Week 7 #2

A Conversation with Steven Schick, who share some though-provoking ideas about the relevance of music and musicians.

Week 7 #1

On my PLN, I found a link to an online version of School Band and Orchestra magazine. I think this issue is especially pertinent, as there are two articles about the use of technology in music teaching - one specific to music theory class (p. 40), and one survey of directors about how they are incorporating technology in their classes (p.32).

http://www.sbomagazine.com/current-issue/

Week 6 #2 Philadelphia Orchestra declaring bankruptcy

Apparently, The Philadelphia Orchestra is going bankrupt. While they are not closing, just restructuring, I wonder what implications this has for music education. In an age where orchestras seem to be in trouble, they must find new ways to compete. Read their new plan - I think it has merit and may affect the way WE do our concerts and outreach programs as well.

http://www.philorchtoday.org/our-plan/

Week 6 #1 - Dudamel conducts Bernstein

I love Gustavo Dudamel - he is my conducting hero!

http://www.laphil.com/gustavo/video/52.html?p=0

Week 5 #2: Kevin Kelly tells technology's epic story | Video on TED.com

Perfect for this class - it really makes one rethink what technology is - or isn't!

WEEK 5 #1: 25 THINGS ABOUT MUSIC TEACHING AND EDUCATION

Here is a great blog by Brian Wis. I read this one once every coupe of months to keep me on track!

http://teachingmusic.posterous.com/25-things-about-music-teaching-and-education

PLN Week 4 #2

I love watching the different Ted Talks - here's one that is a standout for me, and happens to have musical connections.

PLN Week 4 #1

Why Talking To Audiences Is Essential When Playing Classical Music: "

Image by allaboutgeorge

Yesterday when judging the ORMTA Southern Zone Competition in Hamilton, Ontario, one of the participants came up to me before performing and asked if it would be appropriate if he talked about one of the pieces on his program before playing it. My response to the pianist was that more than being just appropriate, it was a brilliant idea and I looked forward to hearing him speak.

The piece that he was playing was Larysa Kuzmenko’s In Memoriam to the Victims of Chernobyl, a dramatic, moving, and atonal piece, precisely the kind of piece that many people might have difficulty connecting with. That is, until they understand that it is also a work dedicated to those who perished in the most catastrophic nuclear accident in history. The pianist also mentioned the current Japanese nuclear crisis at the Fukushima Daiishi nuclear plant as a contemporary frame of reference. Because of his introduction, the audience was able to connect with his fine performance on a level that they might not have had he not talked beforehand.

Audiences love it when performers talk. It is absolutely necessary for every single type of popular music, and many artists in these genres are able to connect in ways that they would not be able to by merely keeping silent and playing their music.

We in the classical music world need to learn how to talk to audiences for two reasons:

1. It helps you connect with those who have come to see your performance. Let’s face it, the traditional concert situation is more than a little awkward these days, with a room full of audience members who may be largely uncomfortable with the experience of going to see music live and, to make matters worse, keep quiet all the way through. They often feel like they’re supposed to merely observe, although they’re not certain what they’re supposed to appreciate. When you speak to them, you can break through that distance right away, and if they find you engaging, you can start the process of winning them over before you’ve even played a note.

2. Audiences for the most part really, really want to like classical music, to understand and appreciate it. But since it’s not a part of current popular culture, many people feel a kind of distance between themselves and the music, and perhaps more than just a little intimidated around the high culture that allegedly goes with it. Finding the right tone and words to introduce a work of music (preferably without sounding the slightest bit high-minded) can reassure the audience that they may just have the ability to appreciate the music on your program and want to look further into the world of experience that classical music can provide.

Regarding what you’re actually going to say, it’s always best to find the words that come from a place of genuine connection rather than what you feel you’re supposed to say. It might even be a worthwhile idea to talk about your own personal journey and how as a performer you connect with the music you’re about to play rather than throwing around complex musical terminology. Try it. Your audiences will thank you.

"

PLN week 3

I found this on windrep.blogspot.com. Very interesting!


"Ask any New York City police officer how you get to Carnegie Hall and they'll tell you: "Practice, man. Practice." On today's show, timpanist Jonathan Haas takes us inside his practice studio to demonstrate how to get a full, round tone without annoying the neighbors. We'll hear him perform a concerto for timpani by Georg Druschetzky and music from the first English folk revival, Delius' Brigg Fair."

http://performancetoday.publicradio.org/?month=3&day=29&year=2011

PLN week 3

Here is a great clip from Jack Stamp describing why music matters - worth a listen!

Pops Concert video

Here's a video of my band playing at a recent "pops" concert. It's in the gym (usually our concerts are in the auditorium), so the sound isn't great. The tune is "Beatles: Love", a nod to the recent Cirque de Soleil show in Las Vegas- I recommend the chart - it's nice, and the kids liked it. A few intonation issues, but overall I think the kids did pretty well.

Bicycle Built for Two

I thought that Noteflight was a great idea - I especially like the idea that everyone hears the same instruments when they pay it back, regardless of their computer or sound card. I did find it less intuitive than MuscScore or Sibelius, but it is a good addition to the notation repertoire.

A great new site for music games

I thought these were fun and creative, and a nice addition to the links I post on my school website page:

http://trainer.thetamusic.com/

Mr Curly - just for fun!

I've shown this video to middle school and junior high kids during a summer band camp, as well as my high school kids, and even a community band that I conduct. Everyone seems to get a kick out of it. I'm not sure how educational it is, but it usually gets a smile or laugh out of just about anybody!

Week 2 PLN post #2

I thought this blog post was especially appropriate for those of us in the process of getting our Master's degree in music! Although the facts need a bit of checking - the author claims that Boston University is the only one offering a 100% online Masters in music, but we know better!

http://www.musicteachershelper.com/blog/should-music-teachers-get-masters-degrees/

Week 2 PLN post #1: Frank Battisti discusses Music Education

I found this on my PLN this week - some great comments on music education!

This blog post makes a lot of good points - definitely worth a read. Let me know what you think!

http://teachingmusic.posterous.com/whatever-happend-to-liberal-arts-or-why-do-we

Benjamin Zander on music and passion | Video on TED.com

This is absolutely one of my favorite videos - I show it to my music appreciation and music theory classes, and the kids always love it. It always inspires me, even though I've seen it at least 5 or 6 times - you MUST watch it!

Benjamin Zander on music and passion | Video on TED.com

It’s Those Finishing Touches that Create Art

Found this blog posted on Teaching Music in the 21st Century, and thought I'd share it:

It’s Those Finishing Touches that Create Art

My first blog post will be very boring.....told you so.