Responsible financial planning by the booster club is critical to the short-term and long-term success of your music program.
"It's sad that music has been cut from our public schools" is a sentiment that, unfortunately, is heard all too often these days. But I'm happy to report that the winds are changing.
In 2016, the wind ensemble at Ravenwood High School in Brentwood, Tennessee, performed on the main stage at the Music for All National Concert Band Festival. That performance inspired Lauren Ramey and Cassandra Brosvik, Ravenwood's choir director and orchestra director, respectively, to help their ensembles strive for the same level of achievement.
As music teachers, we often focus on the aspects of program development that we can directly control — what and how we teach. We consider the value or danger of starting strings students using tapes, whether or not the French embouchure truly eliminates biting on the clarinet, when and how solfège should be introduced, and why every or no brass player should employ free-buzzing exercises.
You have a long list of goals when you enter the classroom each day: Be a better music educator. Help students succeed. Feel inspired and empowered. We want to help you achieve all of your goals.
Michael Pote, an award-winning band director and highly sought-after speaker, clearly demonstrates that success in a large, high-profile program stems from understanding and utilizing the strengths of everyone involved as well as equipping students with the musical tools necessary to guarantee achievement at the highest level.
The best recruiters for music programs are our current students. When retaining music students from middle and elementary schools, look to high school students to help because they serve as the best public relations for the program. These student leaders are role models and can make an immediate and impactful impression on younger students.
When leaders consider the ideal infrastructure for a school district's music program, they need to agree on how to set up K-12 feeder programs, create K-12 aligned curriculum, define a K-12 music education philosophy, and ensure equitable and sustainable resources.
When Kathryn Greene began teaching orchestra at James Cashman Middle School in Las Vegas in 2006, she may have been in over her head. Not only was Greene yet another teacher in a revolving door of instructors who had tried to succeed in the position, but she had a secret that she didn't tell her students during her first year: She had no actual experience teaching orchestra or performing on string instruments.
The ultimate goal for beginning band students is the development of skills and understanding that enable the student to experience musical artistry. Marguerite Wilder's innovative, game-filled approach to teaching fundamentals help set students on a strong path toward success.
Dr. Emily Threinen is director of bands and associate professor of music at University of Minnesota. She consistently works with composers, arrangers and performing artists of varied disciplines. Residencies and projects with composers and new compositions are integral to her creative work. She is an active and in-demand guest conductor, clinician, conference presenter and performer.
Dr. Kevin Sedatole is director of bands, professor of music and chair of the conducting area at Michigan State University. He serves as administrator of the entire band program at Michigan State University, totaling over 700 students, which includes the wind symphony, symphony band, concert band, chamber winds, campus bands, Spartan Marching Band and Spartan Brass.
Dynamic, energetic, exciting — these are the words used to describe Marcia Neel, one of the most knowledgeable professionals in the field of music education today. This began years ago when she was a secondary music educator whose ensembles were known for consistent quality and attention to artistic detail.
With a broad and diverse arsenal of experiences spanning over five decades, Anthony Maiello's enthusiasm for teaching music is nothing short of contagious. Having taught instrumental music education from the grade-school level through the university doctoral level, both in the United States and aboard, his experiences give him a unique view and approach to teaching and making music.
A multi-faceted artist, Gary Lewis has done it all — from jazz performance and marching band, to musical theater and opera, to arranging for a variety of genres, as well as entrepreneurial efforts such as establishing a contemporary music festival. With such diverse experiences, Lewis lives his belief that music serves as "the thread that connects us all."
Having appeared as a guest conductor throughout the world, Craig Kirchhoff brings a deep understanding of both traditional and contemporary literature to his sessions, including one titled "Score Study: A Different Perspective." With a celebrated teaching career spanning decades, Kirchhoff is professor emeritus of conducting at the University of Minnesota and remains true to his mission of changing lives through the experience of making music.
Whether conducting a group of professionals or students, Jerry Junkin is committed to ensuring that musicians under his baton make an emotional connection to the music. This comes, in part, as a result of choosing the exact, right piece of repertoire for the ensemble, as well as delving into the intent of the composer to discover the inspiration for the work.
Students, leadership, excellence and passion — the core of Barry Houser's teaching, as well as his working with directors, is based on the intermingling of these four components.
Jeffrey Grogran is an internationally known conductor and teacher who is dedicated to pursuing his craft and sharing the joy of musical excellence with young musicians. His early teaching experience taught him the importance of "getting to work," teaching grades 6-12 in a very small town.
Inspired by his own high school band director, Larry Gookin's primary focus when conducting wind bands of any level is for the performers to "say something." Mere perfection of the technical aspects of performance is simply not enough — the musicians must make a personal connection to the music, which results in an expressive, musical presentation. Only then will the ensemble members truly experience the performance as opposed to presenting the performance. Audience members are greatly impacted by this experience, as well.