Welcome to the January NewsLink!

Dear Collegiate Members,

We at MENC are wishing you the very best in the new year!

This month’s feature article will help you teach your students to practice efficiently. As you read on, you’ll also find some excellent first-year budgeting tips from MENC Mentor Ron Meers and news from Collegiate chapters in Arizona, Alabama, and Arkansas. Don’t forget to check out the Current News and Announcements section for the latest teaching resources and upcoming MENC events.

As always, if you have comments, questions, or would like to share your chapter’s activities or recruitment strategies with us for publication in a future issue, e-mail annew@menc.org.  

Improving Student Practice: A Look at Quantity and Quality

by John May

© 2008

John May is associate director of bands at North Garland High School in Garland, Texas. Prior to his current position, he was assistant band director and percussion instructor at a community college in Decatur, Mississippi, and a band director for the Clarksville School District in Texas. He is in the final stages of completing a Ph.D. in music education at the University of North Texas. In addition to performing in several ensembles, he has served as a solo, ensemble, and percussion adjudicator.

Most of us have probably been told by our teachers at one time or another to “practice more for next week.” You’ll more than likely utter that very phrase to your own students before too long. While music educators agree that practice is important, some seem to give little thought to imparting effective practice methods to their students. Certainly, some students simply aren’t practicing, but many may need instruction on how to practice. This article will offer some suggestions for helping students engage in efficient, high-quality practice.

Distinguishing between Quantity and Quality in Student Practice

For some students, simply accumulating hours of practice may not be enough to achieve in music. Some common student practicing patterns include
 

• spending hours repeating passages,
• repeatedly playing pieces they’ve already mastered,
• playing at tempos that are too fast, and
• navigating haphazardly through a piece due to a lack of planning skills.

While students who follow these patterns might show up to each and every practice session and spend a considerable amount of time practicing, their lack of progress could eventually erode their motivation.

As music educators, we’re aware that if students aren’t successful at a given task, they may spend less time performing that task or quit altogether. They might also conclude that they have no skill or musical ability. Even as adults, many of us experience these feelings from time to time in various areas of our lives—with no evidence of progress or success, motivation can wane. We should help students avoid the negative impact of successive failures by giving them specific strategies for success. The more successful students become with each practice attempt, the more confidence they’ll develop, and the more successful they’ll ultimately become.

Structuring the Practice Session and Warming Up

There are typically four categories of practicers:

The goal should be to get students into the fourth category.

Efficient practice promotes student success, and students become more efficient by learning how to practice. Assist students in structuring their practice sessions by helping them set up a practice plan that breaks practice time into segments, such as 10 minutes of warm-up/technical exercises, 5 minutes of sight-reading, and 15 minutes on a piece or playing test material.

You can guide student understanding of what to practice during each segment of the practice session. For instance, young instrumentalists who have not yet mastered scales should include them in the warm-up/technical portion of practice. You might also instruct students to add one scale each day while continuing to review previously learned scales. Including technical exercises that pertain to the current piece of music students are learning can be advantageous as well.

Older students who have mastered scales and arpeggios could use a different approach. These students might use this initial portion of practice to warm up using a difficult passage or measure in the music, playing it very slowly at first, gradually increasing the tempo using a metronome, and then alternating between slow and fast tempos. This kind of slow, meticulous practice can prove effective at mastering difficult measures, parts of measures, or passages.

Breaking Down Difficult Passages

Now that students have warmed up, it’s time to practice a piece of music.

When learning a new piece, one approach is slowly playing through the entire piece to obtain an overview, while noting difficult passages to focus on later. This initial overview can also help students become familiar with the form and important thematic material. Following the overview, students can begin to break passages down into smaller, more manageable parts. Depending on the passage, “smaller” might mean a measure or a group of notes within a measure. One common mistake I’ve noticed is that my students try to play through the entire piece every time they practice without stopping to focus on more challenging measures. Consequently, they’re not able to play through the piece because they “crash and burn” at these difficult spots. Besides, it can be difficult for the brain to focus on too much information at one time. Limiting the amount of information to smaller segments after the initial overview can help ensure progress from one practice session to the next.

After passages or parts of passages have been identified and broken down into smaller segments, students can begin to focus on these complex measures. By spending a few minutes on each difficult measure every day, students will increase their ability to play these “crash and burn” spots and decrease interruptions to the flow of the music. One useful approach involves breaking difficult measures or passages into their component parts. For example, suppose a measure contains a melody with accents, complicated rhythms, a variety of articulations, and a crescendo. If students master one component at a time and slowly add the others, they might be more successful and invest less time. A sample approach might involve the following:

• Begin by playing the notes of the melody without the rhythms, and then play the rhythm on a single pitch.
• Continue by putting pitches and rhythms together, adding accents next.
• Practice the articulations on a single pitch, afterwards incorporating them into what has already been learned.
• Finally, include the crescendo.
   

Another approach students can apply to difficult measures is working on the first half of the measure, then the second half, and finally, putting the two parts together. Or, as a variation, students can begin with the first beat of a measure and add subsequent beats gradually, one at a time. This variation could also be applied one note at a time.

Mastering Sections and Transitions

Repetition Method. Now that some of the rough spots have been softened, students can begin practicing each section by repeating it, starting slowly with a metronome and gradually increasing the tempo. A professor of mine, James Craig, once told me about a specific method based on this concept: the Ten Penny Method. The idea is to place ten pennies on the left side of the music stand. Then, repeat the segment or passage correctly at a slow tempo ten times, each time moving a penny from left to right. Once all of the pennies are on the right, the tempo can be increased by two to five metronome markings (bpm), at which point the process is repeated. The Ten Penny Method can also be applied to individual measures.

Sequential Method. For those students who might be too easily bored by the repetition method, another approach is a sequential method. In this method, the student chooses a section of the music, mastering the first measure and subsequently the second measure. Next, the student plays the first two measures together. After mastering the third measure, the student puts the first three measures together. This process is continued until the whole section has been played. One advantage of this approach is that it emphasizes continuity between measures, strengthening each measure with the addition of a new measure.

Starting with the last measure and working backwards is another way to use this process. This procedure can be applied not only to one section, but also to the entire piece. Students can start with the last section of the piece and work backwards toward the beginning, adding a section at a time while establishing smooth transitions between sections.

Regardless of which of these approaches is employed, putting the isolated parts back into the context of the whole passage, even at a slow tempo, can enable students to begin the process of playing increasingly larger sections of the piece. Just as individual measures can be connected to facilitate continuity of sections, sections can be connected to promote continuity of the entire piece. Therefore, having students occasionally play through the entire piece at a slow tempo, after focusing on each section, can enhance continuity during performance.

Mental Tuning: Developing Positive Attitudes about Practice

Attitude is important. Students need to realize that practicing may not always be enjoyable, especially after the novelty of beginning a new piece of music wears off. Sure, some students probably enjoy the process of putting a piece of music together part by part, but many are anxious to play music and may avoid the necessary hard work that difficult measures and passages require. Practicing can be arduous, but it leads to the reward—performing the music. Perhaps our society’s focus on instant gratification affects students’ expectations.

It’s also important that students be cognitively engaged with the music while practicing. To do otherwise is to waste time, which can contribute to inefficiency and reduced quality of practice. As the teacher, you can help stress the detriments of mindlessly going through the motions.

As a final note, students should begin developing metacognitive skills, or skills that help them analyze their success level, the effectiveness of certain strategies, and their mental attitude about practice. Asking questions such as, “Is this passage improving when I use this technique?” can help focus awareness on what’s working.

Additional questions might include

• Why was my practice session unproductive?
• What specific aspect of this measure is giving me the most difficulty?
• Which strategy might be best for this situation?

Private teachers in particular are in a position to cultivate these skills because they can guide individual students through problems by posing these questions. However, classroom teachers can instruct students on posing these questions to themselves.

Conclusion

In summary, quantity of practice is important, but unless students engage in high-quality practice, achievement may suffer. Teachers can influence student practice by guiding students in structuring their practice sessions, providing them with specific strategies, helping them adopt positive attitudes, stressing the importance of being mentally engaged, and assisting them in developing metacognitive skills. By engaging in high-quality practice, students can practice more productively and dramatically improve their probability of musical achievement.

References

This article has resulted from a combination of my own practicing and teaching experiences and the following articles.

Barry, N. H. (1992). The effects of practice strategies, individual differences in cognitive style, and gender upon technical accuracy and musicality of student instrumental performance. Psychology of Music, 20, 112-123.

Barry, N. H. (1994). Teaching practice strategies in the music studio: A survey of applied music teachers. Psychology of Music, 22, 44-55.

Ericsson, K. A., Krampe, R. T., & Tesch-Romer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363-406.

Hallam, S. (1995). Professional musicians’ orientations to practice: Implications for teaching. British Journal of Music Education, 12(1), 3-19.

Hallam, S. (1997). The development of memorization strategies in musicians: Implications for education. British Journal of Music Education, 14(1), 87-97.

Hallam, S. (2001). The development of metacognition in musicians: Implications for education. British Journal of Music Education, 18(1), 27-39.

Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17, 95-109.

Nielsen, S. G. (1999). Learning strategies in instrumental music practice. British Journal of Music Education, 16(3), 275-291.

Sloboda, J. A., Davidson, J. W., Howe, M. J. A., & Moore, D. G. (1996). The role of practice in the development of performing musicians. British Journal of Psychology, 87, 287-309.

Chapter Corner

Renowned Composer Speaks to Arizona State Music Education Students

Pulitzer-Prize-winning composer Michael Colgrass recently visited the Arizona State University (ASU) campus to work with the school’s wind bands and lead School of Music students in performance and creativity workshops. Thanks to Professor Gary Hill, the ASU director of bands, Colgrass also spoke to music education students in the MUE 313 Elementary Music Methods and MUE 481 Instrumental Practicum classes, taught by ASU faculty Margaret Schmidt, Sandra Stauffer, and Jill Sullivan. He discussed how he composes and how to get kids composing. After attending the lecture, Jill Sullivan, the MENC Collegiate National President, remarked, “I thought Colgrass’ process of composing was very creative, and I would certainly use this with children in the schools or even college students as he demonstrates in the podcast.”

Colgrass started out working as a freelancing percussionist while composing in New York City; eventually his works were commissioned and performed by the New York Philharmonic, the Boston Symphony, the Lincoln Center Chamber Music Society, the Manhattan and Muir String Quartets, and many others. He also won an Emmy Award in 1982 for a PBS documentary entitled Soundings: The Music of Michael Colgrass. One of his recent projects has been creating a system to help children compose and perform original music. Read more about Michael Colgrass at www.michaelcolgrass.com.

If you would like to view a video podcast of his lecture, you can download it for free by visiting the ASU Collegiate Web site at www.asu.edu/clubs/cmenc/ or by typing “CMENC” into the iTunes search window. When you do so, you’ll also be able to listen to recordings from ASU faculty artists. ASU provides high-quality recordings of the audition études for the High School Regional and All-State Honor instrumental ensembles. On the ASU Web site, you can also download Colgrass’ handouts on music composition, including detailed information on graphic notation. These resources are available online thanks to David Rickels, doctoral teaching assistant and the ASU Collegiate Webmaster, who also recorded the podcast.

Auburn Music Education Students Help High Schoolers Compose with Technology

by Meredith Collins

Meredith Collins is a senior music education major at Auburn University in Auburn, Alabama. She will complete her student teaching internship and graduate in Spring 2008. The technology class she participated in is led by Jane Kuehne, the advisor to Auburn’s Collegiate chapter.

On the first day of the technology portion of our practicum class, I had no idea what was in store for us. I’m not computer illiterate, but neither am I very confident in my technical skills, so I wasn’t really sure what to expect from this class or what I could contribute. When Professor Kuehne informed us that we’d be teaching technology to students at Loachapoka High School, my apprehension grew a bit. A host of questions pricked at my mind. How would I connect with these students? How was I going to teach them how to use technology? And would they even be the least bit interested in what we had to say?

In class, we began to learn about creating a Web site, using notation software, creating professional documents, and using editing software and GarageBand, a looping software that allows the user to record and edit music or choose prerecorded loops to make tracks. We went to Loachapoka on Fridays, and the first week that we went, we used GarageBand to teach the students about musical forms.

It was exhilarating to watch the kids get so excited about music. Shane Colquhoun, a music education grad student, was working extensively with the Loachapoka students, and he and Professor Kuehne explained the basics of form. We then broke the students up into small groups, and with two music ed students to each group, we went to work. Each student had a different form to create: ternary, rondo, ABCD, and any other combination of letters we could come up with. The students took turns choosing different loops for the sections of their form and putting them together to make their own work. GarageBand has several loops that sound modern and urban; many even have a hip-hop flavor, and the students really got into those sounds. I think I had more fun than they did, just because it was exhilarating to watch them get so excited about music.

Over the next few weeks, we continued to work with GarageBand. Our students were most excited when they got to exercise their creativity, such as when we helped them write a bass line, melody, and harmony to make their own song. They came up with the parts on the MIDI keyboard and recorded them into GarageBand. The students also loved putting different loops together to make sounds that resembled songs they recognized or imitate artists they liked. In the course of using this incredible technology to teach them about music, we also had opportunities to connect with them on a personal level. When the students felt comfortable and they were motivated about what we were doing, they would open up and talk to us about their ambitions and dreams. Several of the students I worked with told me that they would see me at Auburn in a few years; I didn’t mention that I would have long graduated by that point. One of the girls in my group told me that she looked forward to when we came because it was then that music was exciting.

I had no idea that I would get so much out of this technology class. I learned so much from the Loachapoka students, and I am now confident that, given the proper tools and equipment, I can successfully use music technology in my own classroom. To make music education effective, you simply have to reach the students on their level; find out what really motivates them and use it. Music isn’t a vague, nebulous concept—it’s a living, changing, intensely personal art that has incredible power to touch our lives and make a lasting impact. Technology can help us and our students realize that.

University of Central Arkansas Creates C.A.M.E.O.—a Coalition of Music Education Groups

by Paige Rose

Paige Rose is the assistant professor of Elementary and Secondary Instrumental Music Education at the University of Central Arkansas.

This past October, music education students and faculty from the University of Central Arkansas (UCA) organized a new club on campus. C.A.M.E.O. (Central Arkansas Music Educators Organization) seeks to merge the existing state music organizations on the collegiate level so that students of UCA may enjoy a variety of professional affiliations that are prevalent across the state. The idea was born out of the fact that students were confronted with so many collegiate-affiliated clubs with similar goals and activities. Students often didn’t have time to be associated with all available clubs and would thus be unfamiliar with them for their professional careers.

Currently, C.A.M.E.O. combines MENC Collegiate, Arkansas State Band and Orchestra Association, and Arkansas Choral Directors Association. Students pay a lump sum of dues, which go to student memberships in MENC Collegiate and another group of their choice, based on applied performance area. The group operates under an independent constitution approved by the Registered Student Organization board at UCA. C.A.M.E.O. not only allows students to better manage multiple memberships, but also produces a new generation of music teachers that views multiple membership opportunities as a welcome option, not an either-or decision. C.A.M.E.O. produces a new generation of music teachers that views multiple membership opportunities as a welcome option, not an either-or decision.

In only three months of existence, C.A.M.E.O. has already taken part in the ArkMEA conference, hosted by Arkansas Tech University in Russellville. Members have also conducted research on students with special needs and tuned instruments at local public school concerts. They assisted with the visit of Janeal Krehbiel to UCA. Krehbiel, who conducts the Lawrence Children’s Choir, was in residence at UCA thanks to C.A.M.E.O. sponsor Greg Ramsdell, assistant professor of choral music education. Krehbiel visited area schools and rehearsed and conducted a children’s choir concert.

C.A.M.E.O. will expand its professional and service opportunities next semester by traveling to area schools. The group will also host its first annual Day of Education on March 1, 2008. Instrumental participants will enjoy clinics by Paul Popiel from Indiana University, and they will have the option to conduct a full band in a hands-on experience. Elementary specialists may attend clinics by Kondwani Phwandaphwanda and I.J. Routen, who will present hands-on sessions involving technique, authentic performance practice, and application of drumming in the classroom. Steven Smyth, associate director of bands, and Paige Rose, assistant professor of music education, are the C.A.M.E.O. sponsors who will assist with this professional development day.
 

*** Tell us what your chapter’s been up to! E-mail your stories and pictures to annew@menc.org  or mail them to Collegiate NewsLink, 1806 Robert Fulton Drive, Reston, VA 20191.
 

Member Benefit Spotlight

Weekly Music Education News

MENC provides its members with weekly updates on music education news and member resources, including classroom materials, grant and scholarship opportunities, and specialty items.

You can choose to receive this update each week as an e-mail by calling 800-828-0229, or you can go to www.menc.org/update to see the most recent news at any time.

Help from MENC’s Mentors

Budgeting

Developing a budget is one of the many challenges you’ll meet as a first-year teacher. MENC Mentor Ron Meers, president of the Tennessee Music Education Association, says, “ Check with your supervisor to see if funding is available from the textbook fund for music. Since textbooks are budgeted for other classes, our district has allocated money for vocal and instrumental music. There are national chains of retail stores, such as Wal-Mart, Target, etc., that allocate funds for local needs. Music that is used for 9/11 memorials, holiday parades, and veterans parades is considered community service and is eligible for funding. Don’t be the last to ask!”

Meers also advises the following for new teachers:

• Get sample copies of band/vocal budgets from outstanding programs in your area.
• Ask your booster parents to provide a complete listing of all checks written in the past two years (including amount, to whom they were written, and the date).
• Ask your booster parents for a complete list of all deposits made in the past two years.
• List the current needs of your program in priority order.
• Order a large pizza and put on the coffee. Crunch some numbers. Be a little conservative on your income projections and a little high on your projected expenditures...you’ll be glad you did! (Your boosters will also appreciate the effort!)
• Run your budget by your most experienced, successful colleague.
• Present your ideas to your booster group along with the logic behind your proposals!
• Don’t expect your first budget to be perfect. There has to be some give and take. Be sure your band booster constitution establishes the boosters as a support group and the director as the one in charge. (Get sample constitutions from outstanding programs in your area.)

Do you have more questions about budgeting or other teaching topics? Visit www.menc.org/mentors to post your questions.

Conn-Selmer Institute

An event for all present and future music educators

The Conn-Selmer Institute is an annual event for music educators to explore what it means to teach music, collaborate with other educators, and have fun! Visit www.csinstitute.org to learn more and register for the June 2008 event.

Here’s what some Collegiate students had to say about this event:

“It’s water for the thirsty music educator. It quenches and inspires you to go on.”
- Alex Lucini, Rhode Island College, Providence, RI

“I’m blown away at every session because there are so many things I can take away from them. It’s really worth the cost...you can’t afford not to go!”
- Jeff Gorham, Indiana State University, Terre Haute, IN

“I have learned so much from all the clinicians and am very excited to go out and teach.”
- Elizabeth Del Vecchio, Hofstra University, Hempstead, NY

MENC is proud to partner with Conn-Selmer Institute (CSI) to offer essential training for our new and incoming music teachers. CSI’s unique four days of networking, training, and motivational offerings provide a one-of-a-kind experience that will help ensure a new teacher’s success in music education and pave a smooth transition to a lifetime of teaching. - John J. Mahlmann, Executive Director, MENC

Current News and Announcements

MENC’s latest specials and news

January Member Special: Get Ready for MIOSM!

It’s time to start preparing for Music In Our Schools Month in March! The January MENC Member Monthly Special features the cheerful MIOSM poster. You’ll want to place plenty of these around your campus and community to increase awareness about the importance of music education.

In January only, members can purchase MIOSM posters for half price—only $2.00 for a pack of three posters. Item #6009R.

Call 800-828-0229 or visit www.menc.org/specials to order. No additional purchase required. Special not available at state conference resource shops.

New Music Teaching Resources from MENC

MENC is pleased to announce several new books that will be valuable resources for you as you prepare to teach music. As an MENC member, you’ll receive a 25% discount when ordering any of the books below—just use the discount code MENC25.

Model Music Programs: Ideas for Everyone
By Michael Blakeslee, Linda C. Brown, and Ashley Opp Hoffman
This book shares stories from 12 successful music programs selected by MENC in a nationwide search and showcases the programs in four categories: technology, interdisciplinary and multicultural learning, music for all, and standards-based learning. Learn how characteristics such as strong community ties, a clear creative vision, and resources contributed to the success of these models. Visit www.rowmaneducation.com to learn more and order.

Fit as a Fiddle: The Musician’s Guide to Playing Healthy
By William Dawson
Written by an international authority in musicians’ medicine who is also a symphonic musician and teacher, this book provides easy-to-read health-related information for all instrumentalists. Information about body structure, common disorders, rehabilitation, and prevention is included, as well as a helpful glossary of medical terms. Visit www.rowmaneducation.com to learn more and order.

Playing the Soprano Recorder: For Church, School, Community, and the Private Studio
By Lois Veenhoven Guderian
This book provides teachers and students with a sequential approach to learning Western music notation and soprano recorder playing. Each lesson provides opportunities for students to apply the notation and concepts they learn and also to develop creative thinking skills and the tools needed for composing music in Western notation. The book features 76 pieces with optional instrument parts, piano accompaniment, and a practice/performance CD. Visit www.rowmaneducation.com to learn more and order.

 
Rock and Roll Classroom Resources!

Add some rock and roll to your curriculum! Keep these educational resources in mind for your student teaching and lesson planning.

Little Steven’s Rock and Roll High School
MENC and Scholastic are supporting the creation of “Little Steven’s Rock and Roll High School,” the first major educational initiative of the Rock and Roll Forever Foundation. It will include free materials, such as teacher guidelines, lesson plans, DVDs, and CDs, that will allow music teachers and others to bring rock and roll history to life in their classrooms. Expected release date: April 2008. You can sign up for e-mail updates by visiting www.rockandrollforever.org.

VH1 Music Studio
VH1 Music Studio offers teachers educational programming each month that focuses on certain artists or trends in popular modern music. MENC partners with VH1 to provide lesson plans that coincide with each program and help teachers use the material in an interactive lesson. February’s program is VH1 Storytellers: Jay-Z, Life of an American Gangster. This episode of VH1 Music Studio is an hour-long concert special featuring songs and stories from Jay-Z’s newly released album American Gangster, inspired by the film of the same name. Visit www.vh1.com to learn more.

Featured Scholarships

MENC knows that you’re always in need of additional funding for education. Check out the opportunities below as well as those listed on MENC’s Scholarship Resources Web page at www.menc.org.

SYTA Scholarships
Students planning educational travel programs but needing financial assistance can apply for a SYF “Road” Scholarship offered by the SYTA Youth Foundation, Inc. (SYF). The SYF provides scholarships five times a year with nomination deadlines in the summer, spring, and fall. Teachers, principals, and other youth leaders can submit nominations. Complete information, specific deadlines, and nomination forms are online at www.sytayouthfoundation.org.

BMI Foundation peermusic Latin Scholarship
Deadline: February 8, 2008
The BMI Foundation offers the peermusic Latin Scholarship, a competition for composers and songwriters that awards $5,000 for the best song or instrumental composition in a Latin genre. All college or university students in the U.S. and Puerto Rico who are between the ages of 16 and 24 are invited to apply. Visit www.bmifoundation.org for more information and an application.

Gibson Les Paul Raffle

Guitar aficionados, purchase a raffle ticket for your chance to own a beautiful 2005 Gibson Les Paul Standard that’s signed by none other than the artist himself! The guitar, a Heritage Cherry Sunburst design with a fifties-style neck, is autographed on its pickguard and has never been played.

The raffle is a fundraiser for the Caitlin Merie Hurrey Memorial Scholarship Fund, which supports four scholarships annually and was approved by MENC as part of MENC’s Fund for the Advancement of Music Education. To learn more and purchase a raffle ticket, visit www.intunemonthly.com.

New MENC Podcast

The latest MENC podcast features an interview with the King’s Singers. Tune in at www.menc.org/podcast.

Question of the Month

Each month, MENC gets feedback on music education issues from members. January’s question is about musicians’ health. Visit www.menc.org/question to contribute.

 
Disneyland® Resort All-American College Band

Presented by Yamaha

How would you like a summer work experience that gives you the chance to enhance your music performance skills—while having a blast?

The All-American College Band experience is a unique performance and educational opportunity that has provided top college musicians with the opportunity to perform and learn about the entertainment industry first-hand at a Disney Theme Park for over 35 years.

Selected students will perform at the Disneyland® Resort in California from June 1–August 16, 2008, in a fully integrated outdoor performance and show entertainment presentation. Each student will perform on a pro-line Yamaha instrument, with the opportunity to purchase the instrument at the end of the summer at a discounted rate. Along with performing five days a week, students will attend daily clinics/rehearsals and complete a music project. Housing and a weekly stipend will be provided.

If this sounds like an ideal summer experience to you, visit www.disneyauditions.com to learn more and find an audition near you! Auditions will be held January and February 2008 at universities across the nation. Click here for guidelines on preparing for the audition.

Join Us...

MENC National Conference in Milwaukee

MENC cordially invites you to join us April 9–13, 2008, for a variety of educational sessions, stunning performances, and a whole lot of fun!

Don’t miss the Collegiate Reception on April 9, featuring entertainment, food, and more. Visit www.menc.org/conferences to learn more and register.

National Anthem Project 2008

Due to the amount of positive feedback we received about our successful finale event this past June, MENC plans to continue the National Anthem Project by holding an annual summer celebration. Next year’s event will be during Flag Day weekend, June 12-15, 2008, in Washington, DC, and will include a concert on the National Mall featuring a national anthem sing-along and performances by student groups. To learn more and register to attend, visit www.americanmusicalsalute.com.

Participate in the World’s Largest Concert

Make your campus a part of World’s Largest Concert (WLC), an event that has been the highlight of Music In Our Schools Month (MIOSM) since 1985. The WLC is a sing-along concert that links students around the world through music. It reaches about 6 million students, teachers, and music supporters.

The 2008 WLC will take place on Thursday, March 13, 2008, at 1 pm Eastern Time. The theme, which corresponds with the 2008 MIOSM theme, is “Music Touches Lives.” The WLC will not be broadcast on television this year, but it will be available on DVD—students and teachers are encouraged to participate on March 13th.

A teacher’s guide is now online featuring free lesson plans and sheet music for this year’s program. Visit www.menc.org/wlc to learn more, download the lesson plans, and purchase a DVD. Learn more about MIOSM and check out all of the 2008 awareness items by visiting www.menc.org/miosm.

January Mentors

Do you have music education questions? MENC’s mentors have the answers!

Each month from September to May, the “Ask the Mentors” forum features a different mentor for band, orchestra, chorus, general music, and mariachi. The mentors are veteran teachers who provide advice in response to your teaching questions. Visit www.menc.org/mentors to post questions and read responses.

Meet the January mentors:

General Music mentor Brian Faulkner is the co-founder of Makin’ Music, a preschool music provider in Arkansas that serves nearly 1000 children. Prior to his current post in the education department at Nova Southeastern University in Florida, he was adjunct professor of education for Arkansas Tech University. Arkansas Governor Mike Huckabee appointed him to serve on the Arkansas Early Childhood Commission.
 

Band mentor Jim Sheeley is in his 28th year of teaching music. He is currently the supervisor of music in the office of visual and performing arts for Newark Public Schools in New Jersey. He has assisted in writing curricula for vocal and instrumental music classes in grades K–12. In addition, he is a marching band adjudicator and a consultant for several area music programs.
 

Chorus mentor Kriston Feldpausch is the director of choral activities at Powhatan Junior High School in Virginia. At Powhatan, she teaches seventh and eighth grade chorus and directs a vocal jazz ensemble. She has also taught in Michigan, Arizona, and Georgia at all levels from preschool through college.
 

Orchestra mentor Geoff Neuman is the orchestra director at Green Valley High School in Nevada. His orchestra has traveled to Europe and many parts of the U.S., including Carnegie Hall. He also conducts the Las Vegas Youth Symphony and performs in a jazz trio and The Las Vegas Philharmonic.
 

Mariachi mentor John Vela is the director of bands for the San Diego school district in Texas. He has performed for 30 years as a mariachi musician and is also a mariachi adjudicator and clinician. He has published mariachi arrangements, instructional videos, and a beginner guitarrón book.