 November 3 District V District VI October 28 Montgomery Academy September 30 October 14 District VII S/E October 29 UMS-Wright October 1 October 15 District I District II Event Date Location Reg. Date Absolute deadline/payment due District III District IV November 5 Florence HS October 8 October 27 District V District VI November 10 Tuscaloosa County HS October 13 October 27 District VII October 19 Gardendale HS September 21 October 5 State Events All-State Show Choir Auditions November 5 Alexandria HS October 8 October 22 All-State Show Choir Festival Honor Choir Festival November 3 Randolph School October 6 October 20 All-State Auditions All-State Festival November 4 Tallassee HS October 7 October 21 November 9 U of South AL October 12 October 26 Event Date Location Reg. Date Absolute deadline/payment due February 23 1st Baptist/Decatur January 26 February 9 February 24 UNA January 26 February 9 March 30 -31 Moody Music Bldg March 2 March 16 March 21- 23 Gardendale-Mt. Vernon UMC February 22 March 2 April 7 Gadsden City HS March 10 March 24 April 4 – 5 Columbia HS March 7 March 21 March 18 1st Baptist Tallassee February 19 March 4 March 15 U of South AL February 16 March 1 Event Date Location Reg. Date Absolute deadline/payment due April 7 UNA March 10 March 24 March 30 – 31 Moody Music Bldg (with SCPA) March 2 March 16 April 9 Gardendale HS March 12 March 26 February 25 Jacksonville State U January 28 February 11 February 8 – 9 Willowbrook Baptist January 11 January 25 March 18 1st Baptist Tallassee February 19 March 4 Fall - October 22 U of South AL September 17 October 1 Spring – March 15 U of South AL February 16 March 1 Event Date Location Registraton Due Absolute deadline/check due October 16, 17, 2015 Gardendale-Mt. Vernon UMC October 2, 2015 October 9, 2015 January 20 – 23, 2016 AMEA Montgomery December 9, 2015 December 23, 2015 January 21-22,2016 AMEA Montgomery December 9, 2015 December 23, 2015 November 13-20, 2015 Various locations throughout state October 2, 2015 October 16, 2015 March 2 – 5, 2016 Samford University January 20, 2016 February 3, 2016 Elementary/General Division October 9, 2015: AMEA Elementary Music Festival, Samford University Tiffany English and Andrea Coleman; Featured Clinicians October 10, 2015: AMEA/ AOSA Fall Joint Workshop, Samford University Tiffany English, workshop clinician November 11-14, 2015: AOSA Professional Development Conference, San Diego, California January 21-23, 2016: AMEA In-Service Conference; Montgomery, Alabama AMEA Collegiate Division September 27, 2015 - Collegiate Summit - Jacksonville State University January 21 - 23, 2016 AMEA Conference, Renaissance Montgomery Hotel and Convention Center Alabama Orchestra Association All State Audition excerpts posted online....................August 10, 2015 Festival Registration Deadline....................................December 1, 2015 Composition Contest Deadline.................................September 1, 2015 All-State Scholarship Application Deadline.............December 1, 2015 All State Audition Registration Deadline...............September 28, 2015 All-State Festival......................................................February 11-14, 2016 Auditions must be completed by.................................October 11, 2015 AOA Music Performance Assessment.......................April 22-23, 2016 Results Posted online................................................November 16, 2015 ala breve 51
by James Mick and David Pope Creating a Positive Solo and Ensemble Experience for Your Students Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education. Performing at solo and ensemble festivals performances can be for family members, written at the top of the music but students can be an overwhelming experience for both friends, their music class, or even a recital. should keep in mind it is the final goal to be students and teachers. While some students Ideas and goals for practice performances achieved after much practice. are naturally calm and confident when will be discussed more in “Step 4: Play Early performing for an adjudicator, many others and Play Often.” When initially learning new music, students become anxious and disheveled no matter should learn the correct notes, rhythms, style, their level of preparation. The one unifying The third and final step in creating a game and bowings with a metronome set at a slow factor, though, is that all students desire a plan is for students to formulate a tempo. How slow? The tempo should be high-level performance that increases self- conceptual practice plan that identifies short- slow enough that students can play the confidence and garners positive feedback term and long-term goals. These goals will rhythms, notes, style, and bowings of each from adjudicators. make learning the repertoire more particular section correctly. Once students manageable by providing markers and can play a passage correctly at a slow tempo, As teachers, we strive to provide tools that indicators of success along the way. To begin the metronome speed can be increased a few help our students succeed. The following the goal-setting process, students should clicks each day. Some passages are more suggestions are aimed at closing common analyze the music and develop a broad complex than others and will need more gaps in students’ preparation for solo and understanding of the music’s structure, practice at slow tempi. While most attention ensemble festivals. Some tips address specific form, and phrasing. Many times sections should be focused on these more difficult performance issues while other tips provide repeat or vary slightly from other sections, and temporarily slower passages, it is okay broader opportunities for students to hone and by locating these instances students will for students to practice other easier passages their performances. If students keep the be able to transfer similar concepts from one at faster tempi. Staggering the success of various goals in mind, they are bound to section to another. The process of learning various passages allows students to feel a build stronger performance habit strengths. to transfer similar concepts will allow sense of accomplishment while directing Based upon your own students’ talents and students to better utilize their practice time. attention to areas still in need of more needs, you can use these teaching tips Also, by breaking music into separate devotion. It is important for students to keep individually or in combination to help your learning segments, students may be able to in mind, though, that most efforts should be students have a successful solo and ensemble avoid feeling overwhelmed by needing to delivered to the slowest, most difficult experience. learn an entire piece all at once. passages. If two or more passages are performed together, then the slowest tempo 1. Create a “Game” Plan – Just like It is important to note that creating a game must be maintained throughout the entire successful head football coaches in the SEC, plan teaches students many valuable skills. combined passage. students should formulate a “game” plan One of the most important skills it teaches well in advance of their solo and ensemble students is personal responsibility and To keep track of progress, students should event. First, students need to determine how accountability. Meeting short- and long-term write daily tempi in their music next to the much time they have until the solo and goals along the way is a different experience individual passages. After each particular ensemble event. While looking through their than procrastinating. This goal-setting skill passage is mastered at a specific tempo, calendars, it is important to note potential can positively impact the level of their students can cross off that tempo in their conflicts that may distract from practice performance abilities, but equally as music. Conversely, though, if mistakes occur time, such as vacations, sporting events, and important, if transferred, it can also during practice, the marked metronome concerts. influence other academic and personal tempo should be decreased. Students need aspects of their lives. Learning this skill now to understand that reaching their Secondly, students should schedule a regular will set students up for success in college. performance tempo with the correct notes, practice time in their daily and weekly rhythms, style, and bowings takes patience calendars. By creating a regular practice 2. Tempo, Tempo, and More Tempo – and time. schedule, students will be able to determine “Can we practice with a metronome today?” the exact amount of practice time they have are words rarely spoken by developing 3. The Truth Machine – As much as most to learn and prepare their music. Ensemble musicians. However, most young students students do not like to listen to themselves, members will need to schedule both personal have trouble correctly playing rhythms and listening to one’s self performing is a practice time and group rehearsals. It is also doing so with a steady pulse. To build proper necessity if students wish to understand their important for students to schedule various rhythmic skills, students need to set a long- faults and to improve their performances opportunities to perform their music before term goal tempo for their solo and ensemble more quickly. Students should record the solo and ensemble event. These performance. This goal tempo can be portions of their practice sessions to identify 52 October/November 2015
and isolate passages that need extra work. of an audience, and providing extra of learning a piece. It is also useful earlier in Students should then analyze their opportunities for your students to perform the process when students have limited time recordings to identify errors, specifically in front of others will help ease their anxiety. between other activities and may not have an according to left or right hands. As the students become more confident as a instrument with them. performer, their nerves will subside and their Once students are able to ascertain what musicality will be able to shine. Ultimately, a In an ideal world, all students would be able causes the mistakes in their playing, they can solo or small ensemble performance should to experience the joy and elation of address the mistakes by implementing feel like an ordinary event in your students’ successfully performing by themselves and practice strategies learned in class or from lives. By removing anxiety and nervousness in small ensembles. Students who experience their applied instructor. To keep track of through multiple performance opportunities this joy will surely seek more opportunities what is successful, students should keep a – as much as some students may not like to find pleasure in playing their instruments journal of what techniques helped them them at the time – you will be helping your throughout their lives. The five tips above learn the difficult passage. For passages that students have a successful festival will help your students have better solo and cannot be solved individually, students can experience. ensemble festival experiences, but more return to their instructors with a list of failed importantly, they will hopefully help to create strategies and ask for help. Both audio and 5. Put the Instrument Down – Periodically, lifelong musicians. audio-visual recordings are helpful, and students should put down their instruments ideally, students should use a mix of both and practice their performance without Dr. James Mick is an assistant professor of music recording techniques when analyzing their anything in their hands. Removing the education at Ithaca College in upstate New York. playing. instrument from the practice process He is also music director of the Rochester heightens musicians’ awareness and helps Philharmonic Youth Orchestra and president-elect 4. Play Early and Play Often – Students them decipher problems. Like yoga, of New York ASTA. He earned degrees from should have weekly opportunities to play musicians become aware of tiny muscle Texas Christian University (BME), Ithaca College their repertoire in front of live audiences movements and how those affect their (MM), and Florida State University (PhD). beginning at least one month prior to the performance. In addition to removing the solo and ensemble festival. Having instrument, it is also important to remove performance opportunities scheduled well in the music from practice sessions. Ideally, advance will hold students accountable and music is memorized. However, mental decrease the likelihood they will practice of music that may not be completely procrastinate. Informal performance memorized still allows the brain to soak in opportunities can include playing for their the details of the music both deliberately and school music class, performing for their subconsciously. families and neighbors, playing during a chamber music concert at school or a Practicing away from both the instrument community outreach concert, or a host of and music also allows musicians to hear the other options. music in their head and to reinforce their inner voice. Periodic mental practice is a Most students get nervous the first time they great way to spend time reinforcing musical play alone or with a small ensemble in front aspects of a performance in the later stages ala breve Dr. David Pope is Director of Orchestras with the Elyria City Schools near Cleveland (OH), the conductor of the Camerata Orchestra at Case Western Reserve University, and co-director of the Florida State University String Orchestra Camp. He is a frequent guest conductor and clinician throughout the United States. 53
PRE-REGISTRATION FORM LAST NAME _____________________________ AMEA In-Service Conference FIRST NAME_____________________ (for badge) January 21-23, 2016 Renaissance Montgomery Hotel at the Convention Center and Embassy Suites (across the street) NAfME ID#_______________________________ Please enclose a copy of your card. Home Address: (City) (State) (Zip) Email: Primary Phone: School Name: Principal Division:(check only one) ABA AVA ELEM AOA HED COLLEGIATE Other Division/s Affiliation:(check all that apply) AOA HED COLLEGIATE ABA AVA ELEM Please tell us if you are: Clinician Conductor of a performing group at the conference Retired Current Members, First Year Teachers Collegiate Members Clinicians, Conductors Pre-Registration $85.00 Pre-registration $65.00 Pre-Registration $30.00 (On-Site Registration $100.00) (On-Site Registration $75.00) (On-Site Registration $45.00) Retired Members Spouse* or Guest* of Non-Member Alabama Registration Complimentary AMEA Member Music Teacher Registration $15.00 Pre-Registration $185.00 *may not be a music teacher (On-Site Registration $195.00) Name TOTAL AMOUNT PAID $ MAKE CHECKS PAYABLE TO AMEA A fee of $35 will be charged for returned checks No Purchase Orders Accepted. Check or Credit Card Only New Add To pre-register with a credit card go to www.alabamamea.org through January 7, 2016 r e ss! Mail form and check by Jan. 7, 2016 to: AMEA Registration, PO Box 3385, Muscle Shoals, AL 35661 Important: Forms and payment received after Jan. 7 will be held at the registration desk for onsite registration. Do not send forms or payment to the above address after Jan. 7, 2016! THANK YOU! Your conference packet will be ready at the registration desk in the Renaissance Hotel. Your receipt will be in your packet at the conference. ******************************************************************************************************************************************** Please do not fill in the information below. This is for AMEA bookkeeping ONLY Personal Check # School Check # Membership verified and payment receipted by: Date: ala breve 55
AMEA Industry/Institutional Membership AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators! Art’s Music Shop, Inc. AWB Apparel Eastman Music Company Group Travel Network, Inc. 3030 East Blvd. 206 Potomac Ct. 2158 Pamona Blvd 410 N. Dillard St.- Suite 104 Montgomery, AL 36116 Woodstock, GA 30188 Pomona, CA 91768 Winter Garden, FL 34787 www.artsmusicshop.com www.awbapparel.com www.eastmanmusiccompany.com www.grouptravelnetwork.com Huntingdon College Bands J W Pepper & Son Marchmaster, Inc. Mouchette Enterprises, Inc. 1500 E. Fairview Ave. 9053 Riverside Parkway P.O. Box 73379 P.O. Box 394 Montgomery, AL 36106 Lithia Springs, GA 30122 Newnan, GA 30271 Northport, AL 35426 huntingdon.edu/bands www.marchmaster.com www.jwpepper.com Musical Destinations, Inc. OrlandoFest QuaverMusic.com Southern Performances P.O. Box 771060 7081 Grand National Drive, Suite 111 1706 Grand Avenue P.O. Box 6852 Winter Garden, FL 34777 Orlando, FL 32819 Nashville, TN 37212 Gulf Shores, AL 36547 musicaldestinations.com www.quavermusic.com www.southernperformances.com www.orlandofest.com Sunburst Indian River Citrus Super Holiday Tours Superior Travel and Tour Thomas Tours, Inc. 4960 Meadow Brook Rd 116 Gatlin Ave. 1270 Coronado Terrace 2405 12th Ave. South Birmingham, AL 35242 Orlando, FL 32806 Deltona, FL 32725 Nashville, TN 37204 www.sunburstplus.com www.superholiday.com www.thomastoursinc.com www.superiortravelandtour.com UNA Department of Music Troy University UAH Department of Music University of Alabama John M. Long School of Music School of Music UNA Box 5040 301 Sparkman Drive Florence, AL 35632-0001 Troy, AL 36082 Huntsville,AL 35899 Box 870368 www.una.edu/music-theatre www.music.troy.edu www.uah.edu/music Tuscaloosa, AL 35487 www.music.ua.edu The University of Alabama University of South Alabama Become an AMEA Industry/Institutional Member Bands and enjoy these great benefits: LPAC 1072, 5751 USA Drive, S 211 Moody Music Building Mobile, AL 36688 Save 10% on advertising in Ala Breve Tuscaloosa, AL 35487 Save 10% on exhibit space at the AMEA Conference www.bands.ua.edu www.southalabama.edu/music Save 20% on advertising in the conference program book Recognition and link to your website on the main page of the AMEA website Recognition in every issue of Ala Breve Recognition in the AMEA Conference program book Email [email protected] for details 56 October/November 2015
by Charlene Ryan Straight Talk for Music Teachers About Performance Anxiety Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education. Adults tend to think of young children as fearless fact, the definition of performance anxiety that music education can have on our students’ – don’t they love to put on a show? While this is frequently cited in the research specifically lives. However, in the heat of last-minute details true for many children, most early-childhood describes a situation that precludes preparation: in preparing for a performance we sometimes teachers (and parents) can recall inexplicably mute, forget that how we behave at that particular time crying, back-turning, and staying-with-mom-for- “…the experience of persistent, can also impact – sometimes negatively – upon our the-entire-show children – at least one in every distressful apprehension about and/or students’ experience and enjoyment of the concert. Music Performance Anxiety, also known actual impairment of performance skills moment. Research has shown that conductors, for as stage-fright, is a common issue among young in a public context, to a degree example, play an important role in musicians’ musicians. In fact, research has shown that many unwarranted given the individual’s experience of anxiety in performance, and can have children and adolescents experience anxiety leading musical aptitude, training, and level of great influence on musicians in the days and weeks up to and during a performance and that it begins preparation.” (Salmon, 1990, p.3) leading up to a performance. Conductors who are as early as the preschool years. disorganized, have weak conducting skills, who call Therefore, advising conscientious students who out individuals for criticism, and who make last Later in elementary, middle, and high school, express concerns about performance anxiety to minute changes are particularly notorious. But the performances become more frequent and practice more is not usually an effective way to help number one faux-pas that a conductor can make is participation in multiple ensembles is fairly them. to actually show overt signs of anxiety. Remember common. And while the overt expressions of the old adage you heard before student-teaching – stress that young children exhibit are typically kept On the other hand, practice-performing might ‘fake it ‘till you feel it’? – well, bring it back and put under wraps, ‘coming down with something’ on indeed be very useful. We often make the on your best poker face to reduce stress in your concert day is not unheard of. Feeling anxious and mistake of equating learning to play with learning young performers. If you appear calm and in worried about making mistakes, forgetting the to perform when, in fact, the two are quite distinct, control, it can pay great dividends for your music, and not performing your very best is actually though interrelated, concepts. Practice-performing students. very common. for a test audience helps to put students in a performance frame-of-mind that allows them to Student musicians look up to their teachers. Research, up until about 20 years ago, focused hone their performance chops. They must make a We all know this. I recall sitting in the audience at almost exclusively on adult musicians – examining psychological shift from I know how to play my piece to a high school competition a few years back and the prevalence of anxiety among professional and I know how to play my piece under pressure, distraction, and being struck by how students in all of the college-level performers and their struggles to possibility of failure in front of others. The process also ensembles seemed to simply idolize their music overcome it. Children and teens were usually left helps students to learn whether or not they can get teachers – all different types of music teachers. It out of the conversation. In recent years, however, back on track if things go awry. Family and friends was actually quite a remarkable experience to developing musicians have been the focus of more are often the most likely candidates for the job of recognize the clear bond that occurs between and more studies which have shed valuable light on preparatory audience. Music teachers and music student musicians and their musician model. the needs and struggles of our young musicians. peers are also good choices – better, in fact, Students want to know about their teacher’s Here’s what we have learned so far: because they are more threatening to the young experiences including those involving performance musicians’ sense of musical self-esteem. They know anxiety. They want to know that someone they Young musicians want to talk about music and are more likely to be aware of something admire has ‘been there’ and they want to know how performance anxiety. Unlike previous amiss, thus making them a worthy adversary for the teacher managed it. What works? Help us! generations, today’s students recognize that they are one who is performance-anxious. The fear of Don’t be afraid to open up and be honest with your not alone in their experience of anxiety. They want being caught-out is much greater when performing students. Learning to play is NOT the same as to talk about it, especially with their teachers. And for someone in-the-know than for mom or dad or learning to perform. And knowing about they want their teachers to talk with them in a your best non-musician friend. performance anxiety, for many musicians, is part nonjudgmental, non-dismissive way. Studies have of learning to perform. shown that children as young as 12 have already Practice-performing in the actual performance developed their own coping strategies for environment is very valuable - a definite step-up They care what we think. Be careful what you performance situations. These children have also from the practice room or living room in that it say before and after performances – thoughtless already experienced teachers who, when asked for familiarizes students with the actual space and set- words can have a long-lasting impact. Making last advice, tell them not to worry, don’t be stressed, or up of the room. For pianists, it also provides an minute changes or reminding students about simply that they’ll be fine. Students are not searching opportunity to get a feel for the instrument. difficult parts in their pieces right before they go for vague reassurance or platitudes when they bring Acoustical properties will, of course, change from onstage are unlikely to help improve performance up nerves. They really do want teachers to listen to practice-performance in a near-empty hall to but very likely to increase anxiety and rumination their concerns and discuss strategies for performance for a full house, but an initial go in about those tricky parts, which almost never bodes performance success. the hall will give students some sense of the sound well. It takes courage and strength of character to and feel of the room. Research has shown that get onstage and perform. Sometimes everything More practice is not the cure. A poorly-prepared students who rehearse in the performance venue goes great and sometimes it doesn’t – for all levels performance is unlikely to go well and a student experience less anxiety at the actual show than of musicians. To do anything less than who is not well prepared is likely to feel anxious. those who do not. congratulate students on their performance is to do However, most people – students and professionals them a great disservice and undermine their alike – who experience performance anxiety are Teachers can have a big impact. We all believe confidence for many performances thereafter. anxious no matter how well they’ve prepared. In this with regard to our teaching and to the power ala breve 57
Performance anxiety is not genre-specific. Musical performance can be a wonderful part of Rae, G. & McCambridge, K. (2004). Correlates of Many of us who were trained in traditional student musicians’ lives – bringing the fruit of Performance Anxiety in Practical conservatory-type schools tend to think that many hours of practice, effort, and heartfelt performance anxiety is a problem primarily musical expression to an audience. And while Music Exams. Psychology of Music 32, 432-439. experienced by high-level classical musicians. This anxiety may be a common experience, it does not Rothlisberger, D. J. (1992). Effects of video modeling is categorically untrue. Studies have shown that need to be the overriding emotion. Talk to your musicians of all stripes experience anxiety and students; normalize the experience and share your preparation on student instrumental audition search for ways to cope with it. Your rock band, thoughts and expertise with them. The more we performance achievement and performance anxiety. jazz band, recorder ensemble, a capella choir, and can learn and share with the next generation, the Dissertation Abstracts International 53, concert choir kids are all in the same boat and all better prepared they will be to face performance 2287A-2288A. need your support. challenges and to successfully and happily bring Ryan, C. A. (2013, March). The Role of Parents in Young their musical offerings to the world for many years Musicians’ Experience of Music Performance Expectations matter. We always want our to come. Anxiety. Paper presented at the International students to perform at their best; we want to Symposium for Research in Music Behavior, encourage them and support them and bring out Selected References Seattle, WA. the best in them. Just remember that students who Ryan, C. A. (2015, March). The Experience of Performance are expected to perform at a high level have been Boucher, H. & Ryan, C. (2011). Performance stress and Anxiety in Young Contemporary Musicians, shown to have greater anxiety than those not the very young musician. Journal of Research in Tallahassee, FL. burdened by those expectations. Talk about being Music Education 58, 329-345. Ryan, C. A. (2006). Experience of Musical Performance caught between a rock and a hard place! Simple Anxiety in Elementary School Children. awareness of this fact for teachers may help them Fehm, L. & Schmidt, K. (2006). Performance anxiety in International Journal of Stress Management 12, to ease the pressure on and support the gifted adolescent musicians. Journal of Anxiety 331-342. performance endeavors and anxious experiences Disorders, 20, 98-109. Ryan, C. A. (2004). Gender di fferences in children’s of their highest-performing students. experience of musical performance anxiety. Fishbein, M., Middlestadt, S. E., Ottati, V., Straus, S., & Psychology of Music 32, 89-103. Boys are girls do not always respond in the Ellis, A. (1988). Medical problems among Ryan, C. A. (1999). Musical performance anxiety : Are same way. Research has shown that females are ICSOM musicians: Overview of a national junior high band students affected? Opus 41 more consistent and predictable in their response survey. Medical Problems of Performing Artists, 3 (1), 8-9. to performance situations. Typically, they worry (1), 1-8. Ryan, C. A. (1998). Exploring musical performance about impending performances well in advance of anxiety in children. Medical Problem of Performing them and report greater anxiety and increased Kenny, D. T. & Osborne, M. S. (2006). Music Artists, 13 (3), 83-88. physiological response prior to them. However, Ryan, C. A., Andrews, N., & Aharonian, M. (2011, this does not mean that males are immune. They Performance Anxiety: New February). Performance Anxiety and Post- simply respond differently. In one study of young Secondary Plans of High School Musicians. Paper musicians, many boys reported minimal Insights from Young Musicians. Advances in presented at the International Symposium for anticipatory anxiety and maintained normal heart Research in Music Behavior, Barcelona, Spain. rates even in the minutes before they were about Cognitive Psychology 2, 103-112. Ryan, C. A. & Andrews, N. (2009). An investigation to perform for a large audience. However, they into the choral singer’s experience of music displayed a variety of anxious behaviors (e.g., LeBlanc, A. (1994). A theory of music performance performance anxiety. Journal of Research in fidgeting) and, when it actually was their turn to go Music Education, 57, 108-126. onstage, had skyrocketing heart rates. (It is anxiety. The Quarterly Journal of Music Teaching Ryan, C. A., Boucher, H., & Ryan, G. (2009, February). interesting to note that the boys who did not The Role of Teachers in Children’s Experience of display anxious behaviors, but rather stayed and Learning 5 (4), 60-67. Musical Performance Anxiety. Paper presented at completely still, had high heart rates earlier on and the International Symposium for Research in ultimately did not perform as well as their fidgeting LeBlanc, A., Jin, Y. C., Obert, M. & Siivola, C. (1997). Music Behavior, St. Augustine, FL. counterparts.) What does this tell us? While girls Salmon, P. G. (1990). A psychological perspective on may stress about impending performances well in Effect of audience on music performance musical performance anxiety: a review of the advance, it is less common for boys to ruminate literature. Medical Problems of Performing Artists, about them, and possibly more detrimental for anxiety. Journal of Research in Music Education 45, 5, 2–11. those who do. Perhaps fidgeting is a coping mechanism to keep the focus off the impending 480-496. Charlene Ryan, Ph.D., is Associate Professor of Music situation. Ultimately, the anxiety still kicks in, to Education at the Berklee College of Music in Boston, greater and lesser extents, whether students think it Maroon, M. T. (2003). Potential contributors to MA. She has published extensively on the performance is going to or not. It is important for teachers to be experiences of young musicians, with a particular focus on aware of this disparity lest they think it is only the performance anxiety among middle school the development and experience of performance anxiety in girls who need support. It is not. children and youth. students performing at solo and ensemble Middle school is particularly challenging. This is true in every imaginable way, but particularly with contest. Dissertation Abstracts International 64 regard to performing. We need to remind ourselves of the high level of self-consciousness and (2A), 437. vulnerability children experience in this period of Osborne, M. & Kenny, D. (2008). The role of development. To put oneself out there, on display, in a performance is a brave endeavor. It should be sensitizing experiences in the experience of encouraged and lauded. music performance anxiety in adolescent musicians. Psychology of Music, 36, 447-462. Osborne, M. S. & Kenny, D. T. (2005). Development and validation of a music performance anxiety inventory for gifted adolescent musicians. Anxiety Disorders, 19, 725-751. Osborne, M. S., Kenny, D. T. & Holsomback, R. (2005). Assessment of Music Performance Anxiety in Late Childhood: A Validation Study of the Music Performance Anxiety Inventory for Adolescents (MPAI-A). International Journal of Stress Management, 12, 312-330. Papageorgi, I. (2006). Understanding performance anxiety in the adolescent musician: Approaches to instrumental learning and performance. In M. Baroni, A. R. Addessi, & M. Costa (Eds). Proceedings from the 9th International Conference on Music Perception and Cognition, Universita di Bologna, Bologna, Italy. 58 October/November 2015
FAME F A M Euture labama usic ducators Open to High School Juniors and Seniors Thursday, January 21, 2016 9:00 A.M. - 4:00 P.M. Renaissance Montgomery Hotel at the Convention Center Application and $20 registration fee are due postmarked no later than January 8, 2016 Student_____________________________________________________________ Grade ____________________ Nominating Teacher ____________________________________________ NAfME # _________________________ School Name ____________________________________________________________________________________ School Address __________________________________________________________________________________ Teacher Phone ________________________________ Teacher Email ______________________________________ This student participates in (circle all that apply): Band Chorus Orchestra Publicity Waiver Enclose $20 Registration Fee I give AMEA permission to take photos of FAME attendees and use the Make checks payable to AMEA photos for publicity purposes. By this authorization, I understand and agree that no participant shall receive remuneration and that all rights, title and interest to the photos and use of them belongs to AMEA. _________________________________________ ________________________________________________ Signature of Student Signature of Parent if Student is under 18 The FAME program includes many important topics for students considering a career as a music educator. This year’s program features a performance by the Boston Brass on Thursday Evening. NEW! AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in music education at an Alabama college or university. Visit www.alabamamea.org for details. Lunch will be provided by AMEA Mail this application, along with the $20 registration fee, to: Sara Womack, AMEA Past President 2130 Banberry Drive Hoover, AL 35244 Postmark Deadline: January 8, 2016 ala breve 59
Choral Reviews Dr. Diane Orlofsky ⅞ (“Tree of the Lonely Soul”) anonymous poem from earlier in the 16th Shakespeare’s Merchant of Venice. The Antonio Estévez (1916-1988) century. Robert Sieving then arranged it for character, Bassanio, is reminded by the music Text: Spanish, poem by Alberto Torrealba SAATTBB voicing. This madrigal keeps the that “fancy” is sometimes bred in the heart, SATTBB; Tenor solo integrity and exuberance of Molinaro’s dance sometimes bred in the head and that he Publisher: Earthsongs while celebrating the lighthearted sentiments should not judge by external appearances. of the text and use of syllables that play with The poignantly beautiful second movement This Venezuelan piece is in two distinct the word Tantandaridondela. From the (“There is a garden in her face”, text by sections. The “A” section is very quick and arranger’s notes: “ . . .this setting is not an Thomas Campion) was the movement that rhythmic and is based on the combined 3/4 attempt to pose as a modern edition of a first “hooked” me and provoked my interest and 6/8 meters that are characteristic of a Renaissance choral work, but rather as a vocal in this work. Metaphors and similes abound dance called the joropo. In the joropo section, representation of Molinaro’s charming lute as an admirer seeks to compare his lady to the the choir imitates instruments typically used piece and of Resphighi’s endearing homage to splendors of nature; yet we are never sure the to accompany the dance. The tenors and altos his musical heritage” (Robert Sieving). The affection is returned. It is an incredibly have the rhythm of the cuatro (a small, 4- work compliments programs that utilize delicate movement and lives up to Rutter’s stringed guitar), the sopranos imitated the earlier madrigals (for example, I have signature use of lyric and harmonic elements. diatonic harp and the basses provide the guitar programmed Matona, Mia Cara (Lassus) and bordones. The tenor soloist represents a llanero Si Ch’io Vorrei Morire (Monteverdi) along “The Urchins’ Dance” musically and or “man of the plains” in Venezuela, whose with this piece for an interesting juxtaposition texturally paints a picture of fairies appearing songs are improvised. of chronology and style). Translation of the in the night, traveling two by two and three by text is provided below: three. In the “Riddle Song”, the anonymous The “B” section is very slow, meditative, and 15th century text describes the innocence of lyrical. According to the editor of the Música On the last day of May, young love and the struggles to understand de Latinoamérica series, María Guinand, “the a pleasant morning among the freshness of the roses, the complexities of longing. Rutter allows us music depicts the solitude and mystery of the to eavesdrop on the sounds that the bellman llanos, the high plains of Venezuela. The lively the lovely maid went walking in the garden, hears as he goes about his job in “Midnight’s joropo section returns to complete the ABA accompanied by twenty damsels, Bell”. We listen to the ting, the howling, the form. cricket chirps and the cats crying mew as the each one in love, gracious, wise and fair. instrumentation is used to create a haunting In addition to being lots of fun to perform, Tantandaridondela! atmosphere. The final song of the set (“The this 3’52” piece will program well and would Bellman’s Song”) is filled with mysterious, add an authentic world music element to any Alas! It is also she who has chained my heart, gothic imagery. Sung either by the bass program. Translation of the text is as follows: who has stolen it with beauty of her radiant face. section or baritone solo, the Bellman petitions for sweet slumber for all in the town. “Good Tree of the lonely soul, There was a garland of fair jasmine day to you” is his final benediction and creates Wide opening of the riverside—- which adorned her hair. a reflective end to this masterwork. Now you will be able to say: Here slept Cantaclaro. Blithely, she went her way on the first of Whitsuntide. I have successfully programmed this piece With the whistle and the sting of the twisting wind, O happy day, joyful, fair and bright! with a smaller instrumental ensemble (piano, the dappled and violet dusk flute, clarinet, oboe, horn, percussion) and it quietly entered the corral. ********* complimented my chamber choir well. The Fancies work is both challenging and accessible and I The night, tired mare, shakes her mane and black highly recommend it! tail above the riverside; and, in its silence, 1. Tell Me Where is Fancy Bred? (1’40”) your ghostly heart is filled with awe. 2. There is a Garden in Her Face (4’00) ********* 3. The Urchins’ Dance (1’48”) ********* 4. Riddle Song (3’40”) Dr. Diane Orlofsky is Professor of Music and ⅝ ⅞ (On the Last Day of May) 5. Midnight’s Bell (2’10”) Director of Choirs at Troy University, where she 6. The Bellman’s Song (3’30”) oversees the choral Ottorino Respighi (1879-1936, arr. Robert John Rutter (1945—-) program and teaches Sieving) SATB; full instrumentation includes 2 flutes, undergraduate and Text: Italian, 16th century anonymous 2 oboes, 2 clarinets, bassoon, 2 horns, per- graduate classes in SATB divisi, a cappella, approximately 2’50” cussion (1 player), harp and strings, with in- music education. She is Publisher: Heritage Music Press, Prima Can- strumentation varying per movement. the conductor of the tate series Publisher: Oxford University Press Troy University Concert Chorale and the L’ultimo dì di Maggio (On the Last Day of May) First performed in London on June 13, 1971, Director of the Troy is an interesting combination of styles and this 16-minute small masterwork is a true gem! University vocal jazz time periods. Ottorino Resphighi transcribed The cycle of six choral settings is created ensemble, frequency. a balletto (originally written for lute in 1599 around whimsical themes and is based on by Simone Molinaro) and paired it with an Elizabethan poetry (with one fancy using an anonymous 15th century text). Each song is meant to capture the fleeting ideas, thoughts, musings and daydreams of a poet on a summer’s evening. The first movement (“Tell me where is fancy bred?”) derives its inspiration from 60 October/November 2015
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