Welcome!

from your friends at MENC

We hope you had a fantastic summer! As you return to campus and get back into the swing of the school year, NewsLink is here to help. Throughout the year, we’ll feature articles on topics that will help you develop your CMENC chapter and prepare for student and first-year teaching.

We want to hear about your experiences and concerns this year! Send in your chapter’s news and photos for our “Chapter Chatter” spot, or if you have any suggestions or topics that you’d like to see in this year’s NewsLink, e-mail Anne Wagener at annew@menc.org. If you have questions about the Collegiate program or your chapter, e-mail Stephanie Murillo, Special Memberships Manager, at stephaniem@menc.org.

Good luck this year!
MENC Collegiate Staff

Show Me, Don’t Tell Me:
The Importance of Great Modeling in Teaching Music

Diana Hollinger is the coordinator of music education and conductor of the Symphonic Band at San José State University. She is also an active adjudicator and clinician, and is currently researching the use of technology in conducting pedagogy and the Venezuelan music education system as a model for using music education to raise children from poverty.

Don’t tell me the moon is shining; show me the glint of light on broken glass. - Anton Chekhov

A Picture Is Worth a Thousand Words

Over the last several years, the field of music education has increasingly focused on the importance of accessing good models. Modeling has always been a pedagogical technique used by effective teachers, and it is now better represented in our curriculum materials and music education research. There was a time not so long ago that when our students were not performing the way we hoped, and we wanted a model for them, we could sing, we could ask another student to play (with varying results depending on that student’s technical ability and musical aptitude), or we could take the instrument and try to show them ourselves (often very ineffective, depending on our degree of proficiency on an instrument). Now, professional-quality recordings are available as listening models for every sort of ensemble at every level—a truly valuable resource.

The Teaching Music through Performance series, available from GIA Publications, offers recordings for orchestra, choir, and band (including beginning band). Many band and orchestra method books provide professional recordings for beginning students, allowing them to hear great players, and to play along with great recordings during practice. Listening to these recordings allows students to develop a characteristic aural model for how a specific instrument or ensemble should sound. Good recordings of ensemble pieces help students to develop an aural understanding of the composition and to approach their musical works as a whole entity, rather than from note to note or from their own parts.
 

What Is Modeling?

It is useful to look at some definitions of the term “model” that apply here. A model is an example to imitate, such as a great recording. A model represents something in miniature or a simplification, like extracting a difficult rhythm from a piece that students can then generalize throughout the work and in other compositions.

A model is also a subject for an artist who renders it in his or her own way, much like when you draw an arch on the chalkboard as the model for a phrase, and students render it in their own, unique way. Modeling might be acting as a worthy example for your students. To model also means to shape something, to give it form, as in modeling a figure from clay. The word model, in fact, works as a noun, a verb, and an adjective. It is a powerful word.

There are many types of modeling, of course. Whether we are aware of it or not, students will copy our behavior, attitudes, practice habits, and musicality. If you arrive early and prepare for class, your students will do the same. If you are late and unprepared, your ensemble is likely to pick up those habits as well. The way you act, your body language, your musical decisions—all of these are models for your students. If you want your students to practice their music, you must study your scores. If you want them to take rehearsals seriously, you must be efficient and effective in your use of time.

Students learn naturally and effortlessly through modeling. What we find difficult to describe in words, we might show with relative ease, whether by singing, playing, going through the steps ourselves, gesturing with hands, having another student play, or using recordings.

But, I Don’t Want to Teach by Rote! 

The stigma attached to rote learning (teaching a piece entirely by rote that is beyond the musical abilities of an ensemble) prevents ensemble directors from using modeling strategies that would accelerate student learning. We all say “I don’t teach by rote,” and often shy away from modeling activities that are, in fact, not rote teaching but excellent pedagogical strategies. Despite a growing body of research supporting the value of modeling in the teaching of music, modeling is a pedagogical strategy that is used infrequently.

While we rightly discourage learning entirely by rote, it is important to understand the value of learning through modeling. In the March 2007 Music Educators Journal, Warren Haston’s article, “Teacher Modeling as an Effective Teaching Strategy,” describes how modeling can be useful, while warning about the incorrect use of rote learning:

Modeling is used in numerous educational settings, particularly with performing ensembles. When used appropriately, teacher modeling for student imitation is a useful tool. When used inappropriately, it can be a crutch that actually prevents students from learning. The best use of modeling is to introduce new musical concepts and performance skills before students see the printed music . . . Students learn the application before the theory. The new musical concept or performance skill is then practiced in various contexts and with specific printed music.

Rote learning occurs when large sections of music are taught bit by bit, and students are unable to make the transfer of knowledge. When concepts or small sections are modeled, however, students can transfer musical ideas to other sections and other works. Modeling sections, phrases, and key rhythms, and using call and response are effective strategies in teaching because they allow students to learn easily and intuitively, as well as develop a good sense of inner hearing.
 

Modeling Strategies

It is important to note that modeling strategies require that you provide good models. This means, if you plan to play or sing, make sure you do it both correctly and with excellence, or students will copy your poor model. If you find students are not playing or singing musically, you may want to look at your own conducting, your own body language, your own voice inflection, or your own musicality.

Here are a few examples of good modeling strategies:

• Recordings (play recordings of a piece the ensemble is playing or to illustrate good characteristic tone)
   
• Videos (of great performers; show to beginners to demonstrate how to put the instrument together, hold it, and so on)
   
• Pictures
   
• Demonstrating (put the instrument together piece by piece with them)
   
• Call and response
   
• Playing or singing (yourself or another student)
   
• Gesturing (showing a fingering or a bowing, the shape of a phrase, or the mood of the music) 
   
• Conducting the music (if you want legato, conduct legato; if you want staccato, conduct staccato; bring your hands up slowly for a chorale, and more quickly for an overture)
   
• Drawing (the shape of a phrase or a note—an arch to show phrase shape, or a block to show that you want the note played solidly from beginning to end)
   
• Body language (stand up straighter when you want the ensemble’s posture to improve, and watch the entire group mimic you!)
   
• Voice inflection (give directions in a tone of voice that reflects the mood of the music the ensemble is about to play)
   
• Imagery (yes, this is verbal, but metaphor, simile, hyperbole, and the like paint a mental image. For instance, “let this music be light and frothy, like the foam on a root beer float”)
   
• Finally: mix them up! Create imagery, with your voice correctly inflected, using your hands to gesture in a way that emphasizes what you mean musically.

Show Me, Don’t Tell Me

In closing, think of a little girl, ready to play her maracas for the very first time. Would you tell her to hold them precisely at a certain angle and move them back and forth at a very specific speed? Then correct her initial, awkward efforts, by saying, “no, higher,” or “no, faster,” or “no, louder”? Or, would you pick up a pair of maracas and say, “Let’s play music. Do it like this,” as you shake the maracas with her? Which approach would bring the music alive for her?

 

Conn-Selmer’s Words of Wisdom

from William Gourley

“Unlike other art forms, music relies on the musician to convey the composer’s message. Monet and Renoir communicate directly to their audience through their paintings, while Shakespeare and Stephen King reach the audience with their words. Bach, Beethoven, Stravinsky, Grainger, and Holst need the musician to convey their message by becoming the composition. Just as a touch of red in a Monet painting or a carefully selected word in a Shakespeare sonnet is vital in conveying a message, so are the third clarinet, viola, or triangle part integral to the nuanced message of the composer. Bringing students to the realization of the composer’s soul through his or her composition is the very essence, magic, beauty, thrill, and passion of teaching music.”

~William W. Gourley, Senior Program Development
Executive & Education Consultant, Marshall Music

William W. Gourley is the senior program development executive and educational coordinator for the Marshall Music Company of Lansing, Michigan, where his responsibilities include editing and writing Marshall’s educational newsletter, mentoring music teachers throughout the state, lecturing at universities, presenting workshops, and coordinating educational programs and seminars for music educators. Gourley is the conductor of the Dexter Community Band and the Ann Arbor Civic Band. During his twenty-five years as a music educator, he taught in the Dundee and Chelsea school systems, served on the conducting staff of the Blue Lakes Fine Arts Camp, and founded and conducted the Southeastern Michigan Honors Band, a high-school-student ensemble that toured throughout Europe. Gourley is also a featured clinician at the Conn-Selmer Institute, the preeminent educational workshop in the music industry. For more information, visit www.csinstitute.org.

2007 Conn-Selmer Institute Breaks Records

by Dianna Nauman, Education Manager for Conn-Selmer

Conn-Selmer Institute, the industry-leading education outreach program, recently completed its 9th year of the multi-track music leadership event. The four-day session took place June 3–6, 2007, on the campus of the University of Notre Dame in South Bend, Indiana.

Led by “Dr. Tim” Lautzenheiser, this year’s institute included nationally respected music education experts such as Lynn Brinkmeyer, John Mahlmann, and Larry Livingston. It is the mission of the Conn-Selmer Institute to provide an educational center, ongoing reference source, and support network for the professional growth of band and orchestra directors.

The 2007 event included over 120 music education majors and over 100 current music educators traveling to Notre Dame from as far as Guam. During this four-day event, registrants were exposed 40 clinics by 13 nationally known faculty, as well as in-depth instrument pedagogy sessions and a tour of the Conn-Selmer Woodwind and Brass facilities in Elkhart. A highlight of the institute came on Monday, June 4th, with national recording artists Big Bad Voodoo Daddy performing a concert for the Conn-Selmer Institute guests and local band students.
Katherine Reith, a music education major from Michigan said, “The Conn-Selmer Institute is a valuable, information-intense experience that will help shape you as a musician, as an educator, as an advocator for the arts, as a leader, and as a life-long student. I wish I had been able to attend before and can’t wait to come back in 2008!”

For more information about Conn-Selmer Institute, an informational video and program registration, visit www.csinstitute.org.

Conn-Selmer, Inc., the largest manufacturer of band and orchestral instruments and accessories in the United States, is a subsidiary of Steinway Musical Instruments, Inc. To contact Conn-Selmer, write to PO Box 310, Elkhart, IN 46515-0310 U.S.A. or visit www.conn-selmer.com.

Current News and Announcements

MENC’s latest specials and news

August Member Special
Celebrate History with Liberty for All!
Special August Price: Buy Volume 2—Get Volume 1 Free!

40 Lesson Plans Available!

Volume 2 (Westward Expansion-Industrial Revolution) explores the history and culture of America’s Westward Expansion through an interactive musical journey featuring graphics, narration, quizzes, and more. Narration by President George H. W. Bush, Dick Enberg, Joe Bonsall (The Oak Ridge Boys), Andrea Preuss (Mrs. America 2006), and John J. Mahlmann. Listen to music performed by the U.S. Army Band, including The Testament of Freedom, Shenandoah, A Lincoln Portrait, and more! Listen to excerpts from Volume 2 and learn more by tuning in to the June MENC podcast at www.menc.org/podcast/.

Volume 1 (A Musical Journey) is an enhanced CD-ROM featuring “The President’s Own” U.S. Marine Band performing the nation’s most inspirational music. These musical performances trace America’s history from the American Revolution through the 20th century.

This special is not available at state conference resource shops. No additional purchase is required. Limit two sets per member. Call 800-828-0229 or visit www.menc.org/specials to order. MENC Stock #3051R. $13.50 MENC members.
 

Outstanding Collegiate Member Wins Caitlin Merie Hurrey Scholarship

Each year, MENC selects four recipients for the Caitlin Merie Hurrey Memorial Scholarship. This year’s Collegiate winner is Molly Tittler, a recent graduate of Hofstra University in Hempstead, New York. Molly earned a B.S. (Cum Laude) in music education and was a member of Collegiate MENC. Her musical achievements are numerous, and she performed with the Hofstra Wind Ensemble, Symphony Orchestra, Jazz Ensemble, and the Opera Theatre. Molly anticipates the completion of her New York State Provisional Certification in Music this year.

Save the Date: September 14 is National Anthem Day

Start now to plan your National Anthem Day event on September 14 to showcase the important role music education plays in teaching American historical and musical traditions. Help make National Anthem Day a new annual tradition—contact fellow teachers, parents, schools, veterans’ groups, Girl Scouts of the USA, and community leaders to join in singing this song together at your school. Let MENC know your plans so we can post your information on our National Anthem Day Web site! Visit www.thenationalanthemproject.org.

Student Composition Talent Search

MENC will select exceptional student compositions to feature in performance at the 2008 national conference in Milwaukee, Wisconsin, April 9–12. Categories include piano, solo (vocal or instrumental), small ensemble (vocal or instrumental), and large ensemble (band, orchestra, or chorus). Selected compositions will be the best representative works from MENC’s six divisions in elementary/middle school, high school, and undergraduate/graduate school. Any student of an MENC member or any MENC Collegiate member may enter. For more information, visit www.menc.org/interact. The deadline is October 12, 2007.
 

Did you know...

• Music educator Andrea Peterson just became the second music teacher in 57 years to receive the National Teacher of the Year honor!

• This summer, the Keokuk II Symposium commemorated the founding of MENC in Keokuk, Iowa, in 1907. Featured keynote speakers included education historians Barbara Finkelstein and Gordon Cox.

• Tired of mac and cheese? MENC just published a Centennial Cookbook!

Read about these stories and more by visiting www.menc.org/news.
 

Coming Soon: 2008 MENC National Conference

MENC’s 2008 National Biennial In-Service Conference will take place in Milwaukee, Wisconsin, April 9–12, 2008. Make plans to attend! Registration opens this fall; visit the MENC Conferences Web page at www.menc.org/conferences for updates.

New Advocacy Resource: The Power of Music

“The Power of Music” is a brochure created by MENC for members to use with their school boards and features information on the benefits of music education and how to best support district music programs. It will be available in the August issue of Teaching Music, and you can also access it by clicking here.