CD January 2010

N=teChoral

Directors of

Fifth Annual

JANUARY 2010$5.00

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Features

Cover design by Andrew P. Ross.

4 Opening Notes

6 Headlines

28 New Products

30 Vocal Tip

31 Classifi eds

32 Ad Index

Choral Director® is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offi ces. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher.Copyright © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Columns

Contents Janaury 2010

8 UPFRONT Q&A: ANNE STEPHEN

Choral Director checks in with Nevada Music Educators Asso-ciation president Anne Stephen on how the NMEA is fi nding creative solutions for new problems facing music education in the Silver State.

12 REPORT: CHORAL DIRECTORS OF NOTE

Choral Director’s fi fth annual “Choral Directors of Note” fea-ture honors ten exemplary vocal music educators from across the country.

19 SURVEY: FUNDRAISING

This latest reader survey takes a look at how choral directors nationwide are augmenting their programs’ coffers.

22 REP FORUM: NEW MUSIC FOR ADV. CHOIRS

Drew Collins reviews newer music for advanced choirs or intermediate groups in need of a challenge.

25 TECHNOLOGY: ADMIN APPLICATIONS

Dr. John Kuzmich examines software applications designed to take some of the administrative pressure off of music educa-tors.

2 Choral Director, January 2010

25

8

12

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Opening Notes

Looking ForwardA

s we usher in the new year and the start of a new decade, threats to our national secu-rity and economic stability stream across the headlines with alarming regularity. Yet, in the face of such uncertainty, music continues to yield a singular and unique power to bring

people together and lift our spirits. In tribute to the many great educators who carry the torch of music into the trenches of our schools, endowing future generations with the capacity to express themselves through song, this issue features our fi fth annual Cho-ral Directors of Note report. As we honor a handful

of vocal music teachers, it is important to once again note that the mentors named in these pages are intended to be merely representative of the legions of wonderful and in-spired choral directors across the country.

Nevertheless, the work being done simply cannot be overstated. In some cases, this means providing children who might not otherwise have a chance to succeed with a place where they feel welcome. “Sometimes, all these kids need is for someone to believe in them and then they begin to believe in themselves,” notes John Harned, the choral director of Sandy Hook, Connecticut’s Newtown High School and one of the 2010 Choral Director of Note

honorees. Martha Helen Schmidt, who is both a composer and the choral direc-tor of Burnsville (Minn.) Senior High School, relates a story of an alto singer who auditioned and earned a solo in a school concert, in spite of being affl icted with Down syndrome. Joel Everist, the director of Choral Activities at Mason City (Iowa) High School, speaks of the unique virtues of music as a vehicle for both expression and introspection: “Music is one of the most powerful aspects of the arts because it deals so directly and publicly with our emotions. Self-refl ection, inspired by the study of choral literature, opens the hearts and minds of students as they create and experience art.” Well put, Joel.

Looking to the new year, one of our resolutions here at Choral Director is to continue to expand the involvement of our readership in the content of this publi-cation. Would you like to nominate a colleague for the 2011 Choral Directors of Note? Do you have an opinion on something you’ve read in the pages of this publi-cation? Do you have a vocal tip you’d like to share, a suggestion for future editorial coverage, or even an idea for an article? Don’t hesitate to e-mail me at [email protected]. I look forward to hearing from you all year long…

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January 2010Volume 7, Number 1

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“Music continues

to yield a singular

and unique power

to bring people

together and lift

our spirits.”

RPMDA

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Fiesta-val HighlightsIn addition to the Basic Package participants receive:• A New York City Explorer Pass which allows entrance

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Fiesta-val Overview• All instrumental and choral performances will be held Friday at a hotel Ballroom

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Music Festivals

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HeadLinesLos Angles Master Chorale High School Choir Festival

Founded by the Master Chorale Associates in 1989, the 21st Annual High School Choir Festival will be held on April 16, 2010 and will bring to-gether more than 25 schools and 900 students for a day of singing under

the baton of music director Grant Gershon. This year, the Festival will be a part of the “Americas and Americans” Festival at Walt Disney Concert Hall.

The Festival includes a year-long mentoring process between the choir direc-tors and the Master Chorale’s music director. Participating ensembles prepare

the Festival selections on their own throughout the year. In the spring, students attend an area rehearsal where they rehearse the selections with fellow students as well as participate in a master class facilitated by members of the LAMC Cham-

ber Singers. On the Festival Day, all participating ensembles arrive at the Walt Disney Concert Hall where they perform the selections as a massed chorus of voices. Participating ensembles may also audition to be featured in the Show-case of Choirs, where they are featured center stage to an audience of their peers.

For more information, visit www.lamc.org.

Dr. Phil Foundation Launches Little Kids Rock Across America

The Dr. Phil Foundation has launched Little Kids Rock Across America with a $500,000 dona-

tion designed to restore, revitalize, and enhance musical programs in schools in 10 cities across the country. The pro-gram brings music education to school children from grades K through 12 in New York, Los Angeles, Chicago, Phil-adelphia, Dallas, Atlanta, Washington D.C., Tampa, and two additional cities to be named by the end of 2009.

A CD featuring some of the school children’s original compositions was dis-tributed to the press and is available on the Little Kids Rock Web site. Fender is a corporate sponsor of Little Kids Rock and has also donated to the program.

For more information, visit www.littlekidsrock.org.

ChoralNet board of directors has ap-proved a motion to dissolve the non-profi t corporation ChoralNet, Inc. and

merge ChoralNet operations with the Ameri-can Choral Directors Association, which went into effect on January 1, 2010.

The ACDA members who are not already using ChoralNet forums will begin to do so as ACDA moves to use ChoralNet as its main form of communication. With new

resources available, ChoralNet will add new features more quickly and branch out into new online endeavors. because the volunteer work that has sustained Choralnet has been sustained by volunteer staff and augmented by staff in the national headquarters of ACDA and by ACDA’s network of elected and ap-pointed leadership.

To fi nd out more, visit www.choralnet.org.

ACDA and ChoralNet Merge

Mizzou New Music Initiative

Dr. Jeanne Sinquefi eld, a passionate amateur musician and head of the Sinquefi eld Charitable Foundation,

has bankrolled the University of Missouri at Columbia with a $1 million gift to create the Mizzou New Music Initiative, a diverse array of programs intended to position the school as a leading center for music composition and new music.

Sinquefi eld sees the Mizzou New Music Initiative as a ground-breaking effort to help spur creativity among young composers. The program complements a statewide competi-tion called COMP (Creating Original Music Competition), funded by the Sinquefi eld Charitable Foundation and aimed at students from kindergarten through high school.

Among the components of the Mizzou New Music Initiative is the New Music Sum-mer Festival, which will feature eight to 10 composers from around the world creating a composition to be performed by Alarm Will Sound, an internationally acclaimed new music ensemble.

Another element is the Composer Con-nection, which will allow young composers from throughout Missouri to receive instruc-tions from a graduate student in composition at the University of Missouri. Under this dis-tance-learning program, young composers will be able to e-mail works in progress and questions about composing to the graduate student.

The Mizzou New Music Initiative is an ambitious attempt to nurture musical creativ-ity in the youth of Missouri and elsewhere. For additional details about the program, please visit music.missouri.edu/newmusicini-tiative.html.

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Choral Director, January 2010 7

HeadLinesCMA Donates to Nashville School Music Programs

The Country Music Association has donat-ed $1,066,632 – its largest music educa-tion donation to date – to Nashville pub-

lic schools through its Keep the Music Playing campaign. The CMA Music Festival will Keep the Music Playing in Nashville’s public schools with a charity initiative that will support music education through a partnership with the Nash-ville Alliance for Public Education.

The donated dollars come from proceeds made during the CMA Music Festival, which fi nds major country stars performing (and waiv-ing their performance fees) at LP Field and at other downtown spots each June. The CMA has now donated more than $3.3 million in recent years to support area music education through a partnership with the Nashville Alliance for Public Education.

That money has been used to build music labs, to purchase more than 2,500 instruments and to help endow the Country Music Hall of Fame and Museum’s Words and Music program, which assists language arts and music teachers with classroom instruction in songwriting basics. At a time when music education funding is being cut across the nation, the CMA’s donation is helping to ensure that students are able to play music at school.

To fi nd out more, visit www.cmafest.com.

OrchKids, the Baltimore Sym-phony Orchestra’s educa-tional initiative launched

last year at an inner city school, has received a $1 million gift from Robert E. Meyerhoff and Rheda Becker. The Baltimore philanthropists were among the early supporters of the project, which received its initial seed money of $100,000 from BSO music direc-tor Marin Alsop. Currently, more than 150 pre-K to second-graders are part of the OrchKids program at Locker-man Bundy. The Meyerhoff/Becker gift is estimated to cover 50 percent of the expenses over the next four years, as more grades are added to the program; more than 300 students are eventually expected to participate.

For more information, visit www.bsomusic.org.

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Online Survey ResultsOrchKids Receives $1 Million Gift

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CDUpfrontQ&A: Anne Stephen, NMEA

Nevada: Finding Creative Solutions for New Problems

School music programs in Nevada are facing unique and

unprecedented challenges. With a state economy that is

driven almost entirely by sales tax, and a work force that

is largely dependent on the service industry (primarily

gaming and tourism), national economic woes have had a ter-

ribly destructive impact on school budgets across the state.

Fortunately, there have been few layoffs among fi ne arts staff, says Anne Ste-phen, the president of the Nevada Music Educators Association, and the NMEA is working diligently to implement creative solutions to help combat some awfully negative fi nancial statistics. In a recent CD interview, Stephen elaborated on the plight of the music program in Nevada, while providing a detailed look at the ongoing creative efforts to bolster the arts across the Silver State.

Choral Director: How are school music programs doing in Nevada?

Anne Stephen: All of the angst and turmoil occurred in May and continued over the summer, so everyone now is just getting their feet back on the ground and dealing with it. I live in Clark County, which is the largest district in the state, and I can say that there we did not lose any fi ne arts teachers. Layoffs rarely hap-

Anne Stephen, NMEA president

pened in the state. Superintendents were very good about fi nding places for everyone. Some teachers may not be teaching where they want to teach, but everyone that wanted a job pretty much has one.

CD: That is good to hear.

AS: We compiled a report on this a few months ago, and I was able to speak with somebody from every dis-trict in the state. I had expected to hear just dire news, but I learned that the state of music education isn’t too bad throughout Nevada.

I want to preface this with a little bit of information about Nevada that explains a little bit about our situation.

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Nevada is the seventh largest state in the country geographically, but it’s the 35th in terms of population. That means that we’re spread out over a vast amount of land. The state legisla-ture meets every other year. They last met was in the spring of 2009, so they meet will meet again in the spring of 2011. We have no state income tax, so for things like education and schools, we really only on sales tax.

CD: Wow!

AS: Yes, wow. And when the econ-omy is like it is, no one is traveling here, and no one is spending money. Since the fi scal year began July 1, we are 9.3 million dollars behind where we were projected to be in May. When the legislature session ended earlier this year, they passed a budget based on these predictions and we’re already fairly substantially below that now, and this is only in November. What we are fearing is that the governor – who, as an aside, is not very popular in the state right now for various reasons – may have to call an extra session. If they do that, it’s going to cost more money to have the special session and it’s going to mean that we’re going to have to cut more, and we’re just on bare services now. The state budget for schools was cut by 12 percent. Most of the districts were able to keep music programs intact, although they admit-ted that they were not able to provide all the materials that they thought they needed to properly supply their pro-grams.

CD: So fewer instruments and re-pairs and that sort of thing?

AS: Right. We do have high un-employment here. In Clark County, unemployment is 13 percent, and for the state it is at 12 percent, and that just refl ects the people who are com-pletely unemployed. We also have huge numbers of people whose jobs were cut back. So they’re still work-ing, but maybe only 16-30 hours per week, and because they are working they don’t qualify for unemployment, and they can’t quit because if they do, they still won’t qualify for it. So funds are being cut everywhere, and as a re-sult people aren’t buying anything and we aren’t collecting sales tax, and we

aren’t getting any money for schools. August sales were down 24 percent across the state, as compared to last August, and that is typically a pretty big month for us.

CD: That sounds rather dour. Get-ting back to the nuts and bolts of it, what are you doing to keep programs going?

AS: We’ve done some creative things. The worst of the cuts were in Clark County, but statewide, in Washoe County – which is the other large population center in the state, in the northwest corner of Nevada; the other counties are rural – the districts dropped the solo and ensemble festi-vals. So the NMEA has picked that up and we now run the Washoe and Clark County solo and ensemble school fes-tivals. Our state is split into four zones for music educators, and the northern zone – which encompasses most of the rural areas and our state capital, Car-son City – puts on its own solo and ensemble festivals. So again, that’s cre-ative thinking keeping things intact. They have done this now for at least fi ve years. Out northeast zone also holds its own festivals.

We’re trying to keep programs go-ing with the help of professional orga-nizations. For instance, Nevada ACDA sponsors the middle school honor choir, so we are able to maintain that here in Clark County. ASTA is helping out with the middle school orchestra honor programs. We have an organization in Southern Nevada called the Southern Nevada Band Organization, and they are helping with the band honor ensembles. A lot of organizations are stepping in to help some programs stay around.

CD: Going back to the 12 percent cut that you mentioned in the school budgets statewide, how were you able to prevent music programs from being hit too hard by that?

AS: We weren’t able to do much. The way that most of the districts in our state work is that they are site managed. In other words, the state gives the money to the district, which gives money to principals and the school administration. They, and their communities, have the say in what is offered in their schools. So if a princi-

pal feels that a program isn’t strong or that numbers are going down, they are hard-pressed to justify keeping a music program if they can instead, say, hire another math teacher. I’m not faulting the principals – they have a tremen-dous amount of responsibility right now, and they have to pass AYP and tests – but they might consolidate a program, if possible. For example, if a choir teacher leaves, moves to another state, or retires, they might combine the fi ve choir classes into two and then ask the band director to teach both band and choir. This happens a lot, es-pecially with choir and theatre. This is better than nothing, but it’s not great.

We, as a board, decided in May, when people were saying, “You’ve got to do more to advocate,” that princi-pals are not going to cut programs that have 400 kids in them. If teachers are struggling, we need to fi nd a way to start at the site. If the site is where the organization of the power is, we have to make sure that the site is strong. So we’ve incorporated two grants: we have a grant to help teachers in-state to attend professional development and to help them get ideas, feedback, and learn new procedures that they can bring directly to their classrooms to make their teaching stronger and at-tract more students; and we also have a mentor grant that we’re just starting this year. Teachers that feel that they are struggling or need some help can shadow a master teacher, and we’ll pay for the sub. It’s not a lot, but it’s a start and this is what we’re trying to work on: helping teachers build their programs and get stronger so that they have a little more ammo when it comes to budget cut time. They’ll be able to say, “You can’t cut my program – we’re strong, we’re doing this, that, and the other.”

We’re also encouraging community involvement.

CD: How so?AS: The goal is to make fi ne arts fi s-

cally attractive to administrators and communities. The more we service the communities, the better they will feel about how important these pro-grams are. So we’re encouraging music teachers to get outside of the school, go into the community and show ev-

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eryone that music is vital – not only for a complete education for students, but as a part of our communities, as well.

Something we’re going to talk about at our next meeting is going to be to encourage our members to have Nevada tours, and our travel grants will help support this. This will help get our schools into the rural com-munities to do exchange concerts, or have the northeast zone come down and perform for the southern zone, and that sort of thing. This will help us get into seeing what everyone else is doing, and give kids a chance to help other kids. We have some one-room schoolhouses in some areas, and it would be wonderful to get a cham-ber group to travel to these one-room school houses and give workshops and music performances.

There is one of those schools in our county that is literally K-12 in one room. There is one teacher who teach-es everything – math, science, general music – and someone donated a vio-lin to the school. She went online and learned how to teach violin, and then taught everyone in the school on this one instrument. The superintendent was very moved by this and ended up buying the school more violins. I just found this out last month, and I thought, “Wouldn’t it be great if we could get a group from a larger school to go in there and help these kids?”

CD: In formulating an action plan, are you looking at what other states are doing for their own mu-sic education programs?

AS: I just started my presidency as of July 1st, and this is something we’re still looking into. We are lumped in with the smaller states because of our population, even though we’re large in land, so we’re trying to look at what other large states with small popu-lations are doing. They are also calling us to fi nd out what we’re doing, and we are all learning by trying different things. States that have a different geography and population density have problems that are very different from ours. Nevada really is unique. We’re just starting to work on the ground fl oor of this advocacy thing.

CD: As an educator, is there any-thing in particular that you would like to see other music teachers doing?

AS: I’ve been retired for three years, and the changes that have occurred in that time are incredible. What I would like to see is what I mentioned earlier. Everyone needs to make it their goal to make fi ne arts fi scally attractive. I would like to see more community in-volvement. I’m a real big advocate of that. I would like to encourage more state tours, our members to have con-

certs in the community, maybe combine with other schools to rent a facility out in the community to do concerts and invite the public to come out. I’d also like to see more performances at the nursing homes, the veterans homes, and even in front of the state legisla-ture. That’s something we used to do a long time ago, but we stopped doing it. In fact, we’re moving our state confer-ence in 2011 to Reno, which is just a

half-hour drive from Carson City, and we plan to do a lot of performing there and a lot of handshaking. Our members will talk to our legislative representa-tives so that they know who we are.

I think the key is servicing the com-munity and helping the struggling teach-ers and the new teachers, to give them as much support and professional develop-ment as they need, and to be there when they have questions. If we can keep a teacher in a program for the fi rst three years, then maybe we can keep them there for fi ve years. And if we can keep a teacher in a program for fi ve years, then maybe we can keep them there for 10 or 15 years. We have to provide profes-sional development so that we can get teachers past those fi rst three years.

CD: Is there anything that you’d like to share with other music edu-cators around the country?

AS: There’s always a creative so-lution out there, so don’t give up. I’ve seen that in our meetings at the NMEA. When I was president-elect, the meetings were always just about the nuts and bolts. Now we really seem to be opening up and brainstorming a lot more to come up with ideas that will work for our state. Our boards in the past focused on the all-state con-vention, and we can’t just do that any-more; we have to focus on the health of music education, both specifi cally and generally. Creativity is the key. These are new problems we’re facing, and we’re struggling, but we’re going to make it.

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we’re struggling, but we’re going to make it.”

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12 Choral Director, Janury 2010

CDAnnual Report

Fifth Annual Choral Directors

of

As we close out another year – and one

in which many school music programs

faced far-reaching budget cuts due to a

troubled economy – we of course want to tip our hats

to those educators who battled it out in the trenches.

And with the economy apparently improving, the

year seems to have ended on a somewhat brighter

note. Likewise, Choral Director also wanted to start

out 2010 on a positive note, and will do so through

the recognition of the following vocal music edu-

cators for their perseverance and dedication in our

fi fth annual Choral Directors of Note feature. As we honor their accomplishments by sharing their educa-

tional goals, proudest achievements, and lessons they’ve learned teaching, we also recognize that they are a representation of the thousands of music educators who have worked tirelessly and with an undying commitment to educate, inspire, and guide their

students through the medium of choral music.

N=te

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Educational goals: My fi rst goal as a music educator is to teach the stu-dents how to sight-read music, both melodically and rhythmically. There is no way to learn about music if the teacher is always having to teach the notes and doesn’t ever get to the musicality of the piece. Secondly, I want to have my students sing a wide variety of musi-cal styles. I want them to appreciate all music. I strive to do a wide variety of historical and cultural music.

Proudest achievement: Seeing students continuing on with their music, whether they are singing in a church choir, at college, or in the professional world has been very re-warding. I also like it when they come back and tell me that they are so far ahead on their sight-reading skills.

Lessons Learned: There are so many; it is hard to limit it to just one, but the most important is: you can’t do it all. Do the best that you can with what you have, and keep striving to improve and learn more.

COLORADOCOLORADO

Stan ScottVocal Music InstructorCentral High SchoolGrand JunctionYears at School: 21Total Years Teaching: 25Students in Choral Program: 178

Educational goals: My goal is to foster a life-long love of music in my students through positive and lasting experiences in their high school choir, and in outside productions, such as the musicals and the madrigal dinner. Through these performances, I try to give my students the skills to succeed in music, and a sense of personal responsibility for their performance, that will hopefully cause my students to seek out music in their lives after high school.

Proudest achievement: I really, and truly, love my job. Each and every day, I get to work with a great group of kids who make the rough patches of being a choral director worth working through. That makes picking a proud-est moment hard to do, but one comes to mind. I had a student call during his freshman year in college thanking me for all that I had helped him with in high school, especially the emphasis I placed on sight reading during his four years. He said because of what he learned in high school he was selected for the top choral group in his college music program. This was the fi rst time I had former student thanking me for what he learned in high school. That put a huge smile on my face knowing that something I believe in so strongly has made a difference in someone else’s life.

Lessons learned: Teenagers are fearless and I have learned that by tap-ping into that fearlessness, I have been able to bring greatness out of them. There is nothing my students can’t do, as long as they believe in themselves. The more positive I keep things, and the more encouragement I give to my students, the more they are able to achieve. Sometimes, all these kids need is for someone to believe in them and then they begin to believe in themselves. I have learned to guide them along the path, give them the gentle extra push, and then to let them go and see how far they fl y. It’s really exciting.

CONNECTICUTCONNECTICUT

John HarnedChoral DirectorNewtown High SchoolSandy Hook Years at School: 5 Total Years Teaching: 5 Students in Choral Program: 170

“Seeing students continu-ing on with their music, whether they are singing in a church choir, at college, or in the professional world has been very rewarding.”

“I really, and truly, love my job. Each and every day I get to work with a great group of kids who make the rough patches of be-ing a choral director worth working through.”

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Educational goals: My number one goal is to build community through music education. Today’s society values personal accomplishment, but being in the choir teaches putting the ensemble ahead of the individual. Ensemble musical experiences not only empower people to grow together as a com-munity, but also to learn from one another and themselves as they explore the relationship between the nature and value of music. It is my belief that music contains communicative qualities that liberate and excite the human spirit. Music facilitates student growth in an awareness and appreciation of themselves, exploring their feelings and emotions. The practice and study of choral music enriches the lives of students by providing opportunities for aesthetic experiences for each individual within the ensemble through com-munal learning.

Proudest achievement: The MCHS concert choir has performed at Carn-egie Hall, The Kennedy Center, Lincoln Center, Chicago’s Orchestra Hall, and the U.S. State Department for vice-president Gore at a reception for the prime minister of Japan. Additionally, the ensemble was featured in Dr. James Jordan’s new textbook The School Choral Program from GIA Publications and has been named a “Grammy Signature School.”

Lessons learned: Choir must involve musical connections between intel-lect and feelings. Just as an unexamined life is not worth living, a choral experi-ence that does not impart various ways of knowing has no value. Music is one of the most powerful aspects of the arts because it deals so directly and publicly with our emotions. Self-refl ection, inspired by the study of choral literature, opens the hearts and minds of students as they create and experience art, rather than simply singing notes on the page. Most students know they enjoy music, but they do not know why. Most students know music touches them emotion-ally and intellectually, but are not sure how, or what to do when this happens. Exploring these issues in choir enables the students to form answers to these questions and grow artistically as they are challenged to actively engage their feelings and think refl ectively. Music must be connected to the lives of my stu-dents in order for them to understand their musical experiences.

IOWAIOWA

Joel Everist Director of Choral Activities Mason City High School Mason City Years at school: 17 Years teaching: 19 Students in Choral Program: 355

“Self-refl ection, inspired by the study of choral lit-erature, opens the hearts and minds of students as they create and experi-ence art, rather than sim-ply singing notes on the page.”

Educational goals: My goals as a music educator are to open students’ minds to different types of music, to give them the skills and tools to read and appreciate music on their own, and to provide quality aesthetic musical experiences for students. My goal as an educator is to inspire students to want to learn, improve, and grow.

Proudest Achievement: My proudest achievement as a teacher is to see my students succeed. As a high school choir teacher, I am blessed to see their growth in maturity and musical ability over the span of several years. Watch-ing their growth as students, musicians, and people, and knowing that I helped in this growth, is my greatest achievement.

Lessons learned: The most important lesson that I have learned about teaching since becoming a music teacher is that all students can succeed. The diffi cult task for the teacher is to fi nd the best ways to motivate them to want to do so. Once they are motivated, I have found that they will continue to amaze me with their abilities.

MARYLANDMARYLAND

Jessica ParsleyDirector of ChoirsMiddletown High SchoolMiddletownYears at School: 3Total Years Teaching: 7Students in Choral Program: 70

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Educational goals: My goal is to give students a place to sing and the experiences they need to improve. Everyone can sing. It is good for everyone to sing.

Proudest achievement: There isn’t one. The many students who have come into my classes with statements like: “I can’t sing,” “I sound like a cow,” “I don’t know why I signed up,” “I can’t sing at all,” or, “I didn’t sign up freshman year because my middle school teacher kicked me out and warned me I wouldn’t last a week in your class.” All of those students and many more with similar stories sang the rest of their years in school and continue to sing as adults in church choirs, community choruses, and barbershop groups. Those students are my “proudest moments.” What made me happiest as a youngster, and continue to be most fulfi lling, were moments when I found I could do something I didn’t think I could.

Lessons learned: I have learned that teaching students real skills – wheth-er it has to do with music, singing, learning, or life – is the most important

MICHIGANMICHIGAN

Kenneth WestermanChoral DirectorPioneer High School Ann Arbor Years at School: 29Total Years Teaching: 35 Students in Choral Program: 152

Educational goals: In our often frenzied lives, it behooves us to connect to the beauty in life, to allow it to nurture our souls and help us transcend to a place where the ordinary becomes extraordinary. Such a gift is music, and offering students an opportunity to experience this beauty, even at a subconscious level, is my privilege and ultimate goal as an educator. My desire for all students is that they fi nd beauty and joy in music and the Fine Arts throughout their lives.

Proudest achievement: I could talk about having my compositions performed at major music conventions and in some of the great cathedrals in Europe, or what a thrill it is to have students from my program sing for All-State Choirs. But true to my goals as an educator, one of my proudest moments would be the reaction my students had to singing at the Normandy American Cemetery in France. As touching as the performance was musically, it was the sense of history and sacrifi ce that moved many to tears, overcome by the enormity of the experience in that hallowed space. In newspaper interviews upon our return home, again and again students identifi ed the time they spent at Normandy as the highlight of their trip, over singing at both Notre Dame Cathedral in Paris and participating in a service at Mont Saint Michel. This speaks volumes about the maturity of the students, and their world view.

Another of what I call the “this is what it’s all about” moments happened recently in one of my choirs. A particular alto auditioned for a solo. She did so well that she earned the right to sing it in a concert, and did a fantastic job at the performance. It was such a proud moment for her and her family, fellow choir members and certainly myself, knowing through all the challenges a person with Down syndrome faces, she helped celebrate joy through music.

Lessons learned: The most valuable lesson I have repeatedly learned since I became a music educator is that the job is often not about the music, but about interpersonal relationships: nurturing them, maintaining them, and developing the fi ne art of diplomacy when relationships require intervention. A choir truly is a mi-crocosm of our civilization, and it is frequently my job as director to mentor and help guide the members’ lives so they can become good citizens, both of the current ensemble and as contributors to society as a whole. To assist with this, a genuine sense of humor is a must! It can make the classroom a fun place to be, or bring levity to a tense situation.

MINNESOTAMINNESOTA

Martha Helen SchmidtChoral DirectorBurnsville Senior High SchoolBurnsvilleYears at school: 9Total years teaching: 18Students in program: 230

“My desire for all students is that they fi nd beauty and joy in music and the Fine Arts throughout their lives.”

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Educational goals: My goals are to teach sound fundamentals of vocal and dance technique and to help the students grow as musicians and perform-ers. I try to help each student develop his or her natural talent to its fullest. I also encourage each student to be as well-rounded as possible, in academics, athletics, and the arts. I rarely have a rehearsal with everyone there, but it is worth the extra effort by adults to work together so the students can be all they can be.

Proudest achievement: Seeing all of the kids gain true self-confi dence. Of course it’s rewarding to have so many students performing at all levels in so many different performance genres, but it’s also just as great to see the alumni who are doctors, lawyers, educators, engineers, and all walks of life, who hopefully will be good supporters of the arts in their lifetime.

Lessons learned: Each day is a new day and a new opportunity to help someone. Being nice means not caring what students might think of me to-day, but what I can do to help them for their lifetime. You have to be strong to do that. The students fi gure out who really has been nice to them. They’ll surprise you: we recently had snow in Mississippi and I came out after our fall revue performance to fi nd a snowman for a hood ornament on my truck. It doesn’t get any better than that.

MISSISSIPPIMISSISSIPPI

David FehrChoral DirectorClinton High SchoolClintonYears at School: 18Total Years Teaching: 30 Students in Choral Program: 275

Educational goals: One of the most important goals that I have de-termined to work toward is providing aesthetic experiences in choral educa-tion for my students. Those experi-ences can be achieved in a variety of ways and circumstances and I want to enhance those in every way that I can. An aesthetic experience can be enjoyed in the daily rehearsal as well as the pub-lic performance; sometimes it is just the well-tuned chord, the diffi cult passage fi nally “worked out,” or the heartfelt

NEBRASKANEBRASKA

Randy HayesChoral DirectorChase County SchoolsImperialYears at School: 27 Total Years Teaching: 27 Students in Program: 171

tears in a student’s eyes when the text of the song has touched his/her heart. I want my students to truly learn that singing is something they can enjoy for

the rest of their lives. With that in mind, sight-reading, fundamentals of music theory, and a cappella singing are important aspects of daily rehearsals. I hope to provide for my students the tools they need to read, sing, and enjoy choral music throughout their lives, not just prepare notes or songs for public performances a few times a year.

Through singing and the expression of song, students can learn more about themselves. There truly is a “song for every emotion” and I hope students can experience individual expression through solo, ensemble, and choir settings. Also, singing is such a blessing for physically handicapped and “special needs” students; they, too, can fi nd wonderful opportunities for self-expression and enjoyment in our choral art.

Proudest achievement: Teaching in a small school setting and in a very rural area, our students do not have the opportunities for musical experiences as those in larger schools and metro areas. I have arranged for my show choir to perform in Branson, Mo., several times and opened for theater shows there. It is a joy to watch those students perform on a “professional” stage with confi dence and joy, making a life-long memory in that performance.

Also, last year I was selected by the Nebraska Choral Directors Association as their “Director of the Year.” It was an honor to be recognized by my peers and colleagues!

Lessons learned: It is not about me! Watching a student blossom into a con-fi dent, expressive performer is what choral education is about. Helping a student grow from not being able to match pitches into one who can sing a solo at contest and earn the “Best of Class” award at that contest is a thrill!

Just because a school is “small” is no excuse for mediocrity! The expectation of superior performance comes from the director and the students will feed on that expectation! In our school, the “varsity starters” on the volleyball, football, basket-ball, wrestling, and track teams are also my leaders. They participate in everything in our school so I need to bless that fact and work with them because they want to succeed. I have to be willing to take the “crumbs” of their time/schedules and help them make “memorable cookies” in aesthetic experiences.

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Educational goals: My goal is to help students realize beauty in the world and within themselves through choral singing and creating art on a daily ba-sis. Singing in choirs is so important because you are part of something that’s bigger than just “yourself.” You are sacrifi cing and working with others to-ward a common goal, ideal, design, and purpose.

Proudest achievement: My daily rehearsals. I absolutely love rehearsing. There are so many elements of rehearsal that refl ect life. The whole process of working together each and every day to learn, correct, and perfect the music is very gratifying. Rehearsing in a productive and positive manner refl ects our life-long journey to learn, correct and perfect ourselves!

Lessons learned: There are so many, and more and more every day! First of all, students are capable of truly amazing things if they are provided a “vi-sion” to follow. Second, strive for excellence in all that you do. And third, trust.

NORTH DAKOTANORTH DAKOTA

Rebecca RaberChoral DirectorShanley High SchoolFargoYears at School: 8Total Years Teaching: 15Students in Music Program: 156

Educational goals: My goals as an educator are to continue to develop my skills as a teacher and musician and to be sensitive to my students’ needs and understanding.

Proudest achievement: The ap-pearances of my choirs at the ACDA National Conventions rank among my proudest achievements for my stu-dents. Being selected as the National Federation of High Schools “Out-standing Music Educator” is among my proudest personal achievements.

Lessons learned: Never underestimate the power of young people’s hearts and minds. They are capable of an enormous depth of emotion and expression.

OKLAHOMAOKLAHOMA

Tony GonzalezChoral DirectorNorman North High SchoolNormanYears at School: 12 Total Years Teaching: 29 Students in Music Program: 200

“Never underestimate the power of young people’s hearts and minds.”

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Educational goals: While I have many goals as an educator, my main focus is to teach children how to love music and to instill in them a life long passion for the arts so that they carry that passion, love, and respect for music throughout their lives.

Proudest achievement: There have been some very wonderful but humbling achievements over the years. Being awarded the Patty Veemer Music Educator of the Year from the Portland Symphony last year, or watching my choir sing with the Metropolitan Youth Symphony last Christmas are two of them.

However, the one thing that stands out in my mind as being the most rewarding and proudest achievement was when I attended a music fes-tival about four years ago. I bumped into a former student of mine who is now a music teacher. She was so warm and enthusiastic about her work with young children and clearly loved her teaching position. I was amazed when she said I had started that love and interest, years back in first grade. She shared that it was music and choir class that got her through some of the harder more challenging times in primary school and she lived for Tuesdays and Thursdays, which were the choir days.

When I heard that she wanted to pass the same love of music onto children that I had given to her, I was moved to tears. She had been a particularly quiet little girl with a pretty voice, who slowly blossomed out of her cocoon and became a strong leader in fifth grade. Her par-ents felt that choir, music, drama club, et cetera, had a lot to do with building her confidence and opening a path for her future as a music teacher. This was one of my proudest achievements and it was a con-versation I’ll never forget!

Lessons learned: I guess the most important thing I’ve learned is to never underestimate a child’s capability. Children can do almost any-thing you ask them to do, if it is taught slowly, clearly, and with enthu-siasm. I have been blown away at some of the things my students have been able to accomplish over the years, and even more so at what they do on their own or in small groups. So often younger siblings in school

will ask if they can learn a re-corder piece or a song in two-part harmony that I am teach-ing to older grades. I am always surprised and delighted at their capabilities and pride in striving for a higher goal.

OREGONOREGON

Donna KaganMusic Director Stafford Primary School Years at School: 10Total Teaching Years: 26Students in Music Program: 202

“It was music and choir class that got her through some of the harder more challenging times in pri-mary school.”

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19 Choral Director, Sep-tember 2009

CDSurvey: Fundraising

Filling up the CupT

his latest Choral Director reader survey tackles the issue of fund-

raising, often a thorny subject among educators. Whether you

agree that extracurricular events like festivals and performance

tours should be funded by the district or not, for most directors

who hope to provide such opportunities for their students, fundraising is

simply a way of life, or as several survey respondents put it, “a necessary

evil.” That’s not to say that fundraising events have to be a terrible bur-

den; on the contrary, a number of vocal music educators have indi-

cated that there is value beyond the money in having students

work towards a specifi c goal, whether through candy

sales or carwashes, and that raising

money through concerts or dinners

can be a great experience for all in-

volved. And with only one third of

CD readers indicating that they rely

primarily on fundraising for their

program’s funding, that leaves the

cup two-thirds full… right?


59%33%

7%

1%

School/District Funding

Fundraising

Direct support from parents/community

Grants

Where does most of your program’s funding come from?

SCD_19 19SCD_19 19 1/8/10 10:27:13 AM1/8/10 10:27:13 AM


“The district supplies limited money for the music pro-grams. Trips require fund raising.”

Martin LassmanCab Calloway School of the Arts

Wilmington, Del.

“We still receive generous funds from our district, but most of our money is earned by the members of our choirs. We are constantly fundraising.”

Alissa WattsWest Columbus High School

Cerro Gordo, N.C.

“I apply for several grants each year, but some are from parent/community support groups that are more of a sure thing than other types of grants, which can be hit or miss.”

Gaye KlopackJones College Prep High School

Chicago, Ill.

“This year, all funding to our program was cut by the district. We have had to completely depend on student fees and help from our booster group. Fundraising has only been done to assist students with their individual tour costs.”

Joyce BertilsonNorth Canyon High School

Phoenix, Ariz.

How often do you typically hold fundraisers?

Have recent changes to the economy affected your funding and/or fundraising efforts?

Which do you fi nd more successful, selling products (fruit, candy, magazines) or providing services (car washes, dinners, concerts)?

What types of product sales have been most profi t-able for your program?

Which of the following fundraising services have been most profi table for your program?

26%

24%

23%

14%

13%

Never

Once a semester

Once a year

Monthly

Continuously

Yes

Yes

72%

28%

Yes

Yes

72%

28%

42%

24%

12%

9%

6%

5%

2%

Sweets/Fruit

Seeds/plants/flowers

Gifts

Performance CDs

Magazines

Other

Scrip/eScrip

42%

19%

16%

10%

7%

4%

2%

Choral performances

Dinners

Car washes

Musical/variety show

Concessions

Fashion show

Other

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What was your most unique/suc-cessful fundraising campaign?

“We ask college students from the local college to put stuff that they don’t want to take home for the summer in a special trailer and we sell it in a garage sale.”

Craig JonesHarding Academy

Searcy, Ariz.

“Our geranium sale is very successful because we’ve been doing it every spring for over 30 years. Folks in town know that the sale is coming, so they wait until our sale to purchase their fl owers for plant-ing. We display over 3,000 fl owers in the auditorium for the spring concert.”

David C. ShoverCamp Hill High School

Camp Hill, Pa.

“We take the kids that are in our mu-sical and we put on a workshop similar to what the Young Americans do, an all day workshop for elementary and middle school kids. We teach them vocal tech-nique, stage craft, improvisation, and songs. We feed them and put on a show that same night. We charge each kid $35 registration, which includes their meals and a t-shirt. Then we charge $5 for ad-mission to the concert. Our HS kids do all of the planning and teaching and we (the 2 teachers) just chaperone and do some vocal teaching of the songs. We now have over 300 elementary and MS students participating in this fun-fi lled day.”

Michael D’OylyMona Shores Public Schools

Muskegon, Mich.

“During the earlier years of American Idol, we had our own ‘Idol’ competition. It was very successful. Also, we do singing Valentine grams during lunch!”

Aleisa A. BakerTC Roberson High School

Asheville, N.C.

“In the past, we had a telemarketing company that sold fi re extinguishers, cof-fee, cookie dough, et cetera, for us and gave us a percent of the profi t. The com-pany did everything. They called every-one in the community, and delivered all

the products to their homes. They raised thousands of dollars for us over the years! We had enough to purchase sound equip-ment and new risers! But our current administration stopped it because they wanted our students to do all the work. From the director’s viewpoint, this fund-raiser was a ‘no-brainer.’ We did noth-ing and got a check for approximately $3,000 twice a year!”

Amy GelsoneAnthony Wayne HS/JH

Whitehouse, Ohio

“We did a service exchange program. Parents could ‘purchase’ groups of stu-dents for a minimum of $50 per hour to do chores (rake leaves, bake cookies, hang Christmas decorations) or enter-tain. We made about $1,000. However, it was an organizational nightmare.”

Lyn BoumaCentral High School

Omaha, Neb.

Is there anything directors should be wary of when planning a fund-raiser?

“Always be aware of hidden costs and problems. There may be delivery fees if certain standards are not met. You may not have any control over when the products are delivered to your school. Also, adhere to guidelines because many problems can be caused when one is not met.”

Joseph A. VanderpoolHarvard Public Schools

Harvard, Neb.

“You should at least be getting 40 per-cent profi t of whatever is made; anything less is not worth doing.”

Michelle KirbyBonneville High School

Ogden, Utah

“There are too many fundraisers go-ing on these days that are selling prod-ucts. People are sick of being asked to buy yet another thing they don’t need. Try to fi nd a service that people would appreci-ate.”

Cathy GrimesBella Voce

Creighton, Mo.

Any additional thoughts on fund-raising that you’d like to share with your fellow music educators?

“I have found it most helpful to have my parent boosters plan and run the fundraisers. I don’t want to handle money, write receipts, order product, or distribute product. This way, there can be no confl ict of inter-est or any chance of fi nancial impro-priety with myself and the fundrais-ing proceeds.”

Kurt StalmannSantana High School

Santee, Calif.

“Try not to burn out your commu-nity on fundraising. Be respectful of other groups and their goals. Have a specifi c purpose in mind when fundraising, like a new tuba for the music department, or a trip to N.Y. People are more likely to support a ‘cause.’”

Adrianne J. TheuschAlden-CongerAlden, Minn.

“It is a shame that many schools must do this type of fundraising to survive. Choral directors need to let their school boards know about the importance of what we teach, and how are programs affect the lives of the students. We must educate not only the students, but those who de-sign our budgets as well.”

James D. MoyerPennsbury High School

Fairless Hills, Pa.

“In the end, it’s not the amount of money you raise or the fi eld trips you go on that will determine the success of your choir. It is how the students feel about themselves and what they’re doing, however simple or local it may be.”

Joanne HongNewark Junior High School

Newark, Calif.

SCD_21 21SCD_21 21 1/8/10 10:27:23 AM1/8/10 10:27:23 AM


CDRepertoire Forum: Newer Music for Adv. Choirs

Newer Music for Advanced Choirs

We all know that sorting through the stacks of new choral music released each year can be a daunting and time-consuming task. While I often feature “tried-and-true” works in this column with a handful of standout pieces that fi t a particular issue’s topic, for this issue I decided to focus entirely on recent releases. My goal was to fi nd newer works for advanced mixed high school ensembles that are fresh, high quality, and appealing. If you conduct an advanced SATB choir that thrives on a good challenge, I hope you fi nd something here that you can use. However, I have also included a few works that are of more modest diffi culty for those who are still building their program or who need music for an anticipated “building year.” Most of the works have recordings and perusal materials available online, so I encourage you to further investigate any works of interest to you via the publishers’ Web sites.

– Drew Collins, Forum Editor

Illumina la tenebre (Joan Szymko) – pub. Santa Barbara Music Pub.

This piece has an atmospheric effect due to its use of tempo, harmonies, texture, and mode. These elements are also used to depict light...but it would seem to be diffused light, like that which shows through a stained glass window. The piece does climax, yet never relinquishes its subtlety. Szymko is one of those rare composers who uses rests very expressively, a trait that–pun intended–shines through in this work. The piece, for SATB unac-companied with minimal divisi, sets a prayer of St. Francis of Assisi.

I Would Live In Your Love (Nathan Jones) – pub. G. Schirmer

One of the most recent additions to Dale Warland’s choral series with G. Schirmer, this piece makes fresh use of modern stacked sonorities that will haunt your singers and audience. The composer varies the texture based on the needs of the text, and takes a refi ned approach to dynamics. The harmonies, texture and dynamics seem to expand and contract in a manner both expres-sive and sensual, a brilliant approach to setting Christina Rosetti’s text. You can hear the work on the Westminster Choir’s latest CD, Flower of Beauty.

Ce Beau Printemps (Mark Sirrett) – pub. Boosey & Hawkes

Mark Sirrett writes quality music that is also both singable and attrac-tive. In “Ce Beau Printemps,” he uses homophonic texture and expressive use of harmony to facilitate direct, intimate communication between choir and audience. The first line of text, by 16th-century poet Pierre de Ronsard, translates as “When I see this lovely Spring, I behold The land and sea grow young again…” This piece will work for any size group from an octet on up.

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Ask Me No More (Ruth Morris Gray) – pub. Lawson-Gould

Ruth Morris Gray holds degrees in piano performance and composition, and is currently director of Choral and Keyboard Music at Rosemead High School in California. This is a setting

of a text by Sir Alfred Lord Tennyson. Gray shows restraint in the writing of both the melody (lyrical without being syrupy) and harmonies (heart-felt, but not heart-wrenching). She demonstrates a tendency toward el-egance that makes this piece stand out among many other pieces in this style. The publisher says: “Seamless metric changes, rich vocal harmonies, and a graceful piano motif vividly capture the poetic mood.” Indeed. A slight taper at the ends of phrases is ap-propriate to the style. Lawson-Gould published the original SATB voicing a couple of years ago; its popularity has spawned an SSA re-voicing that has come out just this year.

Irish Blessing (David Conte) – pub. ECS

“May the road rise to meet you…” Many composers over the years have set these words to music. Conte has crafted a setting that is at once fresh and economical. He peppers the piece with just enough chromaticism to sup-plement the text’s inherent poignancy. Each voice part enjoys rhythmic and melodic interest. The piece lasts just about a minute, making it a good en-

core. It may also be appropriate for graduation ceremonies.

Great Day (Carol Barnett) – pub. Roger Dean

Barnett has written several capti-vating spiritual arrangements over the years. They are often demanding for the singer and conductor. In this case, the sopranos go up to a high Bb, and the conductor must be able to oscil-late between 5/4 and 2/2 at a moder-ate tempo. It was written for a college choir, but an advanced high school choir should be able to handle it. If you and your singers are up to it, this arrangement is engaging, fun, and well constructed.

Rejoice! (Jeffery L. Ames) – pub. Santa Barbara Music Pub.

Jo-Michael Scheibe added this piece to his series back in 2007. If you like Byron Smith’s “Worthy To Be Praised,” you will probably like this piece, too. Like Smith’s piece, “Rejoice!” Begins with an unaccompanied introduction,

followed by a driving accompaniment and two soloists. Scored for SATB and piano, adding tambourine, bass, or drums may be appropriate. This is a great closer.

Dormi, Jesu (Abbie Betinis) – pub. G. Schirmer

Abbie’s compositional voice is fresh yet accessible. This particular piece is a

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masterful blend of line and colorful verticalities that never crosses the line into sappiness. The publisher likens the style as a cross between Bruckner and Messiaen, but it is worth noting that Betinis uses harmony, melodic impetus and texture in her own way. A beautiful piece for anytime of year, but especially for the holidays.

Ani ma’amin (arr. Chester Alwes) – pub. Roger Dean

The melody makes three appear-ances. The composer writes, “I have made this setting with three state-ments of the same simple text; each statement growing more complex and impassioned in its utterance.” Accord-ing to the composer’s notes, the mes-sage of hope in this Hebrew folk song had signifi cance to the Jews in concen-tration camps. “This one song,” Alwes writes, “has become the anthem of the Holocaust survivors.” The oboe and cello parts (other instruments may be substituted) are haunting. The choral parts are not diffi cult, and the

language is easily manageable. Instru-mental parts and I.P.A. pronunciation guide are included in each octavo.

Oy es Día de Placer (Tomas Pascu-al, arr. & ed. Jody Noblett) – pub. Walton Music

Mayan composer Tomas Pascual wrote this piece in the early 1600s using Spanish dance rhythms. The modal quality (dorian, with internal cadences on the fl at-seven and the confi nal) lends an antiquated feeling, while the texture, rhythms (short-long syncopations in 6/8 meter) and per-cussion give it an ethnic feel. The text celebrates the joy of living. Use as a concert work or as a processional. A singable English translation is printed in the music under the original Span-ish text. The scoring is for unaccom-panied SATB choir, maracas, djembe and bass drum. There are not many advanced aspects of this work; it will be easy for many choirs, though some may fi nd challenges with the language, syncopations, meter and/or mode.

Christmas Processional (Puer Natus in Bethlehem) (arr. Audrey Snyder) – pub. Hal Leonard

Ms. Snyder has taken a 14th-centu-ry chant and dressed it up a little. This piece is not included here because the compositional techniques employed are advanced (none are needed – the chant speaks for itself), but it is includ-ed because it is a very diffi cult piece to perform well. Due to its transpar-ent texture, it requires a sensitive ap-proach to word stress, fl awless melodic and harmonic intonation, and a high degree of patience in order to deliver even an acceptable performance. And that is just on the part of the singers. The conductor can best facilitate a ma-ture performance of the work by using or incorporating chironomy, an archa-ic conducting technique rarely taught in even graduate conducting courses. However, if you and your singers are up to the challenge of tackling this deceptively diffi cult piece, it will be a stunning addition to your holiday pro-gram (perhaps especially so if used as a processional).

Drew Col-lins is a cho-ral conductor, composer and educator. He teaches cho-ral music and music education at Wright State University (Dayton, Ohio). He is in demand as a clinician, festi-val conductor, author, composer, producer, and consultant. Visit www.drewcollins.com.

¨Let Performing Arts Consultants help you orchestrate an unforgettable trip!

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MUSIC APPRECIATIONat the 2010 Norfolk NATO Festival

April 28 – May 1, 2010

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CDTechnology: Admin Applications

Juggling the Many Hats of a Music Educator

In 2003, the NCTAF (National Commission on Teaching and America’s Future) reported that the nation’s widely publicized and often-lamented teacher shortages are, in fact, symptoms resulting from a teacher reten-tion crisis in the United States. Beginning teachers had an attrition rate

of over 46 percent for their fi rst fi ve years. And American schools lose about the same number of teachers as they hire each year. Music educators can be particularly vulnerable to burnout because of the many different “hats” we must wear in a given day. These proverbial hats can tax the energy of even the most enthusiastic teachers. It isn’t because we are teaching too much, of course, but because there are just too many things to do. The solution is to fi nd ways to reduce the outside factors, allowing us teachers to simply teach music. Technology can be a critical aid, as music offi ce software applications can relieve pressure with quick and effi cient administrative applications.

In his book My Many Hats: Juggling the diverse demands of a music teacher published by Heritage Music Press, 2005, Richard Weymuth summarizes the many roles of a music educator: 1. The Hat of a Ringmaster: managing

your classroom and your time.2. The Hat of a Leader: setting the

direction and tone of your class-room.

3. The Hat of a Scholar: learning when “just the facts” are just fi ne, and when they aren’t.

4. The Hat of a Disciplinarian: the Three Cs: Caring, Consistency and Control.

5. The Hat of an Eagle: mastering your eagle eye by establishing stan-dards of excellence that will build your program successful over time and effort.

6. The Hat of a Crab: attitude is ev-erything; without it, failure, fatigue and burn-out can result sooner than later.

7. The Hat of a Juggler: balancing a complicated and demanding class schedule

8. The Hat of a Banker: fund raising and budgeting.

9. The Hat of an Artistic Director: uniforms and musicals and bulletin boards, oh my!

10. The Hat of a Lobster: establishing the proper decorum with your stu-dents with expectations that can be managed by technology enhance-ments.

11. The Hat of a Pirate: fi nding a job you will treasure.

12. The Hat of a Bear: learning to “grin and bear it” in diffi culty situations

13. The Hat of a Peacock: having and creating pride in your program.

14. The Hat of Applause: rewarding and recognizing yourself and your students.

15. The Hat of a Flamingo: sticking out your neck and fl apping your wings by providing assessment data that your students are mastering the in-struction.

BY JOHN KUZMICH, JR.

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Music Admin Applications

There are two different types of music office applications: desktop-based and Web-based applications. The advantage of desktop software is all that data can be stored on your computer without accessing the Internet. Some products can be networked for school district use so that data can be shared, such as libraries and inventories. However, with these products, you must back up your data on a regular basis – for-tunately, good backup applications are abundantly available in today’s market at a minimal cost. For Mac backup reviews, do a Web search for “Mac OS X Online Backup Ser-vice Reviews.” Flash drives are ul-tra-convenient for storing program data and sharing it with other com-puters.

Web-based applications do not require any software installation or technical support, since the pro-grams are run and upgraded from a server. In the past 10 years, there has been a major shift from “hard disk” software, which runs on your com-puter, to “online” software, which runs on a server and is accessed on the Web. For music teachers with large performing groups and multi-ple productions, this can allow stu-dents and parents to access impor-tant information, such as schedules and calendars, from home.

Desktop-Based Music Offi ce Applications

RCI Software publishes nine products, each optimized for a par-ticular kind of musical sphere: band, choir, orchestra, performer, percus-sionist, church, singer, organist, and recording. They now have a tenth program, Small Schools Music Li-brary, designed for managing band, choral, and orchestra programs. It tracks performances, creates pro-gram notes, catalogues composers and keeps track of equipment and music loans. The program’s screens keep things very user-friendly.

Theo Johnson, the director of bands at North Monterey Union High School in Salinas, Califor-nia, believes today’s music educa-tor must be computer-literate. “If you don’t have a computer now, get one and use it,” he says. “Without it, you will be left behind. The bet-ter the computer, the better you can manage your music program.”

He continues, “The need for technology in the music classroom is greater now for music notation, sound reinforcement, Internet ques-tions, music, and equipment order-ing, and classroom management data programs. I cannot think how I could have survived the last 35 or so years of my career as a high school band director without the use of a computer and the technology that goes with it.”

Johnson gives credit to the mu-sic classroom management program designed by Chuck Riden (RCI Software Riden Consulting, Inc.). He says, “This is a wonderful data program designed for all our music classes. It has general information like an address book, calendar data, music library data, finances, uni-forms, seating, compatible grade-book programs, and a great new bar scanning attendance program, plus much more. You probably will need to use that data in ways you may never have thought possible.”

In 2005, Johnson confronted a real-life nightmare. “I went through one of the greatest horrors a high school band director could face,” he says. “The travel agents for our tour to China were arrested for misuse of collected tour funds. We stood to possibly lose over $100,000. I was sure it is the end of my career. The California State Attorney Generals Office spent hours going through my records, and I finally asked them if I was in trouble. Their response was, ‘Heavens, no! You just hap-pen to have some of the best kept records we have on this case.’ They used my RCI Finance program to build their case and to help us re-solve our problem. Fortunately, that same travel agent had been contrib-uting to a state fund that protected

us from these kinds of problems and we got all our money back. We had a great trip to China.”

Master Music Manager by Music-Manager is another comprehensive, customizable music administration database software program. Mod-ules include: music library, member-ship, personal directory (contacts and calendar), audio and video re-cordings, music inventory, equip-ment, instruments, robes, uniforms and other wardrobe items, personal address book, accounts general led-ger, fund raising, word processor, planning calendar and more. This product lets you plan and organize your daily classroom activities, in-cluding concerts, performances, and various events.

Web-Based Music Offi ce Applications

I last wrote about Charms Office Assistant, a Web-based music office management product, in 2001 and since then, the number of schools using it world-wide has quintupled, including 45 percent of all second-ary music teachers in Texas. Charms has added at least 100 new features to the program and it now has a complete financial management center, parent communication por-tal with telephone messaging, text messaging, inventory control center, uniform management center, and much more. Charms helps manage the classroom through an easy-to-use interface that includes drag and drop seating charts and event-based attendance functions. It can be used to manage time by providing “help-er” logins, so that parents, student aides, librarians, and booster trea-surers can have limited access to specific parts of the program – all at the same time. The more teachers can delegate administrative busy-work, the more time they have to work with students. Charms’ motto is “Harmony from Chaos.”

Charms also provides a built-in recording studio free to every stu-dent. The student can record their chair tests, sight-reading assign-ments, scales, and more, and in-

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stantly upload them for the teacher to evaluate. Where some recorded assessment systems provide a stark “right note, wrong note” method, Charms gives the teacher the oppor-tunity to grade the recorded assign-ment with a little more flexibility.

John Washburn of St. James High School in Murrles Inlet, South Caroli-na has been very pleased with Charms software’s abilities for tracking indi-vidual student accounts and large group trip to Washington, D.C. Mr. Washburn says, “We were concerned as to how we would track student funds, but the system has helped so much. I am also very grateful for the student database. It makes communi-cations a breeze.”

Charms makes it easy to access par-ent communication logs, so teachers can record phone conversations with parents and keep them on record for several years. Should a meeting with administration be-come necessary, the teacher can fi lter the conversations on topic, keyword, or by student. Charms also provides a “Prog-ress Log” so educators can record signifi -cant milestones for the student, such as all-region, all-state, good auditions.

A second Web-based application is now available, uTutti’s Music Teacher’s Offi ce (www.ututti.com). This pro-gram allows users to manage student information, parent communication, grades, inventory, fees, budgets, fund-raisers, calendars, email, and more. It offers a simple, easy-to-use interface that was created specifi cally for music teachers. Each account is given its own public Web site within the uTutti do-main that allows parents and students to keep up-to-date on the latest cal-endar events and other information. I like that the program provides a cen-tral, online portal for those who don’t want to bother with creating their own sites. Another attribute is that each account is given 50MB of free stor-age space to upload documents and audio fi les. Both students and parents can view these fi les online when they log in to their personal account. And best of all, students can listen to au-dio fi les, including SmartMusic fi les, of exercises and pieces currently being played in class to help them rehearse more effectively.

If you already have your own Web site, you don’t need to link back to uTutti to allow your students and parents to view your public informa-tion. Create “widgets,” which display certain elements of your uTutti infor-mation on your own site. This can be done by confi guring your widget, then copying the code onto your Web site. The current widgets available include a calendar and event list.

Still Not Sure of Which Product Is Best For You?

Product demos can be downloaded from each manufacturer’s Web site, giving you the ability to sit in the driver’s seat before ever making a pur-chase. With Charms, you can have a fully functional trial account for 60 days to test. While prices and product features will vary, you do have choices between desktop and Web-based ap-plications. Regardless of your prefer-ences, these programs should be able to noticeably improve how productive

you are in your daily responsibilities and successfully juggle the many dif-ferent” hats” you wear as the music educator.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music tech-nologist with more than 41 years of public school teach-ing experience. He is a TI:ME-certifi ed train-ing instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and fi ve text-books published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Eu-rope, Australia, and South America.

For more information, visit www.kuzmich.com.

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NewProductsLorenz Publishing Choral Works

“He Keeps Me Singing” SATB with optional orchestra is just one of the many new sacred anthems published by Lorenz Publishing. Mary McDon-ald pairs the timeless hymns “Sweet-est Name” and “My Redeemer.” This classic also features orchestration by Mike Lawrence.

“Three Songs of Emily Dickin-son for Women’s Choir” by George L. Mabry was commissioned for Dr. Sharon Hansen and the Milwaukee Choral Artists’ 10th anniversary. This

three-movement set is suitable for collegiate and professional women’s choirs. The accompaniment requires an accomplished pianist, and only mature singers will be able to handle the vocal demands of the choral writ-ing and the emotional demands of the poetry. www.lorenz.com

Mark Hayes’ Sing Praise Project Mark Hayes’ Sing Praise Project

songbook and listening CD features 10 of Mark’s best creative efforts. Sing Praise Project is an eclectic blend of

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Bow and BendWritten for the New York Women’s

Chorus and the composer’s friend,

John Morgan, Robert Dennis’ “Bow and Bend” for SSAA choir with key-board is a collection of six songs col-ored by Shaker beliefs of personal revelation, equality between the sexes, celibacy, and dedication to work. The fi rst and last movements are based on a Shaker hymn tune, and the rest of the music is original, refl ecting the Shaker spirit of simplicity. www.presser.com

CAD Equitek E100s CondenserThe CAD Equitek E100S large-dia-

phragm supercardioid condenser mic features a bootstrapped, full differen-tial Quadra-FET front-end to ensure high sensitivity and low distortion. A nickel-plated one-inch capsule de-livers accurate phasing when miking instruments and full tone for vocals enhanced by the microphone’s low-end frequency response. Additional features include an 80Hz hi-pass fi lter and a 10dB pad. A twin 5087 output driver provides low drive impedance. RoHS compliant, the E100S also fea-tures RF immunity. 48V phantom

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power is required. Supplied in a cherry wood carrying case, the E100S also in-cludes a shock mount. www.cadaudio.com

Miguel Del Aguila’s “Ave Maria”Miguel Del Aguila’s “Ave Maria”

for treble chorus and piano or harp is the widely-performed composer’s setting of the Ave Maria text adapted from a section of his choral suite from the opera Time and Again Barelas.www.peermusicclassical.com

Bag End’s Weatherproofed Loudspeakers

Any of Bag End’s loudspeakers can be weatherproofed by Bag End for out-door installation to protect them against the ele-ments and extend their performance life. The cabinet is completely sealed inside and out; all hardware is up-graded to stainless steel and alumi-

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Weatherproofi ng-Plus is added by Bag End at its facility before delivery, and is available on all of its many prod-ucts. Weatherproofi ng-Plus will not interfere with a Bag End loudspeaker being able to deliver sound.www.bagend.com

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CD January 2010

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Transcript of CD January 2010