Led by the National Association for Music Education, Music in Our Schools Month (MIOSM) was created to demonstrate the powerful role that quality music programs play in the lives of young people. This month we highlight how critical it is to make music education available to every student. Your mission is to go out there and promote the heck out of your program!
Though the history books may not always reflect this truth, women have always had considerable influence in shaping the field of music education. This has included those in the field of music education itself such as teachers, district supervisors, leaders of music education organizations such as MENC/NAfME, researchers, and also those contributing to music education literature through their work in transcription, arranging, and composition.
This month we’ve added 11 new ensemble titles to the SmartMusic Repertoire Library. Included are pieces for choir, concert band, and string orchestra. View the complete list.Solos
As we mentioned previously, we also busily adding solos to new SmartMusic. These solos are also available in classic SmartMusic, but only in new SmartMusic do they feature on-screen music notation.
Music performance, at its best, must be fluent. Listeners expect to hear uninterrupted lines that include clear communicative information. Listeners desire accuracy and true competency from performers. From the simplest tunes to the most virtuosic concerti, the test of a fine performance is demonstrated fluency.
In recent weeks, I have been using a model/metaphor of fluency and music a great deal in my classes.
The 2014 National Core Music Standards are a great resource for those striving to teach music comprehensively through performance in large ensemble. Written for music educators, by music educators, these standards encourage students to do, think, feel, and understand music through the Three Artistic Processes of Creating, Performing, and Responding.
‘Tis the season for festival prep! For many band directors, jazz band happens outside of “regular” rehearsals, and that means preparing for a big performance (like a contest) can be daunting. When faced with limited time, every minute of rehearsal counts!
I like to break contest or festival prep into three phases: repertoire selection, addressing style, and final polishes.
The future of our music programs depends upon our ability to retain enrolled students. Our retention efforts must be ongoing, and should begin when we first meet each beginning music student.
We’ve compiled advice from successful educators that you can use to enhance your retention process. While their focus is on band, many of these strategies work equally well in orchestra and choir programs.
The strength and depth of a program that has multiple bands depends on the vitality of its non-varsity ensembles. Many band programs have excellent varsity bands, but I believe that in the best band programs, every band is strong, whether there are two bands or ten. Band should be just as much fun, educational, and important for students in the non-varsity band as it is for those in the varsity ensemble.
In this very special episode of the Music Ed Mentor Podcast, we welcome our first GRAMMY-winning guest! I’m excited to share my conversation with Melissa Salguero, who was recently named the GRAMMY Music Educator of the Year. You may recognize Melissa’s voice from Episode 12, where she shared tips on how to get the most from music education conferences.
Nothing is more important to the success of our music programs than retaining the students who are already enrolled – particularly the beginners. We have to teach the beginners as if they have a scheduled performance at Carnegie Hall. In my previous post, I shared the S.M.A.R.T. approach to retention – i.e.