I hope the holiday season is bringing the spirit of joy and happiness to you all, especially if you’re all done your holiday shopping! For me, this time of year really makes me think about all the gifts I have been given in my life and how I can better show my appreciation. Being a teacher and working to shape young minds is something I consider an honor and a privilege all year long. It is for that reason why I started this little “Cliff Notes” of Music History project. If you’re like me, then writing things down in your own words can greatly help you understand a topic. I hope that this project of mine can assist all of you that could use a little assistance with your Music History classes, or stimulates the rest of you who are just looking to understand how music got to be where it is today. This new post, entitled “Music of Ancient Egypt”, is the second chapter in our journey through Western Music History. My thanks to Dr. Christine Sezer, whose seminar “A Journey Into Ancient Music” at last year’s NJMEA Convention was extremely helpful and informative. Hope you enjoy it!

Click on the link below to access a PDF version of A Brief History of Music – Part II: Egyptian Music
Egyptian Music

I am happy and proud to announce the Inagural Concert of the newly formed Philadelphia Wind Symphony, of which I serve as Principal Clarinet. The concert will be held on Sunday, December 4th at 3:00 pm at the Levitt Auditorium in Gershman Hall (University of the Arts – Philadelphia). Tickets are $10 at the door and $5 for seniors and students with valid ID. Here is our concert program:

Barber – Commando Overture
Jenkins – American Overture for Band
Lauridson/Reynolds – O Magnum Mysterium
Holst – First Suite in E-flat
Reed – Russian Christmas Music
Zaninelli – Three Dances of Enchantment

Our conductor is Virginia Allen, a third-generation conductor who currently serves on the faculties of Julliard and the Curtis Institute. Please visit our website at http://www.philadelphiawindsymphony.org/index.html or like us on Facebook to keep up with news, updates, and concert info. I’m looking forward to seeing you there!

Otherwise, I have been working on another project for some time that I’d like to begin sharing with you bit by bit. I’ve always been fascinated by music history, and I wanted to sort out and make an amateur “summary” of what I’ve learned. The main purpose not only being for my own continuing education, but to give the opportunity for music students to have a kind of “Cliff Notes” into the many different facets of the history of Western music.

The first entry I will be posting will appropriately be at the beginning of our recorded study into music history, known as “Music of Antiquity”. I hope you all find it interesting, and I always appreciate your comments and insights as I continue to post more profiles on historical eras and individual profiles of composers and influential figures in music history.

Click on the link below to download “Music of Antiquity” in PDF format:
Music of Antiquity

Because school districts are now making more resolutions to have classes taught with technological resources, music and other “specials” are no exception. However, I soon found myself a little overwhelmed with the daunting task of choosing which resources to explore and implement in my class. I wasn’t interested in turning my class into a tech lab, but I did want to use software that kids could understand and enjoy while learning music in a way that would foster creativity and academic achievement. Fortunately, there are some really great organizations whose function is to assist educators in incorporating technology into their programs. Two groups in particular that have really helped me are Soundtree, (www.soundtree.com) the educational division of Korg, and TI:ME, (http://www.ti-me.org/) or Technology in Music Education. Both groups gave me recommendations for which software to use in my classes based on the demographic, number of students in each class, and what I wanted to accomplish through instruction and performance. Their representatives will speak directly with you to assess your needs and goals, and they’ll also give suggestions for funding prospects.

Let’s face it, even though school districts say they want more technology in the classroom, fine arts classes are sometimes left behind. My school in particular has SmartBoards in every class, except in the Art and Music rooms. And until the fine arts are tested on the NJ-ASK or HSPA tests, there may always be an issue getting these types of materials in the music room. However, there are several ways of finding funds externally that can get you the resources you need to start incorporating technology into the classroom. A book I’m fond of is called Finding Funds for Music Technology, by Dr. Thomas Rudolph. You can find it on the Soundtree website, and it’s very helpful for locating sources of external funds from various sources, including local, state, and even national-level donors and grant corporations. I’m still in the process of acquiring funds for the materials I need (I really want a SmartBoard), but I know that ultimately, my students will be the ones who benefit.  Whether you’re a first-year teacher, or have been teaching for decades, the fact remains that students respond more to technology-based resources at any grade level. For us to adapt to the changing needs and interests of our students, we must adapt our educational practices to a new level as we travel through the 21st century.

As a musician, the first thing I think of when I hear the word “test” is the synonym “audition”. By now, college auditions are in full swing and students are auditioning all over the world to get into the conservatory of their choice. Whenever I was about to take an audition, the idea of preparation meeting opportunity always stuck in my head whenever my competition would wish me a courtesy “good luck”, whether they meant it or not. I thought, since the opportunity of getting into this school had already presented itself, all I had left was my preparation. Since I had absolutely no control over how my competition were to perform, all I could focus on was how great I could make myself. I learned that if I went into an audition knowing that I had prepared 100 percent to the best of my ability, then I gained the confidence to do my best no matter what happened. Of course, I didn’t always have a great audition, but since I knew that had nothing to do with lack of preparation, I left without any regrets.

As both a performer and an educator, I can say without hesitation that preparation is the key to a successful audition. The other advice that I’ve learned over the years is during an audition, don’t think! All the thinking you do should be done during practice, so by the time the audition comes, you should be able to perform on instinct. Many people start second guessing themselves when the real pressure of the audition is upon them, as opposed to the more relaxed environment of the solitary practice room. Speaking of which, performing the audition material in front of other people also is a good preparation tool. Finally, enter the audition room with the attitude that if the worst happens, it’s really not the end of the world. Doing poorly at an audition can only serve to instruct on what we can do to make the next audition better. Many symphony orchestra members comment on how they lost many auditions before they won their position. The key is no matter how hard things get, don’t get up! Perseverance, preparation, and confidence are all essential for a successful performance. So get out there, do your best, and enjoy the journey!

            I have long believed that music aesthetically contributes to the
psychological and emotional development of a human being. The Greek
philosopher Plato believed that music is as, if not more important, to a child’s development as academics and physical gymnastics. In his Republic, Plato exclaims that music, in addition to the other performing arts, were powerful shapes of character and influential to the development of the mind:

Music is a moral law. It gives soul to the universe,
wings to the mind, flight to the imagination,
and charm and gaiety to life and to everything.[1]
 
            But these reasons can only satisfy the intangible qualities of the value of music in education. It is impossible to determine the influence of the effect of music on the psyche, or what Plato refers to as the “soul”. Therefore, I feel it is necessary to examine the proven qualities of music as it relates to social and cognitive development in the education of a student. Since birth, and even before birth, human beings have the ability to hear auditory sounds and react according to their physical instincts. It has long been postulated by neuroscientists that hearing certain kinds of music as a fetus and an infant can contribute to intelligence and higher multi-sensory skills. The so-called “Mozart Effect”, which is phrased to highlight the theory that the music of W.A. Mozart and other Classical composers has the potential to increase intelligence in childhood development, has been thoroughly examined and studied by leading scientists and researchers throughout the world.[2] Not that I am saying that there is a direct correlation between music and increased intelligence, though I thoroughly embrace that there is enough evidence to support a serious field of investigative studies.

            Regardless of proceeding studies by neuroscientists, psychologists, scientists, and researchers, there is direct evidence that music as part of a child’s education can aid in their success through school and beyond. It is obvious that learning to play an instrument improves motor skills and hand-eye coordination, in addition to focus and concentration. Music also provides an outlet of emotional expression unique to any other academic subject. The Texas Commission Report on Drug and Alcohol Abuse in 1998 reported that students who participated in music activities reported the lowest lifetime and current use of all illicit and abusive substances.[3] Studies also show that students who are classified as disruptive, a category illustrated by factors such as cutting class, suspensions, and dropouts, total 12.14 percent of the school population. Those students who study music and meet the same category as “disruptive” only accounted for 8.08 percent.[4] From that same study, it was concluded that students who study music received more academic honors and awards than non-participating music students, and in a separate study, students with coursework in music scored on an average of 63 points higher on verbal and 44 points higher on math on the SAT’s as opposed to students with no arts participation.[5]

            I have also been a strong advocate in the belief that training in music can contribute to college acceptances. When a college application includes music studies, college recruiters can derive several conclusions about the aptitude of the student. First, it shows that the student can work as part of a team. In order to have a successful band or orchestra, the students involved must work together to promote their creativity as an ensemble. Second, it shows that the student has the ability to multitask, as demonstrated by the combined abilities of playing an instrument, reading the music, and watching the conductor while listening to the other members of the ensemble at the same time. Finally, it shows that the student has the dedication to pursue and maintain a high level of performance by practicing and persevering through self control and discipline. [6]

            To create a successful program, I believe a teacher must be consistent with the policies and procedures they set forth from the beginning of the class. It is my philosophy that a teacher must promote mutual respect between themselves and the students, in addition to between the students’ themselves. A teacher must apply that code equally in a firm, but fair fashion, and especially hold themselves accountable when a mistake is made on the teacher’s part. This way, the teacher and the students can function as a team, promoting a series of goals and standards that is agreed upon by all. However, I do not consider myself beyond inquiry or debate, as long as it is done in a respectful manner. Above all, an effective teacher must treat all students with respect, even if it is not returned. I believe discipline problems must all be dealt with in a patient and calm manner, but those policies must be reviewed and reinforced constantly to avoid ambiguity and confusion. It is when the teacher and students are focused on a mutual goal will the most effective learning take place. It is always my priority to encourage students beyond their “comfort zones” and develop high expectations, both academically and intrinsically, and to be consistent with those expectations. I also hold high expectations for myself, in addition to praising and acknowledging students’ accomplishments. A successful teacher should never be satisfied when achieving a goal, but continue to set new goals for themselves and their students.

            With a combination of high expectation and a true passion for music, I truly believe a successful classroom environment is not difficult to achieve. The most effective teachers are those who possess a high content knowledge of their craft, and the love and desire to pass that knowledge to others. Students can easily identify with teachers who feel true joy in what they do, and their ability is reflected by that connection. It is that positive energy that is the core of a successful program, as well as the key to helping students succeed in school, and consequently, in life.