May/June 2016 ala breve The Official Publication of the Alabama Music Educators Association
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where the stars land in alabama Bachelor of Music The University of Alabama Performance Jazz Studies School of Music Composition music.ua.edu Theory Music Therapy https://vimeo.com/112295255 Bachelor of Science Music Education/Instrumental Music Education/Choral Bachelor of Arts General Music Music Administration Master of Music Performance Wind Conducting Choral Conducting Church Music Composition Theory Arranging Music History Master of Arts Music Education Doctor of Musical Arts Composition Performance Education Specialist PhD Music Education A world-renowned faculty, state of the art facility and a Performing name synonymous with champions. Become a star at the Ensembles University of Alabama School of Music. Huxford Symphony Orchestra Alabama Wind Ensemble For audition information Welcome to The University of Alabama Alabama Symphonic Band and our upcoming calendar School of Music. Scan here : Alabama Concert Band of events please visit our Alabama Jazz Ensemble website. Contemporary Ensemble University Singers University Chorus UA Opera Theatre The Million Dollar Band music.ua.edu
ala breve May/June 2016 the official publication of the Alabama Music Educators Association Features... 7 AMEA Governing Board Directory 10 AMEA Past Presidents 13 News from Phi Beta Mu 13 Meet the New AMEA Governing Board 15 ABA All-State Photos 18 AVA All-State Photos 20 AMEA Industry Members 25 Collegiate-Level Music Theory - Am I Prepared? by Amir Zaheri, Ph.D 26 Mind the Gap! : edTPATM by John Wayman, Ph.D 29 Choir as Community: Lessons from the Field by Sarah Bartolome, Ph.D 32 Engaging Campus and Community: A Successful Ensemble by Jason Cooper and Becky Halliday, Ph.D 36 AMEA Schedule of Events 38 Campus Connections 39 Teaching Sight-Singing: Finding Your Way by Jane Kuehne, Ph.D Departments... 6 ........................President Advertisers Index Smoky Mountain Music Festival..............40 8 ................................AOA American College of Musicians ...............38 UA Bands..................................................33 10..............Past Presidents Arts Music Shop, Inc ..................back cover UA School of Music ...................................4 10..............................HED AU Marching Honor Band .......................12 UAB Music...............................................41 14 ..............................ABA AU Summer Band Camps ........................22 UNA Department of Music ........................3 16 .....................Elem/Gen AU Music Department ...............................2 University of Montevallo .........................17 16 ......................Collegiate AWB ...........................................................9 University of South Alabama Bands ........23 18 .................................AVA Gadsden Music Company.........................34 University of South Alabama Music ........43 Huntingdon College Bands.......................24 Vivace .......................................................28 John M. Long School of Music (Troy).....42 Yamaha .......................................................3 ala breve 5
Carl Hancock, AMEA President Farewell and thank you! “Not everything that is faced can be embracing this growth. Achieving these changed, but nothing can be changed milestones allowed us to explore new until it is faced.” - James Baldwin options and experiment with different approaches. Accomplishing so much Dear Friends and Colleagues, as proud as I am. Many of the initiatives together in just a few years is a direct we undertook would have been result of your faithful service to the With this final column, I want impossible without their faithful service music educators of Alabama and our to take a moment to say thank you to all to our organization. Thank you to every organization. of you for your support and trust. I will board member for putting your time, be forever grateful for the opportunities talent, and energy into achieving these Finally, to our Executive you gave me to serve––beginning as milestones. Director and Ala Breve Editor, Garry Collegiate Advisor in 2008, Research Taylor. Thank you for managing the Chair in 2010, President-elect in 2012, Across the past two years our AMEA so it continues to be a strong and finally, in 2014, as the 36th President annual conference has headed into new organization that is a model for others. I of the Alabama Music Educators waters, growing into a vibrant was so fortunate to have your Association. I have thoroughly enjoyed professional development experience. experience and wisdom guiding me serving the AMEA and I am looking Thank you to every presenter, audience along the way. forward to what the future has in store member, performer, business member, for our great organization as I take on and volunteer. Through your In closing, I am very optimistic my next role as immediate past participation, we brought together about the future of the Alabama Music president. nationally recognized clinicians, invited Educators Association. It is an exciting engaging keynote speakers, and booked time for our association. We have Since I first took office, I have world-class performers to truly add accomplished so much and made many been surrounded by a remarkable group more “professional” to our professional memories together by doing something of dedicated educators who have development. Moreover, your faith in us different and taking risks. I am truly worked tirelessly in their support of bolstered the governing board’s honored to call you my friends and music education and I want to creativity, which we channeled into colleagues. On June 1, Susan Smith will specifically recognize the members of building collaborations with music take office and her presidency will be the 2014-2015 and 2015-2016 businesses, expanding our conference met with great enthusiasm from all Governing Boards who were there with offerings, and branding our conference music educators in Alabama, but me every step of the way. It has been a to compliment the artistry of music and especially from those of us who have genuine pleasure serving with Rusty emphasize the professional growth been members of the AMEA for many Courson, Stacy Daniels, Carl Davis, experienced by our members. years. I hope you will join me for what I Becky Lightfoot, Carla Gallahan, Karla know will be an exciting new direction Hodges, Ted Hoffman, Mike Holmes, Beginning with goals we set for our organization. Cliff Huckabee, Andy Meadows, Sarah back in 2014, AMEA has opened up Schrader, Susan Smith, Pat Stegall, new pathways and positioned itself to All the best, Garry Taylor, Thad Walker, Sara make meaningful changes in how we Womack, and Jim Zingara. I have come advocate for music education, run our Carl B. Hancock, President to believe that there isn’t another state organization, serve our members, and, Alabama Music Educators Association president in NAfME who has received most importantly, teach our students. as much support as I have nor has been Thank you to the entire membership for 6 May/June 2016
AMEA Governing Board 2015-2016 PCUraenrsliivdHeearnsnitctyocokf Alabama GSPraearyasstWtPoonrmeesaidckent PSSr6uMea0sssisa1niomnd0tneJiStVtngahmamot@-umiEetghsselhterjSnywcc,tRehAbooL.aoodl3rg6116 a(mC21G5ue6EE6ala0dl)@rxm0ir6etyaMboc3neTur6a,,lat-lnAAi2syvoo7lLleorau5rtDD34Bh5ri.r.r0neeN5evct5eEtor BT(ocu2xhs0ac58na)7lco03oo34cs68ka6-@,6A3b3La5m3a5.4u8a7.edu s(aB23rE0ai0r5tl0mwe)mVio4nmei3gln9lhaat-caag3kmre2y@0,SS0AtgcrmLeheoa3toi5ll.2c4o2m PTarteSatseugraellr/Registrar PSPrFa.(eOrbo3saul3i.hedr4BykeS),oancA7rxtht2,L_r28Aas2-3adO226re8a15Ar5h35@6 yahoo.com RC2eTa1Tc(rr2cr3oologa3rySyad4Gm,lU)[email protected] SMMcPhoriouceohnsleitdaaielnnHBto,rAlomoBekAsJunior High pMsPAtOueMgscBaElloelA@xSR3hm3oes8agcl5isss.,tkrA1at2Li.oa3nl5.u6s61 j(pU2JmP5one6rsiyvhe) seeu5irrad6@s6ieMtn-cy1ertio2,ymfA6e5rsAMolnaE.buAaam.Ceadoullegiate t(hB22e0it0ru55mb) aOi8nm7vg1aehn-ra3b@m5ro1,co6AhkaLxrR8t3e5dr52..2n51et3 c3lMi31fL45TfoCoh-5Phn4wul0erti6cgfeePfM2kosre-aHimS3dorbru7ceneeychr9nteygko0@Ht,oa,oAimbEgllleLmCleeReraa3myomi6laA/.1pGdc0cuoe6asmndemy PCDra1e(Derc0s2claie15adDrc16tleauba)nPtrveu5trtiHr,o5hs,[email protected] e(hM2DoS0UofaTt5fAanvne)mttiiMdi6esvoav6HenMnEa5s@ol6iA-ultf66oymsf6C7,imco6oA0oaf8nBlLnMtluee3vgiol5aidna1litlt1neoe5gv.eaA3dll0udo8visor PJraemseidseZnitn,gHarigaher Education IBnA3edMr03cubt33ksose04yntMcr/tkEL2gyuy7aioslgR1sm@ihtc-e2teBpafS7rorlryh8tvoes,o7dtsmApe. uLnst3iac6tsi1hv1oe6p.com U2BA3(j2i1zBr0imHn5gi)una9lgrs3ahe4@ya-m7Cu3,aeA7bn6.tLeedr3u5294 May/June 2016 a l a b r e v eThe Official Publication of the Alabama Music Educators Association Garry Taylor, Editor & Advertising Manager ADVERTISING & COPY DEADLINES 1600 Manor Dr. NE Fall - August/September (Back to School) issue: July 15 Cullman, AL 35055 Winter - October/November (Conference) issue: September 15 (256) 636-2754 Spring - February/March (All-State) issue: January 15 [email protected] Summer - May/June (Digital Only) issue: April 15 Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work. Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama. Subscription for members is $4.00 per year as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, Alabama. ala breve 7
Sarah Schrader - President, Alabama Orchestra Association yourselves available to judge this event. OMPA is open to all Full Orchestras, Thank you Sam Nordlund, Julie String Orchestras, and Guitar ensembles. Hornstein, Dr. Kathy King, Amy Nice, All State Orchestra 2016 was a huge April MacDonald, and the Auburn success! The students and conductors University Music Ambassadors for all did an AMAZING job! I am so proud your help during the Festival. It would of all the students and teachers of the not have been a success without you. students who participated this year. As the school year comes to an end, take AOA’s OMPA is open to all full a moment and reflect on all the amazing orchestras, string orchestras, things you accomplished this year. As you reflect, I hope you are thinking on and guitar ensembles. how you and your students have grown, developed, bonded, and had a great time Groups receiving a superior rating at Competition to get in was high this year through music. the 2016 OMPA were: and it showed because you all were top notch! Thank you to all the parent AOA has had an amazing year and I am *BTW Strings Magnet, Montgomery - volunteers and sectional coaches/judges proud to have been a part of it! We had Chin Mei Li who helped make this All State Orchestra stellar turnout for All State Orchestra, great. We couldn’t have done it without held the VERY FIRST Orchestra Music *Dunbar Magnet School Guitar you! Performance Assessment, and elected Ensemble, Mobile - Felicia Lett rock star officers for 2016-2018. All State Orchestra 2017 will be February *Tiger Strings Youth Orchestra, Sinfo- 9th through 12th and held at the University AOA took a huge step forward this year nia Strings, Auburn - Dr. Guy Harrison of Alabama Music Building. Music and held the its first statewide Orchestra excerpts will be posted online on August Music Performance Assessment *Montgomery Music Project - Noemi 15th and auditions will be held the first (OMPA). The festival was a huge Oeding two weeks of October. The 2017 success! We had 14 ensembles from Festival Orchestra conductor will be Dr. around the state travel to Auburn Gadsden City High School Titan Sandra Dackow. Sandra is an active University on April 22nd and 23rd to Orchestra - Keith LaBenne conductor, arranger, and clinician and is perform in front of judges and peers. the music director of the Hershey Full Orchestra, String Orchestra, and Dunbar Magnet School Orchestra, Symphony Orchestra in Pennsylvania. Guitar Ensembles from all ends of the Mobile - Felicia Lett Sinfonia Orchestra Conductor Dr. Foster state participated coming from as far Beyers is the Director of Orchestras at away as Florence and Mobile. I am so Tuscaloosa City Schools High School Concordia College in Moorhead, MN. thrilled that so many teachers took Orchestra - Stephen Finley He was recently appointed Director of advantage of this opportunity to Orchestral Activities at James Madison perform away from their home town. It Fairhope Quartet - Kim Shannon University in Harrisonburg, VA was a joy to listen to each and every one beginning in the 2016-2017 academic of the orchestras and I am so proud of (*denotes straight ones received) year. Consort String Orchestra what our talented directors are Conductor Dr. Christina Yi-Ping Chen- accomplishing with their students. You AOA will be holding OMPA again next Beyers currently serves as the Orchestra should all be commended for the jobs year. Look for information on the Director of the University Orchestra in you are doing and for taking the initiative particulars to come out this summer or Fargo-Moorhead, and was recently to bring your students across the state to early fall. We hope to see all groups invited to lead the European Middle experience this type of competition. I return and hopefully more groups to take School Honors Orchestra in Berlin hope your experience was better than advantage of this opportunity. AOA’s which is organized by AMIS (The expected! Thank you Dr. Guy Harrison for your leadership in spearheading the planning of and hosting this event. Thank you also Dr. Anne Witt, Dr. Howard Goldstein, Dr. Blake Richardson and Melissa Dufrechou for making 8 May/June 2016
Association of Music in International and AMEA, two events in which I greatly Your AOA Officers for 2016-2018 are: Schools). I hope your students will join benefited from as a high school student us again for another amazing year of attending All State or as a college student President: Samuel Nordlund music! and young professional attending the President-Elect: Dr. Guy Harrison AMEA conferences. Serving in this Secretary: Dr. Daniel Stevens AOA moved its 2017 composition contest capacity has given me a huge appreciation Treasurer: Jacob Frank deadline up to June 1, 2016. This for all the people who make these Immediate Past President: Sarah competition is open to any composers functions happen each year. Thank you Schrader who have written a piece for full orchestra all for trusting me to do this job and Executive Director: Julie Hornstein between January 1, 2014 and the deadline. giving me this opportunity to serve. I am Submissions for this contest are received very excited that we will have a stellar UPCOMING DATES: from around the world. The winning group of incoming officers to the AOA composition will be performed by the board. I know GREAT things are in store June 1, 2016: AOA Composition 2017 All State Festival Orchestra at All for our organization under the direction Contest Deadline State in February. The composer will of these individuals. This is an exciting receive $1,500 and travel (from a point time in Alabama when Orchestra June 1, 2016: AMEA Session proposals within the USA) and lodging expenses to Education is growing. I am confident that and Ensemble Performance attend the 2017 All State Festival as the this group of officers will enhance the Applications due Composer in Residence. For more opportunities for students around the information on this competition and for state to participate in string education. August 15, 2016: All State Orchestra application forms, please visit Excerpts posted www.alabamaorchestra association.org. February 9-12, 2017: All State I am honored that I was elected to serve Orchestra Festival as President of AOA and I have enjoyed my two years in this office. It has been a joy to be on the planning side of All State ala breve 9
James Zingara - President, Higher Education Division As I leave this office, I would like to share a Professional development and creative of the higher education community will few thoughts regarding the importance of activity is a big portion of the need to justify and sell their programs in a an organization such as AMEA to those of tenure/promotion process, and the annual much more emphatic way than ever before. us who work in higher education. AMEA Conference provides many Unity of institutions can provide strength Participation and recruitment to HED has opportunities through holding office as well of message to political and academic been the emphasis of this term, and in as participation in conference sessions, entities. partnership with Mildred Lanier and Becky panel discussions, and recitals. Halliday, I have tried to increase awareness Begin dialogues and share ideas and membership through new conference Membership in HED helps create a between programs from various activities such as the President’s Panel support network of people with similar institutions. Great ideas are often an Discussion and the Student Ensemble backgrounds and situations in which to amalgamation of shared visions. HED can Showcase Recital. I believe that these are a discuss issues endemic to Higher Education provide a “think tank” to nurture and hone start, but there are many other reasons to including promotion/tenure, the future of ideas. be involved with AMEA as a higher college music programs, recruitment/ education professional: retention, dealing with budgetary To eventually expand HED to preside over constraints, and our individual roles and independent activities and sessions Recruitment of students is a large part of futures in an ever-increasing online teaching other than the annual conference. This will what we do in higher education. environment. not only provide additional opportunities Membership in AMEA not only helps in for professional growth and development, this area by allowing us to network with Developing a support network to but will further strengthen HED as a active and motivated middle and high address problems in the workplace. If Division and voice in the state. school directors, but will also allow us to there are individuals who have the have access to mailing lists which we can use unfortunate happenstance to experience If you are already a member, please renew to promote events available for them and academic bullying and/or negative in the coming year. If you are not a their students. departmental politics, there may colleagues member, I encourage you to join a growing from other institutions that can offer advice group of like-minded and enthusiastic and support without the fear of in-house professionals throughout the state. In reprisal. closing, I would like to extend to the current HED Team of Becky Halliday (President), Developing a unified group to speak for Mildred Lanier (President-Elect), and Higher Education music programs in Katrina Phillips (Secretary-Treasurer), all my the current political climate of budget and best wishes in their continued endeavors to program slashing. With the recent examples grow and expand the Higher Education of draconian higher education cuts in such Division. states as Wisconsin and Louisiana, members AMEA Presidents - Past to Present 1946 Yale H. Ellis 1970 Jerry Bobo 1992 Dianne Johnson 1948 Walter A. Mason 1972 Frances P. Moss 1994 James K. Simpson 1950 Vernon Skoog 1974 George Hammett 1996 Johnnie Vinson 1952 John J. Hoover 1975 Frances P. Moss 1998 Michael Meeks 1954 Lamar Triplett 1976 S. J. Allen 2000 John McAphee, Jr. 1956 Carleton K. Butler 1978 W. Frank McArthur, Jr. 2002 Tony Pike 1958 Mort Glosser 1980 Paul Hall 2004 Becky Rodgers 1960 Wilbur Hinton 1982 Lacey Powell, Jr. 2006 John Baker 1962 Lacey Powell, Jr. 1984 Johnny Jacobs 2008 Pat Stegall 1964 G. Truman Welch 1986 Merilyn Jones 2010 Steve McLendon 1966 Jerry Countryman 1988 Ronald D. Hooten 2012 Sara Womack 1968 Floyd C. McClure 1990 Ken Williams 2014 Carl Hancock 10 May/June 2016
Phi Beta Mu Phi Beta Mu new member Joel Henson (Center) and sponsors Jon Bubbett (L) and David Allinder (R) Donald Dowdy, David Raney and Theo Vernon congratulate Phi Beta Mu new member Regina Raney. David Raney (L) is presented the Phi Beta Mu Outstanding Bandmaster Award by Tommy Brannan The 2016-2017 AMEA Governing Board* Congratulations! * The new Board will take office June 1, 2016 Susan Smith, President Ginny Coleman, AVA President Carl Hancock, Immediate Past President Edward “Ted” Hoffman, AMEA Collegiate Advisor **********, President-Elect Joshua Meyer, AMEA Collegiate President ***********, Recording Secretary Cliff Huckabee, Elementary/General President Garry Taylor, Executive Director and Editor Pat Stegall, Treasurer/Registrar Becky Halliday, Higher Education President Micheal Holmes, ABA President Becky Lightfoot, Industry Representative Sam Nordlund, AOA President Andy Meadows, ASDOE, Arts Education Specialist ala breve 13
Micheal Holmes - President, Alabama Bandmasters Association Process - a series of actions or steps taken in Host.” James Ed Champion, Damon order to achieve a particular end McAllister, Heather Henson, and Connie Hammond (and Tim) did a masterful job We began this “process” in the summer is very interesting to get the opportunity of taking care of the needs of our of 2015. Setting goals, making plans to to experience this event from different students and clinicians. ABA Executive ensure that the goals are met, and we hit perspectives. I have attended All-State Officers Doug Farris, Terry Ownby, the ground running. We have now Festival as a participant, a young band Rusty Courson, Mark Foster, and Harry reached a point that we can evaluate our director, as a more seasoned band McAfee worked together, along with our level of success. It has been a great year, director with several students District Chairs and Vice-Chairs, to see to and as they all do, it has passed quickly. participating, as an ABA District officer it that our students could count on a There are points along the way that seem and now as an ABA Vice-President and positive All-State experience. I would to never end, but they do. It puts a smile also like to thank all of our directors that on my face when I look back to where Blue Band Conductor Carleton Wright with were present to judge chair auditions, we started and see how far we have ABA President Mike Holmes work the tabulation room, and be on call come. The sound of beginners are now if needed. All of the directors the sounds of young musicians; the President. I can truly say that attending throughout our state are commended for middle school band members are All-State in any capacity is extremely the assistance provided to all of the maturing as young musicians; and we rewarding. I would encourage all students that auditioned. The 647 aren’t looking forward to having to say directors to attend when possible students participating was only the tip of goodbye to our seniors. It is a great whether you have students participating the iceberg compared to the hundreds feeling to know that goals have been met or not. All four band’s performances more who auditioned and participated in and our students have had a successful, were impressive. Professor Cramer their District Honor bands. You make positive, and rewarding experience. And stated in an email I receive a few days me proud! A special debt of gratitude is now it is time to get ready for another after All-State, “All-State was great fun; owed to our graduating District Chairs - great year of band! the students displayed a wonderful - Taylor Cash (II), Joel Henson (IV), attitude and were very polite and eager Dale Bloodworth (VI), and Trent All-State Solo Festival was once again to do better with each rehearsal,” and “I Burkett (VIII). You are to be hosted by The University of South was impressed with each ensemble’s commended for the work you have done. Alabama Department of Music and performance.” Professor Ray Cramer, It has been an honor to serve alongside what gracious hosts they were. Dr. David Willson, Mr. Carlton Wright, you. Department Head Dr. Greg Grunner and Dr. Deborah Confredo were a and Director of Bands Dr. Will Petersen pleasure to have as guest clinicians. Summer Conference 2016 will be here could not have provided us with a more before you know it (June 22-23, 2016). welcoming environment for our Thank you!! All-State Festival is a huge Register now - http://alabamamea.org/ students, directors, and parents for this event for our organization. The District bandmasters/Summer%202016%20Regi Festival. We had 80+ of Alabama’s finest VII directors led by All-State site stration%20Form.pdf. Information young musicians participate. The judges coordinator David Pryor went above and regarding lodging at the host hotel is also somehow managed to choose seven to beyond what was required, and District available at abafest.com. Join us at the participate in the Finals (finalists are chair William Mixon provided us with Hampton Inn Orange Beach to celebrate pictured in this issue). The Friday night two consecutive years of a well- the end of a successful year and the kick- Wind Ensemble performance somehow organized event. If you enjoy hard work, off to another year. We have a great managed to top their outstanding you should volunteer to serve as “Band schedule of events, including the performance of 2015. It was fantastic! Wednesday evening Social Hour (low This is a band program that I would be country boil and chicken fingers) that proud to have any of my students join. will feature “Old Fogey” Steve McLendon of Dothan HS (retired) as All-State Band Festival 2016 was once guest speaker. Visit abafest for a again a successful musical experience. It complete line-up of clinics and sessions. It will be hot; there will be plenty of Orange Beach sunshine, so DON’T FORGET THE SUNSCREEN!! 14 May/June 2016
ABA All-State All-State Conductors: Deborah Confredo - All-State Solo Festival Finalists Middle School Band, Ray Cramer - Red Band, 7th Place: Wyatt Detrick, Grissom HS, 6th Place: Jackson Vaughan, Oak Mtn. HS, David Willson - White Band, and 5th Place: John Paul Williams, Spanish Fort HS, Carleton Wright - Blue Band 4th Place: Adam Thomas, Mtn. Brook HS, 3rd Place: Karen An, Auburn HS, 2nd Place: Katherine Mackenzie, Huntsville HS, 1st Place: Blake Adams, Shades Valley HS Corey Spurlin, National Band Association State Chair James Champion presents the Phi Beta Mu David Pryor and Rusty Courson congratulate and Rusty Courson present the Lamar Triplett Scholarship to Chance Taylor James Camron Bryant, recipient of the NBA Citation of Excellence to James Camron Bryant, of Vinemont High School ABA/Photography by Suzanne Scholarship Smiths Station High School. ala breve ABA All-State 1st Chair Red Band Piccolo: Aaron Nottingham, Sparkman High School Flute: Serin Baek, Dothan High School Oboe: Lian Remley, Shades Valley High School Bassoon: Katherine Mackenzie, Huntsville High School Eb Clarinet: Kimberly Waggener, James Clemens High School Bb Clarinet: Patrick Mills, Vestavia Hills High School Alto Clarinet: Max Feinstein, Baker High School Bass Clarinet: Sarah Nguyen, Sparkman High School Contrabass Clarinet: Beth Vaughan, Montgomery Catholic Alto Saxophone: Blake Adams, Shades Valley High School Tenor Saxophone: Quentin Moffet, Randolph School Baritone Saxophone: Devin Hale, Guntersville High School Trumpet: Danteus Brown, Minor High School French Horn: Camron Bryant, Smiths Station High School Trombone: Dylan Mashburn, West Limestone High School Baritone: Kunal Tiwari, Vestavia Hills High School Tuba: Ryan McKinney, White Plains High School String Bass: Jamie Newsome, Davidson High School Percussion: John Paul Williams, Spanish Fort High School 15
Cliff Huckabee - President, Elementary/General Division Teachers, Division. She is a world-class elementary held at Grace UMC in Auburn on August music educator who was just recently 27th. We hope you will take advantage of We are in the final stretch of our school year. inducted in the AMEA Hall of Fame. She these opportunities to grow as a music Many of you are probably preparing for end was also our first clinician for our festival, so educator. If you have any questions about of the year performances and trying to get it is fitting that she returns to celebrate our any of these workshops, please contact us at those last few lessons in before school is out. 10th year. Our festival directors, Ben and [email protected] and we will be We wish all of you the very best as you finish Kristina Sisco, have emailed out information glad to forward you specific information on up your school year! about the festival, and we are looking to have any of these three workshops. around 450 students participate in this special We have exciting news about our 10th Annual 10th year anniversary music festival. Lastly, if you are not receiving emails from Elementary Music Festival. We are pleased to our Elementary Division, please send us an announce that we will continue our We also are in the planning stages of our email at [email protected] and we association with Samford University as they Annual Fall Workshop following the festival will be glad to add you to our email list. We host our 10th Annual Elementary Music on Saturday, October 22nd. We hope to have want to keep in touch with you, so sign up Festival. It will be Friday, October 21st and both our festival clinicians share from their today for our email list. our clinicians will be Roger Sams and Vicki wealth of knowledge of elementary music Portis. Many of you will remember Roger methods. We will keep you informed of the Again, I wish all of you the very best as you Sams from our 2016 AMEA In-service. He place and time of this workshop as we finish this school year! presented several sessions and also brought finalize these details. us some amazing materials through his Sincerely, partnership with “Music is Elementary.” There are several summer opportunities for Cliff Huckabee, President Vicki Portis is no stranger to our Elementary professional development that I want to AMEA Elementary Division share with you as well. We have Orff Level I and Level II Certification Courses being offered at Samford University on June 20 - July 1. We also have the Kodaly Levels 1 & 2 Certifications classes at Vestavia Hills Elementary School East hosted by Deanna Bell on July 11-22. Lastly, we have the 2nd Annual East Alabama Music Workshop being Joshua Meyer - President, AMEA Collegiate Division Greetings Collegiate Members, Baldwin will be moving from Treasurer to professional development event that will give Vice President-Elect. New to the board are everyone the chance to both grow as a pre- Summer break is upon us! I am sure you are Brenton Nash and Latrice Green who will be service educator and make valuable all continuing your musical improvement serving as Secretary and Treasurer connections across the state. while catching up on some much needed rest respectively. and relaxation. However, as we are enjoying Lastly, I would like to remind everyone that our time off, I would like to quickly inform Secondly, the board is currently in the NAfME memberships expire in June. Be sure you of the exciting developments that are process of recruiting additional higher to renew as soon as possible so that you are occurring within the Collegiate Division. education institutions to join NAfME. Glenn ready to go when the semester starts back up! Nierman, NAfME’s National President and The first development you should be aware Board Chair, has put forth the objective of I’m very excited to serve you as President and of is the induction of our new state officers! 100% participation of accredited institutions I look forward to the further growth and I will be succeeding Thad Walker as he takes offering music education degrees. We intend development of the Collegiate Division. on the role of Past-President, and Madison to meet this goal and have already begun contacting some of the previously Sincerely, uninvolved schools throughout the state. Joshua Meyer For those already involved with Collegiate AMEA Collegiate Division President NAfME, mark your calendars! I’m excited [email protected] to announce that this year’s Collegiate Fall (256)566-1265 Summit will be held on October 9th in Tuscaloosa. It is going to be an amazing 16 May/June 2016
COLLEGE of FINE ARTS DEPARTMENT of MUSIC COLLEGE of FINE ARTS DEPARTMENT of MUSIC AUDITION DATES: NOV. 14, 2015 JAN. 30, 2016 MARCH 12, 2016 For more information, visit www.montevallo.edu/music AUDITION DATES: NOV. 14, 2015 JAN. 30, 2016 MARCH 12, 2016 For more information, visit www.montevallo.edu/music ala breve 17
Carl Davis- President, Alabama Vocal Association Beginning, Middle, End. As I begin this last during the festival. Watching the conductors Conference. We are going to remain in the article for the Ala Breve, I’m reminded of has always been my favorite aspect of alternative performance venue within the Ecclesiastes 7:8. “The end of a matter is attending the All-State festival. I hope this conference center for one more year. Then better than its beginning, and patience is year you were able to spend time after the the conference will move to the civic center better than pride.” Remembering All-State festival evaluating your own rehearsals in in Birmingham. We then can enjoy the better Festival reminds me also that the end is in light of the good teaching that you were able acoustics of the concert hall. Hopefully, we sight. The Spring Concert is over and only to witness over the course of the festival. will successfully address the issues which our performance at Baccalaureate remains, Thank you Kenny Gannon and Tim Banks. were noted in the ball room this year in quickening the planning for the next school Our organization has never felt so welcomed Montgomery. We are meeting in June with year. I love the cyclical nature of our to Samford University. Your selfless patience Garry Taylor to address these concerns. I profession. with us has not gone unnoticed. Your think that the hall provides a good facility willingness to address all the needs that we acoustically for our ensembles. Submissions I consider All-State Festival as the crest of bring to the venue are appreciated. I hope are due by June 1. our year. The conductors were outstanding the relationship that we enjoy at Samford is and offered our students a wealth of in the “middle” category of a cycle and that The AVA summer board meeting is June 4– instruction. Not only for students, but we can continue this relationship for years to 8 in Tuscaloosa. Should you have anything professional development for teachers was come. you would like the board to discuss, please second to none. Meg Rudolph planned an forward your communication before the excellent array of sessions, for which many The cyclical nature of our profession has meeting in June. of you afforded yourselves the opportunity impacted the makeup of our AVA board. As of attending. I hope this is a tradition that my tenure as AVA president ends and Ginny Your NAfME membership is ending June Meg is willing to continue. The best in- Coleman’s presidency begins, Districts I, III, 30th. Remember to renew your NAfME service occurs when we watch a master IV, V, and VII begin next year with new membership before the end of school. I teacher at work. We were afforded this district chairmen. The executive board will wish you all the best as you end the school opportunity for approximately twelve hours also change—adding Cathy Spence as the year. recording secretary. Support Ginny Coleman as your new president. She is a I appreciate the opportunity to have served great organizational planner and I think that as AVA president for the past two years. I you will be proud to be a member of the consider that we all have a responsibility to organization of which she is president. serve the organization that has served all of our individual school programs. See you at Please submit to perform at the AMEA Fall Workshop. 18 May/June 2016
AVA All-State Female OCS Male OCS District I: Emma O’Steen District I: Amari Gamble District II: Alex Freeman District II: Jada Foster District IV: Gavin Reid District III: Macey Carter District IV: Faith Lenard District V: Tyler Dye District VII: Adam Kelley District V: Leah Boyd District VI: Charlcie Hathorn Outstanding Accompanists District VII: Gabrielle Corlett SATB: Brittany Lee TTBB: Xavier Streety MS Mixed: Rebecca Wilson ala breve 19
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! Arts Music Shop Inc., 3030 E. Blvd., Montgomery, AL 36116 AWB Apparel, 206 Potomac Ct., Woodstock, GA 30188 Beau Vinci Violins, 116 N. Main Street, Alpharetta, GA 30009 Custom Fundraising Solutions, 225 Distribution Drive, Homewood, AL 35209 Eastman Music Company, 2158 Pamona Blvd., Pomona, CA 91768 Gadsden Music Company Inc., P.O. Box 132, Gadsden, AL 35902 Group Travel Network, Inc., 410 N. Dillard Street, Suite 104, Winter Haven, FL 34787 Huntingdon College Bands, 1500 E. Fairview Ave., Montgomery, AL 36106 John M. Long School of Music, School of Music, Troy, AL 36082 JW Pepper, 9053 Riverside Pkwy, Lithia Springs, GA 30122 Landmark Tour and Travel, 704 37th Street South, Birmingham, AL 35222 Marchmaster Inc., P.O. Box 73379, Newnan, GA 30271 Mouchette Enterprises, Inc., P.O. Box 394, Northport, AL 35476 Musical Destinations, PO Box 771060, Winter Garden, FL 34777 OrlandoFest, 7081 Grand National Drive, Suite 111, Orlando, FL 32819 QuaverMusic.com, 1706 Grand Ave., Nashville, TN 37212 Simply Sheets Fundrasing, LLC, 3065 Heatherbrook Trace, Canton, GA 30114 Southeastern Performance Apparel, 142 S. Woodburn Drive, Dothan, AL 36305 Southern Performances, P.O. Box 6852, Gulf Shores, AL 36547 Sunburst Indian River Citrus, 4960 Meadow Brook Rd., Birmingham, AL 35242 Super Holiday Tours, 116 Gatlin Ave., Orlando, FL 32806 Superior Travel and Tour, 1270 Coronado Terrace, Deltona, ,FL 32725 Thomas Tours, Inc., 2405 12th Ave. South, Nashville, TN 37204 UAH Department of Music, 301 Sparkman Drive, Huntsville, AL 35899 University of Alabama Bands, Box 870368, Tuscaloosa, AL 35487 University of Alabama School of Music, Box 870368, Tuscaloosa, AL 35487 University of North Alabama Dept. of Music, UNA Box 5040, Florence, AL 35632 University of South Alabama, LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 20 May/June 2016
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Collegiate-Level Music Theory - Am I Prepared? by Amir Zaheri, Ph.D Graduation is just around the corner and high youngest students to identify subjects and musical skills, there are several excellent school seniors all over the country are predicates on the first day of any elementary resources to be accessed. A popular online aid feverishly awaiting the transition to learning language course, having no prior knowledge can be found at musictheory.net. This is a and living in a whole new world: college. For of the letters of the alphabet, we should not great tool that is designed to provide a wide many seniors, there is an added excitement expect our musical students to engage in range of lessons and exercises, covering that arises from the possibility of pursuing any collegiate-level theory courses without the information from a purely introductory number of careers in music: performance, equivalent preparation.” musical level through beginning theoretical composition, recording, technology, theory, assignments. Additionally, I oftentimes refer therapy, arts administration, and - of course - When we are equipped with a thorough students to what I believe is an excellent music education. Each of these disciplines understanding of the fundamentals of music, programmed-text in music fundamentals: promises to every student a uniquely crafted we are able to begin preparing for our first “Scales, Intervals, Keys, Triads, Rhythm, and and invigorating experience. What is not semester of music theory. At my home Meter.” This text, authored by Claire Boge, unique, what they all have in common, is the institution, The University of Alabama School John Clough, and Joyce Conley is currently in necessity to enter these programs with fluency of Music, we offer the following its third edition and is widely available at most in the language of music; that is, students must recommendation to students who are online bookstores (ISBN-10: 0393973697). be prepared to pursue their chosen musical preparing for their first semester in a music paths with a strong foundation in our theory classroom: students should work to This may all seem a bit overwhelming, common language of music fundamentals, so possess the musical skills found below, at particularly if this information is being that the student’s experience in music theory minimum, before beginning their first encountered for the first time. What is studies will be most beneficial. My goal is to semester of music theory. important to realize, however, is that entering address this matter of preparation and to help a first semester music theory class, without provide an estimation of what a student might Using treble and bass clefs, be able to this information, will not only be expect in a first semester college-level music read and write notes on the staff. overwhelming, it will likely be a disheartening theory class. experience for the student. It is true that Be able to quickly identify and write knowledge is power, and this particular Prior to addressing these expectations, let’s signatures for all major and minor keys. Know knowledge may well empower a student to first consider what is meant by the term the relative and parallel minor of each major prepare for and succeed in her or his first “music fundamentals.” When we discuss key; know the relative and parallel major of semester collegiate-level music theory course. components of music such as pitch, key each minor key. signatures, scales, intervals, time signatures, Works Cited and triads, we are referring to the fundamentals Be able to quickly identify and write all Cooper, Shelly. “Music Literacy and Language of music. This is not music theory. Music major and minor (natural, harmonic and Literacy: Parallel Connections” ala breve theory is a broad discipline which studies and melodic) scales. February/March 2015: 52-53. observes the behavior and communication of music; in order to take part in such studies and Be able to write and identify major, Amir Zaheri is Assistant observations (in a classroom, for instance), a minor, perfect, augmented, and diminished Professor of Music thorough understanding of the fundamentals intervals. Know the inversion of any interval. Composition at The of music (pitch, key signatures, etc.) is University of Alabama required. Allow me to offer what I believe is a Be able to write, clap, and count simple and serves as AMEA great analogy, one which I have shared several rhythm patterns. Advanced Placement times, but one which may help make more Theory Chair. clear this particular distinction. In her article Be able to sing major scales using letter “Music Literacy and Language Literacy: names or scale-degree numbers. Parallel Connections,” (Cooper 2014) Shelly Cooper writes: “just as we do not teach our For students who have experience in sight singing and ear training, practice singing and dictating simple diatonic melodies. Practice singing major and minor scales in all keys. For students who wish to master these ala breve 25
Mind the Gap! : edTPATM John B. Wayman, Ph.D. Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education. Mind the Gap! At this time of year student outcomes. However, the real question Step 2: Know Your Handbook! all professors, preservice teachers, and for most of is: How can I make it through the This sounds simple, but most people administrators alike seem to be maneuvering year with greater success for my students and as carefully as possible through the gaps. The program, track what I need to change in the overlook or assume they know what they need gaps in curriculum, assessments, and most future, and maintain the hair I have left? for edTPATM. Do NOT fall into this trap. abundantly the gap in time (or the lack Know your handbook forwards and thereof). How do we get everything done in Step 1: Mindset! backwards as if it were a music score. Write in the time given…preservice teachers The mind is a powerful tool. If we the definitions of unfamiliar terms, and those performing at advanced levels, developing that are defined a bit differently than we’re proficient pedagogy skills, reflecting and allow ourselves to be negatively influenced, accustomed. Remember the glossary is not assessing themselves and the classroom you will have a much harder time achieving suggestive in its defining of terminology. students they’re teaching, not to mention success in the implementation of edTPATM. Write out music curriculum examples of each writing lesson plans for each class, tracking Note, I did not say this made it an easy of the different section to assure effective high order thinking skills, and advocating for process, but a bearable process. Taking the communication and understanding. Chart a future programs while explaining to time to reminisce the past assessment plan of action by working backwards from administration and non-music teachers that processes can be useful, but primarily for the your completed edTPATM rubric goals. music classes are equal to other core classes in reasons of making cross connections to the cognitive and social development? new system. Teachers guiding the minds of Step 3: Big Picture future music educators have a wealth of This is currently a new process for First of all, breathe! Teacher knowledge and convey the same information education preparation programs are often assessed in a multitude of ways, which allows many, and will always be a new process to faced with navigating the implementation of for a vast pallet of differentiated instruction incoming preservice educators. It is important these new requirements set forth by their to help guide the specific outcomes needed that everyone keep a perspective of the overall institution, state and national agencies. In the for the edTPATM assessment process. picture. This is not a music evaluation. It is a state of Alabama, edTPATM (Education teaching evaluation, and is from the Teacher Performance Assessment) is one of Preservice teachers, you are a novice perspective of a tradition subject classroom; the newly required assessments for teacher teacher and edTPATM can be seen as a tool to therefore, effective communication candidates along the pathway to certification. help you develop a process of engaging connecting the world of music and education This assessment focuses on three major areas classroom students in successful learning. must be maintained from that perspective. (Planning for Instruction and Assessment; What does that mean? When a preservice Error on the side of using edTPATM academic Instructing and Engaging Students in teacher is growing in the art and science of language. Learning; and Assessing Student Learning) teaching it often takes on a cyclical process of and the supportive commentary/video self-centered focus - to curriculum focus - to Task 1 – Context & Preplanning evidence of choices and actions made during classroom student focus then back again. a Know your students! What is important the teaching process. Research has been Highly successful teachers spend more of conducted on the process of implementing their time in the realm of classroom student about your students that will help you edTPATM into traditional classroom programs success (Fuller, 1969; Fuller & Bown, 1975; teach them more effectively? (Peck, Gallucci and Sloan, 2010). Killian, Dye, & Wayman, 2013). Therefore, using edTPATM as a tool to assure student a Where are you starting from, and what is The above listed challenges are focused teaching, and placing the idea of your curricular destination? common for everyone going through the student outcome success as the primary. This implementation process of edTPATM, both challenged my preservice student’s thinking a How will you know if the students are professors and preservice teachers. What has from the direction of placing curriculum first meeting the objective? brought me some comfort is knowing that I to students first by asking: How do my am not alone, and that this is actually the students learn (visual/aural/kinesthetic)? Task 2 – Instruction & Student Engagement norm. Although the edTPATM process may What are some of their interest in which I a Objective feel a bit clouded at this point, I feel the may connect the curriculum? and How do my outcomes focus on in increased effective students think and process information? By a Student Focused – Action communication by music teachers with those answering these questions, preservice teachers Verb/Measurable that are not, assessments that assist creative may have greater insight on how to minds in tracking concrete and esthetic goals differentiate instruction to assure student in more specific manner, and assisting with success. Then providing specific feedback validation of cognitive, emotional, and through formative and summative esthetic development of our students through assessments to determine the amount of music teachers being able to convey the student success in obtaining the learning effectiveness of their teaching through tracked objective. 30 May/June 2016
a Does it relate to your Preplanning / scene for the grader in clear simple sentences the data collected. This section is to ensure Unit? using key terms from the rubrics and glossary. that preservice teachers can track individual Identify the evidence (Artifacts, Commentary, and groups of students while modifying a What are you doing as the Teacher? video) and make clear connections from instruction to meet the needs based on the a What should your students be doing? preplanning through the assessment. Above interpretation of collected data. Assessments a How are you assessing your students all, speak the obvious. What is obvious to the must also contain two facets: 1) Information writer may not be to the grader after grading received by the instructor, and 2) feedback (Formative / Summative)? several projects. It is important to note that given to the classroom students. Gathering reflecting on what should have happened only information does not seem to be the Task 3 – Assessment means that it did not happen and does not add challenge, it is the feedback given to the a Assessment of student outcome, NOT to overall score. classroom student. Feedback can be in either verbal or written form, but remember to teacher delivery. Areas most often not addressed with capture the verbal feedback on video if you a Formative Assessment – We do this all the success: are going to use it as an exemplar for the grader. time, but must provide evidence As with every project this large, (predictions of pitfalls, and evidence of certain common areas are overlooked. Task 1 Wow! This is a huge project with lots small victories along the path). - Context & Preplanning, in my experience, of components. BUT, it is manageable and a Summative Assessments- How do you often presents great information about the will assist in producing future teachers with know the students met the overall background of our classroom students, their student focused learning concepts and data objective of the lesson? Unit? prior knowledge, the accommodations needed driven assessments. More importantly, it will a Note – Assessments must have a student to meet individual education plans, the assist future music teachers in bridging the gap feedback component (written/verbal). curriculum objects and academic language between the science and the art of the How can they know where they are if goals. The challenge is whatever information teaching in the music classroom. they are not told? is presented here it must be threaded throughout the rest of the student Fuller F. (1969). Concerns of teachers: A de- Step 4: Work/Plan Backwards commentary. Therefore, be careful in what velopmental conceptualization. American Remember this is a new process for you consider important information. If that Educational Research Journal, 6, 201–226. particular bit of information does not alter 10.3102/00028312006002207 many including preservice teachers and your teaching and assessment then it can be teacher educators. I highly recommend left out. Fuller F., Bown O. (1975). Becoming a working backwards knowing the necessary teacher. In Ryan K. (Ed.), Teacher education, outcomes and justifications needed to be Task 2 - Instruction & Student Part II: The 74th yearbook of the National successful according to edTPATM. Again, I Engagement often presents the challenge of Society for the Study of Education (pp. 25– encourage all to keep in mind this is NOT a effective communication. I know this has 52). Chicago, IL: University of Chicago curriculum it is a teaching assessment to been stated previously, but please remember Press. assure student focused teaching and to write from an educational jargon assessment. Familiarize yourselves with the perspective. It is our duty to connect the world Killian, J., Dye, K. & Wayman J.B. (2013). rubrics. Level 3 is passing. Even if you have of music and the field of Music student teachers: Pre–student teach- components from the higher levels, but do not education/administration for the edTPATM ing concerns and post–student teaching per- accomplish everything from level 3 you risk grader. This is a challenge that will serve you ceptions over a 5-year period. Journal of receiving a no pass rating. well when advocating for your program. Two Research in Music Education. additional areas that are often overlooked are Ask… How can I accomplish tracking accommodations/modifications and Peck, C., Gallucci, C., & Sloan, T. (2010). components needed for successful implementation of formative assessments. Negotiating implementation of high-stakes completion of edTPATM in my unit? Yes, this Make clear connections to the performance assessment polices in teacher is a manipulated situation, but isn’t every class? accommodations/modifications made to the education: From compliance to inquiry. Jour- As good teachers, we present new information curriculum and/or instructions to address the nal of teacher Education, 61(5), 451-563. and manufacture situations or experiences for needs of your students. I encourage all to our students to embody the new concepts. think of formative assessment erroring on the John B. Wayman, Ph.D. is The video evidence for the edTPATM more formal side. Collect hard data. Assistant Professor of assessment is cause for the dissection of Performance based classes are often evaluated Choral Music Education several good teaching habits, student through listening and visual cues, but this at the University of Texas responses, and assessment to occur in a small process if hard to track. This type of at Arlington amount of time; therefore, planning is assessment can be done, but possible reflect essential. I would recommend recording as the results in a rubric form. much as possible. It is beneficial to review the footage as a best practice, but also finding the Task 3 – Assessments are based on best uncut representative footage is essential. the collected data. This sounds obvious, but many times reflections are made not based on Effective communication is very important. Although graders are told not to reduce scores due to poor writing, many times scores are lowered because of the lack of effective communication. Assume the grader know little about your curriculum, and set the ala breve 27
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Choir as Community: Lessons from the Field Sarah J. Bartolome, Ph.D Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education. In the United States, choir singing is communities. What are our roles as choral incredibly refreshing to sit through a program the most popular form of engagement in the music educators? How can we have the of music that was entirely unknown and also arts, with 42.6 million singers participating in greatest impact on our students as both feel emotionally connected to every choir 270,000 choirs nationwide (Chorus America, musicians and citizens? As a researcher, I throughout the performances. 2009). Over the last 35 years, scholars have study the culture of choirs with the aim of pursued research to better understand the answering these questions for myself and In talking about this phenomenon choral singing phenomenon and why people improving my own practice. with conductors, they described a desire to do choose collective singing as a leisure activity. new music that no one else had done before These research efforts have generated a large In the past 10 years I have had the and create new sonic experiences for the pool of data suggesting a wide range of unique opportunity to conduct ethnographic audiences. They also discussed an effort to benefits attributed to choir participation for fieldwork with choirs in a variety of appeal to their very diverse choristers and children and youth. While musical benefits geographic contexts, including South Africa, audiences while stretching and educating them have consistently emerged as a valued Sierra Leone, and Lithuania. While many of musically. A sincere emphasis on high quality outcome of choir singing, researchers have the values associated with choral singing are repertoire was evident and I witnessed some also identified additional social, emotional, consistent across these contexts, I have incredibly satisfying arrangements of popular personal, and academic benefits for school age learned particular lessons through my music that both surprised and delighted me. choristers (Adderly, Kennedy, & Berz, 2003; extended participation in each of these choral In fact, many of the most impressive Bartolome, 2013; Chorus America, 2009; communities. Here I offer what I consider to arrangements were done by the conductors Hylton, 1981; Kennedy, 2002; Rohwer & be some of the primary lessons from the field themselves in response to a perceived lack of Rohwer, 2009). The documented positive that have inspired changes in my own quality popular choral music. Every concert I outcomes of choir singing are not limited to approach to choral music making here in the attended was full to capacity and audiences children and youth, but have also been found United States. Through a deeper clapped, danced, and ululated throughout the among adults (Judd & Pooley, 2014; Joseph, understanding of the choral culture in other concerts. It was truly a joyful and participatory 2009; Kennedy, 2009;) and the elderly places, I continue to refine my thinking about concert-going experience. In Pretoria East, (Southcott, 2009; Southcott & Joseph, 2013; how to best serve my choir singers and the the attention to providing relevant musical 2015). Choir has also been found to serve communities in which we function. experiences for singers and the community important emotional and psychological needs through diverse, quality programming was an among individuals who are homeless (Bailey A Lesson from Pretoria: Building Choirs effective mechanism for recruiting both choir & Davidson, 2005), incarcerated (Cohen, and Building Audiences members and audiences. 2012), or suffering from mental illness (Dingle, Brander, Ballantyne, & Baker, 2013), When I planned my first research When I returned home, I spent a highlighting the therapeutic benefits of group trip to South Africa, I hoped to learn more long time pondering the role of the audience singing for marginalized populations. In about South African choral music in in general in my work as a choral conductor and the medicine, choir participation has been linked and more about the incredibly rich and importance of thoughtful programming in with gains in health and well-being (Clift et al, thriving choral culture in Pretoria in particular. building a choir community. How could 2008) and has had positive outcomes for I spent a month observing local choirs, programming provide more meaningful and patients with Alzheimer’s disease (Harris & attending choir concerts, festivals, and relevant musical experiences for both singers Caporella, 2014), dementia (Davidson & competitions, and interviewing conductors in and audiences? How is it possible to balance Fedele, 2011), and chronic pain (Hopper et al, Pretoria East. The most striking feature of my the critical educational goals of the curriculum 2016). first visit was the strong emotional response I with creative, diverse programming including had during the more than 20 hours of choral high-quality popular and multicultural music? This brief overview of some of the performance I attended. Sitting in the hall, I By committing fully to honoring all genres of research related to the value of choral singing was astounded by the diversity and quality of music through the programming of diverse highlights the notion that choir singing repertoire performed and the commitment to and high-quality repertoire, we might remains a valued part of the human conveying an emotional message through the successfully recruit and retain more and more experience for many and provides performance. The programming featured diverse students to our programs, grow our multifaceted benefits for a wide variety of South African music, including Western audiences, and provide more meaningful different kinds of people. From a music compositions in Afrikaans and English (many musical experiences for all stakeholders. education perspective, it is a motivating by local composers) and arrangements of reminder of the strong, positive impact our songs drawn from Black South African A Lesson from the Drakensberg: work potentially has on the lives of our cultures. I was also struck by a certain Building Relationships choristers. It also requires us to reflect on the emphasis of modern and experimental genres, multiplicity of benefits associated with choral including quality arrangements of popular I had the unique opportunity to singing and the implications these findings music and interesting experimental spend a month living at the Drakensberg have for our own practice in schools and compositions by South African, Asian, and Boys’ Choir School (DBCS) in Winterton, Scandinavian composers. For me, it was South Africa, staying in a dorm apartment, eating alongside the boys in the dining hall, ala breve 29
observing all aspects of their academic and served a critical service role in the community available for continued participation in music. musical training, and attending rehearsals and (Bartolome, 2013). In addition to serving I wonder what our role might become if we performances. The DBC is multiracial in its particular evangelical, educational, and musical stop thinking about music education as a K-12 make up, integrating Black, White, Afrikaans, functions, the children and youth in the choir enterprise and begin embracing a more and Colored1 South African boys in a were responsible for cleaning and maintaining lifewide and lifelong approach (Jones, 2009). residential choir school in the Drakensberg the church building, tending the church’s Programs like New Horizons have become mountains. As I waded through interviews groundnut fields, assisting elderly, sick, or more popular in pockets around the United with all 101 boys in the choir, I noticed an pregnant villagers, and organizing sports and States, while community and church interesting trend regarding the socialization of cultural events for the community. ensembles provide opportunities for some to the boys. Most boys remarked on the role of continue engaging in music making. What the choir in helping them to understand more When I returned home, I started to (else) can we offer in our communities that about racial and cultural diversity. Due to the consider the potential role of choirs within might draw a wider spectrum of adult truly multicultural nature of the South African surrounding communities and the mutually participants that valued the music making society and the fairly recent dismantling of the beneficial relationships that might arise experience during their K-12 education? What Apartheid2 government (1994), racial and between choirs and community partners. would best serve the community outside the cultural tensions remain a challenge (see What might our choir offer to underserved or doors of our high schools regardless of prior Thompson & Berat (2014) for a thorough marginalized populations in our local participation? What kinds of music making account of the complicated political history communities? How might the students in my are relevant and accessible to community of South Africa). For DBCS boys, living and choirs learn and grow from interacting with members? By engaging more individuals in working together in a residential music school individuals with very different backgrounds, music making beyond high school graduation, has provided them an opportunity to learn life experiences, or challenges? How might we may cultivate a community more about diverse cultures and develop strong those experiences enrich them personally and committed to music education for their relationships with others different from musically and contribute to their development children, for themselves, and for society. themselves. This emerged as a manifestation as an engaged citizen? By providing of what Putnam (2001) called bridging social opportunities for student musicians to engage Final Reflections: Building Communities capital, a kind of “sociological WD-40” that with communities in need, we might My experiences with each of these can “generate broader identities” (p. 22-23). encourage a certain civic mindedness and an The boys learn to appreciate and respect the awareness of what they might offer the world very different music making communities diversity of their community and develop a through their musical training. linger. They force me to reflect and they strong collective identity as a “Drakie.” inspire me to think outside the box. I wonder A Lesson from Vilnius: Building how the things I have learned might inform I left the Drakensberg with a deep Opportunities new and innovative approaches in my work as awareness of the potential of choir to unite a music educator. I find myself asking even individuals from very different backgrounds In 2013, I spent 6 months in Vilnius, more questions: How can we have the greatest and wondered how choir might serve as a Lithuania, teaching at the Lithuanian impact? How can we grow choirs and provide source of bridging social capital for singers in University of Educational Sciences and joyful opportunities for relevant and the United States as well. Could we cultivate conducting research on local folk ensembles. meaningful music making for even more a deeper appreciation of diversity through My study was intergenerational in nature and people? I recall the incredibly aesthetically encouraged cross-cultural interaction and so I observed ensembles serving children, satisfying performances in Pretoria and the thoughtful and varied programming? How university students, adults, and more elderly joyous ululation of the audience as they stood could the choral classroom be a forum for the individuals. Through weekly visits with each and danced and clapped along with the choir. exploration of issues of racism, homophobia, of these populations, I came to understand I think about the next crop of Drakies, transphobia, and other forms of prejudice and the value of a lifelong orientation to music learning to live and cooperate in a rich and inequity? By fostering a creative and cohesive education. Residents of Vilnius have a wide diverse multicultural environment. I imagine community of singers that develop strong range of rich, meaningful music making the choir in Kagbere sweeping the church bonds across perceived differences, we might opportunities available to them from after a service and collecting wood for an allow acceptance and appreciation of diversity childhood through old age. In a single week, I elderly neighbor. I remember shiny, little five- to flourish. interacted with 5-year-old children, 20-year- year-old faces and wrinkly, grey-bearded old university students, 40-year-old eighty-five-year-old faces joyfully singing A Lesson from Kagbere: Building professionals, and 85-year-old retirees, all Lithuanian folk songs. I think about the power Bridges with the Community learning traditional Lithuanian folk music and of choir to foster each of these unique and dance. It was beautiful and unexpected to see wonderful situations. And I can only conclude In an earlier study of choral culture, communities of all ages focused on the same that the true lesson is that our choirs are I found myself in Kagbere, an extremely rural Lithuanian folk traditions. communities. We have the joyful and daunting community in Sierra Leone. Home to and rewarding job of growing communities approximately 400 Landogo people, Kagbere After six months with these of singers and witnessing how people (singers, is a subsistence farming village without access communities, I began to think about the audiences, community members) are impacted to electricity or running water. I was amazed typical American’s access to musical by our efforts. We must recognize the power to find that this tiny village had a small, two- engagement throughout their lives. If we of music to teach our students about level children’s choir at the Wesleyan Church. profess that the goal of music education is to themselves, about each other, and about the I spent a month investigating the roles of the provide our students with the skills to world. And we must also think about our choir and was surprised to find that the choir participate in music across a lifetime, we must also consider what kinds of opportunities are 30 May/June 2016
choir’s relationship to the larger community Harris, P.B. & Caporella, C.A. (2014). And Putnam, R. (2001). Bowling alone: The collapse and what we might offer the world through intergenerational choir formed to lessen and revival of American community. music. Alzheimer’s Disease stigma in college New York: Simon & Schuster. students and decrease the social Adderly, C., Kennedy, M., & Berz, W. (2003). isolation of people with Alzheimer’s Rohwer, D. & Rohwer, M. (2009). A content “A home away from home: Theworld Disease and their family members: A analysis of choral students’ of the high school music classroom. pilot study. American Journal of participation perceptions: Implications Journal of Research in Music Education, 51, Alzheimer’s Disease & Other Dementias, for lifelong learning. International Journal 190-205. doi:10.2307/3345373 29(3), 270-281. doi: of Community Music, 2(2&3), 255-262. 10.1177/1533317513517044 doi: 10.1386/ijcm.2.2&3.255/1 Bailey, B.A. & Davidson, J.W. (2005). Effects of group singing and performance for Hopper, M.J., Curtis, S., Hodge, S., Simm, R. Southcott, J.E. (2009). ‘And as I go, I love to marginalized and middle-class singers. (2016). A qualitative study exploring the sing’: The Happy Wanderers, music, and Psychology of Music, 33, 269-303. effects of attending a community pain positive aging. International Journal of doi:10.1177/0305735605053734 service choir on wellbeing in people Community Music, 2(2&3), 143-156. doi: who experience chronic pain. British 10.1386/ijcm.2.2&3.143/1 Bartolome, S.J. (2013). “It’s like a whole Journal of Pain. Online first. bunch of me!”: The perceived values doi:10.1177/2049463716638368 Southcott, J., & Joseph, D. (2013). and benefits of the Seattle Girls’ Choir Community, commitment, and the Ten experience. Journal of Research in Music Hylton, J.B. (1981). Dimensionality in high Commandments: Singing in the Coro Education, 60, 395-418. school student participants’ perceptions Furlan. International Journal of doi:10.1177/0022429412464054 of the meaning of choral singing Community Music, 6, 79–92. doi: Chorus America. (2009). The chorus experience. Journal of Research in Music 10.1386/ijcm.6.1.5_1 impact study: How children, adults, and Education, 29, 287-303. communities benefit from choruses. doi:10.2307/3345005 Southcott, J.E & Joseph, D. (2015). Singing Washington, DC: Retrieved from in La Voce Della Luna Italian women’s http://www.chorusamerica.org/publica Jones, P.M. (2009). Lifewide as well as choir in Melbourne, Australia. tions/research-reports/chorus-impact- lifelong: broadening primary and International Journal of Music Education, study secondary school music education’s 33(1), 91-102. doi: service to students’ musical needs. 10.1177/0255761414546244 Clift, S.M., Hancox, G, Morrison, I., Hess, International Journal of Community Music, B., Stewart, D., Kreutz, G. (2008). 2, 201-214. oi: Thompson, L. & Berat, L. (2014). A history Choral singing, well-being, and health: 10.1386/ijcm.2.2&3.201/1 of South Africa. (4th ed.) New Haven, Summary of findings from a cross- CT: Yale University Press. national survey. Retrieved from, Joseph, D. (2009). Sharing music and culture https://www.canterbury.ac.uk/health- through singing in Australia. 1 In South Africa, Colored denotes individuals of and-wellbeing/sidney-de-haan-research- International Journal of Community Music, mixed race. centre/documents/choral-singing- 2(2&3), 169-181. 2 Apartheid (literally “apart-hood” in Afrikaans) summary-report.pdf doi:10.1386/ijcm.2.2&3.169/1 was a system of institutional segregation enforced by the National Party from 1948-1991. Cohen, M. (2012). Harmony within the Judd, M. & Pooley, J.A. (2014). The walls: Perceptions of worthiness and psychological benefits of participating Dr. Sarah J. Bartolome is competence in a community prison in group singing for members of the an Assistant Professor of choir. International Journal of Music general public. Psychology of Music, 42, Music Education at Education, 30, 46-56. 269-283. Northwestern University. doi:10.1177/0305735612471237 A children’s music and Davidson, J.W. & Fedele, J. (2011). choral specialist with an Investigating group singing activity with Kennedy, M.A. (2002). “It’s cool because we interest in world music people with dementia and their like to sing”: Junior high school boys’ for the classroom, she has caregivers: Problems and positive experience of choral music as an completed music perspectives. Musicae Scientiae, 15, 402- elective. Research Studies in Music fieldwork in Ghana, 422. Education, 18, 26-36. Sierra Leone, South doi:10.1177/1321103X020180010401 Africa, Zimbabwe, Panama and Lithuania. Her Dingle, G.A., Brander, C., Ballantyne, J., & scholarship in music education has been Baker, F.A. (2013). “To be heard”: The Kennedy, M.C. (2009). The Gettin’ Higher published in such journals as the Journal of social and mental health benefits of Choir: Exploring culture, teaching, and Research in Music Education, the Journal of Music choir singing for disadvantaged adults. learning in a community chorus. Teacher Education, and the Music Educators Journal. Psychology of Music, 41, 405-421. International Journal of Community Music, doi:10.1177/0305735611430081 2, 183-200. doi: 10.1386/ijcm.2.2&3.183/1 ala breve 41
Engaging Campus and Community: A Successful Ensemble by Jason Cooper and Becky Halliday The University of Montevallo Concert Choir invitations to perform at St. Michael’s developed for asking the Arts Council board has a long-standing tradition of excellence. In Cathedral, Peterkirche and Votivkirche in for funding. Board members were looking for May of 2015, this elite ensemble embarked Vienna and the Church of St. Lawrence in opportunities to forge ties with the new Dean upon a European tour that took them from Hodonín, Czech Republic. The occasion was of Fine Arts, whose program would benefit Prague, Czech Republic to Vienna, Austria. historic, in that it was the first such set of from the proposed grant. Among the points Stops in between included Hodonín, Czech invitations for a Montevallo musical group. It made in the proposal was the fact that the Republic; Budapest, Hungary; and Eisenstadt, was soon realized that there was a unique documentary project supported two prongs in Austria. During their 10-day journey, the opportunity to produce a lasting record of its mission statement: the promotion and group, under the direction of Dr. Melinda this trip for town and gown. coordination of the arts in the Montevallo Doyle, Director of Choral Activities, area, and the advancement of arts education performed 11 concerts in such prestigious In the fall of 2014, Doyle finalized a trip for the greater Montevallo community. venues as Hlahal Concert Hall and St. Vitus itinerary with Sechrist travel, a company that Cathedral in Prague, St. Michael’s Church in specializes in booking trips for educational The obligations of the documentarian began Budapest, and St. Stevens Cathedral in and performance tours. About 34 student to be more thoroughly defined during this Vienna. vocalists would travel to sites in Hungary, initial drafting period. Halliday would be Czech Republic, and Austria during an eight- responsible for recording video, photos, and A trip of this magnitude required a yearlong day stay. Seven adults, most of whom had an audio. The grant writers would use their fundraising effort, an undertaking that affiliation with the university, were booked to contacts to find equipment to do this work. involved several dozen student and adult travel with the students. The recordings would be posted online to musicians, hundreds of donors, and multiple share with interested parties and a larger video campus administrators. Doyle worked In January of 2015, when it appeared that the would be created that could serve as a tirelessly to ensure that the choir members university was close to raising enough funding recruitment tool for the music department. who wished to go on the trip had to make the trip successful, Doyle proposed opportunities to raise the necessary funds for recruiting an additional individual to A proposal was presented to the board of the travel. These students performed benefit document the tour. She wanted to recruit Montevallo Arts Council in February of 2015. concerts, worked at the university’s call center, another professional musician to perform to While several board members expressed received private donations – one gentleman this documentation work. Doyle turned to a enthusiasm for the project, it was generally even sold baked goods. Following the colleague on the music education faculty with agreed that the plan lacked detail. There were successful funding of the trip, there was a whom she had already worked on a number questions about the quality of the recordings second collaboration involving faculty of projects. Dr. Becky Halliday expressed that were to be made, as well as what the musicians, members of the library faculty, and interest in undertaking this work, but funding benefit would be to the larger community. a local arts council. This article will recall this for the trip was a roadblock. A faculty librarian Finally, while the Council had the funding latter partnership, which grew out of an effort and Concert Choir member, Jason Cooper, available to meet the request, the cost seemed to document the trip for the campus and the who had been rehearsing and performing with prohibitive to some. Board members did not Montevallo community. the choir over the course of the academic reject the funding request at this time, but year, decided to seek support from the asked for more information to be presented. After submitting audio recordings of Concert Montevallo Arts Council, on whose board he Choir performances, Doyle received formal sat. The grant writers regrouped and added details about what the end product would look like. 32 Over the next couple of Seeking help regarding technical specifications for the recordings, Cooper turned to weeks, Cooper, Doyle, Montevallo’s University Archivist, who offered advice on archival standards for audio and Halliday drafted a and photos. While there was no established standard for video, the archivist pointed the proposal for a community grant team to recommendations developed by the National Archives and Records grant to send the trip Administration. documentarian to The consultation with the archivist yielded other results. In addition to offering Europe. Counting airfare, microphones and digital recorders for the documentary effort, he offered the use of the lodging, and ground Con’t page 35 transportation it was May/June 2016 estimated that the cost of the trip would be about $3,500. Over the course of several meetings, a strong rationale was
From page 32 These pictures serve as a reminder not only artifacts from the first tour may be a critical university’s digital content platform to host of the beautiful choir performances, but also factor in fundraising efforts. the recordings. The grant writers could now the remarkable experiences planned for the describe precisely how these files would be choir by Sechrist Travel, including an evening As a traveler on the perimeter of the choral stored and made available to members of the dinner cruise along the Vlatava River, a tour activities that were the centerpiece of the tour, community in perpetuity. of the Hungarian Opera House, and Halliday marveled at the professionalism and numerous walking tours around the cities that enthusiasm of the Concert Choir. The The revised proposal included these new we visited. All of the participants marveled at students consistently sang stellar technical details along with two other the sights, smells, and tastes of the various performances, regardless of the hectic elements. First, the grant writers would cultures in each of these countries. Many of itinerary. As ambassadors of the University of produce a live trip blog that would produce the travelers had never traveled abroad; some Montevallo, they represented both the regular updates for followers of the music had never flown on an airplane. Documenting university and the state of Alabama with the program back home. Both this blog and the the events of this tour will not only serve to utmost decorum. The mayor and city officials, subsequent digital archive would bear the supplement university archives of events in who greeted delegates from the choir with a Council’s name. Lastly, a program was offered the Department of Music, but also allow private reception, hosted the evening concert to the Council, which could take the form of students to recall the events of this in Hodonín. The concert itself was attended a gallery showing of some of the photo monumental experience. by people from the small town and its material or a live performance of the some of surrounding area, who responded to the the trip repertoire. Most importantly, the choir made beautiful beautiful music with enthusiastic ovations. music throughout the tour – 11 concerts in all Shortly before resubmitting the funding - from intimate concert halls to enormous, Many times since the trip, students have request, the grant writers learned that the cost ornate cathedrals. Each concert was video and remarked about how thankful they were for of ground transportation for the audio recorded for purposes of archives and the opportunity to experience such a life- documentation would be covered. This recordings for distribution. Doyle prepared changing event. Despite the exhaustive efforts reduced the cost of the trip by about $1,000. beautiful performances of American music toward fundraising, troubleshooting, hours of This price reduction, along with the inclusion that were enthusiastically received by rehearsal and multiple performances, there is of additional technical and programming European audiences, including a spiritual little question that all involved would go details, was enough to convince a majority of arrangement by Moses Hogan performed by through it again for another chance to see the Council board members to lend their support Dr. Roderick George, Professor of Voice. world through the lens of music. to the project. Throughout the trip, the music was the centerpiece, from impromptu piano Becky Halliday is As the trip grew closer, Halliday and Cooper performances in airports to singing in the rain Assistant Professor met to outline the desired archival outcome. on the streets of Prague. The purpose of the of Music at the This included securing the archival space trip was always clear – sharing American University of through the University of Montevallo music with people of other cultures. Montevallo. archivist, creating a blog, hashtag, and Facebook page, and outlining artifacts to be At the conclusion of the trip, some still Jason Cooper is Head collected prior to tour. These would include pictures were combined into a brief slide of Media Technical video and still pictures of rehearsals and show, over a recording of the choir singing Services at benefit concerts, as well as interviews with Jake Runestad’s “I Will Lift Mine Eyes.” This Transylvania university administrators, students, and Doyle. video, along with an oral presentation by University. Throughout the trip, parents, friends, and Doyle, Halliday, and selected choir members, colleagues were able to follow the choir was shown to University of Montevallo through social media sites such as Facebook, alumni, Faculty Senate, Foundation Board, Twitter, and Instagram, using the hashtag and other interested parties. #umcceuro2015. In this way, the documentarian, as well as other travelers, Conclusion could upload pictures and status updates quickly and easily. Audio recordings were Because of the collaboration between the made on a Zoom Handy HD Video Recorder university and the Montevallo community, this camera; video recordings on a Sony historic trip may be reviewed for years to Handycam HD camcorder, and still pictures come. Already, the pictures and audio on a Nikon D3100 DSLR. Interviews prior to recordings have been used for recruiting the trip were made on an Olympus VN- purposes, and for university and department- 8100PC digital voice recorder. Hundreds of level marketing efforts. A C.D. of the choir’s photographs and hours of video and audio live performances is in the final stages of recordings were taken in order to provide a production, and a second trip to Europe is comprehensive view of the inaugural being considered. Having accessibility to the European tour by the choir. ala breve 35
AMEADivision Events 2015 - 2016 Alabama Bandmasters Association AMEA In-Service Conference/All-State Jazz Band All-State Band Festival January 21-23, 2016 - Renaissance Montgomery Hotel at the Convention Center April 14-16, 2016 - Mobile Convention Center All-State Solo Festival Summer In-Service Conference April 13, 2016 - University of South Alabama June 22-23, 2016 - Hampton Inn and Suites, Orange Beach District I District Fall Meeting August 24, 2015 James Clemens HS District II All-State Band Auditions January 29-30, 2016 Sparkman HS District III District Honor Band February 12-13, 2016 Huntsville HS District IV State MPA I March 8-9, 2016 Austin HS State MPA II March 10-11, 2016 James Clemens HS District V Solo and Ensemble Festival April 2, 2016 Priceville HS District VI Solo and Ensemble Festival May 7, 2016 Liberty MS District VII District Fall Meeting August 25, 2015 Gadsden City HS District VIII All-State Band Auditions January 16, 2016 Albertville HS State MPA February 24-26, 2016 Gadsden City HS District Honor Band March 11-12, 2016 Albertville HS Solo and Ensemble Festival April 18, 2016 Southside HS Solo and Ensemble Festival May 2, 2016 Oxford HS District Fall Meeting August 15, 2015 Smith Lake All-State Band Auditions January 30, 2016 Muscle Shoals HS District Honor Band February 19-20, 2016 Wallace State Community College State MPA March 1-3, 2016/March 12, 2016 UNA/Muscle Shoals High School Solo and Ensemble Festival May 7, 2016 UNA District Fall Meeting September 21, 2015 TBA All-State Band Auditions January 30, 2016 TBA State MPA (Middle School) March 8-10, 2016 Hewitt-Trussville HS State MPA (High School) March 15-17, 2016 Homewood HS District Honor Band February 26-27, 2016 Homewood HS Solo and Ensemble Festival April 19, 2016 Homewood MS Solo and Ensemble Festival May 7, 2016 Bumpus MS District Spring Meeting May 23, 2016 TBA District Fall Meeting August 24, 2015 Private Residence, email for details All-State Band Auditions January 30, 2016 Tuscaloosa County HS District Honor Band February 19-20, 2016 University of West Alabama District Spring Meeting February 20, 2016 Private Residence State MPA February 25-26, 2016 University of Alabama School of Music Solo and Ensemble Festival March 15, 2016 Prattville JHS Solo and Ensemble Festival April 21, 2016 Tuscaloosa County HS All-State Band Unassigned Auditions January 30, 2016 St. James School All-State Band Auditions January 30, 2016 Opelika MS District Honor Band February 19-20, 2016 Auburn HS State MPA March 8, 2016 First Baptist Church Montgomery State MPA March 9-10, 2016 Opelika HS Solo and Ensemble Festival April 28, 2016 Auburn JHS District Fall Meeting August 24, 2015 Murphy HS All-State Band Auditions January 16, 2016 Davidson HS State MPA March 9-11, 2016 Baker HS Solo and Ensemble Festival April 30, 2016 Fairhope HS Solo and Ensemble Festival May 7, 2016 Faith Academy District Spring Meeting May 9, 2016 Daphne HS District Fall Meeting August 17, 2015 TBA All-State Band Auditions January 9, 2016 Troy Elementary School State MPA March 8- 11, 2016 Enterprise HS District Honor Band March 12-13, 2016 Enterprise HS District Spring Meeting March 13, 2016 Enterprise HS Solo and Ensemble Festival May 7, 2016 Troy Elementary School Solo and Ensemble Festival May 14, 2016 Excel HS 52 May/June 2016
Alabama Vocal Association Fall Workshop: September 11, 2015, Montgomery, 1st Baptist Church, Advance Registration deadline: September 4 Board meeting @ FBC: September 10 6:00 p.m. All-State Auditions All-Districts Event Date Area Location Registration Date Absolute Deadline/payment due All-Districts Friday, 11/13 October 2 October16 All-Districts Saturday, 11/14 Cullman St. Bernard Prep October 2 October 16 All-Districts Sunday, 11/15 October 2 October 16 All-Districts Monday, 11/16 Cullman St. Bernard Prep October 2 October 16 All-Districts Tuesday, 11/17 October 2 October 16 All-Districts Wednesday,11/18 Florence Florence HS October 2 October 16 All Districts Thursday, 11/19 October 2 October 16 Friday, 11/20 Gadsden Gadsden City HS October 2 October 16 Honor Choir Screening District I Gadsden Gadsden City HS District II District III Montgomery FBC District IV District V Montgomery FBC District VI District VII Mobile Spring Hill Baptist OCS/OA/ME Event Date Location Reg. Date Absolute deadline/payment due District I October 29 Austin High School October 1 October 15 District II October 27 Tuscaloosa County HS September 29 October 13 District III November 2 Gardendale HS October 5 October 19 District IV November 2 Alexandrea HS October 5 October 19 District V November 17 James Clemens HS October 20 November 3 District VI October 28 Montgomery Academy September 30 October 14 District VII October 29 UMS-Wright October 1 October 15 SCPA Event Date Location Reg. Date Absolute deadline/payment due District I November 5 Florence HS October 8 October 27 November 10 Tuscaloosa County HS October 13 October 27 District II October 19 Gardendale HS September 21 October 5 District III November 5 Alexandria HS October 8 October 22 District IV November 3 Randolph School October 6 October 20 District V November 4 Tallassee HS October 7 October 21 District VI November 9 U of South AL October 12 October 26 District VII Event Date Location Reg. Date Absolute deadline/payment due S/E February 23 1st Baptist/Decatur January 26 February 9 District I February 24 UNA January 26 February 9 District II March 30 -31 Moody Music Bldg March 2 March 16 District III March 21- 23 Gardendale-Mt. Vernon UMC February 22 March 2 District IV April 7 Gadsden City HS March 10 March 24 District V April 4 – 5 Columbia HS March 7 March 21 District VI March 18 1st Baptist Tallassee February 19 March 4 District VII March 15 U of South AL February 16 March 1 State Events Event Date Location Reg. Date Absolute deadline/payment due All-State Show Choir Auditions April 7 UNA March 10 March 24 All-State Show Choir Festival March 30 – 31 Moody Music Bldg (with SCPA) March 2 March 16 Honor Choir Festival April 9 Gardendale HS March 12 March 26 All-State Auditions February 25 Jacksonville State U January 28 February 11 All-State Festival 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 2, 2015 October 9, 2015 October 16, 17, 2015 Gardendale-Mt. Vernon UMC December 9, 2015 December 23, 2015 December 9, 2015 December 23, 2015 January 20 – 23, 2016 AMEA Montgomery October 2, 2015 October 16, 2015 January 20, 2016 February 3, 2016 January 21-22,2016 AMEA Montgomery November 13-20, 2015 Various locations throughout state March 2 – 5, 2016 Samford University Alabama Orchestra Association All-State Festival......................................................February 11-14, 2016 AOA Music Performance Assessment.......................April 22-23, 2016 ala breve 37
Campus Connections... News and Happenings from Alabama’s Colleges and Universities Colleges and universities are encouraged to submit newsworthy material and announcements for publication in Ala Breve Auburn University Don’t miss our summer band camps! at 334-844-4165 or [email protected] if High School and Middle School students you have questions about our degree Auburn University’s Symphonic Winds interested in attending the 2016 AU programs or offerings. under the direction of Dr. Rick Good Bands Summer camps can now register traveled to Italy in March 2016 for a for marching band and symphonic band War Eagle! concert and educational tour. camp opportunities by visiting the Approximately 100 undergraduate Summer Camps page (http://band. Samford University students, graduate students, faculty, staff, auburn.edu/event/summer_camps/inde and other personnel visited five different x.htm ). Samford Opera had a vibrant year! They Italian cities, including Rome, Ariccia, won second place at the National Opera Florence, Venice, and the Umbria region. For more about our ensembles, please Association’s Collegiate Scenes They performed concerts in: Sala Maestra visit our website: www.auburn.edu/music. Competition in Indianapolis for the in the Chigi Palace (Ariccia), the Ensembles at Auburn University are open second year in a row, they did an Conservatory of Santa Cecilia (Rome), to all students on campus and are educational tour of opera scenes to and the Gubbio Theatre in Gubbio. comprised of both music majors and Birmingham-area high schools, and they majors in almost every other college. We performed the musical On the Town in a Our students were able to experience encourage students who have participated School of the Arts collaboration with Italian culture in each of these areas as in music in high school to continue their enthusiastic audience response. Samford well as visit popular landmarks such as: involvement in band, orchestral, or choral University recently admitted their first The Coliseum in Rome, the Sistine Chapel ensembles at the collegiate level. It’s a robust class of students pursuing a in the Vatican, Santa Maria del Fiore in great break from academic studies and a masters degree in Vocal Performance. Florence, Grand Canal Tour in Venice, sure way to meet new friends once you Their new partnership with Opera and the Duomo in Orvieto, among many arrive on campus. Birmingham offers students the others. Auburn University faculty opportunity to perform with a members, Rick Good, Corey Spurlin, and I invite you to read about our professional company during their Doug Rosener were joined on the tour by distinguished faculty, major performing graduate studies. Johnnie Vinson, emeritus faculty, and ensembles, programs of study, and Dean Joe Aistrup of the College of available scholarships, and assistantships The Samford A Cappella Choir embarks Liberal Arts. on our website at: www.auburn.edu/ on a tour of three Baltic nations music. Contact the Department of Music this May: Latvia, Lithuania, and Estonia. During their tour, they will work with noted conductors and composers from the area and compete in the International Choir Festival and Competition “Šiauliai Cantat” hosted in Lithuania. Samford will be the only choir to represent the United States. This will be Samford’s fourth international competition in five years. A Cappella leads Samford’s monthly Vespers service and recently performed by invitation at the Fall 2013 Conference of the National Collegiate Choral Organization in Charleston, South Carolina. 38 May/June 2016
Teaching Sight-Singing: Finding Your Way Jane M. Kuehne, Ph.D. As a young middle school choral as possible, a 50-60 minute session provides without making large adjustments (Choksy, educator, I struggled to find an effective way motivation and potentially helpful activities, 1981; Gordon, 2012). All of these to teach my students to sight-sing. Much like but not necessarily much depth in how to considerations affected my thoughts on how when one learns to read words at a very early teach sight-singing. to teach sight-singing. age, in my personal experience (thanks to the piano and theory lessons paid for by my Sifting through several pages out of As I read, I also worked on my task mother), I only remember knowing how to read 4+ million different “sight-singing” websites analysis, breaking down skills needed to sight- music, not how I learned. When I started to see if they are helpful is not realistic. sing music and listing them line-by-line from teaching choral music, I struggled with making Purchasing numerous sight-singing books for most basic to most complex. When I met the connection between knowing how to sight- review takes money and time with no with Dr. Watkins again, I presented her with sing and knowing how to teach sight-singing. I guarantee of usefulness. Attending a 2-3 11 legal-sized handwritten pages. After she searched for something (anything!) that would conference sessions on sight-singing each year read my work, she suggested I create materials work. I observed successful peers, asked them certainly will help in some ways, but may not to teach and assess each step (or group of questions, and tried to incorporate their provide what is needed to learn how to teach steps) in my task analysis. With so much time suggestions into my thinking and teaching. sight-singing. If we are going to spend already invested in this process, I was Still, I felt lost and ultimately, even though I valuable time discovering how to teach sight- motivated to continue. I began creating was trying my best, I felt like a failure because singing, perhaps we can use it more effectively. materials, first by hand, and then with notation I knew I was failing my students. Based on software. By the end of the summer, I conversations with teachers in conference An Old-New Idea completed what amounted to my own sessions, I can only speculate that some feel The summer after my first year personal approach or method for teaching the same way I did. sight-singing. teaching middle school chorus, when I felt like Searching for a Solution a complete failure, I asked for help from one In trying out my “method” with my Recently I searched “sight-singing” of my mentors, Dr. Rosemary Watkins. In her students, I realized the time I spent resulted intuitive way, she suggested I read (or re-read) in success for my students, and for me. The on Google and received approximately learning theory and music teaching realization occurred in two places, first in the 4,460,000 results in less than a second (actually approaches, and create a sight-singing task sight-singing adjudication room where they about 0.37 seconds). Google tries to help its analysis. My first reaction was, “Great, I need earned high marks, and second during my users by ranking the results in order of what help and you’re asking me to do an academic final teaching evaluation that year. I its algorithms view as useful. However, search exercise.” I wanted a quick (or quicker) fix. remember introducing a new 3-part (SSA) engines results are based on specific words on Though I was reluctant, I put my mind to it. piece for our spring concert when my vice the webpage, search engine optimization principal came into the room to observe. We keywords, and many other elements (Fishkin As I read the books and articles she went through our standard routine for sight- & Moz Staff, 2015) and ultimately we cannot loaned me, Ausubel, Vygotsky, Skinner, singing a new piece. The students made very be sure what Google deems is valuable is what Bruner, Kodály, Dalcroze, Gordon, Madsen, few mistakes. We repeated the process and we will find valuable. and others came to life (perhaps for the first they made no mistakes. I said to them, “Do you time). Several trends emerged from my realize what you just did?” Their expressions When I searched “sight-singing” on reading that helped me think more said they did not. “You just read this brand several music merchants’ websites (J.W. constructively about teaching sight-singing. new piece, and in two tries, you sang all of the Pepper, Pender’s Music Co., Stanton’s Sheet First, each subject area (including music) is pitches and rhythms right!” I was excited Music, Sheet Music Plus, Amazon: Sheet constructed of many smaller concepts and (really excited)! When what they realized their Music and Scores), I received significantly less skills that must be taught in a carefully accomplishment, you can imagine their results, ranging from 59 to 289. For example, sequenced order (Bruner, 1977; Choksy, 1981; excitement too. In looking back to that time, J.W. Pepper’s website (2016) returned 115 Gordon, 2012). In addition, concepts and it was one of the most joyous moments I have results, with 72 in the “choral” category. skills (such as melody and rhythm) should be ever had in teaching. Some items in the list were no longer available taught individually before they can be or no longer in print. Some dated back to the combined (Choksy, 1981; Gordon, 2012; The Rest of the Story 1930s while others were as recent as 2015. Jacques-Dalcroze & Sadler, 1913). Second, I would love to say synthesizing There were familiar and unfamiliar authors, internal hearing, or audiation, which is the composers, and arrangers. This was typical ability to comprehend and construct familiar what I read and creating the task analysis (with for all of the companies I searched. and unfamiliar musical sounds and silences, is materials) was easy, it was not. But, it was time the foundation of and the ultimate goal of very well spent. I was more comfortable and In a brief review of ACDA national musicianship (Choksy, 1981; Gordon, 2012). confident in teaching sight-singing and my and regional conferences as well as state music Finally, though some advocate for using students succeeded, not just in the sight- educator conference sessions, usually there is solfège with fixed do (where do always equals singing contest room, but also in every day at least one 50-60 minute sight-singing session C), others agree that solfège with moveable do practice. in each conference. As one who provides (where do changes with the key) is a highly sight-singing sessions, I am almost certain, effective tool for pitch/tonal training and I now extend Dr. Watkins’ challenge though I try to give as much valid information allows students to sing in multiple tonalities to you. Familiarize (or re-familiarize) yourself with how students learn. There are many ala breve 39
valuable online resources now available at methods. Give yourself permission to students were learning performance skills, but your fingertips. Spend time breaking down develop your own personal approach. You also learning to read music. Using the process concepts and skills your students need for and your students will be thankful you did! we did every day in class, they read a new piece success. Create your own task analysis. of music for the first time in front of their Identify the most basic musical skill(s) Additional Suggestions parents and guests. Share their success with students must be able to do to sight-sing Developing your own approach to their families and friends. accurately. Here is a hint: my first step was “maintain an accurate and consistent steady beat.” teaching can be a highly rewarding task. One Final Note List succeeding skills/concepts in order, from However, it only one piece of the puzzle. You will have days where they most simple to most complex. Create your There are essential practices in our classrooms own exercises (or find ones you like) to help that support our teaching and our students’ students will do everything you ask, but you introduce, teach, and assess each skill or learning. Below are some suggestions to help struggle to grasp the concepts and skills. You group of skills in your list. you support your students’ learning. will have days where they will fight your teaching efforts. You will have days when You will need to determine a “final Help them buy in. You must convince nothing goes right and you may doubt if what goal” (how far into the whole sight-singing them that sight-singing is valuable and that it you are doing matters. And, you will have process will you take them?). I used the UIL can be enjoyable. I told my students the truth: Utopian days, where everything goes right. (2016) middle school sight-singing learning to sight-sing will be hard but They sight-sing perfectly and sing their requirements. Yours may include less or more rewarding. I taught the required the daily literature beautifully, and you realize you have depending on your students’ levels or your sight-singing procedures (routine) I wanted taught them well and that you have opened own expectations for the year. Once you have them to do each day. Beyond that, I tried to their worlds to new possibilities and a lifetime a goal in mind, determine your vehicle(s) for be creative in motivating them. We had Sight- of music. teaching. Will students use scale degrees, Singing Breakfasts and Big Red Friday Sight-Singing letter names, solfège, or something else for Parties once or twice a month (our school References singing pitches? Will they use syllables or colors were red and black). In each of these, Bruner, J.S. (1977). The process of education. numbers in counting rhythm? Will you teach students practiced sight-singing for 30-45 all students to read treble and bass clefs, just minutes and then had various treats for Cambridge: Harvard University treble, or just bass? These are important but attending. Minimal financial and time costs Press. can muddy the water when you are attempting on my part resulted in more motivation from Choksy, L. (1981). The Kodály context. Upper list skills and concepts. Save answering some them. Saddle River: Prentice-Hall, Inc. or all of these questions until you reach Fishkin, R. & Moz Staff (2015). Chapter 1: point(s) where you must answer them to Teach every day. Teach sight-singing How search engines operate. In The continue. every single day, from the first day to the last beginners guide to SEO. Retrieved: day, even on days after concerts, or before https://moz.com/beginners-guide- A word of caution. As you are holidays. Consider what you students learn to-seo/how-search-engines-operate completing your own task analysis (or teaching from your behaviors when you do this: sight- Gordon, E.E. (2012). Learning sequences in approach), remember that your process, or singing important, learning to read music is music: Skill, content, and patterns (2012 order of operations, may or may not be the important. Edition). Chicago: GIA Publica- same as your choral teacher friends’ processes. tions, Inc. It may or may not mirror different published Be consistent. Teach them your sight- J.W. Pepper and Son (2016). “Sight-singing” singing process and use the same routine search. Retrieved http://www.jw- An educational festival for every day. Remember, there will be steps in pepper.com/sheet- elementary, middle, and the learning process that take longer than music/search.jsp?keywords=sight-s high school students in other steps. Do not give up and shift to inging band, choir, and orchestra something new when it is taking longer for Jacques-Dalcroze, E. & Sadler, M. (1913). your students to grasp the concepts and The eurhythmics of Jacques-Dalcroze. 2016 dates: complete the skills. Stay with your process Boston: Small Maynard and Com- April 22-23, April 29-30, May 6-7 and reteach when needed. pany. University Interscholastic League (UIL) 2017 dates: Assess constantly. As musicians we (2016). Choir sight-reading criteria. Re- April 21-22, April 28-29, May 5-6 naturally assess the “good and bad” in each trieved: performance (sometimes to our detriment!). http://www.uiltexas.org/music/co www.SMMFestival.com Use your innate “was it right, was it wrong” ncert-sight-reading/choir-sight- assessing abilities each day. Reteach when reading-criteria or call:1-855-766-3008 needed, move on when they have successfully grasped concept(s) and skills(s). Sometimes Jane Kuehne is Associ- you have to reteach multiple lessons, other ate Professor of Music times you may teach it one time, and they “get Education at Auburn it.” Assess and reflect upon your own University teaching, and do it honestly. Ask yourself what could be improved or changed and what went well. Sight-sing in concerts. One of the best motivators for my students was when I explained in our March and May concerts to parents and other audience members that 40 May/June 2016
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