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CADENZA 2009 - 2010 The Offi cial Journal of the Saskatchewan Music Educators Association

CADENZAThe offi cial journal of the Saskatchewan Music Educators Association

2009 / 2010


CADENZA 2009 / 2010 was compiled and edited by Graeme Steen

The Saskatchewan Music Educators acknowledge the fi nancial assistance provided by:

SMEA Board of Directors 2009PresidentPeter Pizurny

Vice-PresidentKara Helms

Past-PresidentMary Jane Schuler

Executive DirectorAnn Mueller

Region 2Aaron Thingelstad

Region 4Lee Adams

Region 5Krista McCaw

Region 6Yvonne Kerpjuweit

Region 7Deidre Baird

Admin Assistant: Valerie KuemperCommunications: Graeme Steen

Heart of the City Piano Program:Melanie Sydiaha (Saskatoon)

Saskatoon Children’s Choir:Phoebe Voigts

Honour Groups:Chairperson: Deidre BairdBand Coordinator: Janie FriesChoir Coordinator: Deidre BairdRegistrar: Graeme Steen

SMEA Board of Directors 2010PresidentKara Helms

Vice-PresidentAaron Thingelstad

Past-PresidentMary Jane Schuler

Executive DirectorAnn Mueller

Region 1Gerry Lisitza

Region 2Celia Hammerton

Region 4Lee Adams

Region 5Lauren Campbell

Region 6Yvonne Kerpjuweit

Region 7Deidre Baird

Admin Assistant: Valerie Kuemper Communications: Graeme Steen

Heart of the City Piano Program:Melanie Sydiaha (Saskatoon)

Saskatoon Children’s Choir:Phoebe Voigts

Honour Groups:Chairperson: Lenora BellsBand Coordinator: Nick FannerChoir Coordinator: Tracy OddanRegistrar: Graeme Steen

contents2009 / 2010

President’s Message page 1

Director’s Message page 2

Regional Workshops 09/10 Review page 5

Rj Staples & Frank Connell Scholarship Winners page 6

Heart of the City page 7

SMEA Awardspage 9

Conducting Gestures page 11

Saskatoon Children’s Choir page 19

SMEA Honour Groups page 21

Weapons of Mass Instruction II(new interactivity) page 25

Renewal and Nomination Forms

ADDRESS CHANGE:SMEABox 632,510 – 4th Ave.Cudworth, Sask.S0K 1B0Phone: 306-256-7187Email: [email protected] note the email address will remain the same.

CADENZA 2009 - 2010 The Offi cial Journal of the Saskatchewan Music Educators Association1

PRESIDENT’s MESSAGE As music educators, the past year has been fi lled with school musicals, band concerts, recorder ensembles, Orff arrangements, and drumming patterns. We are fortunate to be represented at the provincial level by the Saskatchewan Music Educators’ Association, a dynamic, dedicated, and diverse organization that promotes music education within our province. Through this special subject council, we are able to exchange information and ideas; attend conventions, workshops and clinics that attend to our own musical de-velopment; and maintain high standards of music education across Saskatchewan.

It is my pleasure to report to you at this time of year to recognize the outstanding achievements and contributions of the Saskatchewan Music Educators’ Association. The SMEA is committed to programs and services that benefi t not only its membership, but also the community at large. Our association supports music diversity in Saskatchewan and promotes workshops, festivals, special projects and educational opportunities for virtually every age group. The following is a review of a selection of some of our programs and recent highlights within each of them that continues to improve the impact of what we do as music educators.

Time fl ies when you’re having fun, and it seems to fl y even faster when you’re busy! The Saskatchewan Music Conference gives us an opportunity to refl ect on the fi rst part of our musical journey with our students, and provides us with new techniques to carry us through the rest of the year. Thank you to all of the wonderful volunteers involved in organizing this important gathering of music educators from across the province. SMC 2010 refl ected the joint effort of the Saskatchewan Band Association, Saskatchewan Choral Federation, Saskatchewan Orchestral Association, and Saskatchewan Music Festival Association. It has been a pleasure to work in collaboration with these organizations.

SMEA Honour Groups 2010 was the inaugural year of using SMART music as part of the audition and rehearsal phase of the program. SMART Music is a computer pro-gram designed to assist music students in practicing and re-viewing their musical development throughout the year. This program will help improve the audition process and give students tools to engage their musical creativity. Honour Groups 2010 was held on November 4th to 6th in Saskatoon, with Clinton Marshall as band conductor and Scott Leithead as choir conductor.

Saskatchewan Junior Band is a joint project between the

Saskatchewan Music Educators’ Association and the Saskatchewan Band Association to provide a provincial junior band for Saskatchewan students in grade seven or eight. SJB 2010 (South) was held on February 26th-27th in Regina and SJB (North) was held on March 12th-13th, 2010 in Saskatoon.

The Saskatoon’s Children’s Choir continues to make music that crosses all cultures and borders. They are making plans for an upcoming tour of South Africa in the summer of 2011. Similarly, students in the Heart of the City Piano Program continue to experience the joy of making music by taking piano lessons, participating at seasonal concerts, and performing at music festivals. If you or someone you know would like to volunteer as a piano teacher for this program, please let us know as soon as you can.

Thank you to all of our board members who are com-pleting their terms on the SMEA. We appreciate the time and energy that you have contributed to music education across the province. Welcome to our new directors who will join us in 2011. In addition, a huge thank you should be given to our Administrative Assistant, Val Kuemper, as her duties have greatly increased during this time of transition. We greatly appreciate everything that you have done for the SMEA during the last year.

Finally, we must bid farewell to our Executive Direc-tor, Ann Mueller, who will begin her well-deserved retirement in 2011. For several decades, Ann has been the face of SMEA, and has guided the board of directors with confi dence, competence, and care for the quality of music education in Saskatchewan. She has capably led us through fi nancial, administrative, and programming decisions that have impacted all of our members. Please take a moment to celebrate Ann`s tremendous contribu-tion to the Saskatchewan Music Educators Association.

Kara Helms (2010) SMEA


SMEA EXECUTIVE DIRECTOR’S REPORT

As my tenure as the Executive Director of the SMEA draws to a close, I fi nd myself refl ecting back over these 28 years with many fond memories. In this, my fi nal report to the membership I have decided to depart from my usual format and share some of my memories with you. I applied for the part-time Executive Director’s position in January of 1982 – not because of any lofty ambition to champion the cause of music education but rather because I thought it would look good on my resume. I was short-listed and invited to an interview with President, Robert Latimer and Vice President, George Charpentier. A good old fash-ioned January blizzard blew in the morning of the interview; I was left stranded on the highway - unable to get to Saska-toon. I really didn’t expect that I’d still be in the running for the job, so it was a surprise when I received a phone call from Robert later that evening at home. After chatting for while and answering a few questions about my qualifi cations and job experiences, I was offered the position and I accepted it. This, I admit, was a leap of faith for me! I really didn’t have a clue what this SMEA was all about, other than I gath-ered from my phone conversation with Robert, that it was a Special Subject Council of the STF. When the plows cleared the roads, I ventured off to meet Robert in North Battleford for a quick orientation and to pick up the fi rst of what would, 28 years later, become two storage rooms of boxes. The ‘die was cast’. When I starting going though the ‘box’ I discovered that there were at that time, 20 Board members and 24 Stand-ing and Ad Hoc Committee members who reported directly to the Board at their regular meetings. In addition to these appointed and elected individuals, each of the seven SMEA regions in the province had four elected Regional Represen-tatives – band, choral, orchestra and classroom. One of those four persons was chosen to represent the region at the board table. At that time, the SMEA had six full board meetings a year with the Executive of the Board meeting in between, as necessary. The January full board meeting was a 2 ½ day orientation to which all the Regional Representatives were invited. I soon realized that fi nding and agreeing on a date and location for meetings that would accommodate every-one’s busy schedule would be a challenge in and of its self. Over the years, I have been told on several occasions that I was the fi rst SMEA Executive Director. No, not so. The very fi rst Executive Director was however, only in the position for a few months before she resigned to take another job. That unfortunately, had happened about six months before I was

hired. As I tried to piece things together, I found that there was also about a six months gap in the available information in the box. Apparently there had been elections that previous fall at the AGM however, no record of the names and addresses of the new board members could be found. Since there was a regular board meeting scheduled for early March, my fi rst task was to compile a Board Membership list so I could send out notices of the meeting. My next job was to try to get a handle on an accu-rate listing of memberships. Prior to my taking the po-sition, all membership renewals and updates had been done through the STF as a service to Special Subject Councils. Unfortunately, this list was hopelessly out of date – which resulted in more than one embarrassing situation for me over the next few years. There is one occasion that I will never forget. The STF listing had noted that a certain member from a particular com-munity had passed away. So I made all the necessary changes to my membership list and discontinued any further mailings to her. Lo and behold, I was totally swamped under at the registrations desk at the music conference a few years later – when this lady handed me her on-site form with that specifi c name and address on it. Without thinking I blurted out – But, you’re dead! She was fairly elderly and she certainly didn’t see any humor in my comment. In readiness for my fi rst Board Meeting, I needed to compile a fi nancial report. Prior to my time, the SMEA had an elected Treasurer who handled all the ‘books’ for the organization. There had been a change in that position from the AGM, however for whatever reason; the previous Treasurer still had all the records. If I remember correctly, he had just retired and moved to a new location – the problem was no one seemed to know where he had gone. So I got to play ‘detec-tive’ until he was fi nally tracked down. I met with him in Regina where he turned over all the fi nancial records to me. When I started sorting though what was in his ‘box’ I soon realized that the books had not been audited for 18 months – so preparation for that quickly became a number one priority. Also in among his information, I found a folder full of unopened invoices and fi nal notices for payment. I also discov-ered that instead of fi ling paid invoices numerically so they could be easily referenced, that they had been glued into an exercise tablet. I also found bank state-ments that appeared to come from several different bank accounts around the province. Upon further investigation, I uncovered fi ve bank accounts in fi ve different locations, all with their own cheques and

2


signing authorities. Obviously, in consultation with Robert, it was agreed to close out all these accounts and transfer all the funds into one general account. Part of my job descrip-tion had included looking after all the fi nances in the general offi ce. Setting up and maintaining a general offi ce in my home was also a condition of employment. Although this was not a common practice among other arts & cultural groups, it was a win-win situation for us because I could schedule my own work days around my young family and SMEA didn’t have to rent store-front property. It is interesting now to note that the option to work from home rather than ‘the offi ce’ is considered a coveted employment ‘perk’ for young profes-sionals. As I uncovered more information, I found out that the SMEA was a Provincial Cultural Organization and eligible for funding from the lotteries. This was however, before global budgeting – so that meant that every program and service – including administrative and travel costs required a separate application and follow-up form. Unfortunately because there hadn’t been an actual person in a general offi ce doing this, it soon became apparent that we were seriously in the arrears with our reports and in danger of losing our PCO status and eligibility for future lottery funding. That also quickly became a major priority for me in those fi rst few weeks preceding my fi rst board meeting. Without the able assistance of a SMEA Past President, Joan Therens, I would never have been able to get the information I needed to do the necessary paper work to clear up all the back log of follow-up reports and get new funding applications ready to submit. There was one more huge job that needed to get done as quickly as possible and that was to complete and fi le all the legal documents for the Articles of Continuance under the Provincial Corporations Act before the March 30, 1982 deadline. Without the assistance of Robert and George that task simply would not have happened in time to avoid losing our Non-Profi t status. I admit - there were many times during those fi rst few weeks that I seriously reevaluated my future with the SMEA. The tasks seemed insurmountable. I admit the only thing that kept me going some days was my pride. I could not admit defeat. I had my fi rst face-to-face meeting with my new Board of Directors in early March. I remember that meeting as clearly as if it had happened last week. In addition to Robert and George, I met a brand new music teacher- Phoebe Voigts. She was the Secretary of the board. Other members in-cluded Joan Therens, David Escott, Bob Nicholls, Mryna McClary, Stewart Smith, Joe Hary, Ken Stirling, Jane Horner, Murray Rausch, Regina Sagal-Hendry, Alfred Jones, Fumi Torigai, Colin King, Reuben Rickert (STF),

Dr. Isabelle Mills (U of S) and Dr. Marlene Taylor (U of R). There must have been magic in the air that day. When I was so warmly received into the association by everyone, I knew I had made the right decision to stay. I never had reason to look back. The job of Executive Director was very different 28 years ago. Most of my time was spent in performing routine offi ce jobs. This was our time before computers. Everything was done either with a typewriter or in long hand. I was pretty excited when the board approved the purchase of a brand new ‘Brother’ electric typewriter with a revolutionary ‘white-out’ feature. Accounting was done with a trusty adding machine, a sharp pen-cil and page after page of columnar pads and General Ledgers. If it didn’t balance at the end of the day – you went back and started over again. We had no slick data base programs that sorted or generated mailing labels – membership lists were compiled by hand and retyped if changes needed to be made. We used carbon paper to make copies of offi ce and board documents. When I fi rst started, I did have access to a hand-cranked Gestetner copying machine at the town offi ce so that was the way we printed our newsletters. I have to credit George Charpenter for dragging me into the computer age in the late 1980’s. He arranged for the association to purchase an Apple II computer loaded with the latest edition of AppleWorks. Back to school I went, to learn everything there was to know about computers. It wasn’t long, before I was proud to say that I became very profi cient in data basing and using the spread sheet for fi nancial record keeping and documents. The greatest asset was the new AppleWorks word program. What a relief to be able to edit docu-ments without having to start all over at the beginning! I can’t say enough about that fi rst AppleWorks program – what a difference it made in my job and in my life. What used to take me 20 hours to do could now be done in 20 minutes! Shortly following on the heels of my new computer was a brand new photocopier. Colin King was the board member who negotiated the deal for SMEA. We were now equipped to embark on a whole new way of doing business. SMEA has undergone many changes during my tenure as Executive Director. Some changes were inten-tional and while were more or less imposed on the asso-ciation by economic times. There were boom times and not so good times – but under the guidance and leader-ship of all past and present Presidents and board of directors, the SMEA has moved forward and has never lost sight of their mission to promote excellence in mu-sic education. I salute the thousands and thousands of dedicated members and volunteers who over the years

3


continued to give so unselfi shly of their time and talents. With-out these individuals, the SMEA simply would not have been able to do the things that we did. Throughout all the changes the SMEA has remained resilient, adaptable, and committed to creating new synergies, new musical experiences and new opportunities for the music community. These achievements have not gone unnoticed. In 2009, the SMEA was recognized, by the prestigious Donner Foundation, as being one of the top three non-profi t organizations in Canada with ‘best’ manage-ment practices. As well, I’ll never forget how proud we all felt when the SMEA was chosen as the fi rst organization ever to be the 2007 recipient of the Lieutenant Governor’s Leadership in the Arts Award. I have so many wonderful memories of the boards, commit-tees and individuals that I worked with over the years. Every one worked hard and we achieved a lot of good things – and we had a good time doing it. I’m always in awe that so many of the ‘old guard’ are still so actually involved in the associa-tion – that’s wonderful to see! I am also really excited to see a new generation of leaders emerging to take their rightful place as the movers and shakers in the music community. The SMEA is in good shape and well positioned within the provin-cial cultural community. I have every confi dence that it will continue to provide the kind of quality programs and services that our members have come to expect. I never imaged on that stormy, wintery day back in Jan of 1982, what a tremendous infl uence this organization would have on my life. I never dreamt of the degree to which the thousands of talented and dedicated people who I came know and have had the privilege to work with over these 28 years, could ignite in me this passion I feel today for what this organization represents. I can honestly say that I have loved my job. Most importantly, I have loved the people I worked with and the friendships that have developed over the years. I feel confi dent that as I step down and retire at the end of this year, that you are in good hands and that this organization will continue to fl ourish long into the future. I wish all of you happiness and success and I thank you all for the wonderful memories.

Respectfully submitted,Ann MuellerExecutive Director

Celebrating 51 years of wisdom, patience, commitment and leader-ship....SMEA PRESIDENTS

1957 - 2010

Reg McFarland (1957)

Lloyd Blackman (1958)

Don Cowan (1959)

Mikel Kalmakoff (1961)

Lloyd Blackman (1963)

David Kaplan (1965)

William Otis (1967)

Tom Magnuson (1969)

Blaine McClary (1971)

Alastair Browne (1973)

Phil Johnson (1975)

Brian Hartsook (1977)

Dennis Humenick (1978)

Joan Therens (1980)

Robert Latimer (1982)

George Charpentier (1984)

Colin King (1986)

Joe Hary (1988)

Debbie McPherson (1990)

Stephanie Stefanson-Pexa (1992)

Jack Jones (1994)

Fred Barker (1996)

Murray Rausch (1998)

Kevin Dyck (2000)

John Poettker (2002)

Doug McCosh (2004)

Mary Jane Schuler (2006)

Peter Pizurny (2008)

Kara Helms (2010)

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CADENZA 2009 - 2010 The Offi cial Journal of the Saskatchewan Music Educators Association 2

2009 -2010 SMEA Regional Workshops

2009REGION 4 : University Heights Senior Band WorkshopHeld at Brunskill and Greystone Heights Schools Saskatoon, March 26th 2009. There were approximately 150 participants.The students received expert instruction in the areas of performance skills, ensemble dynamics and jazz techniques. Each ensembleworked with an expert musician and conductor, Roy Sydiaha and developed the fi ner points of performing as a team.

REGION 7: Jazz FusionHeld at Dr. Martin Leboldus High School Fine Arts Facility- Regina March 4,5,6, 2009.Facilitator: Jason Smith and Audio Radiance.Objective of the Workshop: To further vocal jazz knowledge, to give students a performing venue, and to allow students toshare music and support each other.

REGION 5: Christopher Lake Beginner Band WorkshopHeld at Christopher Lake School, May 28-29, 2009.Objective of the Workshop: To enhance retention of beginning band skills – examples: breathing embouchure, note reading,counting, note recognition and care and maintenance.

REGION 2: Swift Current & District Beginner Band ClinicLocation: Swift CurrentWhen: September 11 & 12, 2009Co-ordinator’s Name: Jennifer Switzer Phone: 773-4202Objective of the Workshop:To allow each beginning band student in our area to successfully begin playing their instrument.To provide specialists on each instrument to work with our beginners.To provide a block of time for the students to focus on their instru-ment outside of the regular school hours.

REGION 2: Saskatchewan Registered Music TeachersAssociation Conference and Annual Meetingwith Organ Workshop.Location: First United Church, Swift Current.When: September 25-26, 2009.Co-ordinator’s Name: Karen MacCallumObjective of the workshop: Professional development for musicteachers and other interested people.

REGION 6: Battleford Beginner Band WorkshopLocation: North BattlefordWhen: September 19, 2009Co-ordinator’s Name: Barb MutchPhone: 445-3407Objectives of the Workshop: The workshop is intended to givestudents a solid beginning on their instrument by working with specialiststo learn breathing, good sound production, posture, maintenance,and warm-up and rehearsal techniques.

REGION 7: Johnson Area Beginner Band WorkshopLocation: Johnson Collegiate, Regina.When: September 14 – 15, 2009Co-ordinator’s Name: Alison Thiele Phone: 523-3362Objectives of the Workshop: To provide beginning band students asuccessful introduction to their chosen instrument under the directionof local, professional musicians.

2010REGION 4 : Westside Winds Winter ClinicBethlehem High School Mar 20-21/10

REGION 7: Jazz FusionHeld at Dr. Martin Leboldus High School Fine Arts Facility- Regina March 11-13, 2010.

REGION 7: Children’s Day 2010 Regina March 20/2010

REGION 7: Dennis Tupman: Regina January 25, Brent Ghiglione & Kathy Anderson

REGION 7: Beginner Band Workshop at Johnson Collegiate - September 13 & 14

REGION 2: Swift Current and District Beginner Clinic in Swift Current - September 10 & 11

5


1979 Murray Rausch (U of S) 1981 Michael McCawley (U of S) Stewart Smith (U of S) 1982 Moira Kitsch (U of S) Calla-Dawn Lissel (U of R) 1983 David Ray Bindle (U of S) Sherri Leah Torgrimson (U of R) 1984 Mary Lynn Rooney (U of S) Michael Herle (U of R) 1985 Brent Pittman (U of S) Valerie Boyetchko (U of R)

1986 Cheryl Skibinski (U of S) Roxanne Anderson (U of R) 1987 Kerry Kirtpatrick (U of S)

1988 Colleen Hickie (U of S) Jean Marie Gusway (U of R)

1989 Lecia Nickel (U of S) Verna Ahner (U of S) Jillane Rackow (U or R)

continued 1990 Stephen Cocks (U of S) Jillane Rackow (U or R)

1991 Holly Cooper (U of S) Jillane Rackow (U of R)

1992 Richard Dube (U of S) Shawn Grocott (U of R)

1993 Christine Shaw (U of S) KatherineAnderson (U of R)

1994 Maureen Hay (U of S) Leanne Burns (U of R)

1995 Andrea Pray (U of S) Trent Reschney (U of R)

1996 Stacey Mortenson (U of S) Nathan Degenhart (U of R) 1997 Graham McDonough (U of S) Colleen Sutton (U of R)

1998 Jennifer Horvey (U of S) Maury Michie (U of R)

1999 Jason Caslor (U of S) Kathryn Bechdolt (U of R)

2000 Jennifer Korven (U of S)

Aaron Thinglestad (U of R)

2001 Bradie Reeds (U of S) Jeff McLeod (U of R)

2002 Alexandra Raney (U of S) Kristan Kuntz (U of R)

2003 Alexandra Raney (U of S) Alison Thiele (U of R)

2004 Shantelle Barber (U of S) Chris Leeson (U of R)

2005 Heather Lake (U of S) Lindsay Richardson (U of R) Jillane Rackow (U ofR) 2006 Tanis Lindsay (U of S) Kurt Gillett (U of R)

2007 Lauren Campbell (U of S) Amanda Ruda (U of R)

2008 Kerstin Hettings (U of S) Jessica Riley (U of R)

2009 Stephen Folnovic (U of S) Rylan Goudreau (U of R)

2010 Kathleen McLaren (U of S) Sarah Creurer (U of R)

Rj STAPLES AND FRANK CONNELLMEMORIAL SCHOLARSHIPS RECIPIENTS

The R.J. Staples and the Frank Connell memorial scholar-ships of $500.00 each are awarded annually to a third or fourth year music student from the University of Saskatch-ewan and the University of Regina.

SMEA continues to challenge all members to make a donation to our Special Scholarship Fund Raising Program, to ensure that we are able to continue supporting our up and coming music educators. All contributors will receive a charitable tax receipt will be acknowledged in our Newsletters and An-nual Report.

Maureen Patterson Memorial FundAssisting participation in SMEA Honour Groups. Patricia Johnson $1000 /2009, $1000/2010.

Lisle M Cameron donated $1000 2009. Contributions can be made to SMEA

General Offi ce, Cudworth.


Heart of the City Piano Program “Nurturing Success and Empowering Children”

The program has many volunteers at the ground level teaching the children piano lessons, orga-nizing folders and music, helping with recitals and programs. This position listed here requires some coordination of the different facets.

Program Objectives

• build pride, self-confi dence and increase self-esteem in at risk youth

• provide practical teaching experience to future music educators

• promote the participation of people of all origins to contribute to the evolution of society

• share in activities that bring diverse group together to promote values of understanding, acceptance and mutual appreciation

• develop opportunities community participation and strengthen community linkages by helping to overcome barriers and create a greater sense of overall community

Saskatoon HCPP Board 2009-2010Lynda Harrington - Executive Program DirectorCyndi Lauze - Director of CommunicationTanis Lindsay - Director of RecruitmentHeather Macdonald - Director of FundraisingStefanie Stefanson-Pexa - Director of Inventory and DonationsDarla Read - Director of MarketingTBA - Director of EventsTBA - Director of Parent Connection

Melanie Sydiaha - Past Executive Program Director

PROVINCIAL BOARD / SASKATCHEWAN

Melinda Anderson-Grass

Lana Currie-Lingelbach

Peggy L’Hoir

Marilyn Richardson

Melanie Sydiaha

FOUNDING BOARD

Rich Dubé

Gary Gullickson

Michelle Lee

Ron Millar

Christine Rodych

Lendy Scholz

Judge Mary Ellen Turpel-Lafond

Provincial Board - Saskatchewan

Melinda Anderson-Grass

Lana Currie-Lingelbach

Peggy L’Hoir

Melanie Sydiaha

NATIONAL BOARD

Buffy Sainte-Marie, Honourary Board Member

Richard Dubé, Honourary Board Member

Melanie Sydiaha - Saskatchewan

Jennifer Shi & Jennifer Au - Alberta

Sarah Saliba - Ottawa

Bettina Choo - Montréal


The Heart of the City Piano Program,overcoming common barriers:(Submitted in part by Heather Macdonald)

Thanks to dedicated volunteers, the Heart of the City Piano Program (HCPP) has educated and empowered economically disadvantaged and at risk children and youth, since 1995.

The program overcomes common barriers to their participation in worthwhile organized community activities by match-ing youngsters with volunteer teachers, who travel to their schools. There is no cost to participate in the one-on-one les-sons or to take part in any other Heart of the City activity.

In simple terms, the HCPP reaches out to children and youth from families with limited resources to not only learn to play the piano and appreciate music but to also develop a broader view of their own individual potential. The SMEA is the sponsoring organization of the HCPP and we administer their fi nancial affairs and provide administrative support and ex-pertise. The HCPP fi ts with SMEA’s mandate to foster the development of high standards in music education by sponsor-ing hands-on opportunities for musical development. As a program of the SMEA, the activities of the HCPP are covered by the SMEA’s liability insurance and fundraising in each of the program communities is made easier by their ability to use the Charity Status of the SMEA.

The program was founded by Richard Dube. He observed in his students, a desire to learn but recognized the need to provide additional resources in order for that to happen.

In 2009 – 2010 there were approximately 350 young people participating in HCPP in Saskatoon, Regina, Moose Jaw and Biggar. In addition to providing piano lessons, these young students had opportunities to attend symphony concerts; participate in local music festivals; participate in a Provincial Festival of the Heart; experience and take Royal Conserva-tory of Music exams.

Participants in these programs are developing self discipline, focus and musical skills. By their successes they continue to gain self esteem, pride and confi dence. The Saskatoon Children’s Choir (SCC) captures the fundamental principles of the SMEA’s Mission, Vision and Key Re-sult Areas. The SCC promotes the development of high standards of music education and contributes to the development and appreciation of vocational and avocational arts activities and musicians in Saskatchewan.

Participation in the SCC is determined by adjudication and is open to children between the ages of three and sixteen years of age. The SCC is comprised of three choirs: a Preparatory, and Apprentice and a Concert Choir. Touring is an integral part of the SCC culture. Inherent in that experience are opportunities to heighten musicianship skill, leadership, coopera-tion, curiosity, ambassadorship, bonding and personal responsibility. When singers extend their experiences beyond their communities they are putting in place a capacity to understand the world beyond them.


SMEA Awards

Sharon Meredith 2009Outstanding Achievement Award

The outstanding Achieve-ment Award recognizes either one outstanding accomplishment or an ongoing dedication to excellence in music. The recipient need not be or have been a member of SMEA.

Sharon Meredith is a music itinerant/specialist who works for Regina Public Schools. She obtained her Bachelor of Music (Specialist in School Music) from the Brandon University School of Music. In Brandon, she had the opportunity to receive training in Orff , Kodaly, and Dalcroze. She then completed her Education Degree at the University of Regina.For the past 17 years, Sharon has loved her position as an Arts Ed specialist teaching kids from all over the city. Her focus has been on classroom music as well as junior and senior choirs. She also enjoys working with middle years students to put on large-scale musicals.Sharon is currently employed full time at Ecole W. S. Hawrylak. This is a French Immersion school with an enrolment of over 600 students in grades kindergarten through to Gr. 8. Orff, drumming, listening, playing, singing, moving, improvising, and having fun while they learn is all just a day’s work for the kids at Hawrylak. She feels very fortunate to be able to share her love of music with these students on a daily basis.Outside of school, she is the mother of twin boys, age thirteen, who have opted to play every sport that exists. Although the hockey rink may be a little different from the concert hall, Sharon and the fans always have a great time coming up with creative cheers and rhythmic osti-nati. Orff training… what would one do without it?

Marlene Hinz: I obtained my Bachelor of Music in Music Education Degree from the University of Saskatchewan in 1985. Since that time I have been very fortunate to teach music and the arts to Elemen-tary school children. I tell people on a weekly basis that I have my “dream job”. I have continued to pursue my studies through several classes at both the University of Saskatoon and University of Alberta mostly in the area of Orff education. I pursue my love of all things choral by accompanying Cantate, a community choir for youth as well as singing and playing in a contem-porary folk group at my church. In the last number of years, I founded UMOJA: One Heart – One Beat, a world drumming group for young performers. I am also thrilled to co-facilitate the Regina Community drum circle. One of my greatest joys is to make music with my husband and two daughters. They are an inspiration and continuous support to me.

Marlene Hinz 2009Outstanding Achievement Award


SMEA Awards

Dean Bernier 2010Outstanding Achievement Award

Dean Bernier began playing fi ddle at the age of eleven, and eventually went on to study music at the University of Sas-katchewan, where he obtained a Bachelor of Music in Music Education degree. In the past ten years, Dean has been the artistic director and instructor of a youth / adult orchestra (Prince

Albert Strings Orchestra Inc.) and has set up and teaches a string program for Rivier Academy. This program is currently the only string orchestra program available to middle years and high school students in Saskatchewan that awards high school credits towards the students’ academic records. Dean has served as the Region Five Orchestral represen-tative with the Saskatchewan Music Educators Associa-tion (1992-1994), as a board member with the Saskatche-wan Orchestral Association (1991-1995), a representative on the Saskatchewan Fiddle Committee (1992-1997), and a director with the Prince Albert Exhibition As-sociation (since1992). Dean’s music memberships include the Alberta Society of Fiddlers, Saskatchewan Fiddlers Association, Saskatchewan Recording Associa-tion, Saskatchewan Music Educators Association, and Saskatchewan Orchestral Association. He is a lifetime member of the Prince Albert Country Music Association, holding consecutive nominations to the SCMA all-star band for fi ddle (1994-2005) and specialty instruments (1997-2005).Dean, his wife Candace and sons Wyatt and Ty, make their home in Prince Albert. He continues to work on special projects such as studio recordings, writing, and arranging music. Through Bernier Music he continues to encourage and promote musicians by teaching private students of all ages from areas throughout Western Canada and the United States.

Debbie McPhersonLifetime Award 2010Debbie McPherson began teaching in Ontario for the Kent County Board of Educa-tion. After answering an ad in the Toronto Globe and Mail and being interviewed she arrived in Prince Albert, SK, where she taught for the PA School Division, which later became Saskatchewan Rivers School Board #119. Debbie then became involved with SMEA as the Division Chair for Classroom music. Af-ter several years in this position she became President. Her position with the SMEA opened the door for her to become involved with CMEA at the national level, an experience that served to broaden her view of what was going on in music education across the country. After fi nishing her time as SMEA President, Debbie stepped into the executive role of vice-president of CMEA.

Through both SMEA and CMEA she was introduced to ISME. Through this organization she was able to travel the world, including Australia, Norway, and South Af-rica. Through each organization and travel opportunity, Debbie has met and continues to meet colleagues who have also become friends. Her understanding of music education has also grown and expanded with every experience, provincially, nationally, and internationally.In addition to her roles with the SMEA, CMEA, and ISME, Debbie has also been involved locally with the Prince Albert & Area Teachers’ Association, eventually serving as President for 6 years. She continues to sit on the PA Music Festival Board as Band Scholarship Chairperson, as well as staying active as a musician by playing bass clarinet in the PA City Band and conduct-ing the Calvary United Church Choir.


The use of gestural modes to enhance expressive conducting at all levels of entering behavior

through the use of illustrators, affect displays and regulators

ANDREW MATHERS Monash University, Australia

Abstract In this article, I discuss the use of illustrators, affect displays and regulators, which I consider to be non-verbal communication cat-egories through which conductors can employ a more varied approach to body use, gesture and non-verbal communication. These categories employ the use of a conductor’s hands and arms, face, eyes and body in a way that is currently being missed by many con-ducting programs. By utilizing three gestural modes, decla matory, corrective and narrative, conductors have a framework to apply these non•verbal communication categories, dependent on the skill level of the ensemble, the level of experience the ensemble has of the work at hand and the requirements of the music. Although corrective mode gestures are important for conductors, as they emphasize clarity and precision, more use could be made of illustrators and affect displays by conductors at all levels of entering behavior in order to access the declamatory mode, and regulators and affect displays in order to access the narrative mode. These modes promote the enhancement of expressive conducting beyond the beat patterns.

Key words gesture, music education, non-verbal communication

Introduction The aim of this article is to discuss the use of gestural modes1 as a way to enhance expressive conducting2 at all levels of entering behavior.3 This can best be achieved through the use of illustrators, affect displays and regula-tors, which are categories of non-verbal communication. I will fi rst introduce the categories before discussing how they can be used with the gestural modes. How can conductors effectively communicate their musical intentions to a group of musicians? One way is through words; however, words are an imprecise way of describ-ing a feeling or mood, are time-consuming in a rehearsal, and are normally inappropriate in an actual performance. A more effective way for conductors to communicate is non-verbally. Ford (2001) indicates that non-verbal com-munication is more powerful than verbal communication. An example of a conducting non-verbal message is when a conductor uses a small amount of space to indicate a soft dynamic, as opposed to using a large amount of space to indicate a loud dynamic. Musicians routinely understand these signals. Similarly, a conductor sends a non-verbal message to an ensemble through the speed of the arms, communicating the tempo of the music to the musicians.

Mehrabian (1972) comments on the inability of western culture to verbally express feelings, and the lack of instruc-tion in ‘implicit’ (non-verbal) communication4 in formal education settings (p. 178). Both of these issues have impli-cations for the enhancement of expressive conducting, for if words are generally deemed inappropriate or inadequate for the expression of feelings, and conductors are restricted in their employment of words in performance, it makes sense for conductors to learn skills in non-verbal (implicit) communication in order to effectively communicate their feelings about the music. Yet instruction in many conduct-ing programs appears to neglect aspects of non-verbal com-munication in favor of learning conducting beat patterns; Farberman (2003) fi nds that the beat patterns remain the main emphasis in learning conducting (p. 257). In discussing the implications for beginning conductors’ training in non-verbal communication, Van Weelden (2002) argues that the development of a broader range of non-verbal communication skills beyond the beat patterns is required for the enhancement of expressive conducting (p. 67), which is also supported by Eichenberger (McClung, 1996) and McClung (2005). Ekman and Friesen (1969) make a major contribution to the understanding of non-verbal communication by describing fi ve categories of non-verbal behavior: emblems, illustra-

11


tors, affect displays, regulators, and adaptors (pp. 63–84). Table 1 describes these categories and gives an example of how each can be used. Ekman and Friesen’s categorization of non-verbal behavior is relevant to the enhancement of expressive conducting, as each of the fi ve categories serves as valuable gestural tools for conductors. For example, as words are usually impossible in performance, conductors rely on emblems that are understood by all musicians to get clear messages across, such as using a preparatory breathing gesture to start the music. Illustrative movements, such as gliding gestures to indicate legato and dabbing gestures to indicate staccato, are widely used by con ductors to portray the desired character and style of the music. Conductors use affect dis plays, such as smiling or frowning, to communicate their feelings and reaction to the perfor-mance, while adaptors, such as facial mannerisms and habits, are unconsciously used by

Table 1 Five categories of non-verbal behavior

conductors – possibly to serve as a distraction to the musi-cians unless they are identifi ed and controlled in the early stages. Conductors have previously shown an interest in these cate-gories of non-verbal communication, as shown in the research by Ostling (1977), Julian (1989) and Sousa (1989). To this point, mainly emblems have been examined, as exemplifi ed by Sousa’s thesis, which investigated ‘musical conducting

emblems’ as conducting gestures that have precise mean-ings and common interpretations (Sousa, 1989, p. 5). Although emblems have rightly been studied because they form the building blocks of conducting technique, il-lustrators, affect displays and regulators present pathways to the enhancement of more expressive conducting and so they deserve to be studied. The conducting gestures that are rated the poorest in terms of emblematic recognition in Sousa’s (1989) study of emblems involved prepara-tory beats and tempo changes. It is possible that aspects of non-verbal communication beyond the technique are required to consolidate the emblem, such as the expres-sive use of the body, face, eyes and hands/arms. Although emblems are an essential part of conducting in that they are supposed to represent a universally understood signal, the inconsistency of the recognition of emblems identifi ed in Sousa’s thesis5 indicates that conductors should also use other categories of non-verbal communication. In this article, I will consequently discuss illustrators, affect displays and regulators, and recommend their inclusion in conducting instruction by way of gestural modes. I will fi nally consider the educational implications of my fi ndings.

Illustrators, affect displays and regulators According to a strict interpretation of illustrators by Ekman (1977), they are not available to conductors in performance, because they are movements that must be

Table 1 Five categories of non-verbal behaviorCategory Description ExampleEmblem Non-verbal acts that can be translated, or Raising a hand to indicate ‘stop’ defi ned in a word or two, or perhaps a phrase

Illustrator Movements that are directly tied to speech Indicating the size of an escaped and illustrate what is being said verbally fi sh with both hands

Affect display Muscle movements, generally facial, Smiling to greet a friend or associated with a display of emotion acquaintance

Regulator Acts that maintain and regulate the back Direct body orientation and eye and-forth nature of speaking and listening contact to indicate interest in the between two parties communication

Adaptor Behaviors often learned in childhood and Scratching any part of the head maintained by habit or face


placed within speech (p. 51). However, as illustrators are intended to accom-pany, fi ll in and augment language, I argue that their use by conductors in accompanying, fi lling in and augmenting the language of music through expressive gesture is entirely appropriate. This position appears to be supported by Julian (1989), who suggests that more illustrative gesturing is used by the conductor when more diffi cult passages of music are interpreted (p. 51).

Ekman and Friesen (1969) describe six types of illustrators: batons, ideographs, deictic movements, spatial movements, kinetographs and pictographs (p. 68). Table 2 describes these illustrators and gives an example of how each could be used. Although, according to Ekman and Friesen (1969), an emblem could be replaced with a word or two without changing the information conveyed (p. 63), the importance of some illustrators (such as pictographs, kinetographs, and spatial movements) for conductors is that they have mean-ing independent of verbal communication. The fact that they are vague and imprecise in terms of verbal description makes them enormously useful in expressive conducting. For example, a pictographic movement such as indicating the rise and fall and shape of a musical phrase with the left hand is almost impossible to describe in words. Kineto-graphic movements as exemplifi ed by the eight Laban effort actions6 are easily understood and implemented, such as using fl oating or gliding movements to indicate legato, or dabbing or fl icking movements to indicate staccato. Spatial movements can indicate a variety of dynamics, or can indi-cate varieties of weight and musical character by locating the movements in a particular space. Developing facial interest and expression is another area of learning conducting that I have observed that many students fi nd diffi cult. This is the category of non-verbal commu-nication known as affect displays. In 2005, I undertook a survey of 88 university conducting teachers,

Table 2 Six types of illustrators

Table 3 Important non-verbal communication skills for conducting student development

in which they were asked which non-verbal communica-tion skills are important for their conducting students to develop (Mathers, 2008, p. 153). Respondents listed facial expression (42%), eye contact (25%), body language and hands/arms (each 14%) as the most important (see Table 3).

Facial expressions and eye contact are therefore among the most powerful non-verbal communication signals available to conductors.

In consideration of the facial channel, I have observed that many low entering behavior conductors display a lack of confi dence through the avoidance of eye contact with ensembles. Yet the eyes are among the most important communication tools available to a conductor, as shown by Beebe’s (1974) paper, which investigates eye contact as a non-verbal determinant of speaker credibility. Beebe links the level of eye contact with the level of other non-verbal communicative elements (p. 25). Ekman and Friesen (2003) explain that: ‘Emotions are shown primarily in the face, not in the body. The body instead shows how people are coping with emotion’ (p. 7). They describe in detail and show in pictures the facial char-acteristics of the primary emotions: surprise, fear, disgust, anger, happiness and sadness, including various blends of the primary emotions. They even instruct the readers on how to check their own facial expression style.7 The ability to recognize facial expression styles is important for conductors wishing to enhance their expressive conduct-ing, as conductors who practise the facial characteristics may be able to increase their repertoire of facial signals, therefore responding to the feelings within the music more empathically. Closely linked to affect displays is the category of non-ver-bal communication known as regu lators. According to Bur-goon, Buller and Woodall (1996), regulators are designed to main tain or regulate turn-taking between two or more interactants, coordinating and pacing the fl ow of conversa-tion (p. 42). However, I consider regulators also relevant to expressive conducting to enhance the two-way communica-tion between conductor and musicians. Regulators are best communicated through eye contact and body orientation. A con•ductor’s bearing is also important in that it communicates the conductor’s confi dence, enthu-siasm, control and knowledge of the music non-verbally to the ensemble. A conductor’s posture and bearing are important aspects of effective pre-conducting behavior, which has previously been investigated by Fredrickson, Johnson, and Robinson (1998). Pre-conducting behavior affects the partnership be-tween conductor and ensemble, and determines the interac-tive potential of their relationship. Yet the regulatory aspect of non-verbal communication does not appear to be covered in many conducting programs. As an addition to the categories of non-verbal communica-tion discussed so far in this article, a recent approach by Koch (2003) is to classify the types of gestures required of a conductor into three gestural modes, which allows for


Table 2 Six types of illustratorsIllustrator type Description Example

Batons Movements that accent or emphasize Thumping on the table with a fi st a particular word or phrase when saying ‘No’

Ideographs Movements that sketch a path or Indicating the direction of a stream direction of thought with a hand movement

Deictic movements Point to a present object Pointing out desired items to a shopkeeper

Spatial movements Depict a spatial relationship Moving hands far apart to indicate a large object

Kinetographs Depict a bodily action Patting the stomach to indicate suffi cient food

Pictographs Draw a picture of their referent Tracing through the air the shape of a pretty girl

Table 3 Important non-verbal communication skills for conducting student developmentSkill No. of responses Percentage of totalAffi rmation/positive reinforcement 2 2All conducting should be non-verbal 1 1All non-verbal communication techniques 5 6Baton technique 5 6Body language 12 14Breathing 1 1Clarity 2 2Cueing 3 3Dance 1 1Dynamics 1 1Expressive gestures 7 8Eye contact 22 25Facial expression 37 42Hands/arms 12 14Imagery 1 1Infl uencing skills 1 1Laban 1 1Listening 1 1Mime 2 2Motion styles 2 2Refl ect music through gesture 11 13Rehearsal techniques 1 1Sign language 1 1Stance 6 7Starts and stops 3 3


a more varied approach to body use, gesture and non-verbal communication beyond the delivery of beat patterns.

Gestural modes Koch (2003) describes three gestural modes, declamatory, corrective and narrative. An expressive conductor uses all three modes, although the greater the skill level of the ensemble, the less the corrective mode needs to be used. As the corrective mode is mainly con cerned with performance accuracy and er-ror prevention, there is less scope in this mode for expressivity in conducting. In this mode, little or no effort is made by a con-ductor to portray the sound through gesture. The declamatory and narrative modes are the natural domain for expressive con-ducting. In narrative mode, a conductor is less concerned with demonstrating or correcting the sound than in using gesture to illuminate aspects of the music and its overall architecture. As Farberman indicated earlier, the beat patterns remain the main emphasis in learning conducting. This is supported by a survey undertaken by me of 42 experienced secondary school conductors in Melbourne in 2005, which indicated that the overwhelming majority of respondents found the beat patterns easy to learn (Mathers, 2008, p. 77). Only four Downloaded from ijm.sagepub.com by guest on January 18, 2011 respondents (just under 10%) found the beat patterns slightly

diffi cult, and none found the beat patterns very dif-fi cult, or were still uncomfortable with them (see Table 4). These results indicate a highly effective system for teaching beat patterns. By contrast, over half of the respondents (57%) found the development of expressive gestures diffi cult (Mathers, 2008, p. 298). Nineteen respondents (45%), the largest group, found expressive gestures slightly diffi cult. Three respondents (7%) found expressive gestures very diffi cult, and two respondents (5%) were still not comfortable with expressive gestures; 29% of respondents found expressive gestures easy (11 – slight-ly easy, one – very easy) (see Table 5). Clearly, teaching conductors how to use expressive gestures effectively (declamatory mode) has not been as high a priority as teaching beat patterns (corrective mode). Walter (1961) and Furtwängler (see Taylor, 1991) believe that there are misconceptions over the primary task of the conductor, which keeps too many conduc-tors in the corrective mode. The task of keeping an ensemble together is in the corrective mode, requiring conducting gestures focusing on performance accuracy in terms of precision, tempo, dynamics and arti culation. Conductors who stay within this mode will fi nd their ‘spur-of-the moment’ infl u ence on the ensemble to be

Table 4 Level of diffi culty developing beat patterns – experienced secondary schoolconductors in Melbourne Frequency Percent Validpercent Cumulative percentNo response 1 2.4 2.4 2.4 Slightly diffi cult 4 9.5 9.5 11.9Slightly easy 18 42.9 42.9 54.8Very easy 19 45.2 45.2 100.0Total 42 100.0 100.0

Table 5 Level of diffi culty developing expressive gestures – experienced secondary schoolconductors in Melbourne

Frequency Percent Validpercent Cumulative percentStill not comfortable 2 4.8 4.8 4.8Very diffi cult 3 7.1 7.1 11.9Slightly diffi cult 19 45.2 45.2 57.1Undecided 6 14.3 14.3 71.4Slightly easy 11 26.2 26.2 97.6Very easy 1 2.4 2.4 100.0 Total 42 100.0 100.0


limited, the ensembles unable to recognize the role of the conductor to infl uence the sound or interpretation through gesture while the performance is in progress. Walter (1961) describes ‘spiritual impulses’, which are really communica-tion through the declamatory and narrative modes (p. 82). Furtwängler (see Taylor, 1991) believes that most conduc-tors place far too much emphasis on the downbeat gesture rather than its preparation (pp. 19–20). A perfect example of a ‘narrative mode’ conductor, Furtwängler’s endorsement of the preparatory gesture makes sense in that an expressive conductor’s gesture must always occur in advance of the music. Conductors who place importance on the preparatory gesture give their ensembles more time to assimilate the meaning of the gesture and react accordingly. As Furtwän-gler noted, downbeat conducting has a tendency to fi x music to beat-points rather than allow the music to fl ow through beats.

The emphasis on downbeats as part of technique leads to mere time beating, and the destruction of musical phrasing. Moreover, an effective, expressive musical performance will require more than the use of corrective mode conduct-ing, needing gestures that Koch described as being in the declamatory and narrative modes.

Although corrective mode gestures and universally under-stood emblems are important for conductors, as they empha-size clarity and precision, I believe that more use could be made of illustrators and affect displays by expressive conductors in order to access the decla•matory mode. As de-scribed by Koch (2003), in the declamatory mode, gestures refer to sound in which a conductor strives to demonstrate their musical conception as clearly as pos sible through symbolic gesture, symbols which are perfectly commu-nicated by illustrators and affect displays. Using illustra-tors (typically performed by the hands and arms) from the earliest stages of conducting instruction allows both left and right hands to be involved in the conducting process much earlier than traditional methods of conducting instruction, which tend to be focused on the development of right-hand technique through beat patterns.

In terms of affect displays, the eyes and the mouth are the most mobile parts of the face. For conductors, a simple study of the various combinations of eye (eyebrow) and mouth use is benefi cial; it makes them aware of the de-clamatory possibilities for communication using eye and mouth combinations, and suggests a body mapping exercise for individual conductors to observe their own usage of eyes and mouth when conducting. Such a study, based on Allan McMurray workshops, is included in Lead and Inspire by

Garofalo and Battisti (2005, p. 90). More use could also be made of regulators and affect dis-plays by conducting teachers in order to access the narra-tive mode, in which a conductor uses gesture to illuminate as•pects of the music and its overall architecture. Regula-tors are clearly shown in narrative conducting through effective cueing of musicians. The most important aspect of an effective cue is eye contact, which can be demonstrated to a conducting class by having the class members deliver cues to each other fi rst with no eye contact, and then pre-ceded by eye contact, and having them determine which is the most effective. The eye contact tells the musicians ‘your turn is coming up!’ and prepares them for their entrance. The conductor’s body orientation displays to musicians in the ensemble that the conductor is interested in the musical message to be delivered. I have observed that conductors who orient their bodies towards the musicians before an entrance are perceived more positively than conductors who close off their bodies.

Implications and conclusions My surveys have indicated that when learning conducting, many conductors are only com fortable conducting in the corrective mode, initially through beat patterns, with little emphasis placed on the declamatory and narrative modes until later stages of their conducting experience, because the declamatory and narrative modes are regarded by them as ‘advanced’ conducting. As a result of this, many conduc-tors have diffi culty leaving the comfort zone of the correc-tive mode, regardless of the skill level of their ensembles. On the other hand, high entering behavior conductors appear to have a greater natural affi nity for the declama-tory and narrative modes, because they are more willing to depart from the corrective mode. As the declamatory and narrative modes are the modes in which high-level ensembles work as a matter of course, the conductors who can depart from the corrective mode will have the greatest success with ensembles at this level. However, conductors of all levels of entering behavior can benefi t from a less beat pattern-focused approach to conducting instruction by developing their use of illustrators, affect displays and regulators to access all three gestural modes, therefore enhancing their expressive conducting potential. My research indicates that illustrators such as pictographs, kinetographs and spatial move•ments are useful for conduc-tors wishing to develop their expressivity, as they allow both left and right hands to be involved in the conducting process, rather than the more traditional approach, which is focused on the development of right-hand technique. These illustrators appear to be particularly useful in declamatory conducting.


As stated earlier, eye contact and facial expression, which make up the main source of affect displays, are among the most powerful non-verbal communication signals available to conductors, and these signals can be practised through observation of eye and mouth use when conduct-ing, as the eyes (eyebrows) and mouth are the most mo-bile parts of the face. Affect displays can communicate the conductor’s emotional reaction to the narrative, as well as the declamatory intent of the music. Regulators, communicated through eye contact, posture and body orientation affect the partnership between conductor and ensemble, and are clearly demonstrated in pre-conducting behavior and cueing, which can be learned through guided instruction, careful observation and practice. Through the use of regulators, a conductor can enhance the expres•sive partnership with the musicians, granting them greater musical autonomy, yet shaping the musical narrative to fi t the conductor’s interpretation.

Acknowledgements The author wishes to acknowledge the assistance of the Arts Research Graduate School at Monash University, Melbourne, Australia, in generously providing the funds to enable this article to be written.

Notes 1. An expressive conductor uses various types of movements of the hands, arms, face and body as part of the process of conducting, depending on the skill level of the ensemble, the level of experience the ensemble has of the work at hand and the requirements of the music. According to Koch (2003), three gestural modes may be used: declama-tory, corrective and narrative. In the declamatory mode, the conductor’s musical conception is demonstrated as clearly as possible through symbolic gesture. In corrective mode, the conducting gesture aims to achieve perfor-mance accuracy and precision of tempo, dynamics and articulation, the main focus being on preventing errors. In narrative mode, the conductor grants greater autonomy to the ensemble with the expectation that it will perform with accuracy and sensitivity. A conductor’s role in narrative mode is to highlight desired features of the interpretation for the ensemble to bring out in its performance (2003, pp. 136–140).

2. Expressive conducting is the movements or gestures made by conductors intended to invoke an ensemble of musi-cians to respond by reproducing the ‘musical message’

of a score (Yontz, 2001, p. 10). This form of conducting also aims to communicate the interpretation of a work to the musi-cians.

3. The term ‘entering behavior’ is defi ned by John De Cecco (1968) to mean: ‘the present status of the student’s knowledge and skill in reference to a future status the teacher wants him to attain’ (p. 59). High entering behavior therefore implies that there is a high degree of initial competency before instruction has been undertaken, while low entering behav-ior means there is a low, or negligible, degree. A learner’s entering behavior can be infl uenced by prior experiences and ability to acquire new knowledge or skills in a certain area.

4. Even though Mehrabian titled his book Nonverbal Communi-cation, he found it necessary in the early stages of the book to disown this term, stating: ‘In this volume, then, the concept of implicit communication is used in preference to the misno-mer, nonverbal communication’ (Mehrabian, 1972, p. 2).

5. Sousa identifi ed 55 gestures as conducting emblems, only 19 of which were identifi ed by the total population of perform-ers in his study, indicating that gestures considered by many to be ‘emblematic’ were not necessarily understood by all performers. Sousa’s results indicate an increasing level of accuracy in interpreting conducting gestures as performers increase in age and experience.

6. The Expressive movement theorist Rudolf Laban conceptu-alized eight ‘basic effort actions’ that are com•binations of time, force and space. They include ‘Press’ (slow, strong, direct), ‘Wring’ (slow, strong, indirect), ‘Glide’ (slow, light, direct), ‘Float’ (slow, light, indirect), ‘Punch’ (quick, strong, direct), ‘Slash’ (quick, strong, indirect), ‘Dab’ (quick, light, direct), and ‘Flick’ (quick, light, indirect) (see Miller, 1988, p. 35).

7. Ekman and Friesen (2003) identify eight different styles of basic facial expression: the ‘withholder’, who has an unex-pressive basic face; the ‘revealer’, who has an expressive basic face; the ‘unwitting expressor’, who doesn’t know he is showing how he feels when he is showing it; the ‘blanked expressor’, who is convinced he is showing an emotion on his face when, in fact, his face looks neutral or completely am-biguous to others; the ‘substitute expressor’, who substitutes


the appearance of one emotion for another without knowing what he is doing; the ‘frozen-affect expressor’, who always shows a trace of one of the emotions in some parts of his face when he is actually not feeling any emotion; the ‘ever-ready expressor’, who characteristically shows one of the emotions as the fi rst response to almost any event in any situation; and the ‘fl ooded-affect expressor’, who always shows one or two emotions, in a fairly defi nite way, almost all the time (pp. 155–157). References Beebe, S. A. (1974). Eye contact: A nonverbal determinant of speaker credibility. Speech Teacher, 23, 21–25. Burgoon, J. K., Buller, D. B., & Woodall, W. G. (1996). Nonverbal communication – the unspoken dialogue (2nd ed.). New York: McGraw-Hill. De Cecco, J. P. (1968). The psychology of learning and instruction: Educational psychology. Englewood Cliffs, NJ: Prentice-Hall. Ekman, P. (1977). Biological and cultural contributions to body and facial movement. In J. Blacking (Ed.), The anthropology of the body (pp. 39–84). London: Academic Press. Ekman, P., & Friesen, W. V. (1969). The repertoire of nonverbal behavior: Categories, origins, usage, and coding. Semiotica, 1, 49–98. Ekman, P., & Friesen, W. V. (2003). Unmasking the face. Cambridge, MA: Malor Books. Farberman, H. (2003). Training conductors. In J. A. Bowen (Ed.), The Cambridge companion to conducting (pp. 249–261). Cam-bridge: Cambridge University Press. Ford, J. K. (2001). Implications for non-verbal communication and conducting gesture. Choral Journal, 42(1), 17–23. Fredrickson, W. E., Johnson, C. M., & Robinson, C. R. (1998). The effect of pre-conducting behaviors on the evaluation of conductor competence. Journal of Band Research, 33(2), 1–13. Garofalo, R. J., & Battisti, F. L. (2005). Lead and inspire: A guide to expressive conducting. Silver Spring, MD: Whirlwind Music Publications. Julian, F. D. (1989). Nonverbal communication: Its application to conducting. Journal of Band Research, 24(2), 49–54. Koch, C. J. (2003). Toward a theory of conducting motion. Unpublished DMA thesis, University of Washington, Seattle, USA. Mathers, A. (2008). How theories of expressive movement and non-verbal communication can enhance expressive conducting at all levels of entering behavior. Unpublished PhD thesis, Monash University, Melbourne, Australia. McClung, A. C. (1996). The relationship between non-verbal communication and conducting: An interview with Rodney Eichenberg-er. Choral Journal, 36(10), 17–24. McClung, A. C. (2005). Using video self-assessment to enhance nonverbal conducting gesture. Choral Journal, 45(9), 27–35. Mehrabian, A. (1972). Nonverbal communication. Chicago: Aldine Publishing. Downloaded from ijm.sagepub.com by guest on January 18, 2011 Miller, S. W. (1988). The effect of Laban movement theory on the ability of student conductors to communicate musical interpretation through gesture. Unpublished PhD thesis, University of Wisconsin-Madison, Madison, WI, USA. Ostling, A. (1977). Research on non-verbal communication with implications for conductors. Journal of Band Research, 12(2), 29–43. Sousa, G. D. (1989). Musical conducting emblems: An investigation of the use of specifi c conducting gestures by instru-mental conductors and their interpretation by instrumental performers. Unpublished PhD thesis, Ohio State University, Columbus, OH, USA. Taylor, R. (Ed.). (1991). Furtwängler on music. Aldershot: Scolar Press.Van Weelden, K. (2002). Perceptions of nonverbal communication: Implications for beginning conductor training. Choral Journal, 42(9), 67–69. Walter, B. (1961). Of music and music-making (P. Hamburger, Trans.). London: Faber and Faber. Yontz, T. G. (2001). The effectiveness of Laban-based principles of movement and previous musical training on undergraduate beginning conducting students’ ability to convey intended musical content. Unpublished PhD thesis, University of Nebraska, Lincoln.

Andrew Mathers has recently completed a PhD on how theories of expressive movement and non-verbal communication can enhance expressive conducting at all levels of entering behavior. His research interests are conducting, expressive movement theories, non-verbal communication and music education. He has had articles published in Australasian Mu-sic Research 9 (2007) and Dalcroze Eurhythmics from a Distance: A Miscellany of Current Research (2007). Andrew has served as a lecturer in conducting and Applied Music at Monash University. He is currently the Coordinator of Bands for Melbourne Youth Music, and conducts the Melbourne Youth Symphonic Band. Address: School of Music-Conservato-rium, Building 68, Monash University, Victoria 3800, Australia. [email: [email protected]]


Saskatoon Children’s Choir 2007/2008/2009

Performing Season Overviews

2007-08 was the Saskatoon Children’s Choir twelfth season. Shortly after registration and fi rst rehearsals, the Concert Choir went on a weekend-long retreat at Shekinah camp. Surrounded by the beauty of Shekinah camp, choristers participated in rehearsals for fall repertoire, a vocal clinic, sectionals, team building workshops, recreational activities and a photo ses-sion for future publicity materials. It was a weekend to renew old friendships and nurture new ones, and to get ready for the new performing season.

In November, the Concert choir performed at the Organiza-tion of Saskatchewan Arts Councils in Yorkton, and the Apprentice Choir performed at Unifest 2007. They wowed the audience and the adjudicators with their sensitive, intelligent and energetic performance, attention to detail, ability to focus, impeccable manners and strong presenta-tion skills.

In December and April, the SCC presented their annual concerts –“Sing Choirs of Angels” and “Shade and Water from the Well”. For the fi rst time ever, the spring concert was totally sold out!

Also in December, the SCC Concert Choir performed as guests of the Saskatoon Symphony at the “Christmas with the SSO” concert.

In April, the Concert Choir performed at the Rotary District Conference at TCU Place.

In the last couple of years, the choir began new traditions, not necessarily connected just to singing and performing. We believe that introducing young singers to other music genres is an important part of their musical and artistic growth. Therefore, once a year each choir has the oppor-tunity to attend a concert of the Saskatoon Symphony as members of the audience. The concert choir “symphony outing” is a Master Series concert combined with a supper

in a Saskatoon restaurant, while the two younger choirs attend a “Symphony for Kids” concert combined with a dessert afterwards.Another new tradition is a meal-sharing experience prior to rehearsals. Once a month, the Apprentice choir has a supper together before their Wednesday rehearsal. Parent-organized, the choristers either bring their own food or get the pre-ordered food. This follows an already established Pizza Night for Concert choir – also parent-driven, when CC choristers order pizza once a month during their Sun-day rehearsal.

Once a year, choir families have the opportunity to partici-pate in Open Rehearsals for each choir, during which the parents observe their children at work with Ms. Voigts.For the third year running, the SCC has been involved in Coming Together project sponsored by the City of Sas-katoon and Saskatchewan Lotteries. The project involves arranging attendance of seniors and disadvantaged groups at our regular concerts.

The defi nite highlight of the 2007-08 season for the choir was the collaboration with Stephen Hatfi eld on the produc-tion of Flying Colours. After contacting Phoebe Voigts in summer 2007 and agreeing that the SCC would perform and fi lm Flying Colours, the collaboration between Stephen and Phoebe began and continued throughout the perform-ing year.

In early June 2008 Stephen Hatfi eld came to Saskatoon to work with the choir for the entire weekend. On his website, Hatfi eld described the workshop as “one of the most pro-ductive, creative and effi cient rehearsals of my life”. The following week SCC premiered Flying Colours in Regina, at a concert in Knox Met Church. The choir also recorded the masque on a DVD for Hatfi eld to use in promotion of the composition. During our annual Christmas concert on November 28 and 29, 2008, the SCC presented Flying Colours in their Saskatoon premiere.On his website ( HYPERLINK “http://www.stephenhat-

19


fi eld.com” www.stephenhatfi eld.com), Stephen Hatfi eld de-scribes Flying Colours as “a masque, in which the story is told through ritualized movement and costume as well as through music. Flying Colours is a parable of suspicion and confl ict. Four tribes, each with their own standards of costume and custom, concentrate so much on each other’s differences that they miss how their four tribal chants create a lovely texture when sung simultaneously. Tensions mount amidst escalating skirmishes and broken treaties until there is war, destruction, an afterlife of haunted grief, and a closing section that suggests both how we never learn, and yet at the same time how we must.”

“In the SCC’s interpretation of Flying Colours, the masque closes in a an atmosphere of hope and new beginnings, when from the despair of the battlefi eld ashes rise the tribes’ new leaders, who come to understand that only when the elements work in harmony can there be true understanding.”

The SCC planned for the 2008-09 performing season include July 2009 tour to Festival Summa Cum Laude in Vienna, com-bined with a performance tour of the Czech Republic.

2009

In the summer of 2009, the SCC under the direction of its Artistic Director, Phoebe Voigts, returned to Saskatoon from a highly successful performance tour of Vienna and the Czech Republic. In Vienna, the choir participated in the prestigious ‘Summa Cum Laude International Youth Music Festival’. During the competition, an international jury awarded the SCC with First Place – for outstanding success in the category of treble choirs and the Summa Cum Laude Award from the city of Vienna – awarded to the choir by the Lord Mayor of Vienna.

In 2010, the SCC commissioned the composition of a chil-dren’s opera by Peter Tiefenbach. The opera entitled ‘Strang-ers in the House’ was premiered by the choir at Podium 2010, an Association of Canadian Choral Communities that was held in Saskatoon in the summer of 2010.

The Concert Choir participated in the ‘Power of Song’ concert at TCU Place. The highlight of this concert was Carmina Burana, in which the SCC performed together with three other choirs along with the South Saskatchewan Orchestra and the Saskatoon Youth Orchestra.

Under the guidance of their Artistic Director and with the as-sistance of Co-Managers, accompanists, student assistants and parent volunteers, the SCC is presently making plans for 2011, for a performance tour of South Africa.

During the competition, an international jury awarded the SCC with First Place – for outstanding success in the category of treble choirs and the Summa Cum Laude Award from the city of Vienna – awarded to the choir by the Lord Mayor of Vienna.

The SCC extends through choral music an under-standing of their role in a global community. It inspires audience members and others affi liated with the choir to support artistic and humanitarian endeavors. The activities of the choir communicate a message of hope and serve to demonstrate that all young people can make a difference towards creat-ing a more peaceful world.

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implement the use of ‘SmartMusic’ in 2010 for audition pur-poses. When the use of ‘Smart Music’ is fully implemented, all auditions will be received as MP3 fi les which will be forwarded electronically to the adjudicators. Once a roster is compiled, the literature selected by the conductors will be circulated electronically to the successful participant who will then be able to actually practice their specifi c ‘parts’ along with the online literature. Not only will the audition process be simplifi ed for the student and their teachers and the adjudication process easier and fairer, but opportunities will be available for the practice of the materials before the students actually gather together for the three-day program as well. This initiative has been received with a great deal of enthusiasm within the broader community because it levels the playing fi eld with respect to participation in and prepara-tion for the Honour Group Program. Participation in the Honour Band, our Orchestra or Honour Choir is a very prestigious opportunity for the brightest and

most talented young people, from all corners of the province to come together under the direction of internationally renowned conductors to rehearse and perform in concert with other excep-tional young musicians. Former alumni of the program now make up the major-ity of music educators who promote the program with their own students, or who

volunteer a coordinator in the planning of the project. Many former participants now work as sectional leaders and on oc-casion have been invited to participate as a guest conductor.

The 2010 Honour Group Chairperson was Lenora Bells. The 2010 Coordinators were Nick Fanner (Band), Tracy Oddan(Choir), Betty Ann Arscott (SOA Orchestra). The guest conductors were Clinton Marshall (Band), Scot Leithead(Choir) and Martin MacDonald (Orchestra).

The SMEA Provincial Honour Groups has been an organiza-tional fl agship program for thirty-eight years. The organiza-tional goal of this project is to foster even higher standards of artistic attainment among young musicians. It is designed to provide an opportunity for young people from all communities in the province to work in concert with their peers in a unique and affordable manner. The Saskatchewan Music Conference concluded with the fi nal concert of the 2009 SMEA Honour Concert at Campbell Collegiate in Regina.

The 2009 Honour Group Chairperson was Deidre Baird. The 2009 Coordinators were Janie Fries (Band), Deidre Baird (Choir), Rudolph Sternadel (Orchestra). The guest conduc-tors were Brent Ghiglione (Band), Aaron Mitchell (Choir) and Dennis Simons (Orchestra).

The SMEA extends a sincere “Thank You” to all the volun-teers, coordinators, adjudicators, sectional and rehearsal leaders who worked so hard to ensure the success of the project. SMEA is also very appreciative of SaskTel’s generous sponsorship of the SMEA Honour Groups.

The SMEA Board approves a budget for the program and regular progress re-ports are presented for board approval. The SMEA Provincial Funding Policy governs the Honour Groups program. All activities are covered by the or-ganizational liability insurance. Volunteers under the guidance of the general offi ce coordinate the program. Registrations, payments & disbursements of funds are done through the SMEA general offi ce and become part of the consolidated fi nancial report presented to the SMEA Board.

SMEA has been successful in obtaining some modest corporate sponsorship from SaskTel for this program. By careful coordination and diligence, we have achieved cost effi ciency in the delivery of the program while ensuring equal access and participation for all eligible applications for the past 36 years. In 2008 the Maureen Patterson Memorial Scholarship was established for successful applicants requiring some fi nancial assis-tance. On average approximately 40% of all expendi-tures for the program are for professional fees for guest conductors, accompanists, sectional leaders and for professionals in the recording and fi lm industry. It is the intention of the SMEA board of directors to

SMEA Provincial Honour Groups

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Brent GhiglioneSMEA Honour Band Conductor 2009Raised in Moose Jaw, Saskatchewan, Brent Ghiglione started his musical career with the Moose Jaw Lions Jr. Band. He then continued his musical education at the University of Regina where he graduated with a B.Mus. Ed. degree. He has also completed a Diploma of Fine Arts from the Universityof Calgary in Wind Band Conducting and Repertoire and fi nished his Masters of Education from the University of Victo-ria. After teaching at Campbell Collegiate for 17 years Brent has moved to the University of Regina where he is director of bands responsible for the Wind Ensemble and Concert Band. Mr. ‘G’ as he is affectionately known, is recognised for setting high expectations for his students. As a trumpet player, he is a member of the Regina Symphony Orchestra and currently leads The Bob Moyer Big Band. Mr. Ghiglione has played with the likes of Red Skeleton, Bob McGrath, Ice Capades, and Frank Mills. Brent is also an active clinician and adjudicator and is a Yamaha Performing Artist in Canada.He is responsible for initiating and coordinating the Prairieland Jazz Camp and the Regina Winds. Mr. Ghiglione is a member of the Saskatchewan Band Association, Saskatchewan Music Educators Association, Canadian Music Educators Association, Canadian Band Association, American Federation of Musicians(Local 446), International Trumpet Guild, and the College Band Directors National Association.

Dr. Aaron MitchellSMEA Honour Choir Conductor 2009Dr. Aaron Mitchell is Director of Choral Activities at the Uni-versity of Regina where he leads the award-winning Chamber Singers and Concert Choir, teaches conducting and ear training, and is currently acting director of the University Orchestra.Prior to this, he was Instructor of Choral and Vocal Music at Bloomsburg University of Pennsylvania, where he led the Con-cert Choir and Men’s Chorus, and taught voice and conducting.Aaron Mitchell holds the Doctor of Musical Arts degree from the University of Cincinnati’s prestigious College-Conservatory of Music, and developed his skills under some of North America’s top choral pedagogues. Under hisdirection, the U of R Chamber Singers have been selected to perform at the 2010 national convention of the Associationof Canadian Choral Communities. He regularly programs works with the U of R combined choirs and orchestraand has prepared choirs for performance with the Northeastern Pennsylvania Philharmonic, the Regina SymphonyOrchestra and the Cincinnati Symphony Orchestra under mae-stro James Levine.

Clinton MarshallSMEA Honour Band Conductor 2010 Clinton Marshall is active as a clinician, adjudicator, and guest conductor. He has made frequent visits to conferences and teacher training sessions. Last school year, he presented professional growth sessions to music teachers in Regina, Saskatchewan and at the Tempo Music Conference in Winnipeg, Manitoba. His mixture of humor and practical suggestions has served to inform and support the efforts of music teachers across theUnited States and Canada. Mr. Marshall hasdirected numerous regional honor bands, including the Maryland All State Band and the Mid-East Festival Honor Band at Duquesne University in Pittsburgh, Pennsylvania. For nineteen years, he conducted the concert band at the Maryland Center for the Arts, a program for Maryland’s gifted and talented students. This past summer, he served as the guest conductor for the High School Youth Band and Wind Ensemble at the International Music Camp at the Peace Gardens.Clinton Marshall is the former Coordinator of Music for the Baltimore County Public School System. In this capacity, he supervised the instrumental and vocal music programs in over 160 schools.

Scot LeitheadSMEA Honour Choir Conductor 2010Mr. Leithead is the founder and artistic director of Edmonton’s Kokopelli Choir Association and theT.I.M.E. Vocal Jazz Association. His choirs have trav-eled to Africa, Asia and Europe and have participated in such renowned choral events as Podium, the As-sociation of Canadian Choral Conductors Conference; the International Society of Music Educators Confer-ence; the International Association of Jazz Education Conference the American Choral Directors AssociationConference; Festival 500; and the Stratford Music Festival. Scott has passion for music from southernAfrica and he has been hired to work with choirs in South Africa and Namibia on numerous occasions. Scott is currently on sabbatical leave for a year and traveling throughout southern Africa.He has been invited to direct honour concert and jazz choirs in 6 provinces and 1 state as well as the Na-tional Youth Choir of St. Lucia. In addition, he was a guest presenter at the 2005 Festival 500 InternationalChoral Festival in St. John’s Newfoundland.

SMEA Provincial Honour Groups Conductors

22


SMEA Honour Choir 2009

SMEA Honour Band 2009

23

Deidre Baird Honour Groups ChairJanie Fries Band CoordinatorsDeidre Baird Choir CoordinatorRudolph Sturnadel SOA Honour Orchestra CoordinatorGraeme Steen SMEA Honour Groups Registrar

SPECIAL THANKS TO:Auditioners: Aaron Mitchell, Gerald Langner, Brent Ghiglione, Margaret Wilson, Melanie Sydiaha, Eliza-beth Raum, Marie Sellar, Karen Finsson, Troy Linsley, Sheldon Corbett, Richard Burdick, Arlene Shiplett, Daniel Funk, Dick Raum, Don Schmidt, Ian Tulloch, Brian Unverricht, Kory Gibbs, Roy Sydiaha. Facilities: Campbell Collegiate, LeBoldus, University of Regina. Also thanks to Russ Baird, Gaetan Ham-mond, Marlene Hinz, Danny Jones.

SOA Saskatchewan Honour Orchestra

Brent Ghiglione, Conductor Janie Fries - Coordinator

Dennis Simons, conductorRudolph Sternadel, coordinator

Dr. Aaron Mitchell, ConductorKaren Klassen Accompanist • Deidre Baird, Coordinator

SopranoJoelle Bode, YorktonRachel Dueck, Swift CurrentStephanie Dyck, BlumenhofBrailyn Johnsgaard, Stewart ValleyKaitlynn Kern, Stewart ValleyLindsey Kopperud, OutlookColby Kuzma, YorktonTaryn Luterbach, ReginaKaitlynn McEown, ReginaKatja Meszaros, BiggarKristina Ofstie, OutlookMichelle Park, Swift CurrentChristine Park, Swift CurrentEmily Ready, ReginaSiarra Riehl, SaskatoonShayla Roberts, Swift CurrentJocelyn Robinson Yumi Shier, ReginaNevalea Tkachuk, YorktonSarah Wee, ReginaEmily Whittaker, HumboldtMercedes Williams, Regina

AltoAmmaysha Banman, Swift CurrentMadeleine Bray, ReginaKaleena Calcutta, Regina Ellen Durant, Swift CurrentShania Gibbs, Swift CurrentKirsten Hinz, ReginaKortney Kehler-Shaw, Swift CurrentShaquille McGonigle, SaskatoonJosephine Moellenbeck, EnglefeldAlexis Orlowski, ReginaSarah Pitman, ReginaChantelle Ramage, Swift CurrentKathryn Sarauer, AnnaheimMatricia Shwaga, WroxtonCadence Smith, Swift CurrentTaylor Summach, SaskatoonTanya Tazzioli, ReginaJocelyn Voth, Swift CurrentDiedra Whitell, Swift Current

TenorWilliam Clive, ReginaRyan Dermody, Swift CurrentBrady Frank, Swift CurrentEric Hayes, Swift CurrentJarret Hennig, Swift CurrentGavin Hill, Regina

Jesse Ireland, ReginaAlan Iwaasa, Swift CurrentPaul Lang, ReginaSpencer McKnight, LeroyZach Phair, ReginaMarcel Tremel, BrunoGary Yee, Regina

BassIsaac Becker, ReginaBevan Buhler, YorktonEric Chang, ReginaMitchell Clarke, ReginaBrandon Frank, Swift Current Dylan Haugen, Swift CurrentMatt Haugen, Swift CurrentJames Hueser, Swift CurrentConnor Kerslake, Swift CurrentOwen Lareau, ReginaPatrick Malone, ReginaDaniel Malone, ReginaLinden Predy, SaskatoonDana Rempel, Swift CurrentFelix Turcotte, SaskatoonTynan Wenarchuk, Regina Jordan Yaremko, ReginaJason Yuen , Regina

Flute: (all listings alphabetical)Ilsa Griebel, SaskatoonJessica Harrold, MelvilleRochelle Hartman, SaskatoonJacqueline Menzies, Swift CurrentErika Mueller, ReginaRicki Nunweiler, EatoniaAlyssa Wagner, Regina

ClarinetBrady Anderson, Saskatoon Emily Cole, VanscoyKyla Deitz, EstevanKristan Froh, ReginaMalina Garner, SaskatoonJacob Greifenhagen, ReginaEmily Jackson, North BattlefordVanessa Klassen, KindersleyClarrisa Kostiuk. SaskatoonNingbo Shu, SaskatoonEmilie Vicsko, Lake LenoreLena Xiao, Saskatoon

Bass clarinetDaniel Parker, DeslisleAshley Slade, Lloydminster

OboeMeghan Loitz, BeechyBassoonAdam Buchko, Saskatoon

Alto saxophoneKaylene McQuaid, N.BattlefordMichael Reece, Kindersley

Tenor saxophoneSheldon Elian, PerdueSean Zoerb, Deslisle

Baritone saxophoneKatie McAuley, Saskatoon

French hornKendra Barry, SaskatoonAmy Bobier, SaskatoonBenjamin Giesbrecht, SaskatoonAngela Howell, Swift CurrentCrystal Vail, Regina

TrumpetBrandon Bachynski, ReginaAaron Bueckert, SaskatoonAlice Fuller, Earl GreyTaryn Jackson, North BattlefordEmily Kohlert, YorktonNatasha Ku, KiplingCassia Pellerin, Lloydminster

TromboneRaelene Anderson, GrandoraMattius Graham, ReginaAlanna Howell, Swift CurrentBethany McQuaid, N. BattlefordHenk Williams, Regina

EuphoniumZane Arnott, SaskatoonAustin Black, Saskatoon

TubaBailey Senicar, VanguardTom Wensley, Borden

String BassAren Okemaysim, Saskatoon

PercussionAlexander Bent, SaskatoonBrandyn Rodgerson, YorktonCraig Shirley, SaskatoonJonathan Strutt, KindersleyTyrell Sargent, Borden

Violin 1Christina Beck, SaskatoonMiles Buchwaldt, SaskatoonAlan Chan, ReginaÉmilie Chan, ReginaHannah Cooley, SaskatoonEvan Friesen, SaskatoonEmily Hooge, SaskatoonSophie McBean, SaskatoonMatt Paslawski, SaskatoonBen Polasek, ReginaKatie Polischuk, SaskatoonSarah Punshon, ReginaChris Waddell, SaskatoonHannah Weger, Regina

Violin 2Kerstin Balzer-Peters, SaskatoonJordan Clarke, Aborfi eldChristina, Czajkowski, SaskatoonSarah Drimmie, SaskatoonFrançois Garez, NipawinSilken Handford-Perronnet, TisdaleAngela Luo, SaskatoonBdhonya Ramaswami, SaskatoonAnna Tsui, SaskatoonYuhao Wu, Saskatoon

ViolaNathan Baker, SaskatoonDorian Penna, SaskatoonKieran Ramaswami, SaskatoonGeena Salway, ReginaEmily Tatasynovich, Melfort CelloAndrew Beck, SaskatoonHanna Carlson, SaskatoonArthur Jack, ReginaAlaina Majewski ReginaEmily McBean, SaskatoonSandra Munchinsky, SaskatoonKatherine Pietroniro, SaskatoonCharlee Wielgoz, Regina

BassNevin Buehler, SaskatoonBrent Gelsinger, ReginaAllison Getz, ReginaBritni Korte, SaskatoonEllen McLaughlin, Swift CurrentAlex Weckworth, Saskatoon


SMEA Honour Choir 2010

SMEA Honour Band 2010

SOA Saskatchewan Honour Orchestra

2010

Clinton Marshall, Conductor Nick Fanner - Coordinator

Scot Leithead, ConductorMark Turner Accompanist • Tracy Oddan, Coordinator

SopranoBrittany Doncaster, ReginaCarol Gagne, ReginaCandice Giesinger, ReginaMarde Grande-Sherbert, ReginaAlana Hansen, Maple CreekApeksha Heendeniya, SaskatoonCarlie Hinz, ReginaMadeleine Hucl, Saskatoon Madison Kowerchuck-Webster, SaskatoonMarie Larmour, SaskatoonAmaya Lucyk, ReginaKaitlyn McKeown, ReginaKatja Meszaros, BiggarSiarra Riehl, Saskatoon Yumi Shier, ReginaJessica Soltys, ReginaKarae Sotropa, ReginaMarnie Strickland, ReginaNevalea Tkachuk, Yorkton

AltoKemya Bhimji, ReginaAmi Choen, ReginaAna Clarke, ReginaAnna Currie, ReginaMcKenzie Graham, ReginaDanielle Klingelhofer, ReginaShaquille McGonigle, SaskatoonRachel McKen, SaskatoonClaire McLellan, ReginaKaylene McQuaid, North BattlefordAlexis Orlowski, Regina Ashley Patoine, ReginaMeagan Rieger, ReginaZoe Strutt, KindersleyKaelyn Totten, Regina Dalen Yaremko, Regina

TenorKurt Haunsperger, Saskatoon Will Rourke, ReginaBen Sefton, ReginaJae Shin, ReginaGarrett Terlson, ReginaJason Yuen, Regina

BassBrandon Bachynski, ReginaAustin Eckert, ReginaDaniel Fedrau, SaskatoonBrett Halvorsen, ReginaDavid Howden, ReginaJoseph Hudec, Fox ValleyDavid Hudec, Fox ValleyKieffer McLean, ReginaCaleb Meginbir, SaskatoonJonah Norman-Gray, ReginaMichael Reece, KindersleyJames Waddell, SaskatoonJames Yurkowski, Regina

Flute: Ilsa Griebel, SaskatoonKyle Myrfi eld, Saskatoon Mitchell Larsen, SaskatooonShina Hom, ReginaAlyssa Wagner, Regina

ClarinetVanessa Klassen, KindersleyJackie Acaster, North BattlefordJakob Griefenhagen, ReginaKyla Deitz, EstevanEmily Cole, VanscoyBrady Anderson, SaskatoonTarah Gaboury, LloydminsterMaribeth Gauthier, Prince Allbert bass : Nicole Hagen, Reginacontrabass: Ashley Slade, Lloydminster

OboeBerlin Janzen, SaskatoonKatie Douglas, Regina

BassoonJamie Bell, Saskatoon

SaxophoneAnna Hengen, ReginaWesley Bang, ReginaRebecca McLaren, Yorktontenor: Keaton Schmidt, Saskatoonbaritone: Daniel Stokalko, Mayfair

French hornPaige Summach, Saskatoon Alice Godson, Saskatoon Eric Patterson, SaskatoonBenjamin Giesbrecht, Saskatoon

TrumpetAlice Fuller, Earl GreyTaryn Jackson, North BattlefordNathaniel Christian, SaskatoonAustin Shirlie, Saskatoon Haley Parker, ReginaMikaela Wenman, ReginaShae Kordus, WeyburnEmily Smit, Rosetown

TromboneJamie Winder, SaskatoonBethany McQuaid , North BattlefordPaul Gottselig, Balgonie Shawn Clake, ReginaRaelene Anderson, GrandoraEmilee Kowaliuk, Saskatoon

EuphoniumAlexander Miket, Saskatoon

TubaLinden Predy, Saskatoon Austin Deane, Saskatoon

String BassAren Okemaysim, Saskatoon

PercussionAlexander Bent, SaskatoonTaylor Froese, SaskatoonJonathan Strutt, KindersleySean Newton, North BattlefordNicholas Kowaliuk, SaskatoonAidan Weiman, SaskatoonMatthew Fischer, SaskatoonShaquille Headley, Saskatoon

Martin MacDonald, conductorBetty Ann Arscott, coordinator

Violin 1Sophie McBean, SaskatoonArthur Boan, SaskatoonWilliam Boan, SaskatoonChris Waddell, SaskatoonChristina Beck, SaskatoonAnna Tsui, SaskatoonAngela Luo, SaskatoonHannah Cooley, SaskatoonChristine Czajkowski, SaskatoonSarah Drimmie, SaskatoonBrandon Johnson, SaskatoonBrittany Hettinga, SaskatoonHannah Weger, Saskatoon

Violin 2Yuhao Wu, SaskatoonSarah Groat,SaskatoonKerstin Balzer-Peters, SaskatoonKatie Polischuk, SaskatoonBdhanya Ramaswami, SaskatoonAndrew Bueckert, SaskatoonAustin Castlem Swift CurrentLauren Hooge, SaskatoonKatie Rosen, SaskatoonRachel Dueck, Swift CurrentFrancois Garez, NipawinCharlee Wielgoz, ReginaMerike Lepnurm, SaskatoonKatherine Cole, VanscoyNatasha Werbicki, SaskatoonSamantha Leech, ReginaRebecca Weger, ReginaBooker Blakley, Saskatoon

ViolaKieran Ramaswami, SaskatoonMiles Buchwaldt, SaskatoonKnut Lokken, SaskatoonGeena Salway, Saskatoon

CelloAndrew Beck, SaskatoonEmily McBean, SaskatoonKatherine Pietroniro, SaskatoonAlaina Majewski, Regina

BassNevin Buehler, SaskatoonBritni Korte, SaskatoonEmmett Fortosky, Saskatoon

Lenora Bells Honour Groups ChairNick Fanner Band CoordinatorsTracy Oddan Choir CoordinatorBetty Ann Arscott SOA Honour Orchestra CoordinatorGraeme Steen SMEA Honour Groups Registrar


Weapons of Mass Instruction? Part 2New media’s real impact.

Graeme Steen

2009 saw the fi rst seeding of “SmartMusic” in the SMA Honour Group Choir and Band. SmartMusic is a prac-tice tool mostly. Taking a page from the “Music Minus One©”, and “Aebersold” play along records and CD’s, SmartMusic can go a small stepfurther...

“one small step for mankind, one giant leap for musicianship”.

SmartMusic (and newer computers with a plugin michas built-in sensors which detect sound through an inexpensive little mic which clips on the lapel. The student can download the “Assessment fi le” for the Title, and rehearse at any speed while the part scrolls onscreen. The computer generates an accompaniment (which is reasonably realistic) which “waits” for the soloist... that’s what gives SmartMusic the sense of interactivity.

Waiting for the soloist of course is not what we want...well Smart Music keeps track of the pitch and rhythmic placement of each note the student plays and can scorethe student. As the student improves playing the part accurately and intune the score improves.Like all completely new applications, SmartMusichas taken a couple of years to settle down.

New applications are full of bugs (so wait for later ver-sions anyway). SmartMusic is now at version 11.The second best thing about Smart Music is it’s useful-ness as a communications tool in general.It’s what in business circles would be called a “Com-mon Operating Environment” for music education.

It is possible then to set up one’s own SmartMusic network. The “Directors” version which is needed to access the “assessment” functions, and the student ver-sion. Once connected, a teacher can assign all kinds of things, including “parts”, tests, new musicetc, all online. For a teacher with a band made up of several different schools or cities, this has obvious potential.

Providing repertoire is one thing, but to provide support for it (an actual practice track of a virtual ensemble), and test it (optionally) is not Star Trek anymore.

It really helps to have a large library of SmartMusic “conditioned” scores to choose from. As soon as students activate their $30/year subscription to the SmartMusic system, (or in some cases through parent groups) they have access to hundreds of dollars of method books related specifi cally to them.

Since SmartMusic uses a proprietary fi le format which does not provide printing or MIDI output, MakeMusic© (the owners of SmartMusic) reachglobal deals with copyright owners. The copyright fees are included in the subscription fee structure.

This new style of interactive practice support andfeedback is producing excellent results. To read fur-ther visit the MakeMusic.com website.... theproduct is explained from EVERYONE’s point of view!

25

AdvocacyMUSIC EDUCATION

Realtime.

www.musiceducationonline.org/links/linxparent.html


www.musiceducationonline.org/smea/enotz.html

SMEA members now have the option of receiving brief email news pointers (links to news). They are small emails which occassionally can point you to the newest news in SMEA and the music education

community. Messages may include deadline reminders, program news which is important etc. NOTZ (printed) and CADENZA (printed) will still be distributed to all members. If you do not “sign-up” you will not

receive E-Notz. Your email is kept confi dential.

Sign me up!

name

current email:

www.heartofthecity.ca

www.saskatoonchildrenschoir.org

www.musiceducationonline/smea/honour.html

www.heartofthecity.ca/circleofpeace.html


Why not join SMEA?...

Complimentary Membership for Beginning TeachersAll beginning teachers of music can receive a one year complimentary membership in SMEA

FREE Resource AccessSMEA offers its members free access to all HonourBand/Orchestra scores and classroom resources at theStewart Resource Centre. In partnership with theSaskatchewan Choral Federation, we provide freeaccess to choral resources too!

STF SPECIAL SUBJECT COUNCIL (music)Since 1957, SMEA has represented SaskatchewanMusic Education professionals in issues related toSaskatchewan Education and the SaskatchewanTeachers Federation.

CommunicationsSMEA members receive newsletters and journals fromboth the SMEA and CMEA. Check out our website! You can receive e-news via your email.

SMEA Honour GroupsThe SMEA Honour Groups Program provides theopportunity to showcase our gifted band, choir and orchestra students from across Saskatchewan!

Support of Provincial University students!SMEA supports the U. of S. and U. of R. by providingfunding for student workshops and scholarships

Inclusive AdvocacySMEA promotes the interests of the entire music community through provincial, national and interna-tional affi liations. We also have advocacy materials available through our offi ce and online at our website!

Funding for Workshops, Special Projects & Festivals. SMEA members can access funding for workshops and special projects. Your Regional Application forms are easily accessed online or through conventional mail. We also provide funding to UNIFEST and the Moose Jaw International Band and Choral Festival.

Saskatchewan Music Conferences (SMC)In partnership with other Saskatchewan musicorganizations, SMEA provides a yearly music con-ference to promote professional development for all educators involved in music.

National Affi liations!All SMEA members automatically become members of the Canadian Music Educators Association and receive the CMEA Journal and Newsletter.

SMEA Supports Excellence.SMEA sponsors the “Heart of the City” piano program, the “Circle of Peace” drumming program, the “Saskatoon Children’s Choir” and other projects which benefi t the youth of our province.

DEDICATED and DIVERSEThe SMEA Board of Directors represents ALL corners of Saskatchewan and ALL music education specialities. We are open to new and creative initiatives.

We’ll do everything we can to make music happen!


Fehr-Way Tours6-1050 Henderson Hwy, Winnipeg, Manitoba R2K 2M5

is a corporate member of SMEA

Canadian Choral Centre380 - 550 Century St. Winnipeg, Man R3H 0Y1


THE BANDSTAND4824-93rd Ave. Edmonton, Alberta. T6B 2P8

WesternMusic Sales Inc.

check out Western Music Sales on the Saskatchewan Music Mall through:

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SMEA AFFILIATIONS / NATIONAL AND INTERNATIONAL ORGANIZATIONS:

Canadian Music Educators Association (CMEA)

International Society for Music Education (ISME) Affi liate of the United Nations

National Symposium on Arts Education

International Music Camp (North Dakota)

Canadian Coalition for Music Education

Canadian Conference of the Arts

Music Edventures 14925-112 Ave. Edmonton, Alberta. T5M 2V6


University of ReginaDepartment of Music


The Saskatchewan Music Educators Association

is the STF Special Subject Council for Music Educators in Saskatchewan

26


Outstanding Achievement Award Honourary Life MembershipThe time has come again to honour colleagues who have put forth that extra effort to make music education a strong and vibrant part of their community.

The Outstanding Achievement Award recognizes either one outstanding accomplishment or an ongoing dedication to excellence in music. The recipient need not be or have been a member of SMEA

The Honourary Life Membership is given to someone who has made a signifi cant contribution to SMEA and to music education in Saskatchewan. The recipient must be a retired teacher and either a retired or current member of SMEA.

These awards are adjudicated at the next SMEA Board Meeting and presented at the Saskatchewan Music Conference.

Nominations should be sent to any SMEA Board Member or the SMEA offi ce in Cudworth.

2011

SMEA OUTSTANDING ACHIEVEMENT AWARD

Gene AulingerRhonda BakerDean Bernier

Cindy BurhamGeorge Charpentier

Lana Currie Richard Dube

Margo FournierGary Gullickson

Marlene HinzChris Hamilton

Colin KingTom Magnuson

Janet Marek

SMEA HONOURARY LIFE MEMBERS

Gene AulingerLloyd BlackmanAlastair BrowneWilliam Browne

Marjorie BurnsDon Cowan *

William DuignanGary Evjen

Verla Forsyth **Robert Gibson

Gary GullicksonGloria Herauf David Kaplan

Bina Keyser

Blaine McClaryGreg McLean

Sharon MeredithDwaine NelsonCorinne Olson

John PanioMaureen Patterson

Carol PetrieJohn PoettckerMarvin Shields

Joan TherensWayne Toews

Brian UnverrichtPhoebe Voigts

Colin KingMarilyn King

Robert LatimerTom Magnuson

Debbie McPhersonIsabelle Mills

Dwaine Nelson Floyd Nelson

John StieneckerMarlene Taylor

Joan Therens* Recipient of ISME Jewel Award 1978

** Recipient of CMEA Honourary Life 1991


Honourary Life Membership /Outstanding Achievement Award nominating form for fall 2011nominee’s information

name

address

telephone city/town postal code

institution(s) conferring degree(s)

Membership in SMEA (past or present) yes no If yes, #of years_____

Past involvement

[ ] music educator [ ] classroom teacher [ ] music supervisor[ ] principal other(specify)__________________________

Years teaching_______

Years teaching in Saskatchewan_______

List other professional organizations in which the nominee has held/holds membership

Principle reasons why nominee should be considered for Honourary Life Membership or Outstanding Achievement.(please include a short biography of your candidate)..........

nominator’s informationname address

city/town telephone

postal code

please forward this form to the SMEA offi ce box 632 Cudworth, SK S0K1B0256-3372 fax-256-3489

CLIP OUT

&

FAX

or mail

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SMEA MEMBERSHIP APPLICATION/RENEWAL FORM

The following information will be used to contact members for renewal and membership drive purposes, to send newsletters or journals; and to forward conference, program, services and pro-fessional development opportunities information.

A membership in SMEA also entitles you to a membership in the Canadian Music Educators Association. Your name, address and membership catalogue will be shared with the CMEA. The SMEA is a Special Subject Council of the Saskatchewan Teacher’s Federation and receives grants based on membership. Your name, address, membership catalogue and Teaching Certifi cate Number will be shared with the STF. The SMEA receives funds from the Sask. Lottery Trust. Your name, postal code and membership catalogue may be shared with SaskCulture Inc. for advo-cacy purposes. Information gathered regarding individual members will be retained on database in the SMEA general offi ce for a period of twenty-four months, along with this signed and dated consent form.

MEMBERSHIP APPLICATION/RENEWAL FORM (Please print clearly)

Name:_________________________________________ Address:_______________________________________ ______________________________________________ Postal Code_____________

Teaching Certifi cate Number (to verify STF membership)

Home Telephone________________ Business Telephone_____________________Fax Number ________________ Email _______________________________

Type of Membership Areas of Interest ___ Regular $50 _____ Instrumental___ Associate $30 _____ Choral___ Retired $30 _____ Classroom___ Student $15 _____ Mentor___ Administrative $100 _____ Consultant___ Parent/Group $25___ Corporate $75 I am enclosing _____________for membership fees

I choose to be excluded from lists that may be disclosed to ___SaskCulture Inc. Signature:___________________________________ Date_________

Please forward form along with your cheque to SMEA, Box 632, Cudworth, Sk. S0K 1B0

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Sign me up!

SMEA members now have the option of receiving brief email news pointers (links to news). They are small emails which

occassionally can point you to the newest news in SMEA and the music education community. Messages may include dead-line reminders, program news which is important etc. NOTZ

(printed) and CADENZA (printed) will still be distributed to all members. If you do not “sign-up” you will not receive

E-Notz. Your email is always kept confi dential.

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