sbo july 2012

July 2012 • $5.00

Report: Essay Contest

Two students from California, Illinois, and Washington were

among the 10 winners of this year’s SBO Essay Scholarship

Contest, with the other four from Maryland, Georgia, Tex-

as, and Virginia. Five winners were selected from grades nine to 12

and five students from grades four to eight each received a $1,000

scholarship and their respective school music programs received a

matching award of musical products from co-sponsors NAMM, Al-

fred Publishing, Sabian Ltd., Woodwind & Brasswind, and Yamaha

Corporation of America.This year’s theme, “Dear School Board Member: why we need music education

in our schools…” generated contributions from every state in the U.S., as well as several foreign countries. The music students received their scholarship award from local music dealers representing NAMM (the National Association of Music Merchants), a major co-sponsor of the program. 2012 marks the 12th year for the essay contest, which has awarded $240,000 in scholarship funds and matching music products to more than 120 school music programs since its inception.

The winning school music programs and their music directors included Karen Banaszeweski, Jane Addams Junior High, Schaumburg, Ill.; Greg Brucker, Frances Harper Junior High, Davis, Calif.; David Jarrott, Kealing Middle School, Austin, Texas; Terry Privette, Princess Anne Middle School, Virginia Beach, Va.; and Chuck Torbett, Hadley Middle School, Glen Ellyn, Ill. Also Jon Fey, Monta Vista High School, Cupertino, Calif.; Jacob Scherr, Mount Vernon High School, Mount Ver-non, Wash.; Jeff Horenstein, Meadowdale High School, Lynnwood, Wash.; Donald McClure, Havre de Grace High School, Havre de Grace, Md.; and Todd Howell, Warner Robins High School, Warner Robins, Ga.

16 School Band and Orchestra • July 2012

Winning essays can also be read online at www.sbomagazine.com.

2012Essay Contest

Winners

SBO is now Available at the App Store

Roundtable: College ResourcesReport: 2012 SBO Essay Contest Winners

From the Gridiron to the Band Room

Willie Wright

CoverFinal.indd 1 7/2/12 8:32 AM

SBO_COV2 COV2 6/29/12 11:50:00 AM

www.festivalsofmusic.com

SBO_1 1 6/29/12 11:50:43 AM

www.festivalsofmusic.com


SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trade-marks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

ContentsFeatures10 Report: Essay Contest Winners

SBO presents the 12th annual Essay Scholarship contest winners and their essays.

18 Roundtable: College ResourcesFaculty members from five different institutions discuss the many ways that music educators can benefit from an association with their local college or university.

26 Survey: Continuing EducationSBO readers share their thoughts on the many possibilities and advantages of both formal and informal continuing education for active music educators.

30 UpClose Q&A: Willie WrightIn this recent conversation with SBO, Willie Wright, a former NFL player turned school band director, discusses his transition from the gridiron to the music room and the lessons he’s learned during his 14 years as an educator.

38 Guest Editorial: StrongerRhode Island music educator Nicole Denton relates some tips for staying strong in the face of the adversity that so many music and arts teachers are facing these days.

Columns4 Perspective

6 Headlines

40 New Products

45 Playing Tip

46 Classifieds

48 Ad Index

School Band and Orchestra • July 2012 3938 School Band and Orchestra • July 2012

Blink, blink, blink goes my cursor.Then I hear it! My inspiration to

keep music in the lives of my students and my children – my five-year-old playing the accordian my mother has given him! Yes, the accordion, and my seven-year-old playing the foam drum set that has tons of fun sounds. Together they are try-ing to form a rock band. Who am I to stop their creativity and wishful thinking of a fu-ture in a rock band?

At our last RIMEA Execu-tive meeting, I told the Board that Bobby Rathbone and I will be presenting at the Con-

necticut Music Educators In-Service for an Advocacy session. Everyone was very pleased, but then I brought the group down stating that due to the financial situation among schools in Woonsocket, I was having a difficult time advocating for music at such a

low point in my ca-reer.

Mark Colozzi looked at me and said, “The reason why we work in tough cities with struggling budgets is not for ourselves, but for the kids.

Who will speak for the kids? You should never forget that.” Unfortunate-ly I had forgotten such an important thing. There are moments in life that we need to be reminded of why we are here as music educators.

As musicians, where do we go to find strength when we feel so strung out and lost? The mu-sic! We are dedicated, hard working, emotional people with the best intentions. When the people who have brought us inspiration are physically gone, we can for-get that they are forever with us in our music. I kept look-

ing for my inspiration. I listened to many songs on the way to school, during school, in the movie theater, at sporting events and through teaching. As I listened to my students, I was inspired to work hard in my teaching but I still wasn’t feeling uplifted in music. Where was the fighter that wouldn’t give up no matter what? Where was the person who wouldn’t take no for answer?

I am sure everyone has had these moments many times in life – the a-ha moment. For me, it came when a student shared a project in class about her favorite musical artist. The musical artist was Kelly Clarkson and I was asking all the usual questions to keep the project moving along. The stu-dent told me she brought a song to play for the class. The song helped her get through her parents’ divorce. Usually I listen to the songs, but that Kelly Clarkson song was so great that I pressed play and then – bam! After the second refrain, I stopped the music and pressed replay. There it was, my inspiration!

Please read the lyrics slowly and carefully.

”Stronger” by Kelly Clarkson What doesn’t kill you makes you stronger Stand a little taller Doesn’t mean I’m lonely when I’m alone. What doesn’t kill you makes a fighter Footsteps even lighter Doesn’t mean I’m over cause you’re gone What doesn’t kill you makes you stronger, strongerJust me, myself, and IWhat doesn’t kill you makes you stronger, Stand a little taller Doesn’t mean I’m lonely when I’m alone

And I’m back! Yes, I am! The big girl pants came on and even though I mentally knew why I was here (the kids), I be-came reenergized emotionally. Losing two friends, losing my job, walking away from something I loved more than I can express did not kill me, it made me stronger and I learned a lot from those experiences.

This is what I learned and I hope you can take something from this:■ I need to get out of my own head and understand that life

will throw many curveballs. ■ The students that I am blessed to be with everyday bring

the inspiration to continue to make myself better than I am right now.

■ I did not choose this profession for money, but for making a child’s life more rewarding one moment at a time.

■ Whenever a student smiles, I have been given a gift that should be nurtured and cherished.

■ Do not abandon ship just because it is bad right now. Pa-tience is truly important.

■ This is the biggest one: it is not about me! Knock off feel-ing pathetic, dust off my pants and get back to fighting because I have to be stronger for my students.

While I was walking my seven-year-old son into chorus rehearsal, I asked him what his life would be like without music. He stopped walking, looked at me and said, “I can’t imagine it, Mom. That doesn’t make sense and I wouldn’t be happy.” He looked confused for a while but the smile re-turned as soon as he started singing.

As you fight for your programs and your students, remember that we are important for the children of this country. Your tenaci-ty, dedication, strong belief in the future of our children and love of music is what will keep music education alive in Rhode Island and throughout the U.S. Keep fighting to bring joy to all of our children that need and depend on us to bring joy to their lives.

This article was written with respect and total admiration for Ronald Stabile. Thank you for teaching me how to ad-vocate for children. You have been and will forever be an inspiration to many lives.

Nicole M. Denton graduated from the University of Rhode Island with a bachelor’s degree in Music Educa-tion in 1999, and she received her master’s in Educa-tion through the University of New England in 2005, while teaching elementary music in Woonsocket, R.I. Currently, Nicole is the middle school band director for both Hamlet and Villa Nova buildings. She is the advo-cacy chair and secretary for the Rhode Island Music Education Association and a French hornist with Ocean State Summer Pops Orchestra. She has spoken at four Music Education Conferences and is a true advocate for children.

I have faced many difficult issues within my career. Not only did I walk away

from playing the French horn with the American Band (a dream come true to

play with fantastic people), but I also lost stability in my job due to financial problems

in Woonsocket, Rhode Island, and two mentor-friends passed away. RIMEA has lost two incredi-

ble people that have truly taught me the meaning of advocating for children: Ed Drew and Ron Stabile.

How can I advocate when I am so down? How many more times can I let my advocacy team down?

By Nicole M. Denton

Stronger

Guest Editorial

Ed Drew Ron Stabile

We are one of the leading suppliers of band and orchestra instruments to schools

and music dealers throughout the United States. We offer a full line of brass, woodwind, orchestra

and percussion instruments designed and crafted to educational standards.

For a list of dealers in your area, or a catalog contact:

[email protected] by email or call.We respond to all school bids through local dealers.

Samples are available for evaluation.

Qua

lity

Inst

rum

ents

Hunter Music Instruments3300 Northern Boulevard, Long Island City, NY 11101

(718) 706-0828 Fax: (718) 706-0128www.huntermusical.com

That Your School and Students

Can Afford

School Band and Orchestra • July 2012 11

Grades 4-8 WinnersCaroline HamiltonAge 12Grade 6Princess Anne Middle SchoolVirginia Beach, Va.

Dear School Board Member,Everyone knows that it is important

to get a good education. Students work hard to learn core subjects like math, science, history, and English. These are not the only subjects that students should focus on. Music education is as important as all other areas in a stu-dent’s school day, for many reasons.

Music education teaches students more than just how to read music. It teaches self-control and self-discipline. The saying “practice makes perfect” is proven when learning to play an in-strument. When a student practices, progress can be seen almost daily. Stu-dents learn that it takes dedication, time, and hard work to reach goals.

More than self accomplishment, learning an instrument teaches team work. Like a team sport, members in a band must learn to depend on each other. Students learn the importance of doing their part in a group. A group of musicians playing together can make beautiful music. When the members of a band work together, each person depends on other members to be suc-cessful. This is an important lesson in life. It sometimes takes many people working together to accomplish a goal.

Learning how to play an instrument

is a benefit to students. Learning self-discipline, self-control, and team work are lessons that help students become more successful in all areas of educa-tion.

Devayani VarmaAge 12Grade 7Frances Harper Junior HighDavis, Calif.

Dear School Board Member,We need music education in school

because music is a universal language, which builds unity in diversity, and eases communication. Music has the power to attract students and make school time more enjoyable. The real way to learn music is directly from a teacher, since there are several aspects of music that a book cannot teach.

I come from India, where music is considered “Nada Brahma,” which means “Sound is God.” It is believed that it was the sound “Om” and not light that appeared first during the cre-ation of the universe. While everyone speaks about the benefits music gives in our everyday life, such as mind/brain development, social/leadership skills, academic achievement, and self discipline, music also gives spiritual and moral discipline. The greatest gift I received from my school district was the opportunity to learn how to play the violin. Learning violin made me a much better person than I was before.

Music is an ocean; it has no language or cultural barriers. For example, the

violin was considered a Western instru-ment in Indian classical music, but has now become an integral part of Indian traditional music. For a listener, music is a means of joy. As a violin player, I have experienced that music becomes joy. There are a lot of things music teaches us in life that our educational books could never teach. Learning mu-sic teaches virtues which help me in life beyond just getting a perfect GPA.

Alex JiricekAge 12Grade 7Hadley Middle SchoolGlen Ellyn, Ill.

Dear School Board Member,I was born with hemiplegic cere-

bral palsy and at a very young age my parents enrolled me in a viola program as an alternative to physical therapy. I didn’t think I was really any good at playing the viola until in 4th grade when I auditioned and made it into my elementary school’s intermediate orchestra program, skipping the begin-ning orchestra. Then in 5th grade I au-ditioned and made the middle school orchestra. Now I am in 7th grade and am proud to say I am the section leader for the violas in my school’s orchestra.

If there wasn’t a program available to me where I could develop musically, I would never have thought anything existed at school where I could actu-ally be considered accomplished. It has made music such a big part of my life to the point that I do not see giving it


The SBO Essay Scholarship Contest, the premier cross-curricu-

lar activity and scholarship opportunity for music students in

grades 5-12, has awarded over $240,000 in scholarship funds

and music products to more than 120 school music programs since its

inception. This year, the contest’s 12th, two students from California,

Illinois, and Washington were among the 10 winners, with the other

four hailing from Maryland, Georgia, Texas, and Virginia. Five winners

were selected from grades nine to 12 and five students from grades

four to eight each received a $1,000 scholarship and their respective

school music programs received a matching award of musical products

from co-sponsors NAMM, Alfred Publishing, Sabian Ltd., Woodwind

& Brasswind, and Yamaha Corporation of America.This year’s theme, “Dear School Board Member: why we need music education

in our schools…” generated contributions from every state in the U.S., as well as several foreign countries. The music students received their scholarship award from local music dealers representing NAMM (the National Association of Music Merchants), a major co-sponsor of the program.




2012Essay Contest

WinnersDave Kreiselman of Music & Arts; band director Terry Privette, Princess Anne Middle School Virginia Beach, Va.; scholarship winner Caroline Hamilton; and Matt Caroll, Music & Arts store manager.

The mother of scholarship winner Alex Jiricek; Quinlan & Fabish school representative Alan Szafranski; Alex; and music director Chuck Tor-bett, Hadley Middle School, Glen Ellyn, Ill.

Devayani Varma, scholarship recipient; Water-melon Music co-owner Jeff Simons; and Greg Brucker, Harper Jr. High music director, Davis, Calif.38

10

July 2012

Cover photo by Gail Carver, Worland, Wyoming.

30 Willie Wright

“I still have students come up to me and say, ‘I’m really going to get into sports, so I can’t do music.’ Of course I tell them, ‘Wait a minute – there’s no reason you can’t enjoy both!’

”

14 School Band and Orchestra • June 2012

From the Trenches

As the school year winds down and we all prepare for summer, there has been a flurry of new

studies and research reports unlocking new and important knowledge of the status, condition,

and impact of music and arts education in our schools. I honestly cannot remember another

period of time when so much new information came forward.

By Bob Morrison

Reportapalooza2012

Federal Arts Education Fast Response Survey

The first report is from the US De-partment of Education, “Arts Educa-tion in Public Elementary and Second-ary Schools: 1999-2000 and 2009-10” (online at: nces.ed.gov/pubsearch/pubsinfo.asp?pubid=2012014).

This report presents selected find-ings from a congressionally mandat-ed study on arts education in public K–12 schools. The data was collected through seven Fast Response Sur-vey System (FRSS) surveys during the 2009-10 school year. This report provides national data about arts edu-cation for public elementary and sec-ondary schools, elementary classroom teachers, and elementary and sec-ondary music and visual arts special-ists. Comparisons with data from the 1999–2000 FRSS arts education study are included where applicable.

The Good News• The last decade has not generally pro-

duced a dramatic narrowing of the curriculum in the arts. There are sev-eral important exceptions to that pat-tern, which I’ll talk about in a moment.

• It is encouraging to see music is avail-able in almost all elementary schools for at least some of the students, and that more than 80 percent of elemen-tary schools have visual arts instruc-tion. There generally have not been significant declines in music and visual arts instruction.

The Bad News• At more than 40 percent of our sec-

ondary schools, coursework in the arts was not a requirement for grad-uation in the 2009-10 school year.

• High schools are doing too little to incorporate the arts as an expecta-tion and component of career and college readiness for all students.

• The decline in dance and theatre opportunities in the last decade has also been dramatic.

• About one in five elementary schools offered dance or theatre a decade ago. Today, only one out of every 33 elementary schools offers dance, and just one in 25 elemen-tary schools offer theatre.

These survey findings suggest that more than 1.3 million students in el-

ementary school fail today to get any music instruction – and the same is true for about 800,000 secondary school students. All told, nearly 4 mil-lion elementary school students do not get any visual arts instruction at school during their formative learning years.

Secretary of Education Arnie Dun-can noted, “Unfortunately, the arts op-portunity gap is widest for children in high-poverty schools. This is abso-lutely an equity issue and a civil rights issue – just as is access to AP courses and other educational opportunities.”

Arts and Achievement in At-Risk Youth

The next report to call to your at-tention is “The Arts and Achievement in At-Risk Youth: Findings from Four Longitudinal Studies” published in April by the National Endowment for the Arts (online at www.nea.gov/re-search/research.php?type=R).

This report examines arts-related variables from four large datasets – three maintained by the U.S. Department of Education and one by the Department of Labor – to understand the relation-ship between arts engagement and

Get Your FREE SBO iPad edition at the App Store

TOC.indd 2 7/2/12 8:38 AM

Championship Maple carboncore snares and

tenors feature the classic warmth of 6 ply

Maple combined with the power and strength

of an inner ply of carbon fiber for the ultimate

Championship Sound.

SCOTTJOHNSON

14 Time DCI WORLD CHAMPION BLUE DEVILS

CAPTION HEAD

Introducing Championship Maple

carboncoreTM

carboncoreTM is the sound of 14 time World Champion Blue Devils

FFXICM-1412/A in 368 Black Silver Burst

SBO_3 3 6/29/12 11:50:49 AM

www.pearldrum.com


®

July 2012 • Volume 15, Number 7

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

EditorialEXECUTIVE EDITOR Christian [email protected]

EDITOR Eliahu [email protected]

ASSOCIATE EDITOR Matt [email protected]

ArtPRODUCTION MANAGER Laurie Guptill

[email protected]

GRAPHIC DESIGNER Andrew P. [email protected]

GRAPHIC DESIGNER Laurie [email protected]

AdvertisingADVERTISING SALES Iris Fox

[email protected]

CLASSIFIED SALES Steven [email protected]

BusinessCIRCULATION MANAGER Melanie A. Prescott

[email protected]

Symphony Publishing, LLCCHAIRMAN Xen Zapis

PRESIDENT Lee [email protected]

CHIEF FINANCIAL OFFICER Rich [email protected]

Corporate Headquarters26202 Detroit Road, Suite 300

Westlake, Ohio 44145(440) 871-1300

www.symphonypublishing.com

Publishing, Sales, & Editorial Office21 Highland Circle, Suite 1

Needham, MA 02494(781) 453-9310

FAX (781) 453-93891-800-964-5150

www.sbomagazine.com

RPMDA

Member 2012

Perspective

Balancing Athletics & the Arts

When I attended high school, there were numerous students who performed in the band, as well as in a variety of athletic activities. It was, no doubt, a challenge for the music director to balance those absences. Holes in the marching show, missed rehearsals, and substitutions are all serious concerns for most programs with musician/athletes. From my school, there were numerous successes from stu-dents who were able to find the critical balance between both athletics and music. A tuba player went on to play for a Division 1 football team and later have a profes-

sional career, and another varsity football player/band member went on to play trumpet for the Uni-versity of Notre Dame marching band. However, some students seem to believe that they need to choose between one or the other.

Understandably, there’s often a tug-of-war be-tween music and athletics, which often occurs due to conflicting schedules, opportunities for awards, peer pressure, and more. Occasionally, the two sides pull together and a beneficial result occurs. Consid-er Willie Wright, our featured director this month, who managed to become not only a professional athlete, but also a highly skilled saxophonist and successful music educator. It’s extraordinary that an athlete of this caliber had the desire and time to hone and maintain his musical skills while pursuing a career as a pro football player. Willie sets an ex-traordinary example that if a student has the desire,

even today, he or she may be involved at a very high level in both pursuits. Wright points out that it is important for the band director to have a good rela-

tionship with the athletic department coaches. This can go a long way in helping to pave the way for students who wish to participate in both activities and allow the flexibility that they may need in their schedules. It’s obviously difficult to be missing your solo trumpet player for a concert when he or she is off at a soccer tournament, but knowing about the conflicts in advance and having some agree-ments with the coaching staff could provide some reasonable solutions. Drawing a firm line in the sand, however, could mean losing the student completely.

Both sports and music should be encouraged not only for the students’ time in school, but also as lifelong pursuits. Often, they are synergistic, as any wind player knows that the better lung capacity you have, the greater tone quality, endurance, and dynamics are at your disposal. The great cellist Janos Starker, who is also an avid swimmer, even encouraged his students to take up the sport as an adjunct to their musical efforts to build the stamina to practice necessary to perform on their instrument. In addition to the musical benefits of maintaining a good workout routine, the health and mental benefits are clearly beneficial to musicians at every level…

Rick [email protected]

“Drawing a firm line in the sand could mean

losing the student completely.”

Perspective.indd 4 7/2/12 8:00 AM

Confidence. Character. Camaraderie. These

are the three tenets of the Disney Performing

Arts program. The confidence to perform

on the grandest of stages. The character

required to perfect your chosen craft. And the

camaraderie that’s essential to come together

as a team. And when your group takes part in

a Disney Performing Arts program– whether

that’s in a performance or a workshop or festival– these are the skills they will learn,

sharpen and refine, becoming part of an exclusive group of artists bonded by this shared

once-in-a-lifetime experience. Want to strengthen your ensemble’s talents while building

memories that last forever? Contact your travel planner or call 1-866-718-4095 to learn

more about Disney Performing Arts opportunities.

©Disney GS2012-7413 MYASBODPA12

SBO_5 5 7/2/12 8:51:09 AM

www.disneyperformingarts.com


Headlines

�

MakeMusic Creates New Standards & Assessment Web ResourcesMakeMusic, Inc., creators of Smart-

Music learning and assessment software, recently announced the launch of the Music Edu-cation Standards and Assess-ment website. The company notes that music educators and administrators face increasingly stringent mea-surement and

documentation of student achievement. However, the design, funding and

goals of arts assessment method-ology vary widely at every level. The new website assembles this highly sought-after information from all fifty states, allowing

music educa-tors access to vital informa-tion and best

practices from across the country.The website includes information

on music standards, teacher evalua-tion policies and contacts for each state department of education and music educator association organizations. Visitors are given the opportunity to collaborate in a variety of ways, includ-ing providing updates and participat-ing in state-level discussion forums. To learn more, visit www.musicstandards.org

ONLINE SURVEY2012-’13 Washington Performing Arts Society Welcomes El Sistema

In the midst of an impressive per-formance schedule set for next year, the Washington Performing Arts Society has announced the return of the world-famous Simón Bolívar Symphony Orchestra of Ven-

ezuela, made up of the best of Venezu-ela’s influential mu-sic education pro-gram, El Sistema.

The orchestra is led by the most fa-mous alum of that program, Gustavo Du-damel (who is also music director of the Los Angeles Philharmonic). He’ll conduct Strauss’ Alpine Symphony and works by Carlos Chaves and Julian Orbon.Find a full calendar at www.wpas.org.

Visit www.sbomagazine.com and let your voice be heard in the current online poll – results to be published in the next issue of SBO.

How would you rate the 2011-2012 school year?

�

A Success! Best teaching year of my career.

Successful, but just a few things to work on.

It was so-so.

It was a little disappointing.

A total disaster.

23%

31%

1%

7%

38%

YOURS Project Offers Free Orchestral Education to Chicago StudentsA new program in one of

Chicago’s public schools named for The People’s Music School’s founder, Youth Orchestras United Rita Simo, is providing free, orchestral music education to Chicago Public School chil-dren. The program is modeled after the famous El Sistema pro-

gram developed in Venezu-ela by Maestro Jose Antonio Abreu. The goal of the pro-gram is to uplift and improve the lives of children who come from low-income fami-lies, which then can improve and transform the commu-nity as a whole.

The YOURS Project was founded as a volunteer-run program in 2008. The project aspires to be a city-wide net-work of “nucleos” (locations that house these orchestras). Rita Simo founded the People’s Music School was founded in 1976. Read more at www.peoplesmusicschool.org. �

Headlines.indd 6 7/2/12 8:01 AM

Essential Elements Interactive is the ultimate online resource for music teachers to connect with students and parents...anywhere, anytime, and on any device.

Hosted by the powerful Charms Office, EEi introduces the first-ever, easy set of online learning tools for Essential Elements beginning band and string students.

Music Studio Calendar Communication Assignments Resources

The ultimate online music education resource

SBO_7 7 6/29/12 11:51:12 AM

www.essentialelementsinteractive.com


Headlines

the ultimate choice for portable sound

the best full range pa system - ever

SM-4neo Sound MachineBuilt-in Shure PGX wireless

(90 channels - 300’ typical range)200 Watts of power

(125db clear volume)6-8 hours of battery life (recharges overnight)

“We have been using the SM-4neo for years. It’s apowerful tool that can be heard all over the field.If you’re looking to improve your communication,the Sound Machine is the system for you.”

Brian Britt, Univ. of OklahomaFull Range Biamped system

(10” speaker and horn)

Easily adapts mostMetronomes to wireless

..

.

.

.

SM-4neo only 33 pounds fully loaded

CD/MP3 playerwith USB port

.

.

www.soundprojections.com

For more information on theSound Projections line call:

888-291-1288

Available Through:

Made in the USA800-727-7889

www.danryderfielddrills.com

Dan Ryder Field Drills

6-year limited warrantySmaller �eld systems

also available

VM-1 Voice Machine PGX(50 Watts, 127db)

New York’s Brooklyn Charter School (BCS) has developed an innovative after-school program that focuses on percussion studies based on musical styles from across the globe, a program designed to put students at BCS in a better position to succeed in secondary school and beyond. Under the stew-ardship of Omigbade Escayg, the Latin Percussion artist also known as “Cas-cadu” takes students in third through fifth grade on a rich musical journey. The BCS after-school percussion curriculum has also offered instruction from other renowned LP artists like Grammy-nominated recording artist/percussion-ist Wilson “Chembo“ Corniel, as well as author and educator, Victor Rendón. The program is now in its fourth year.

For more information on The Brooklyn Charter School, visit www.BrooklynCharter.org.

Music Ed Infused with Latin Percussion at Brooklyn Charter School

LudwigMasters Adds Lynne Latham to Editorial StaffLynne Latham, well known composer of string music, free-

lance performer and teacher of violin, viola and cello in Win-ston-Salem, N.C., has joined the LudwigMasters staff as a string editor. Ludwig Music Masters Publications distributes a variety

of educational music catalogs including Barta Music, Brodt Pub-lishing, Great Works, J. Christopher Music, Tetra, Klavier, Mae-cenas Musi,c and Masters Music, among others. The company is based in Boca Raton, Florida.

� (L to R) Wilson “Chembo” Corniel, Victor Rendón, and Omigbade Escayg.

Headlines.indd 8 7/2/12 8:01 AM

www.danryderfielddrills.com

SBO_9 9 6/29/12 11:51:29 AM

www.rowloff.com


The SBO Essay Scholarship Contest, the premier cross-curricu-

lar activity and scholarship opportunity for music students in

grades 5-12, has awarded over $240,000 in scholarship funds

and music products to more than 120 school music programs since its

inception. This year, the contest’s 12th, two students from California,

Illinois, and Washington were among the 10 winners, with the other

four hailing from Maryland, Georgia, Texas, and Virginia. Five winners

were selected from grades nine to 12 and five students from grades

four to eight each received a $1,000 scholarship and their respective

school music programs received a matching award of musical products

from co-sponsors NAMM, Alfred Publishing, Sabian Ltd., Woodwind

& Brasswind, and Yamaha Corporation of America.

This year’s theme, “Dear School Board Member: why we need music education in our schools…” generated contributions from every state in the U.S., as well as several foreign countries. The music students received their scholarship award from local music dealers representing NAMM (the National Association of Music Merchants), a major co-sponsor of the program.




2012Essay Contest

Winners

Report.indd 10 7/2/12 8:02 AM


Grades 4-8 WinnersCaroline HamiltonAge 12Grade 6Princess Anne Middle SchoolVirginia Beach, Va.

Dear School Board Member,Everyone knows that it is important

to get a good education. Students work hard to learn core subjects like math, science, history, and English. These are not the only subjects that students should focus on. Music education is as important as all other areas in a stu-dent’s school day, for many reasons.

Music education teaches students more than just how to read music. It teaches self-control and self-discipline. The saying “practice makes perfect” is proven when learning to play an in-strument. When a student practices, progress can be seen almost daily. Stu-dents learn that it takes dedication, time, and hard work to reach goals.

More than self accomplishment, learning an instrument teaches team work. Like a team sport, members in a band must learn to depend on each other. Students learn the importance of doing their part in a group. A group of musicians playing together can make beautiful music. When the members of a band work together, each person depends on other members to be suc-cessful. This is an important lesson in life. It sometimes takes many people working together to accomplish a goal.

Learning how to play an instrument

is a benefit to students. Learning self-discipline, self-control, and team work are lessons that help students become more successful in all areas of educa-tion.

Devayani VarmaAge 12Grade 7Frances Harper Junior HighDavis, Calif.

Dear School Board Member,We need music education in school

because music is a universal language, which builds unity in diversity, and eases communication. Music has the power to attract students and make school time more enjoyable. The real way to learn music is directly from a teacher, since there are several aspects of music that a book cannot teach.

I come from India, where music is considered “Nada Brahma,” which means “Sound is God.” It is believed that it was the sound “Om” and not light that appeared first during the cre-ation of the universe. While everyone speaks about the benefits music gives in our everyday life, such as mind/brain development, social/leadership skills, academic achievement, and self discipline, music also gives spiritual and moral discipline. The greatest gift I received from my school district was the opportunity to learn how to play the violin. Learning violin made me a much better person than I was before.

Music is an ocean; it has no language or cultural barriers. For example, the

violin was considered a Western instru-ment in Indian classical music, but has now become an integral part of Indian traditional music. For a listener, music is a means of joy. As a violin player, I have experienced that music becomes joy. There are a lot of things music teaches us in life that our educational books could never teach. Learning mu-sic teaches virtues which help me in life beyond just getting a perfect GPA.

Alex JiricekAge 12Grade 7Hadley Middle SchoolGlen Ellyn, Ill.

Dear School Board Member,I was born with hemiplegic cere-

bral palsy and at a very young age my parents enrolled me in a viola program as an alternative to physical therapy. I didn’t think I was really any good at playing the viola until in 4th grade when I auditioned and made it into my elementary school’s intermediate orchestra program, skipping the begin-ning orchestra. Then in 5th grade I au-ditioned and made the middle school orchestra. Now I am in 7th grade and am proud to say I am the section leader for the violas in my school’s orchestra.

If there wasn’t a program available to me where I could develop musically, I would never have thought anything existed at school where I could actu-ally be considered accomplished. It has made music such a big part of my life to the point that I do not see giving it

Dave Kreiselman of Music & Arts; band director Terry Privette, Princess Anne Middle School Virginia Beach, Va.; scholarship winner Caroline Hamilton; and Matt Caroll, Music & Arts store manager.

The mother of scholarship winner Alex Jiricek; Quinlan & Fabish school representative Alan Szafranski; Alex; and music director Chuck Tor-bett, Hadley Middle School, Glen Ellyn, Ill.

Devayani Varma, scholarship recipient; Water-melon Music co-owner Jeff Simons; and Greg Brucker, Harper Jr. High music director, Davis, Calif.


For every stage of your musical journey.

To learn more about Antigua please visit www.antiguawinds.com or contact us at [email protected]

SBO_12 12 6/29/12 11:51:38 AM

www.antiguawinds.com


up and would feel a loss without it. To me playing music is fun, and my doc-tor said it is loosening up the tightness in my right arm.

I struggle physically to get on time to class or participate in team sports and kids might think there is something off with my coordination. But when I rep-resent my school at performances and competitions my confidence builds, and I forget my daily challenges. Partic-ipating in my school’s music program has given me a wonderful talent.

Insia KhanAge 13Grade 8Jane Addams Jr. HighSchaumburg, Ill.

Dear School Board Member,Music classes are building blocks

to a higher educational standard and should be included in all schools.

Playing music, or even singing are activities that use a lot of skills. Multi-tasking is a large part of it. Having one eye on the music, another on the teacher, and playing at the same time requires a great deal of focus from a student, and our minds slowly start to use the same amount of attentiveness in all other classes as well. About three fourths of the orchestra students in my local high school are in honors or ad-vanced placement classes.

Not only do music classes enrich a student’s academics, they also increase communication and cooperation skills. For instance, I have a huge fear of play-ing my cello onstage, or singing by myself. But when you’re surrounded by people you learned and grew with, there is an air of confidence that is dif-ficult to reach by yourself. Harmony is

an essential key to good music. Music classes help reach that level, and they provide discipline.

Orchestra and chorus are outlets for me. Playing my cello lets me express myself, and relaxes me after difficult school courses. Chorus on the other hand is also beneficial by giving me an opportunity to interact with my peers who have similar interests to mine. Without these classes I couldn’t do all this.

Music classes are a must for every school. They are needed for a student to reach their maximum potential.

Eliza K. CainAge 14Grade 8Kealing Middle SchoolAustin, Texas

Dear School Board Member,Seated in front of a sea of parents

and friends at our winter orchestra concert, I take a deep breath and bow the beginning notes of “Palladio” by Karl Jenkins. Our director’s swift baton keeps our tempo and rhythm steady. When the piece ends, I nestle my violin in rest position, and we take a bow. The school theater thunders with applause, and I smile at my stand partner. Our concert was a success, thanks to the fo-cus and teamwork of each member of the Symphony orchestra.

Orchestra concerts are some of my favorite middle school memories. The camaraderie with fellow musicians and the beautiful music we make dur-ing orchestra inspires me to continue studying the violin. I believe that mu-sic education has a vital role in schools. Music classes have taught both lead-ership and cooperation. The patience

and perseverance I have learned from tackling difficult orchestra pieces has helped me achieve academically, too. In band, orchestra and choir, students develop self-confidence and poise by performing in front of an audience. For kids who don’t have access to private music teachers, band or orchestra gives them the opportunity to learn an in-strument.

Our school district has faced seri-ous budget problems. Some consider the arts a luxury and have suggested cutting these programs to balance the budget. Fortunately, students, parents and teachers have spoken out in sup-port of music education. Just like me, they’ve realized that orchestra and band provide some of the most reward-ing experiences in public education.

Grade 9-12 WInners

Emily HallAge 16Grade 11Meadowdale High SchoolLynnwood, Wash.

Dear School Board Member,Music education is essential to

school curriculum because it fosters student growth academically, socially, and emotionally. Studies have shown that music students excel academi-cally – my AP and advanced classes are filled with music students. Music education inspires teamwork, disci-

Cassandra Thuneman of Cassandra Strings; es-say contest winner Insia Khan; and music teacher Karen Banaszewski, Jane Addams Jr. High, Schaumburg, Ill. Al Marabella, Blackerby Violin Shop; Eliza Cain,

contest winner; and David Jarrott, music director at Kealing Middle School, Austin, Texas.

Dear SBO Magazine,I would like to thank you for se-

lecting me to be one of the recipi-ents of your 2012 Band & Orchestra Scholarship. I feel honored to know that I was chosen from a large group of deserving applicants. I am very grateful for your recognition

Orchestra has been a big part of my musical career, and the prize money I received will help me to continue my music educa-tion through high school. I would also like to express my appreciation for the generous gifts given to my school orchestra program at Keal-ing Middle School.

Sincerely,Eliza Cain



pline, and leadership in students in a way nothing else can. It creates new ways of thinking that help students process the world around them. Deep-er than academics, music touches the mind as well as the soul, allowing stu-dents to form connections that reach across time, space, and social barriers. My school’s band is a socially diverse group that envelops all kinds of ste-reotypes. Despite these divisions, these students identify with one another be-

cause they can say “we are the band” and make gorgeous music. During a time in students’ lives when they are so socially divided, unity through mu-sic is a very healthy experience. Most importantly, when students walk into a music class, they can leave all their struggles at the door. Music classes are safe environments where students can pour their entire beings into beautiful expressions of raw emotion. Teenagers find refuge from surrounding pressure and swirling emotions when they make music together. Many students lack the means to experience the phenomenon of creating music, but music education in schools makes it accessible. Music education must continue in schools if its unique academic, social, and emo-tional benefits to students are to be reaped.

Sujean KimAge 16Grade 11Mount Vernon High SchoolMount Vernon, Wash.

Dear School Board Member.We need music education in our

schools because music classes contrib-ute to the development of creativity. Music education also allows students to think better; studies have shown that music education increases students’ IQs and improves test grades. It also lowers recidivism rates, increases self-esteem, and helps develop better problem solv-ing and communication skills. I can see this in me because my grades have been improving slowly and I have also gotten more involved in school. Music education also provides students a bet-ter understanding of musical instru-

Justin Henry, manager of Hugo Helmer Music Store; scholarship recipient Sujean Kim; Jacob Scherr, Mount Vernon High School music direc-tor; and David Vega, Hugo Helmer Music band specialist.

Gary Cranwell, Kennelly Keys Music; contest win-ner Emily Hall; and Jeff Horenstein, choral direc-tor, Meadowdale High School, Lynnwood, Wash.

www.jjbabbitt.com

Mouthpieces for all clarinets and saxophones

Makes it Easy

Make playing easy and focused with Portnoy. Created specifically for the intermediate to professional clarinetist,

Portnoy mouthpieces are designed to be free blowing while

producing a focused, unsurpassed tone.

Make it easy. Make it focused. Make it Portnoy.

jjbPortnoy.indd 1 2/28/12 11:50:45 AM


www.jjbabbitt.com


ments as well. As a band student, I real-ized how complex an instrument is and how much effort is needed to play one; therefore, I have gained more respect to other players. Practicing instruments helps build up patience and gives us the ability to persevere through obstacles that we may later encounter in our lives. Music does not discriminate against mi-norities; people with disabilities or other problems in their lives can express their feelings through music if they cannot ex-press their feelings verbally. This is why we need music education; it helps out so many people in different ways. Mu-sic education may impact an individual strongly yet that individual can impact others around him or her contributing to the welfare for everyone. Hopefully I will grow up and become successful in the world knowing that the music edu-cation program helped me to succeed and become who I am.

Amy ChungAge 17Grade 12Monta Vista High SchoolCupertino, Calif.

Dear School Board Member,Music education provides intellec-

tual experiences that are not available in traditional textbook environments. In music programs, students receive the opportunity to actively participate in their education. Instead of listening to lectures, they are immersed in all facets of education. In bands and orchestras, performers have specific roles – if one part is missing, then the ensemble is in-complete. Such an environment allows students to mature, gain responsibility, and acquire patience. Not only must they be patient and allot time to prac-

tice their parts in order to master tech-nique, they must also acquire the skill of working harmoniously with the rest of the group. The maturity and respon-sibility that the students acquire serve as foundations for future aspirations – where exemplary teamwork, unity, and dependability are important assets. In addition, students are pushed to ap-ply their musical knowledge through compositions, giving them outlets for their creativity; they are encouraged

to culminate their life experiences and emotions by expressing them though music. As a result, musicians learn the value of individuality and character. Students can also participate in con-certs, which provide friendly environ-ments for students to gain confidence and self-esteem, while also sharing the joy of music with friends and families. Thus, music benefits both the perform-ers and the audience, making these “hands-on” experiences unlike those

Diana Tucker, West Valley Music; scholarship winner Amy Chung; and music director Jon Fey, Monta Vista High School, Cupertino, Calif.


www.wwbw.com/educators


offered in normal classroom settings. By balancing musical education with other academics, students receive an encompassing education, making it an invaluable resource and a significant factor in the success and happiness of the students.

Brinley SwansonAge 17Grade 12Warner Robins High SchoolWarner Robins, Ga.Dear School Board Member,

Band should be kept in school be-cause it provides students with another opportunity to advance their learn-ing and education. Schools integrat-ing music into their curriculum as part of a comprehensive education strategy

document positive growth in the school environment and improved student per-formance. Expanding band outside the classroom to include marching band also promotes physical fitness and health. Marchers work to the point of physical and mental exhaustion as they must play and march in time with their peers.

Band tends to work like a normal class-room as well, especially with the progres-sion of skills. Much like math, where the student advances from simple multipli-cation to algebra to trigonometry, a band student must progress on their instru-ment starting with the fundamentals of music. They must then refine their sound, with the practice of scales and rhythms, to become more proficient with their in-strument, much like homework. A band student must put this practice into con-text, similar to application of principles in math, by reading music and creating a beautiful sound with others in the band.

The listening skills needed by a band student, as well as an advanced playing ability, requires an enormous amount of critical thinking, just like any other class. This justifies that band should stay in schools, as it challenges students just the same as other classes and also requires them to work hard outside of school while promoting a great use of group skills necessary for the future workplace.

Katie BubbAge 17Grade 12Havre de Grace High SchoolHavre de Grace, Md.

Dear School Board Member,Music programs have curriculums

with rigorous content and achievement standards at state and national levels. The programs require highly educated teach-ers to challenge students to perform mu-sical works, create their own works, and respond emotionally to musical literature. In reality, not all students involved in the program choose to make a career out of their musical abilities. That fact should never lower the importance of allowing music to be a part of school systems. Op-ponents may argue that the information taught in math, science, and English class-es ultimately benefit students more. How-ever music programs expose students to culture while teaching critical thinking skills; few classes have such influence. Often traditional courses are places ahead of the fine arts: in funding, in respect, in value. Therefore controversial, musical programs deserve equal footing in all edu-cational aspects.

School systems must include music programs to give opportunities for students to learn skills, attitudes, and habits applica-ble to life. These skill sets cannot be copied from a book, recited, or assessed by means of a standardized test. Instead, one experi-ences them in a creative and expressive en-vironment. If students are to fully embrace the rich and diverse cultures of the world; if they are to live up to their full cognitive po-tential; if they are to prepare for living and working in a technologically driven world; and if they are to live a life alive and wide-awake to the possibilities yet to come, this promise of the fine arts within education must be realized.

Scott Pallot and Travis Bryant, Macon Music; with essay contest winner Brinley Swanson (center) of Warner Robins High School, Warner Robins, Ga.

Don McClure, Havre De Grace High School mu-sic director; Katie Bubb, scholarship winner; and Joseph Noto of Music Land, Bel Air, Md.


www.charmsoffice.com

music group

One Bad Aax!

Affordable German Innovation

Positive Family Values

Amazon.com

BandDirector.com

Bertie’s Music

Capshaw-Olivas

Dominic’s Music

Kohn’s Music

Music Factory Direct

ProwindsDirect.com

SavingsMall.com

The Sax Depot

Weinermusic.com

Wright Music

…and many more!

Available from these fine dealers—

1-888-943-1452Barringtonmusicgroup.com

SBO_17 17 7/2/12 8:25:40 AM

www.barringtonmusicgroup.com

Roundtable: College Resources

And they are eager for your contact. Connecting with colleges and universities is mutually beneficial: music ed professors and students get the opportunity to see what’s happening in the trenches of real classrooms, while the teachers receive a little bit of assistance, the chance to present new ideas to their students, or the potential for expanding curricular offerings.

Often located in a remote corner of the school, the band or or-

chestra room can feel like a lonely place. However, it doesn’t

have to be that way. Music educators have at their fingertips

innumerable resources that can provide support, foster collaboration,

and stimulate instruction, as long as they know where to look. One

particularly abundant – and often underutilized – source of assistance

and inspiration is the music department at nearby colleges and univer-

sities. Many of these institutions have programs through which they

send out in-class clinicians to local schools, provide student teachers

or other material support, or create unique performance opportunities

for a wide range of youth ensembles, among a host of other offerings.

“The more we help each other, the stronger

the field of music education will be.”


Calling in the Cavalry:Resources for K-12 music educators at colleges and universities

Roundtable.indd 18 7/2/12 8:04 AM


To gain a better understanding of some of the specific types of available opportunities, SBO recently reached out to a handful of college and univer-sity personnel, who were eager to dis-cuss ways in which higher education facilities partner with and assist local music educators.

In what capacity does your school work with or offer assistance to mu-sic educators in your area? What sorts of resources and tools do you have at their disposal?

Erin McLennon, McNally Smith Col-lege of Music: My job is to build rela-tionships with music educators, primarily in high schools but also at the middle school and elementary levels. We have offered studio record-ings, guest artist visits, clinics, and workshops about music technology, music performance, composition, or careers in music. We will often have some of our faculty work with high school bands, jazz bands and orches-tras, sometimes for consecutive class periods, or even days or weeks, so that there is substantial contact with the faculty member and the teacher. We’ve been doing this for a number of years, so there are educators in our area that will call us and ask about it or request that we consider their school. I also do email blasts and postal mailings out to many instructors in our area with a full listing of our offerings.

At McNally Smith College of Mu-sic, we’re just beginning to offer pro-fessional development for educators. We’re excited to start working with our colleagues in areas of need. Tradition-ally, we have allowed teachers to audit courses here or to take them for credit, just the standard courses that we of-fer in our regular curriculum. This is something that is available, but not often taken advantage of – probably because most of our classes take place during the day. We now offer an eve-ning Masters in Music Performance,

which prepares individuals to under-stand and operate with the current music performance industry.

In the past year, we’ve also started offering continuing education and professional development workshops for music educators. For instance, this summer we’re doing a live sound workshop for teachers that is CEU or contact hours-based rather than col-lege credits. It’s a three-day live sound workshop to teach band, orchestra, and choir teachers how to better run live sound for their events.

We’re also doing a workshop this summer on using technology in the music classroom. We’ll be covering a lot of the freely available technology that is offered – open source or free tools that might make teaching in a music classroom easier, more interest-ing, and broader, in terms of what’s being covered. We know that incorpo-rating technology into their classrooms is something that teachers are increas-ingly asked to include in their curricu-lar goals.

I would encourage music educators at the elementary, middle, and high school levels to contact their local col-leges because any college or university is going to be interested in trying to do something, create some sort of partner-ship, or have something to offer those educators.

Bonnie Jacobi, Col-orado State Univer-sity: The best resource we have to offer is peo-ple – our faculty! Addi-tional resources include graduate degree pro-grams, a diverse range of quality per-formances at affordable ticket prices, a state-of-the-art building facility, and our students.

We regularly host national, state, and regional conferences, concerts, and workshops for music educators, which enable area music educators to partici-pate in these conferences without the expense of travel. Recent examples in-clude: the Colorado Bandmasters As-sociation State Concert Band Festival,

the Colorado Bandmasters Association State Marching Band Contest, and the Colorado All-State Orchestra Concert. Music faculty from our School of Mu-sic help organize these events and also work directly with students by lead-ing sectional rehearsals and sometimes conducting the ensembles in perfor-mance. Last summer, we began offer-ing two workshops per year on teach-ing with SMARTboard technology.

CSU hosts a Summer Music Camp for middle school students in Band, Choir, Orchestra, Jazz, and Harp. This provides students a chance to strength-en their instrument skills in a univer-sity setting at a time of year when they can focus on their musicianship and technique.

CSU faculty (directors of our uni-versity orchestras, bands, and choirs, as well as Music Education faculty) have an open line of communication with music educators in our area and take initiative to go out into the schools to adjudicate contests and festivals, to direct honor bands, orchestras, and choirs, and to give clinics. We view this as an extremely important part of our mission to the field of music educa-tion. Our associate band director, Dr. Richard Frey, recently met an area high school band director for a cup of cof-fee to discuss Stravinsky’s “Symphony of Wind Instruments” and provided in-sight about how to prepare the score to be performed by his high school group. This is the kind of relationship we want to have with our area music educators. They more than reciprocate by the time and care they spend in mentoring our student teachers and practicum stu-dents who are in the process of com-pleting their degrees.

Our students are also a big resource for music educators in the area. Our CMENC organization (now CNAfME) performs community outreach and ser-vice-learning activities in order to gain experience working with students. For example, our students held an “Instru-ment Petting Zoo” on the day of a Col-orado Symphony’s Children’s Concert this past February in Denver. This ap-pealed to young children and their par-


ents and literally hundreds of kids had an opportunity to hold and play instruments for their first time.

Also, last year our undergraduate CMENC members started a free lesson program called “Got Music?” in which middle school students who have never played an instru-ment could take three free introductory lessons with a Mu-sic Education major. Kids who enjoyed the experience were referred to local teachers for regular instrument study. This project provided a win-win situation, enabling our students to practice their teaching while allowing the middle school kids to try out an instrument to see if they liked playing it. For service-learning, our music education majors also regu-larly help area music educators with special events within their programs, such as extracurricular ensembles, musical theatre productions, and festival and contest days.

Brenda Brenner, Jacobs School of Music at Indiana University: IU is a large training-ground for future music educators, as well as providing opportunities for con-tinuing study hours for current teachers. Many of our classes at the undergraduate level have field components in which we send students out to observe and occasionally assist teachers in the classroom. In addition, IU ensembles provide a series of concerts on campus during the school day where students from the local schools are brought in to experience the arts in a larger venue. The Fairview Violin Project is an example of a collaboration between the Jacobs School and the local dis-trict. In this initiative, IU and the Summer Star Foundation provide instruments (violins), curriculum, and instruction for over 250 students during the school day.

Teresa McKinney, The Juilliard School: Through our various fellowship programs at the the Juilliard School, we are able to place students as teaching fellows within the schools to assist music teachers or teach applied music or music apprecia-tion. The Juilliard School has been partner-ing with schools, hospitals, hospice, and homeless shelters for more than 25 years. The resources include access to con-certs on the Juilliard campus and visits from highly trained musicians to the school. The school offers over 700 perfor-mances in music, dance, and drama annually, many that are open and free to the public. This resource is a gem for NYC.

Susan Helfter, The Thornton School of Music at USC: Our outreach programs are designed to best support music instruc-tion at our local schools, as well as to pro-vide opportunities for our music students to be engaged in the community. It’s a win-win situation. USC has identified a geographic region within which all of our community engagement pro-grams are dedicated. We focus on the area of about 10 or 12 blocks in every direction from the campus, and within that area we have about 14 schools. Our music students are so


www.vicfirth.com

SBO_21 21 6/29/12 11:51:52 AM

www.vicfirth.com


busy with classes and rehearsals that mini-mizing the commute time it takes to get to a local partner school opens up a world possibilities. We’re really mostly limited by scheduling.

Some of the things we do in the schools are partner with middle and high school music educators and simply ap-proach them, ask them about their class schedule, and ask them where they could use some help. We pair students who are interested in helping in that specific area. Often, our mentors have a chance to work with a particular section of the school band, or the higher achieving or lower achieving music students, while the teacher can focus on a different group of students. Most of our music teachers have a specialty, so with the quality and caliber of our students, we’re able to provide stu-dents who can complement the skill set of the teacher, so the teachers don’t have to do everything themselves.

What are the latest trends you’re see-ing in music education? Have the un-dergrad and graduate components of music ed training evolved dramati-cally over the past few years?

Erin McLennon: Some of our stu-dents have not participated in their high school music programs for a variety of reasons. It might be because some genres of music that we study (rock ‘n’ roll, hip-hop, country music, and so on) are not topics of focus in traditional programs. We have many students who played in a garage band, not the high school’s con-cert band — students who were doing things on their own and were less in-volved with their public music programs. As a product of a traditional public high school music program, myself, it makes me wonder about ways to extend rel-evant offerings to high school musicians who may not play the traditional instru-ments, or vocalists wanting a broader singing experience.

Lately, I have been seeing more innova-tive approaches by high school educators who are offering classes in Garage Band software, classes in hip-hop and world music, and who are doing things that stretch the norms and the basics — reach-ing students who are interested in some-thing other than playing traditional music. I believe this is a very positive and forward

thinking approach to music education and it is the basis for our existence as a college. It’s not that we don’t understand and teach traditional and fundamental approaches through music theory, music history, applied lessons, et cetera. We also know there is a larger world of music for our students to explore.

McNally Smith College of Music is pre-paring students to potentially work in the contemporary music industry. Because of the way the music industry is changing and the way the Internet has revolution-ized the music industry, a traditional ap-proach through high school music pro-grams is not the only way for students to participate in today’s music. We need to be listening and reacting to the trends. In-dividual musicians need to be much more entrepreneurial, focusing on developing those skills, and understanding that that is something that they are going to need to be doing.

Teresa McKinney: One recent trend we’ve noticed is an emphasis on being both an educator and an entre-preneur. At Juilliard, we offer seminars on organizational management, devel-oping interactive arts experiences, and this fall we will add teaching children with special needs.

Public school educators should be aware of the direction of music profes-sions and non-arts professions that may require imagination, and how important it is for students to develop their creative thinking abilities. Understanding tech-nology, and the unpredictable direction it might take in the future, requires the type of mind that the study of music re-ally develops. Music educators should be aware of the need to inspire students to become multi-faceted musicians and thinkers who are disciplined. Juilliard’s president, Joseph W. Polisi, proposes the idea of “The Artist as Citizen” as a way of describing the many responsibilities needed for the 21st Century artist: cre-ator, animateur, citizenship, and excel-lence in performance combined with en-trepreneurial tenacity and dedication to our increasingly global community.

Susan Helfter: Our credentialed music ed program changed dramatically several years ago. Our model is now a one-year, year-round program to earn a teaching

www.BariWoodwind.comBari Woodwind Supplies, LLC

A Division of The Cavanaugh Company

MADE IN THE USA

GREG OSBY

“MOUTHPIECES THAT PLAY

TO THE BACKOF THE ROOM”

THAT’S MY SOUND!


www.bariwoodwind.com


credential for students who already have a four-year degree in music – performance, composition, or whatever that may be.

One objective for the new model is to include jazz players, guitar players, drummers, composers and others who don’t come from the typical big three –band, choir, orchestra – to give them an opportunity to obtain a teaching creden-tial and then go out and teach. There is a big desire from the community for mu-sic instruction to include popular music, jazz, and songwriting, and this model helps to provide training and opportu-nity for these musicians.

On another note, school-provided music education is being decimated out here in Southern California, and when we talk about the strategy of mu-sic education going forward, we have to take into account the huge number of community-based providers who are giving the instruction in the schools because the school districts aren’t providing it themselves. Music teach-ers should really think broadly about what’s available for their students. There are resources – non-school-based music providers and so on – available in the community that can not only make teachers’ lives easier, but also help provide a connection through music to their students and the com-munity. This can help the students get more experience in music, which will make existing school programs stron-ger while taking some of the burden off of the school educators.

Brenda Brenner: The explosion of technology and its use in the music classroom is very important. In string teaching, knowledge of alternative styles is also helpful, as this is a trend that continues to strengthen.

Bonnie Jacobi: At CSU, there is now a course devoted to technology, as technology has become integrated into Theory, Piano, and Methods course-work, as well. Similarly there is more emphasis on literacy in the curricu-lum so this is reflected in our degree coursework. Strong programs are also requiring more hours of practicum teaching across the K-12 grade levels so that students are better prepared by the time they student teach. We

are trying to get our students out into the schools sooner and sooner; it even helps to reinforce whether or not they want to be a teacher.

The State of Colorado recently passed a new bill (SB 191) which will soon require all music programs to formally assess their students. Each school district is having to develop its own system of assessment based upon the Colorado State Music Standards. Hopefully this will result in some posi-tives, including a clarification of what concepts are being taught, when they are being taught, and how we will be certain they were learned. We hope this will also help to substantiate the im-portance of music as a true discipline (to administrators, state politicians, and the public) because of the fact that aspects of music knowledge and skills are measurable.

There is an increasing trend to em-brace music of other cultures and, to study these cultures closely so the mu-sic can be performed as authentically as possible, the field of Ethnomusicol-ogy continues to grow. We are fortu-nate to have more and more resources available by which to study music of other cultures.

There is also a lot of discussion about what role General Music should serve in the curriculum and what it should constitute; whether there is a need to engage more high school stu-dents in music study (how to reach students who do not participate in per-formance ensembles) as audiences for professional music ensembles continue to shrink and some cannot continue to exist financially; and whether we are adequately preparing high school stu-dents for college music study through performance ensembles (when many struggle in Theory and Piano during their freshmen year).

What are the primary ways in which you think music educators might benefit from external help or train-ing these days?

Bonnie Jacobi: We would hope mu-sic educators will do exactly what we ask our students to do: continue learn-ing. Our associate band director, Dr. Richard Frey, asks his students to think

- car

bo

n,

ber

gla

ss o

r nat

ura

l wo

od

- rea

l nat

ura

l co

rk g

rip

sth

e lig

hte

st b

ato

ns

in t

he

wo

rld

!

- Su

mm

er N

AM

M B

oo

th 3

32

OSI

AM

O

dea

lers

@o

siam

o.c

om

212.

678.

4751


www.osiamo.com


of themselves as “perpetual learners.” The moment you stop learning, you stop growing. When we interview our graduate students, we make it very clear that the expectations of the degree not only include becoming a stronger mu-sician and teacher within the walls of their own classroom, but also becom-ing an energetic, articulate leader who is committed to improving the entire field of music education. Someone who will not only invigorate their school and students, but in some way impact every school in their district, their commu-nity, and their entire state. This can take the form of advocacy, curriculum work, presentations, publications, or even a grant application.

Students in my graduate course, Foundations of Music Education, be-came very inspired this past semester when studying the great reformers of education. I challenged them throughout the semester to begin to think of them-selves as the new generation of reform-ers. Because of the fact that most of our graduate students are full-time teachers, they are familiar with the challenges edu-cation is facing (and specifically, music education). One of the students said she immediately thought of a salmon, be-cause of the way it must swim upstream against the current. The class identified with this and began calling themselves the salmon.

Every teacher today will experience a moment when they will be challenged to decide between right and wrong, and then choose a course. (Which way will you swim – upstream or down? Will you continue to swim at all? Why or why not?) What should they be doing to help them-selves? Be a perpetual learner. Seek out new things to learn about: read an article about recent brain research! Go and watch another successful director lead rehearsal. Keep an open mind: go to a workshop you know nothing about, or one that is different from the way you teach or con-duct. Keep an open ear: invite feedback from a colleague. Remember that there is often more than one right way to do something. Strive to work well with, and learn from, other directors. Reach out to new directors. Take great interest in your feeder programs and strengthen the verti-cal team. True leaders do not build them-selves, but effectively build and inspire

those around them. The more we help each other, the stronger the field of music education will be.

Brenda Brenner: My opinion is that there needs to be much more collabora-tion between universities that are training future educators and people who are cur-rently in the field. This provides valuable information to both parties – it is helpful to the student to see the issues they are discussing in the university lectures in action, and helpful to the teacher in the classroom because of the extra hands to help teach.

Certainly, more training in technology and its use in the classroom is in order for most teachers, and continuing develop-ment (and support for this through the districts) in both musical and education-al areas is always useful. For many tradi-tionally trained string players, alternative styles is an area that is undeveloped, and further training would be helpful.

Teresa McKinney: Professional

development or training by external sources should focus on helping teachers prepare their students for higher educa-tion. Music educators should continually work to develop their own craft and al-ways remember to show their students the benefits of the music discipline. Take your students to more live performances. Invite more artists to your classroom. There is no other way to make up for the proportionately small investment dollars from public sources than for volunteer artists to take up the cause and con-tinue to support the creativity in youth. We must replicate successful models to insure the next generation of artists; not just in music, but dance, theater, visual and cinematic arts.

All conservatories and college arts program should be tapped for assistance. If your school lacks arts programs and there is a college or conservatory near your school, any teacher or principal should contact the dean of the arts pro-gram and partner beginning with a sin-gle classroom. The programs at Juilliard began with a single partnership. Music educators, like entrepreneurs, should not wait for someone else to create a program for their students, find a way yourself. Our entire program grew from one seed – and so may others.

Red Label’s full round, steel core is stable and stays in tune for long periods of time even in changing environments. With Red Label, your students will have instruments in hand that are ready to be played.

... and know your students are ready to learn.

More Time Teaching, Less Time

Tuning

www.SuperSensitive.comA Division of The Cavanaugh Company

MADE IN THE USA

®


www.supersensitive.com

CREATEINNOVATEEVOLVE

SBO_25 25 6/29/12 11:51:57 AM

www.daddariobowed.com


Survey: Continuing Education

The Never-Ending JourneyContinuing Education:

“The journey of teaching music is never ending and as you grow as a teacher, the

students’ product benefits even more from it,” says Rebecca Kilgore-Longtin of

East Rockford Middle School in Rockford, Mich. One particularly important

facet of this journey Rebecca mentions is continuous self-development and ongoing learn-

ing. “Additional education should continue throughout one’s teaching career regardless of

educational level or teaching assignment,” agrees Todd Hunter of Dallas High School in

Dallas, Pennsylvania. “New and developing educational approaches and techniques should

be familiar. After all, wouldn’t you want your medical doctor aware of all the latest devel-

opments in health care options? It is our responsibility as professional educators to be able

to provide them with the best possible education we can.” Few people would dispute that

point, but learning happens in a variety of contexts and settings – from an educator’s own

rehearsal room to clinics or even advanced degree coursework.

Survey.indd 26 7/2/12 8:06 AM


This recent SBO reader survey aims to uncover the latest trends on music educators’ own continuing education and development, while shedding light on current thoughts and inclinations among those actively working in the trenches. Perhaps sentiment on the subject is best summed up by Mat-thew McInturf of Sam Houston State University, who writes, “Continuing education is critical for all teachers, and espe-cially music teachers. I do not know of any teachers who leave their undergraduate program as finished musicians or educators.” Read on to see how and why your fellow band and orchestra directors have chosen to continue their edu-cation, stack their resumes, further their own careers, and, perhaps most importantly, to hone their craft.

How have you furthered your education since becoming a music educator?

“I have learned the most from workshops put on by associa-tions such as ASTA, NAfME, and MTNA, where I could pick and choose to attend those best for me. Classes for an advanced degree were not as valuable for immediate use in the classroom.”

Marla PflanzEast Valley High School

Spokane, Wash.

“I have been teaching for over 20 years and I still learn each day through collaboration with colleagues, personal ex-perience with success and failure, and from students them-selves! With each concert I go to and every rehearsal I attend I am looking for new or better ways I can effectively commu-nicate and connect students with music. I believe the consis-tent quest to be a better teacher makes you a better teacher!”

Chris BernotasMountain Lakes High School

Mountain Lakes, N.J.

“I took two years off from teaching to work on my master’s in Clarinet Performance from the San Francisco Conservato-ry of Music. It was an amazing experience. I feel that I bring that love of music making to my middle school rehearsals daily. I highly recommend it!”

Craig OlzenakHunt Middle School

Burlington, Vt.

“I enjoy picking the brains of successful directors. Also, I have learned much from summer clinics and state in-service conferences. And I really benefited from the practical nature of my advanced degree courses.”

Johnny FolsomCairo High School

Cairo, Ga.

Does your state require that fulltime music educators earn an advanced degree (such as a master’s)?

Do you have a master’s or other advanced degree?

“Obtaining my doctorate was more a personal challenge to better myself, be a part of a networked-community of mo-tivated learners, and sharpen my teaching skills. My thought is that what better role model can a teacher be than to be a life-long learner myself? Although I admit I never thought I’d still be paying off student loans now that I am closer to retirement!”

Duane ChunBuena High School

Sierra Vista, AZ

4%Yes, but within a certain number of years after starting teaching.

No

14%

82%

8%

Yes

No

78%

14%

30%

26%

21%

20%

3%

Seminars/brief training sessions

Informal learning from colleagues and students

Advanced degree(s)

Higher-level courses

I haven’t had the opportunity to continue my own formal education

32%

28%

26%

13%

1%

I am eligible for a higher salary

I am a better teacher now

I have stronger teaching credentials

I have a better support network now

It has not been very helpful

Yes

Not yet, but I’m working towards one.

27%

No

58%

13%

2%Not at all

Not really

Kind of Yes, very


No

14%

82%

8%

Yes

No

78%

14%

30%

26%

21%

20%

3%



Advanced degree(s)



32%

28%

26%

13%

1%






Yes


27%

No

58%

13%

2%Not at all

Not really

Kind of Yes, very


No

14%

82%

8%

Yes

No

78%

14%

30%

26%

21%

20%

3%



Advanced degree(s)



32%

28%

26%

13%

1%






Yes


27%

No

58%

13%

2%Not at all

Not really

Kind of Yes, very



If yes, how has the advanced degree been most beneficial?

“Because I taught for a few years before going back to school, I arrived in grad school knowing what areas I wanted to improve upon. I left grad school with new strengths in those areas and more.”

Conrad H MiskaEagan High School

Eagan, Minn.

“Unfortunately, the district I am in only values a master’s degree at $1,000 per year. So my total motivation was to be a better teacher for my students.”

Annette MitchellArmstrong Middle School

Plano, Texas

“My graduate studies have helped me to stay immersed in the learning process, both as a teacher and a student. Also, with gradu-ate studies, my network of professional contacts and resources has increased significantly.”

Philip KlickmanFrostburg State University

Frostburg, Md.

“I find it essential to continue your education, not because of the financial benefit or keeping pace with the changing tides of educa-tion, but to model to your students the value of continuing educa-tion.”

Matt BockSagauro High School

Scottsdale, Ariz.

Has continued education been significant towards fur-thering your career?

“I think the best thing you can do to further your career as a band director is to seek help and advice from other direc-tors that are successful. An advanced degree is not a guaran-tee that you will become a better teacher.”

Joe TrustyCabot High School

Cabot, Ark.

“I gained valuable knowledge with the masters program I was on. When you get to spend all of your time on nothing but music courses it is great what one can learn.”

Dan LarsonPonca City High School

Ponca City, Okla.

Do you have any suggestions or advice on how to fit continuing education into an already packed schedule?

“I would recommend teachers looking for a program that fits their busy schedule and works in regards to their geo-graphical area. There are a wide variety of degree programs that offer special scheduling built with the working teacher in mind. With so many to choose from, it seems that any teacher could find one that works for them as long as they are willing to commit to completing a degree. My master’s of Mu-sic Education degree included summer courses, a research project, and online classes. I have a friend that did everything online, while another did one weekend a month. It can be done with determination and hard work.”

Raymond ThomasNorth Forsyth High School

Cumming, Ga.

“You need to make time. You cannot ‘find’ time. It has to become something that you fit into your day/year. Making it a priority is the only way to tackle it. With all that is required from our position as teachers, you need to set aside time to take classes and get into a program. I took a sabbatical year to complete my master’s degree. I hope to take another sab-batical again in the next seven years. “

Brad CiechomskiHarrison Middle School

Yarmouth, Maine

“The best way to get an advanced degree is to go back to school full time. If that is not possible, many universities offer part time options. There are some summer programs, such as the American Band College, which offer a combina-tion of summer residency and online programs.”

Matthew McInturfSam Houston State University

Huntsville, Texas

12 School Band and Orchestra • June 2012

As the American economy continues to show signs of recovery

from the downturn of 2008, school music groups are gradu-

ally hitting the road once again, says Bud Geissler, president

of the Student Youth Travel Association (SYTA), a network of tour opera-

tors and consultants that specialize in facilitating all manner of trips for

young people, including school music groups. Also the vice president

of Metro Tours, Inc. in McMurry, Pennsylvania, Bud has been traveling

with student groups for the past 17 years.

A Focus on Trends in Travelwith Bud Geissler of SYTA

Bud Geissler, SYTAUpfront Q&A

SBO recently caught up with the travel professional for his thoughts on the latest trends in student travel, par-ticularly in regards to saving costs and finding unique destinations.

School Band & Orchestra: What are the latest trends in school music travel? Have groups been hitting the road since the recession hit a few years ago?

Bud Geissler: Numbers are picking back up. Groups are traveling, and the numbers of participants are increas-ing. We’ve seen that the overall cost of the experience has come down. Instead of five days and four nights, more groups are doing four days and three nights. Groups are looking for reductions in cost, but not necessar-ily overall experience. That’s the big-gest trend we’ve seen for school music groups.

SBO: Are people still traveling as far as they were before or are they typically staying closer to home?

BG: We’re still sending groups to the same places that we were sending them before the recession hit. However, when groups arrive at their destination, they may be including fewer packaged meals and doing more on their own, maybe fewer planned activities. We’ve seen a lot of groups packing meals on the road while they’re traveling, which we hadn’t seen before. But groups are still doing the whole experience of fly-ing somewhere, taking in a week of

UpfrontQ&A.indd 12 6/4/12 12:43 PM

Get Your FREE iPad edition of SBO at the App Store


No

14%

82%

8%

Yes

No

78%

14%

30%

26%

21%

20%

3%



Advanced degree(s)



32%

28%

26%

13%

1%






Yes


27%

No

58%

13%

2%Not at all

Not really

Kind of Yes, very


No

14%

82%

8%

Yes

No

78%

14%

30%

26%

21%

20%

3%



Advanced degree(s)



32%

28%

26%

13%

1%






Yes


27%

No

58%

13%

2%Not at all

Not really

Kind of Yes, very


zildjian.com

©2012 Avedis Zildjian C

ompany

THE CADETS - 2011 DCI World Champions.

THE

ZILDJIAN.BEST CORPS

PLAY

SBO_29 29 6/29/12 11:52:05 AM

www.zildjian.com


By Eliahu Sussman


SBOUpClose: Willie WrightSBOUpClose: Willie Wright

With the plethora of opportunities available to young people these

days, kids often feel that they have to choose between music and

sports. The common perception is that both activities are so de-

manding in terms of time and focus that they are somehow mutu-

ally exclusive: to participate in one means foregoing the other.

However, that dilemma has never been a problem for Willie

Wright, band director in Worland (Wyo.) Public Schools. When he

was in high school, Wright excelled not only at the saxophone in

jazz and marching bands, but also in sports, lettering in track and

football. In fact, his athletic gifts took him all the way to the NFL,

where Wright played for the Phoenix Cardinals, now called the Ari-

zona Cardinals, and then to Europe, where he played football pro-

fessionally for the league that preceded the current NFL Europe.

Wright continued honing his musical talents all the while, bringing

his horn with him everywhere he went, and soon after his athlet-

ic career came to an end, he began a new life as a music educator.

UpClose.indd 30 7/2/12 8:32 AM


From the Gridiron



Now, some 14 years and several school districts later, Wil-lie Wright has just finished his first year teaching band in the small town of Worland, working with ensembles rang-ing from fifth-grade general music up through high school symphonic and marching bands. Fully immersed in music, the former professional athlete spends the bulk of his time teaching, working with students, talking shop with his wife (who is also a school band director), and honing his own performance skills.

In this recent conversation with SBO, Wright discusses the evolution of his career in music education, the parallels between success on the football field and in the band room, and the challenges of learning how to create a great music program.

School Band & Orchestra: You’ve had an incredibly varied professional life. How did you end up becoming inter-ested in music?

Willie Wright: I’ve been passionate about the saxophone from an early age. It was the instrument that I wanted to play growing up. I had a really inspirational high school band di-rector, John Aanestad from Riverton, and he opened doors for me musically. I went in and did a lot of exploring, myself. He had a really strong jazz program at Riverton.

However, I played football at the University of Wyoming, and went on to play most of the 1992 season in the NFL. I was on the developmental team in ’91, and then in NFL camps in ’93 and ’94. And in 1996, I played in the World League of American Football, which later became NFL Eu-rope. I didn’t have a very long career, but it was very interest-

ing and I got to play plenty of football for five or six years. During that time, I kept playing music, but my focus was

mostly on my own musicianship. I actually took my alto sax with me to Germany when I was playing there, and I would go off in the evenings to find a room in the hotel where I was staying to practice. One time, one of the football coaches asked me why I kept playing the same thing over and over again, and I told him, “I’m trying to get right! What do you think we do at football practice?”

SBO: So you were never torn between band student and athlete?

WW: No – I was fortunate that I never really had to make that choice. I think that’s kind of the appeal of some of these smaller

“I still have students come up to me and say, ‘I’m really going to get into sports, so I can’t do music.’ Of course I tell them, ‘Wait a minute – there’s no reason you can’t enjoy both!’”


WE’LL TAKE YOU THERE 888-323-0974 WWW.EPNTRAVEL.COM

OUR MUSIC FESTIVAL PARTNERS INCLUDE:

YESYESWE CANTAKE YOUR GROUP THERE.

WE’LL TAKE CARE OF EVERYTHING.

YESIT’S THAT EASY!

EDUCATIONAL PERFORMANCETOURS

FRIENDLY

GROUPTRAVEL TOURS&

SBO_33 33 6/29/12 11:52:10 AM

www.epntravel.com


Wyoming towns. You can still do it all and have those different experiences.

SBO: And at what point did you de-cide that you would become a music educator and band director?

WW: After I did my student teach-ing. I was a little torn between athletics and music, because I wasn’t really sure that I wanted to be a band director. I looked into being a graduate assistant at a football program, and a good friend of mine, who’s actually the strength coach at a major university, laid out the whole scenario as far as coaching. His opinion was that that wasn’t the kind of lifestyle that I wanted to lead, and I thought about that a lot.

I took a year off in between student teaching and teaching during which time I played on Carnival Cruise Lines cruise ships. Being out there, wanting to be a jazz musician and thinking of going to a big city like New York or L.A. to try to become a player on the scene gave me a life lesson, because a

lot of the guys on the ships had already done that. So I decided that that wasn’t really the life for me either. Instead, I went with the stability of becoming a teacher, and being able to play my instrument on the side, with my own bands and for my own enjoyment.

SBO: So tell me about your early teaching experiences, then?

WW: I started the band program at a charter school in Brighton, Colo-rado. This was my first teaching job, and I was there for four years. To be honest, it was a bit of an unusual situ-ation because the position wasn’t very demanding. That was great because I still wanted to do a lot of playing on the side. When I first started, I wasn’t as focused on the students as I should have been. As I grew into the job and matured, I started to realize what these students needed from me, and that’s when I started to develop as an educa-tor and make more and more time for my students. I learned a lot about pa-

tience. I didn’t start teaching until I was 30 years old, back in 1998.

SBO: And what brought you to Wor-land?

WW: I’m originally from here. Not native, but I went to high school near-by, in Riverton, and I was interested in coming back. The schools here are re-ally well run, well funded, and teacher friendly.

SBO: What’s your vision for the Wor-land band program?

WW: We’ve changed the schedule for next year, so I won’t be working with the elementary students anymore, and I’m trying to start a jazz program. That’s my main orientation. I consider myself a jazz tenor player, and I’ve done a lot of playing out with different bands. I’m also going to split the per-cussion from the band, so next year I’ll have band, percussion, and jazz band, in addition to marching band and sym-phonic band.

DS730BTall Stand

Auto Grip System (AGS)When placing the bell on the AGS yoke, the yoke arm secures both Alto and Tenor saxophone AUTOMATICALLY.

GRIPS LIKE NO OTHER STANDS CAN!

DS630BBPortable Standwith bag

The most secure sax stand available, perfect for gigs and concerts!


www.herculesstands.com


SBO: How has the transition to the program in Wyoming gone so far?

WW: So far it’s been great. The com-munity and the students have all been really receptive. It’s the best first year I’ve ever had! This is my fourth school, and as far as coming in the first year, this is the best I’ve ever had.

SBO: In your experience, what can one do to facilitate a smooth entry into a new school?

WW: You need to come in and not have the attitude that you’re going to change the world right off the bat. Some things should be left the same, especially at the very beginning, and then gradually molded into what you want. If you come in and just shock everybody in the program, with brand new rules exactly how you want it, lay-ing down the law and trying to snap everybody into line, students will react negatively.

SBO: How do you gauge what’s ap-propriate as far as instilling your own agenda versus maintaining tra-ditions?

WW: That’s a great question. As you get more experience, you learn how to finesse the situation. To pinpoint ex-actly how to do that, everyone needs to find his or her own path. One of the pitfalls I’ve experienced, and other ed-ucators I’ve spoken with agree, is that you can’t go in and say, “Okay, it is my way or the highway,” on day one. You do need to establish yourself, but you don’t want to go too far changing things or being too harsh. You’re dependent on having students in your program, so you don’t want to turn people off.

To decide how I wanted to approach the transition, I met with administra-tors, and I also spoke with the previous two directors here. The gentleman who taught right before me wasn’t on the job for very long, but the man who pre-ceded him had a great career and still

lives in town. I emailed these people and talked to them a few times to get a feel for where the kids were at, and even incorporated some of the things that they had been doing into my plan-ning. I actually did that at my previous school, as well.

SBO: Now that you’ve been teach-ing for a number of years, looking back on it all, what are the parallels between making it as a professional football player and making it as a professional band director?

WW: The same things are at work. You have to persevere through some tough times. You have to keep your eyes on the prize and keep working to get better every day.

SBO: What are some of those things that you have to persevere through in music education?

WW: One of the toughest things to get through is attrition. That hurts some-

times. You get a student who’s a bright student and a good player, and all of a sudden they don’t want to be in your program anymore. Luckily, I haven’t had too much of that this year, but I’ve faced that in the past, and it can be tough to get beyond that, but you have to focus on the good students that you have and the ones who stick with you.

SBO: Certainly people talk about re-tention as a real challenge, often be-cause of academic demands and also the wide array of activities that are available to students these days.

“You can get superiors for 20 years in a row, but if you aren’t including a lot of students – as many as you can – and there isn’t much enjoyment in it for everyone, you’re miss-ing something.”



WW: Absolutely. Attrition makes you take a good long hard look at yourself and your program, and ask yourself, “What do I need to do to make my program better? What do I need to do to make it more en-joyable for the students?”

SBO: Let’s get specific, then, what are some of the answers to those ques-tions? What are the attributes of a great program?

WW: The students need to enjoy mu-sic. You can get superiors for 20 years in a row, but if you aren’t including a lot of students – as many as you can – and there isn’t much enjoyment in it for everyone, you’re missing something. There are plen-ty of ways to make it fun; it’s taken a while to find some of those things for me, and I’m still working at it every day. Just little changes to your routine, different things you can do with the students on different days.

I go to as many clinics as I can to steal ideas from great educators. I’m very inter-ested in what other directors are doing. I like to talk to directors, say, at a solo & ensemble festival or at a band festival. I’ve found that band directors are really great at being willing to talk about their pro-grams and share things that they do. A few times a year, I like to get out and spend a day in another director’s band room. I really enjoy doing that. I feel like I have a pretty strong identity myself, but it’s great to see what other people are doing; I al-ways pick up a couple or three new things that I can use in my own classroom.

SBO: How do you facilitate those events happening?

WW: It’s mostly from seeing other di-rectors at festivals, and it’s usually people that I know fairly well. I’ll ask them if I can come spend a day in their band room. I didn’t do that during my first four years as a teacher, and I think trying to teach in a vacuum, you don’t get a whole pallet of different ideas on how to approach vari-ous things. Some things you have to look at and say, “Well, that really wouldn’t work in my situation,” but there are always plenty of things that you can use.

This is kind of a tangent, but another area that can be really helpful to a music program – and something that not every-one thinks about – is having a decent re-lationship with the coaches in the athletic

department. A lot of times there’s kind of an adversarial relationship between the music people and the sports people. I’ve seen it on the educator’s side, also. Ev-ery situation is different, but trying to get along and share students is a good idea.

I still have students come up to me and say, “Well, I’m really going to get into sports, so I can’t do music.” Of course I tell them, “Wait a minute – there’s no reason you can’t enjoy both!” Just being able to work with the coaches, communicating with them beforehand, sharing schedules, and letting them know in advance so you don’t end up in some blowout argument at the last minute can be really helpful. It is as simple as two adults communicating with each other.

SBO: Is there a way to keep that from even coming up in the first place – to demonstrate that somehow before kids think they have to choose one or the other?

WW: I think you need to change the perception to keep that from happening. Maybe I need to do a better job of letting everyone know that I have a number of football players in my band, and 60 per-cent of my kids participate in sporting events throughout the year.

SBO: It must help facilitate the conver-sations about sharing students when the band director shows up with the athletic resume that you have!

WW: Oh yeah, absolutely. That’s an advantage that I have. Not a lot of mu-sic people have that type of experience. When the head football coach wants you to work with his players, it’s a definite ad-vantage to then discuss when you might need students for a performance.

SBO: Have you been tempted to par-ticipate in the football program at your high school?

WW: I try to stay away from coach-ing these days because I think I need to be available for my students. When I have to run out to practice every day, it hurts my program. I’ll probably go out to the football field and work with the players on technique once a week or so, but as far as being a fulltime part of the staff, I just don’t feel that I can do it and still be a good band director.

Trevor James Ad_SBO_2011.09.indd 1 9/15/2011 9:53:44 AM


www.tjflutes.com

SBO_37 37 6/29/12 11:52:20 AM

www.petersontuners.com


Blink, blink, blink goes my cursor.Then I hear it! My inspiration to

keep music in the lives of my students and my children – my five-year-old playing the accordian my mother has given him! Yes, the accordion, and my seven-year-old playing the foam drum set that has tons of fun sounds. Together they are try-ing to form a rock band. Who am I to stop their creativity and wishful thinking of a fu-ture in a rock band?

At our last RIMEA Execu-tive meeting, I told the Board that Bobby Rathbone and I will be presenting at the Con-

necticut Music Educators In-Service for an Advocacy session. Everyone was very pleased, but then I brought the group down stating that due to the financial situation among schools in Woonsocket, I was having a difficult time advocating for music at such a

low point in my ca-reer.

Mark Colozzi looked at me and said, “The reason why we work in tough cities with struggling budgets is not for ourselves, but for the kids.

Who will speak for the kids? You should never forget that.” Unfortunate-ly I had forgotten such an important thing. There are moments in life that we need to be reminded of why we are here as music educators.

As musicians, where do we go to find strength when we feel so strung out and lost? The mu-sic! We are dedicated, hard working, emotional people with the best intentions. When the people who have brought us inspiration are physically gone, we can for-get that they are forever with us in our music. I kept look-

I have faced many difficult issues within my career. Not only did I walk away

from playing the French horn with the American Band (a dream come true to

play with fantastic people), but I also lost stability in my job due to financial problems

in Woonsocket, Rhode Island, and two mentor-friends passed away. RIMEA has lost two incredi-

ble people that have truly taught me the meaning of advocating for children: Ed Drew and Ron Stabile.

How can I advocate when I am so down? How many more times can I let my advocacy team down?

By Nicole M. Denton

Stronger

Guest Editorial

Ed Drew Ron Stabile

Guest Editorial.indd 38 7/2/12 8:09 AM


ing for my inspiration. I listened to many songs on the way to school, during school, in the movie theater, at sporting events and through teaching. As I listened to my students, I was inspired to work hard in my teaching but I still wasn’t feeling uplifted in music. Where was the fighter that wouldn’t give up no matter what? Where was the person who wouldn’t take no for answer?

I am sure everyone has had these moments many times in life – the a-ha moment. For me, it came when a student shared a project in class about her favorite musical artist. The musical artist was Kelly Clarkson and I was asking all the usual questions to keep the project moving along. The stu-dent told me she brought a song to play for the class. The song helped her get through her parents’ divorce. Usually I listen to the songs, but that Kelly Clarkson song was so great that I pressed play and then – bam! After the second refrain, I stopped the music and pressed replay. There it was, my inspiration!

Please read the lyrics slowly and carefully.

”Stronger” by Kelly Clarkson What doesn’t kill you makes you stronger Stand a little taller Doesn’t mean I’m lonely when I’m alone. What doesn’t kill you makes a fighter Footsteps even lighter Doesn’t mean I’m over cause you’re gone What doesn’t kill you makes you stronger, strongerJust me, myself, and IWhat doesn’t kill you makes you stronger, Stand a little taller Doesn’t mean I’m lonely when I’m alone

And I’m back! Yes, I am! The big girl pants came on and even though I mentally knew why I was here (the kids), I be-came reenergized emotionally. Losing two friends, losing my job, walking away from something I loved more than I can express did not kill me, it made me stronger and I learned a lot from those experiences.

This is what I learned and I hope you can take something from this:■ I need to get out of my own head and understand that life

will throw many curveballs. ■ The students that I am blessed to be with everyday bring

the inspiration to continue to make myself better than I am right now.

■ I did not choose this profession for money, but for making a child’s life more rewarding one moment at a time.

■ Whenever a student smiles, I have been given a gift that should be nurtured and cherished.

■ Do not abandon ship just because it is bad right now. Pa-tience is truly important.

■ This is the biggest one: it is not about me! Knock off feel-ing pathetic, dust off my pants and get back to fighting because I have to be stronger for my students.

While I was walking my seven-year-old son into chorus rehearsal, I asked him what his life would be like without music. He stopped walking, looked at me and said, “I can’t imagine it, Mom. That doesn’t make sense and I wouldn’t be happy.” He looked confused for a while but the smile re-turned as soon as he started singing.

As you fight for your programs and your students, remember that we are important for the children of this country. Your tenaci-ty, dedication, strong belief in the future of our children and love of music is what will keep music education alive in Rhode Island and throughout the U.S. Keep fighting to bring joy to all of our children that need and depend on us to bring joy to their lives.

This article was written with respect and total admiration for Ronald Stabile. Thank you for teaching me how to ad-vocate for children. You have been and will forever be an inspiration to many lives.

Nicole M. Denton graduated from the University of Rhode Island with a bachelor’s degree in Music Educa-tion in 1999, and she received her master’s in Educa-tion through the University of New England in 2005, while teaching elementary music in Woonsocket, R.I. Currently, Nicole is the middle school band director for both Hamlet and Villa Nova buildings. She is the advo-cacy chair and secretary for the Rhode Island Music Education Association and a French hornist with Ocean State Summer Pops Orchestra. She has spoken at four Music Education Conferences and is a true advocate for children.

We are one of the leading suppliers of band and orchestra instruments to schools

and music dealers throughout the United States. We offer a full line of brass, woodwind, orchestra

and percussion instruments designed and crafted to educational standards.

For a list of dealers in your area, or a catalog contact:

[email protected] by email or call.We respond to all school bids through local dealers.

Samples are available for evaluation.

Qua

lity

Inst

rum

ents

Hunter Music Instruments3300 Northern Boulevard, Long Island City, NY 11101

(718) 706-0828 Fax: (718) 706-0128www.huntermusical.com

That Your School and Students

Can Afford

Guest Editorial.indd 39 7/2/12 8:09 AM

www.huntermusical.com


New Products

The Reserve mouthpiece offers the tone and response of a vin-tage mouthpiece paired with the intonation and flexibility required of today’s clarinet-ist. Each is crafted from Rico’s own unqiue formula of pro-prietary hard rubber mate-rial. Milled, not molded, the Reserve mouthpiece bore, baffle, chamber, and facing are 100 percent precision-crafted using CNC manufac-turing, resulting in accuracy and consistency from mouth-piece to mouthpiece.

Three tip openings will be offered: X0 1.00mm (close), X5 1.05mm (medium), and X10 1.10mm (medium open). www.ricoreeds.com

Rico Reserve MouthpiecesThe Cloudscape line of ceiling

baffles reduce reverberation in ap-plications such as gymnasiums, auditoriums, performance venues, theaters and restaurants. They can be suspended from open truss and pre-engineered suspension systems or alternatively mounted direct to a roof deck or wall. In ad-dition to the standard 4’x2’ x1.5” PVC encapsulated ‘echo-nomical’ baffle, Acoustics First has expand-ed the selection to include three alternate finishes. An upgrade is available to 2” thick option avail-able in sizes up to 4’x10’, with some limitations. Finish upgrades are also available in the durable rip-stop nylon sailcloth (CSBF2S) with 9 color choices as well as a fabric encapsulated Cloudscape

Baffle. The CSBF2F is encapsu-lated in a sewn Guilford of Maine FR701 fabric and will coordinate

with the Sonora ridgid acoustical wall panels. The acoustical ceiling baffles are extended even further with an offering of exterior grade fabric for outdoor applications. This means four choices of baffle configurations, more sizes and 96 finish options. Additionally, all the 2” thick options use environmen-tally friendly Ecose glass fiber. www.acousticsfirst.com

Acoustics First Cloudscape Ceiling Baffles

��

New Products.indd 40 7/2/12 8:10 AM

www.americanwaymktg.com

SBO is now available in the App Store.www.sbomagazine.com/ipad

now on the iPad

July 2012 • $5.00


Two students from California, Illinois, and Washington were

among the 10 winners of this year’s SBO Essay Scholarship

Contest, with the other four from Maryland, Georgia, Tex-

as, and Virginia. Five winners were selected from grades nine to 12

and five students from grades four to eight each received a $1,000

scholarship and their respective school music programs received a

matching award of musical products from co-sponsors NAMM, Al-

fred Publishing, Sabian Ltd., Woodwind & Brasswind, and Yamaha

Corporation of America.This year’s theme, “Dear School Board Member: why we need music education

in our schools…” generated contributions from every state in the U.S., as well as several foreign countries. The music students received their scholarship award from local music dealers representing NAMM (the National Association of Music Merchants), a major co-sponsor of the program. 2012 marks the 12th year for the essay contest, which has awarded $240,000 in scholarship funds and matching music products to more than 120 school music programs since its inception.




2012Essay Contest

Winners

SBO is now Available at the App Store

Roundtable: College ResourcesReport: 2012 SBO Essay Contest Winners


Willie Wright

CoverFinal.indd 1 7/2/12 8:32 AM

SBO iPad ad.indd 41 7/2/12 8:36 AM

www.sbomagazine.com/ipad


New ProductsD’Addario Kaplan Orchestral Bass String Set

The Kaplan name has al-ways been synonymous with quality, consistency and tradi-tion. Kaplan Orchestral strings are designed to offer a rich tonal color palette and superb bowing response in a beauti-fully balanced set, allowing musicians to fully express themselves.

All Kaplan Bass strings utilize a stranded steel core. The Kaplan Bass G string is titanium-wound, and the A and D strings are nickel-wound. The E and C-Ext-E strings are stranded-steel core/tungsten-wound strings. This set pro-duces a full and clear tone that offers a rich, beautiful and blossoming sound. Kaplan Bass set and singles are avail-able in light, medium and heavy tension, ¾ size only. The Kaplan Bass Set comes with standard E string. C-extension string is sold separately. The silking is silver with black stripes. www.daddario.com

Pickboy Natural Series Conducting Batons

This new line of natural conducting batons from Pickboy features lightweight maple shafts in both white or natural finish and a comfortable grip that is available in box wood, ebony, mahogany, palm wood or rosewood. The batons have many professional features including light weight, good bal-ance, and a comfortable grip, and are available in these three lengths: 320mm, 340mm, and 380mm.www.osiamo.com �

�


www.facebook.com/mingdrumsusa

www.bandtoday.com

New Products


P. Mauriat PMXA-67RUL Alto Sax

The new PMXA-67 Alto features rolled tone hole, which offers less resistance

so it is easier to play, a feature designed for young horn players looking for a step-

up horn on the way to becoming professional. It features a large bell that produces a big full sound with hand en-

gravings there and on the bow and neck. It features a

Super VI neck style, and the pads have seamless dome metal resonators. www.stlouismusic.com

From the Stage to the Studio from Oxford University Press

W h e t h e r serving on the faculty at a uni-versity, main-taining a class of private stu-dents, or fulfill-ing an invitation as guest artist in a master class series, virtu-

ally all musicians will teach during their careers. From the Stage to the Stu-dio speaks directly to the performing musician, highlighting the significant advantages of becoming distinguished both as a performer and a pedagogue. Drawing on over sixty years of com-bined experience, authors Cornelia Watkins and Laurie Scott provide the guidance and information necessary for any musician to translate his or her individual approach into productive and rewarding teacher-student inter-actions. Premised on the synergistic relationship between teaching and per-forming, this book provides a structure

for clarifying the essential elements of musical artistry, and connects them to such tangible situations as setting up a studio, teaching a master class, inter-viewing for a job, judging competi-tions, and recruiting students. From the Stage to the Studio serves as an essential resource for university studio faculty, music pedagogy teachers, college mu-sic majors, and professionals looking to add effective teaching to their artis-tic repertoire.www.oup.com

A Composer’s Insight, Vol 5. from Meredith Music

Edited by Timothy Salzman with a forward by William Bolcom, A Compos-er’s Insight: Thoughts, analysis and Com-

mentary on Contemporary Masterpoieces for Wind Band; Volume 5 is the fifth in a five-volume series on major contem-porary composers and their works for wind band. Included in this volume are rare “behind-the-notes” perspec-tives acquired from personal interviews with composers William Bolcom, An-drew Boysen, Jr., Steven Bryant, Chen Qian, David Dzubay, Adam Gorb, and more. An excellent resource for con-ductor, composer, or enthusiast in-terested in acquiring a richer musical understanding of the composers’ train-ing, compositional approach, musical influences, and interpretive ideas.www.meredithmusic.com

Vandoren Hygro Reed Cases

The new Hygro Reed Cases are compact enough to fit in an instru-ment case but include a humid-ity control sys-tem. Each reed case offers space for six reeds, a sponge to maintain optimal humidity, and a disc that indi-cates when its time to add water. The two new models include the HRC10, which holds clarinet or alto sax reeds, and the HRC20, which holds bass clar-inet or tenor or baritone sax reeds. www.dansr.com

�

�

�

The Easiest Fundraiser Ever!

Call now for 60% pro� t!

877-346-0951 or email us at [email protected] for full details!

�


www.chopsaver.com

Keep Music Education Strong!Music education advocacy at your fingertips—access SupportMusic tools anytime, anywhere.

It’s easy to get your hands on music education advocacy information using your smartphone.

Simply type www.nammfoundation.org into your phone’s browser and connect tomusic research, SupportMusic Coalition updates and music education advocacy

information that can help keep music education strong in your community.

Scan for the latest advocacy information.

PAGR SBO Campaign8 125x11 125 indd 1 1/10/12 10:38 AM

SBO_44 44 6/29/12 11:52:27 AM

www.namm.org


WWW.EPNTRAVEL.COM

OR CALL 1.888.323.0974

STUDENT

TRAVEL

FRIENDLY

TOURS&GROUP

PLAYING TIP OF THE MONTH

Submit your PLAYING TIP online at www.sbomagazine.com or e-mail it to editor Eliahu Sussman at [email protected]. Winning entries will be published in School Band and Orchestra Magazine and contributor will receive a prize gift compliments of EPN Travel Services, Inc.

Brought to you by EPN Travel Services

From Legato to Glissando“When playing and practicing legato passages on the trom-bone, I often make my students glissando smaller, individual phrases. This allows them to experience the feeling of blow-ing through the entire instrument with steady, unwavering air. ‘Glissing’ also develops familiarity and understanding of the instrument’s partials, and improves embouchure flexibility.”

Jon BellArlington High School

Arlington, Texas

.com

Attention Music Colleges: Set Up Your Free Listing On

Your Music. Your Education. Your Opus.Go to yopus.com today to sign up to receive launch announcements and have your school listed.

Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150

Reach Thousands of Music Students!

We Need Your Help!

The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive new website for music students and colleges to connect.

yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find informa-tion about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and goals. Please go to the site, request your log-in, and enter your school’s information.

Find Your School: in a search by region, interest, or other criteria, as well as follow music college news, headlines, and tweets.

Apply: Learn about the application process, financial aid options, and more.

Read Exclusive Content and Tools: Students can learn about scholarships and read relevant, infor-mative articles on succeeding in the college search, application process, and as a collegiate music student.

With yopus.com, students will be able to:

Playingtip.indd 45 7/2/12 8:11 AM

www.epntravel.com

www.yopus.com


DVDs

Merchandise

Fundraising

Accessories

Arrangements

Gifts

Help Wanted

Instruction

Classifieds www.sbomagazine.com

BandGifts.comGuitar • Horns • Piano • Strings

T-shirts, Hats, Stickers, Jewelry, Keychains, Miniatures, Ties, and more.

DOUBLE YOUR MONEYWith this hot selling bumper sticker alternative.

They’re magnets printed with your school mascot and die cut into special shapes.

Visit: LogoMagnet.com to request a sample pack.

Custom ArrangementsFor All Instrumental / Vocal Ensembles

Tailored to Your Specific GroupsContact Al Newman (505) 681-1213

[email protected] Sara Way SE

Rio Rancho NM, 87124

Free Marching Band ArrangementsContact or email

International Education ServiceP.O. Box 15036

Alexandria, Virginia 22309703-619-6268 [email protected]

(Advertise in the Classifieds!

Call Steven Hemingway 1-800-964-5150 ext. 34Or Write [email protected]

[email protected]

www.SBOmagazine.com www.SBOmagazine.com

Are your band and orchestra students preparing for college?

The IVASI DVD Systemhelps high school students learn

important works to prepare for college orchestras.

Visit www.IVASI.net

FAIRMONT PRIVATE SCHOOLSHigh School Music Teacher- Choir,

Showcase Choir, Band

Located on the historic Stanton Estate in Anaheim, Fairmont Prep is a non-sectarian, WASC-accredited high school that attracts students from throughout Southern Califor-nia and the world. Fairmont Prep is currently seeking a dynamic Music Teacher who is able to lead our nationally and Internationally ac-claimed music program that enjoys a well-earned reputation for excellence. It is impera-tive that applicants have a strong background in Choir, Show Choir and Band. Bachelor of Science or Bachelor of Arts degree in educa-tion and/or the subject(s) being taught, pass-ing grade on the CBEST, a valid Teaching Credential preferred. Minimum of two years teaching experience preferred.

Please email resumes to:[email protected]

or fax to: 714-234-2794 Attn: Kari Mitzner. By mail: 1575 W. Mable St. Anaheim, CA

92802 Attn: Kari Mitzner

Classifieds.indd 46 7/2/12 8:14 AM

Merchandise

Merchandise

Repair Tools

Repair Tools

Show Design/InstrumentsPrint Music

Print Music

Classifieds www.sbomagazine.com

www.SBOmagazine.com

STANDS, PODIUMS, FOLIOS,& MORE @ DISCOUNT PRICES!

FREE MUSIC EQUIPMENT CATALOG1-800-573-6013

www.valiantmusic.com

Music and More Midwest/Warren Creative DesignsLet me help bring your group to life with

one of my designs!Some of the best prices in the country on products!

www.warren-creative-design.comOne stop dealer for Show Design, Musical

Instruments, Guard & Band Uniforms, Supplies, & [email protected]

800 947-5877 • 517 467-2003

The NPS8210 Melody Chair

has the same specifications as the most popular

“Music”chair! NOT $79 but

as low as $51.00 per chair!

Go to www.tablesnchairs.com for the details!


CLEAN OUT YOUR BAND ROOM!

Call Steven 800-964-5150 ext 34 or

[email protected]

Recycle your old uniforms and fixtures into cash! SBO

classifieds reach 20,000 band/orchestra directors. $30 per

inch to reach a one hundred percent targeted audience!

Teaching Aides

www.musictreasures.com

Teaching Aids - Awards - Gifts

toll free: 1-800-666-7565

Software

AUDITION MANAGER makes handling large auditions easy. It features automatic data entry from

initial registration to final judging via scanner cards.

www.AudMgr.com • 800.579.1264 Barry Lumpkin



COMPANY NAME E-MAIL/WEB ADDRESS PAGE #

American Way Marketing LLC www.americanwaymktg.com 40

Antigua Winds, Inc. www.antiguawinds.com 12

J.J. Babbitt Co. Inc. www.jjbabbitt.com 14

Band Today LLC MarchingBandPlumes.com 42

Bari Woodwinds www.bariwoodwinds.com 22

Barrington Musical Instruments www.barringtonmusicgroup.com 17

Charms Office Assistant www.charmsoffice.com 16

D’Addario & Co. www.daddario.com 25

Disney Performing Arts OnStage www.DisneyPerformingArts.com 5

EPN Travel Services www.epntravel.com cov 4

Festivals of Music/ www.educationalprograms.com cov2-1

Festivals of Music/ www.educationalprograms.com 37

Good for the Goose Products www.chopsaver.com 43

Hal Leonard Corp. www.halleonard.com 7

Hunter Music Instrument www.huntermusical.com 39

Ideal Fengling Group www.MingDrumsUSA.com 42

KMC Music, Inc www.kmcmusic.com 34

McCormick’s Ent. Inc. www.mccormicksnet.com 9

Osiamo LLC www.osiamo.com 23

Pearl Corp. www.pearldrum.com 3

Peterson Strobe Tuners www.petersontuners.com 41

Row-Loff Productions www.rowloff.com 33

Dan Ryder Field Drills www.danryderfielddrills.com 8

Super-Sensitive Musical String Co. www.cavanaughcompany.com 24

Vic Firth Company www.vicfirth.com 21

Vic Firth Company www.vicfirth.com 20

West Music www.tjflutes.com 36

Woodwind & Brasswind www.wwbw.com 15

Avedis Zildjian Co. www.zildjian.com 29

Ad Index www.sbomagazine.com


Save

The D

ate

!Networking the

jazz arts community... local to global!

Jazz Education Network

4th Annual Conference

The Jazz Education Networkis dedicated to building the jazz arts community by advancing education, promoting performance, and

developing new audiences.

For complete membership information/benefits please visit us at:

www.JazzEdNet.org

Atlanta, GeorgiaJanuary 2-5, 2013

SBO_COV3 COV3 6/29/12 11:49:52 AM

www.jazzednet.org

SBO_COV4 COV4 6/29/12 11:49:11 AM

www.musicintheparks.com

sbo july 2012

Documents