CADENZA - elecqlx.sasktelwebhosting.comelecqlx.sasktelwebhosting.com/smea/CADENZA2011.pdf · CADENZA 2011 The Official Journal of the Saskatchewan Music ... Mikel Kalmakoff (1961)

CADENZA 2011 The Official Journal of the Saskatchewan Music Educators Association

CADENZAThe official journal of the Saskatchewan Music Educators Association

2011



CADENZA 2011 was compiled and edited by Graeme Steen

The Saskatchewan Music Educators acknowledge the financial assistance provided by:

contents2011

President’s Message page 1Director’s Message page 2

Regional Workshops 09/10 Review page 5

Rj Staples & Frank Connell Scholarship Winners page 4

Heart of the City page 5

SMEA Awardspage 7

El Sistema? you ask...? page 9

Saskatoon Children’s Choir page 17

SMEA Honour Groups page 19

Renewal and Nomination Forms

SMEABox 632,510 – 4th Ave.Cudworth, Sask.S0K 1B0Phone: 306-256-7187Email: [email protected]

SMEA Board of Directors 2011

PresidentKara Helms 934 7146

Past-PresidentMary Jane Schuler 569-2362

Vice-PresidentAaron Thingelstad 773-2713

Executive DirectorVal Kuemper [email protected]

Region 2 Celia Hammerton 778 0576

Region 3 Jerry Lisitza 547 3227

Region 4Lee Adams 222 0441

Region 5Lauren Campbell 764 2370

Region 6Kendra Worman 220-2634

Region 7Jocelyn Armbruster 746 4422

Communications: Graeme Steen, [email protected] of the City Piano Program: HCPP PROVINCIAL BOARD / SASKATCHEWAN Melinda Anderson-Grass Lana Currie-Lingelbach Peggy L’Hoir Marilyn Richardson Saskatoon Children’s Choir: Phoebe Voigts 683-7340 Honour Groups: Chairperson: Jocelyn Armbruster Band Coordinator: Scott Peters Choir Coordinator: Deidre Baird Registrar: Graeme Steen Newsletters: E-Notz: Lauren CampbellMemberships/Contibutions/Business: Valerie Kuemper

CADENZA 2011 The Official Journal of the Saskatchewan Music Educators Association1

PRESIDENT’s MESSAGE Music expresses that which cannot be said and

on which it is impossible to be silent.~ Victor Hugo ~

Music educators across the province have filled another fine year with concerts, musicals, and festival performances. In Saskatchewan, we have a strong and dynamic group of teachers who transfer their joy and passion for music to their students. Saskatchewan Music Educators’ Association is proud to represent these teachers at the provincial level as their special subject council. Together we have attended conferences, workshops, and concerts that have enriched our own musical development, and raised the level of music education across Saskatchewan. SMEA is committed to programs and services that benefit not only its membership, but also the community at large. Our association supports music diversity in Saskatchewan and promotes workshops, festivals, special projects and educational opportunitiesfor virtually every age group. The following is a review ofa selection of our programs and recent highlights within each of them that continues to improve the impact of what we do as music educators.

• Saskatchewan Music Conference – SMC 2011 celebrated the five-way partnership between the Saskatchewan Music Educators Association, Saskatchewan Band Association, Saskatchewan Choral Federation, Saskatchewan Orchestral Association, and Saskatchewan Music Festival Association. This year’s conference hosted approximately 250 delegates from across the province.SMC 2011 was held on November 3rd to 5th, 2011 in Re-gina.

• SMEA Honour Groups – Honour Groups 2011 was a tre-mendous success under the baton of Gillian McKay (band)and Scott Leithead (choir). Auditioned high school studentsfrom across the province came together for an experience that engaged their own musical creativity and technical abil-ity. Honour Groups 2011 was held on November 3rd to 5th at Campbell Collegiate in Regina.

• Saskatchewan Junior Band – SJB is a joint projectbetween the Saskatchewan Music Educators’ Associationand the Saskatchewan Band Association to provide a provin-cial junior honour band for Saskatchewan students in gradeseven or eight. SJB (North) was held on March 11th-12th inMelfort and SJB 2011 (South) was held on April 1st-2nd inRegina.

• Saskatoon Children’s Choir – The choir embarked onan ambitious 2011 tour called Sing Africa. They travelledto South Africa in July on a concert tour that mixed music and philanthropy. Throughout the year, they raised money with other community groups to purchase school supplies for South African children.• Heart of the City Piano Program - Since its inceptionin Saskatoon in 1995, the Heart of the City Piano Pro-gram has expanded to Alberta, Ontario and Quebec. The program promotes developing musical knowledge and skill for at risk youth in the province. Students continue to experience the joy of making music by taking piano lessons, participating at seasonal concerts, and perform-ing at music festivals.

Kara HelmsSMEA President, 2011


SMEA EXECUTIVE DIRECTOR’S REPORT This past year has been very interesting and exciting. The past two years, with Ann Mueller, has been a great training experience for me as I assume the Executive Di-rector’s position. I do have some very ‘big shoes’ to fill!It was reported in our 2010 Follow-up Report that 4,399 SMEA and SMEA Member Organizations members and volunteers spent a total of 180,360 volunteer hours to provide 852 programs and services which directly affected 147,671 individuals. This remarkable achieve-ment was made possible only through the support of a dedicated membership and an enthusiastic volunteer base! Thank you.

The total SMEA budget for 2010 was $524,951 of which$170,000 was received in lottery funds. These funds enabled the SMEA to lever an additional $354,951 in self-generated income to support organizational Pro-grams and Services. Self-generated income represented 67.6% of the total budget in 2010. Everyday brings new adventures for me. Preparing for Board meetings, updat-ing the SMEA membership on an ongoing basis, answer-ing emails, mailing out NOTZ, and CADENZA, doing all the financial entries daily, preparing budgets, working with the Honour Groups, Saskatoon Children’s Choir, Junior Band Program, Heart of the City Program, prepar-ing for the Annual Audit, preparing and gathering reports for the Annual Report and the Annual General Meeting have kept me quite busy. This fall and winter will bring new challenges with the 2013-2015 Global Grant Appli-cation, which will be completed by January 2012.I would like to applaud the knowledgeable and enthusi-asticmembers of the SMEA Board of Directors and all of ourvolunteer committees and program coordinators. I would like to welcome all the new members (teachers, students and beginning teachers) to the SMEA. Also, I would like to thank the membership for their continuing support, and congratulate them all for the excellent work they do in making the SMEA a culturally vibrant association. It is indeed a privilege to work with all of you.

Respectfully submittedVal KuemperExecutive Director

2

Celebrating 53 years of wisdom, patience,

commitment and leader-ship....

SMEA PRESIDENTS 1957 - 2010

Reg McFarland (1957)Lloyd Blackman (1958)

Don Cowan (1959)Mikel Kalmakoff (1961)Lloyd Blackman (1963)

David Kaplan (1965)William Otis (1967)

Tom Magnuson (1969)Blaine McClary (1971)Alastair Browne (1973)

Phil Johnson (1975)Brian Hartsook (1977)

Dennis Humenick (1978)Joan Therens (1980)

Robert Latimer (1982)George Charpentier (1984)

Colin King (1986)Joe Hary (1988)

Debbie McPherson (1990) Stephanie Stefanson-Pexa (1992)

Jack Jones (1994)Fred Barker (1996)

Murray Rausch (1998)Kevin Dyck (2000)

John Poettker (2002)Doug McCosh (2004)

Mary Jane Schuler (2006)Peter Pizurny (2008)

Kara Helms (2010)


2011 SMEA Regional Workshops

REGION 7 : Campbell Collegiate Workshop with John Trepp was February 5, 2011 in Regina.

REGION 4 : Westside Winds Winter Clinic at Bethlehem School in Saskatoon on March 5, 2011.

REGION 4: Sixes on the Sixth Workshop at Centennial Collegiate in Saskatoon on May 6, 2011

REGION 2: Fiddle and Dance Workshop at Central School in Swift Current on June 15, 2011

REGION 7 : Prairielands Jazz Camp - Regina July 3-9 at Campbell Collegiate

3

CADENZA 2011 The Official Journal of the Saskatchewan Music Educators Association 4

1979 Murray Rausch (U of S) 1981 Michael McCawley (U of S) Stewart Smith (U of S) 1982 Moira Kitsch (U of S) Calla-Dawn Lissel (U of R) 1983 David Ray Bindle (U of S) Sherri Leah Torgrimson (U of R) 1984 Mary Lynn Rooney (U of S) Michael Herle (U of R) 1985 Brent Pittman (U of S) Valerie Boyetchko (U of R)

1986 Cheryl Skibinski (U of S) Roxanne Anderson (U of R) 1987 Kerry Kirtpatrick (U of S)

1988 Colleen Hickie (U of S) Jean Marie Gusway (U of R)

1989 Lecia Nickel (U of S) Verna Ahner (U of S) Jillane Rackow (U or R)

continued 1990 Stephen Cocks (U of S) Jillane Rackow (U or R)

1991 Holly Cooper (U of S) Jillane Rackow (U of R)

1992 Richard Dube (U of S) Shawn Grocott (U of R)

1993 Christine Shaw (U of S) KatherineAnderson (U of R)

1994 Maureen Hay (U of S) Leanne Burns (U of R)

1995 Andrea Pray (U of S) Trent Reschney (U of R)

1996 Stacey Mortenson (U of S) Nathan Degenhart (U of R) 1997 Graham McDonough (U of S) Colleen Sutton (U of R)

1998 Jennifer Horvey (U of S) Maury Michie (U of R)

1999 Jason Caslor (U of S) Kathryn Bechdolt (U of R)

2000 Jennifer Korven (U of S)

Aaron Thinglestad (U of R)

2001 Bradie Reeds (U of S) Jeff McLeod (U of R)

2002 Alexandra Raney (U of S) Kristan Kuntz (U of R)

2003 Alexandra Raney (U of S) Alison Thiele (U of R)

2004 Shantelle Barber (U of S) Chris Leeson (U of R)

2005 Heather Lake (U of S) Lindsay Richardson (U of R) Jillane Rackow (U ofR) 2006 Tanis Lindsay (U of S) Kurt Gillett (U of R)

2007 Lauren Campbell (U of S) Amanda Ruda (U of R)

2008 Kerstin Hettings (U of S) Jessica Riley (U of R)

2009 Stephen Folnovic (U of S) Rylan Goudreau (U of R)

2010 Kathleen McLaren (U of S) Sarah Creurer (U of R)

2011 Samantha Stewart (U of S) Richard Wade Cummings (U of R)

Rj STAPLES AND FRANK CONNELLMEMORIAL SCHOLARSHIPS RECIPIENTS

The R.J. Staples and the Frank Connell memorial scholarships of $500.00 each are awarded annually to a third or fourth year music student from the University of Saskatchewan and the University of Regina.

SMEA continues to challenge all members to make a donation to our Special Scholarship Fund Raising Program, to ensure that we are able to continue supporting our up and coming music educators. All contributors will receive a charitable tax receipt will be acknowl-edged in our Newsletters and Annual Report.

Maureen Patterson Memorial FundAssisting participation in SMEA Honour Groups.

Patricia Johnson, $1000/2011Contributions can be made to SMEA

General Office, Cudworth.


Heart of the City Piano Program “Nurturing Success and Empowering Children”

The program has many volunteers at the ground level teaching the children piano lessons, orga-nizing folders and music, helping with recitals and programs. This position listed here requires some coordination of the different facets.

Program Objectives• build pride, self-confidence and increase self-esteem in at risk youth

• provide practical teaching experience to future music educators

• promote the participation of people of all origins to contribute to the evolution of society

• share in activities that bring diverse group together to promote values of understanding, acceptance and mutual appreciation

• develop opportunities community participation and strengthen community linkages by helping to overcome barriers and create a greater sense of overall community

Saskatoon HCPP Board 2011Lynda Harrington - Executive Program DirectorCyndi Lauze - Director of CommunicationTanis Lindsay - Director of RecruitmentHeather Macdonald - Director of FundraisingStefanie Stefanson-Pexa - Director of Inventory and DonationsDarla Read - Director of Marketing

PROVINCIAL BOARD / SASKATCHEWANMelinda Anderson-GrassLana Currie-LingelbachPeggy L’HoirMarilyn Richardson

FOUNDING BOARDRich DubéGary GullicksonMichelle LeeRon MillarChristine RodychLendy ScholzJudge Mary Ellen Turpel-LafondProvincial Board - SaskatchewanMelinda Anderson-GrassLana Currie-LingelbachPeggy L’Hoir

NATIONAL BOARDBuffy Sainte-Marie, Honourary Board MemberRichard Dubé, Honourary Board MemberMelanie Sydiaha - SaskatchewanJennifer Shi & Jennifer Au - AlbertaSarah Saliba - OttawaBettina Choo - Montréal


The Heart of the City Piano Programovercoming common barriers:(Submitted in part by Heather Macdonald)

Thanks to dedicated volunteers, the Heart of the City Piano Program (HCPP) has educated and empowered economically disadvantaged and at risk children and youth, since 1995.

The program overcomes common barriers to their participation in worthwhile organized community activities by match-ing youngsters with volunteer teachers, who travel to their schools. There is no cost to participate in the one-on-one les-sons or to take part in any other Heart of the City activity.

In simple terms, the HCPP reaches out to children and youth from families with limited resources to not only learn to play the piano and appreciate music but to also develop a broader view of their own individual potential. The SMEA is the sponsoring organization of the HCPP and we administer their financial affairs and provide administrative support and ex-pertise. The HCPP fits with SMEA’s mandate to foster the development of high standards in music education by sponsor-ing hands-on opportunities for musical development. As a program of the SMEA, the activities of the HCPP are covered by the SMEA’s liability insurance and fundraising in each of the program communities is made easier by their ability to use the Charity Status of the SMEA.

The program was founded by Richard Dubé. He observed in his students, a desire to learn but recognized the need to

provide additional resources in order for that to happen.

In 2011 there were approximately 350 young people participating in HCPP in Saskatoon, Regina, Moose Jaw and Biggar.

In addition to providing piano lessons, these young students had opportunities to attend symphony concerts; participate in

local music festivals; participate in a Provincial Festival of the Heart; experience and take Royal Conservatory of Music

exams.

Participants in these programs are developing self discipline, focus and musical skills. By their successes they continue to

gain self esteem, pride and confidence.


SMEA Awards 2011 Lorraine ArnoldOutstanding Achievement Award

Lorraine taught Grade One in Imperial from 1960 to 1968 and in Yorkton for 1969 to 1984. During that time she always had her own class choir and taught her students to enjoy singing, as a natural part of their day. Lorraine didn’t believe there were “monotones”. She developed games and exercises that taught children how to “find” their singing

voice, to listen critically, experiment with sounds and eventu-ally to sing in tune, together. Every morning the “roll” had to be taken and Lorraine sang the students names in different intervals that they repeated back to her. It turned into a great way to match pitch, learn different intervals and learn “happy” and “sad” sounds. After roll call, the first half hour of every day was spent in singing. Lorraine says she was fortunate to always have a piano in her classroom to play while her students sang. Her choirs sang beautifully - in unison and many years, depending on the class ability, sang in two parts – quite a feat for 30 Grade Ones. They had excellent rhythm and phrasing – taught through poetry and by feeling the beat of tunes played on the piano as they marched or “put the beat on their body” during breaks and fun time. In Yorkton, Lorraine had a Grade One class choir but was asked by other teachers to conduct a Grade 1, 2, 3, mass choir, of about 75 students and a Grade 4 class choir. One teacher played, Lorraine conducted and another teacher supervised behavior. They shared their songs at nursing homes, special events and Christmas concerts. At the local music festival, Lorraine’s choirs received many 1st place certificates and accolades from adjudicators for the fine performances. “This was not why we sang, but it did give us a reason to really polish one or two favorite songs for this special presentation. Music superintendents in both Imperial and Yorkton marveled not only at Lorraine’s ability as a Grade One teacher (they loved going to her room) but also her strengths and outstanding achievements as a music teacher. After retiring, Lorraine sang in her church choir for years and played saxophone in Larry Perrins Adult Concert Band and Jazz Band. She also formed a swing combo called,” The Odds and Ends” and continues to play with them to this day. Music has always been important in Lorraine’s life, within her family and during her career. She is very humbled by this award as she states that she was only doing what she loved, in a way that worked for her and her students and it ended up giving great pleasure to many.

Debbie McPhersonCMEA Lifetime Membership

The Canadian Music Educators Association Honorary Life Membership Award is the national life membership award presented to retired or current

members who have made significant contributions to CMEA/ACME and music education in Canada

I have lived and taught music in Saskatchewan since 1981. I first became involved with SMEA as Classroom Division director. I was then convinced to run for the executive. After completing my terms as President and Past President I was then approached to serve on the CMEA executive. I served as Vice-President, President, and Past-President. Through my involvement with CMEA I was sent to ISME as the Canadian rep. This hooked my on traveling to ISME conferences whenever possible. I traveled to Australia, Finland/Russia and South Africa. After finishing with my involvement in the music associations, I have now become involved in my local teachers’ association, serving my second year as its president. My ongoing community activities includes serving on the local Festival Executive as Band Co-ordinator, directing the Calvary United Church choir, playing in the PA City Band and serving as its Treasurer. I am also a member of my church council. When I received the call from Mary Dinn about my nomination for the CMEA Honorary Mem-bership I was speechless. For those of you who know me, you know that doesn’t happen very often. I am very humbled to have been nominated for this award. I thank the SMEA board for putting my name forward. The SMEA holds a special place in my heart both for its contributions to music education and the music commu-nity of Saskatchewan and for the people who make up the organization. Many of them have become very good friends. I thank you for your continued support and friendship.


SASKATCHEWAN MUSIC EDUCATORS ASSOCIATIONRj Staples Memorial ScholarshipRj Staples, the Provincial Supervisor of Music was one of the founding members of SMEA in 1957. He acted as the editor of the SMEA News Bulletin. He was appointed Honourary President to SMEA. Rj conducted a 1000-voice provincial choir at several SMEA Conventions and was instrumental in the Sask. Sings broadcasts and the publication of the Sask Sings songbooks to celebrate the Diamond Jubilee of the province. In 1964, Rj, as the Department of Education representative on the Curriculum Committee, encouraged SMEA to outline spe-cific recommendations regarding equipment, teaching aids and trained teaching staff required to provide a full music program in Division III with consideration of a possible Division IV course of studies for a full music program. In 1968, Rj Staples organized the provincial Honour Choir (later referred to as the Provincial Honour Choir).

Samantha Stewart (U of S)

Samantha Stewart is a third year clarinet major studying a Bachelor of Music/Bachelor of Music Education with a double major in history at the University of Saskatch-ewan. Samantha graduated from the Yorkton Regional High School in 2007. From a young age, she was influ-enced to pursue and excel in her passion of music from her music teachers in Yorkton and area. Samantha successfully obtained her grade 9 Piano and grade 9 Voice through RCM and is currently preparing for her grade 10 Clarinet RCM exam. From 2007 – 2009, Samantha successively attended the University of Ottawa and was enrolled in a Joint Honours Degree of History and Political Science. After gaining a lot of valuable life experi-ences, Samantha came to the conclusion that she could not live her life without music and decided to pursue the dream she had since she was a little girl – to be a musician, and most importantly, a music educator so one day she will be able to inspire students to discover their passion in music just as many of her educators have inspired her. Samantha has been given many wonderful opportunities such as her recent participation in the U of S Wind Orches-tra, the Greystone Singers, and most recently, Samantha just came back from Montreal where she performed with the National Youth Band of Canada. Currently, Samantha is a section leader in both the Greystone Singers and the U of S Wind Orchestra; a member of the executive for the U of S Wind Orchestra; a member of Golden Key Interna-tional Honour Society; a Recital and Office Assistant for the University of Saskatchewan’s Department of Music; and, volunteers her time regularly for multiple events such as be-ing a volunteer clarinet sectional leader for the U of S High School Select.

SASKATCHEWAN MUSIC EDUCATORS ASSOCIATIONFrank Connell Memorial ScholarshipFrank Connell came to Canada from Shotts, Scotland in 1958 as the Music Director of the Moose Jaw Lions Junior Bands. He was the founder of the Sask Music Camps in 1962, which later became known as the Sask School of the Arts with its permanent home at Fort San. Frank served as a member of the Executive of the SMEA, member of the Saskatchewan Arts Board, President of the Sask Chapter of the Canadian Bandmasters Association and was awarded the Order of Canada Medal.

Richard Wade Cummings (U of R)

Born and raised in Regina, my involvement in the performing arts began at age five when, after a particularly inspiring episode of Sesame Street, I began taking tap dance lessons. This lead to involvement with Saskatchewan Express as a member of both the children’s programs and the summer touring cast. My love of music and the perform-ing arts continued to grow, taking flight during high school when I was presented with many new and exciting opportu-nities. While attending Sheldon-Williams Collegiate I was an active member of the Music Department. The highlight of my involvement occurred in grade ten when I played Horton the Elephant in our production of Seussical. It was this experience and the genuine passion and joy expressed by our directors that inspired me to pursue a career in music education. Upon graduation, I entered the Faculty of Engineering at the U of R, which came as a surprise to almost everyone I knew - myself included. After one year in the Faculty of Engineering, I decided to pursue other avenues. I applied to the Bachelor of Music Education program and the rest is history. As I enter my final year and prepare for internship, I am very excited to get the opportunity to share my passion with the many students I will encounter throughout my career. I also look forward to continuing to grow my professional relationships with the music education community in Sas-katchewan and beyond. I would like to thank the SMEA for their continuing support of university students through their scholarship op-portunities, the University of Regina Department of Music, and my family and friends for their continuing support and the countless hours they have had to endure listening to me practice for various techniques classes over the past four years.


A report on the Canadian Symposium on

El Sistema: Music Education and Social Change, at the University of Western Ontario, May 29 , 2011 – submitted by Wayne Toews

This document with clickable links is posted at http://conductorschool.com/SistemaReport.html

In February 2011 Theodora Stathopoulos, Vice-President of the Canadian Music Educators Association, asked me to speak at the Canadian Symposium on El Sistema: Music Education and Social Change. The Symposium was part of the Leading Music Education (LME) International Con-ference at the University of Western Ontario, May 29 ,2011. She wrote “The ultimate goal of the El Sistema Sympo-sium is the creation of a national El Sistema group that will represent Canada in a newly formed Special Interest Group of the International Society for Music Education (ISME) and collaborate on this issue with international colleagues at

South Africa and Brazil. El Sistema gained attention because it created outstanding performing groups while providing opportunities for impoverished children.

In Canada programs have been introduced in Ottawa and New Brunswick. Toronto will offer a new program in Sepember 2011. Those who have been exposed to the ex-traordinary performances of the young musicians in theprogram cannot help but be impressed if not overwhelmed by the excellent playing. A movie trailerfor a documentary about the program is posted on You-

ISME’s 2012 conference in Thes-saloniki, Greece.“ The text of my presentation is attached.

I received financial support from the Saskatchewan Music Educators Association and the Saskatchewan Orchestral Association to attend the Symposium and the Confer-ence. Kara Helms, President of the SMEA also attended the Sym-posium. The main purpose of my attending the Symposium was for me to bring back information about the El Sistema program so that its adoption in Saskatchewan can be explored.

A focus of the “Leading Music Education” conference was “social justice”. Since the El Sistema program provides a music education to impoverished children, the Symposium pro-vided an ideal way to begin the conference.

El Sistema is an after-school program of music education developed by Dr. José Arbreu in Venezuela. The program of instrumental and choral music serves children from across the socioeconomic spectrum in after-school music programs. The programs are given at no cost to those who cannot afford them. The children meet for about three hours each day, five days a week, 40 weeks a year. Similar programs have been introduced in Scotland, the USA, Canada, Australia,

Tube.1 CBS News prepared a docu-mentary about the program.2Performances of the 2nd movement of Shostakovich’s Symphony No. 10, and Arturo Márquez’Danzón No. 2. by the Teresa Car-reño Youth Orchestra , part of the El Sistema program, are onYouTube.3 The Simon Bolivar Youth Orchestra is shown perform-ing Mambo from LeonardBernstein’s Symphonic Dances from West Side Story in the 2007 BBC Proms on YouTube.4I did extensive research about the El Sistema program before writing my presentation. Mark Churchill explains El Sistema in TEDx talk on YouTube.5 Mr. Churchill created the Arbreau Fellows program at the

New England Conservatory to prepare instructors for the programs.6

1 http://www.youtube.com/watch?v=276oR_tEmbs2 http://www.cbsnews.com/1770-5_162-0.html?query=simon

+bolivar+youth+orchestra&searchtype=cbsSearch3 http://www.youtube.com/watch?v=amSqQ5XNaGE&NR=14 http://www.youtube.com/watch?v=xlAaiBNCYU45 http://www.youtube.com/watch?v=tiK69tHVQdc.6 http://elsistemausa.org/

El Sistema gained attention because it created outstanding performing groups

while providing opportunities for

impoverished children.

9


Churchill says that the first goal of the program is social change and speaks of the four core values of the program:

1. Every human being has the right to a life of dignity and contribution2. Each child can learn to express music and art deeply and receive its many benefits3. Overcoming poverty and adversity is best done by first strengthening the spirit, creating, as Dr. Abreu put it: “an affluence of spirit.”4. Effective education is based on love, approval and community experience.

A second goal is promoting the highest values of excel-lence in music education and states that: • Music making should be fun and joyful. • Learning is best in a supportive social setting. • Challenge and striving for excellence are at the centre of work and practice.

Mr. Churchill listed practical aspects of the El Sistema program:

• Sustainable and systemic fundingI observe that opportunities for amateurs in Canada to make money by performing have diminished. Twenty years ago young players could make money by playing at dances each weekend. That is rarely the case now un-less one is a scratcher or disc jockey. Since our personal value in our community is often tied to our ability to earn money, the reduction in opportunities to earn a living has reduced the value of learning music.Saskatoon Youth Orchestra families were able to provide special opportunities such as touring and festival partici-pation by working at bingos. The number and profitability of bingos has been drastically reduced in part because smoking is now banned in bingo establishments and a significant number of players were smokers.School boards have the facilities, equipment and supplies budget and the most stable fundin for instructors. They must be held accountable for providing a quality music education for all children.Other aspects of the program include:• Location in under-served or at-risk neighborhoods• String “internal community” through ensemble music making• Intense and rigorous schedule: up to 4 hours a day, five or six days a week• Dedicated and highly effective teachers• Strong involvement of parents and families• Balanced curricular materials

• Full engagement in playing: physical, emotional, intel-lectual• Numerous concerts and presentations (constant ap-plause)• Student to student teaching and learning [teacher to teacher teaching and learning]

I invited members of the SMEA and SOA to watch the video and to give me feedback about how such a program would fit in Saskatchewan but received none.The Symposium began with the keynote address by Jonathan Govias, Mr. Govias was selected for the inaugural class of the Abreu Fellows program at the New England Conserva-tory. In 1989 he graduated with a B.Mus. with Distinction from the University of Victoria and later earned an M.Mus in orchestral conducting in Denver and then a D.Mus in Orchestral conducting in Montreal. His website gives more information about his career.7 Mr Govias is an advocate of the El Sistema program and has travelled widely and writ-ten extensively to promote it. He provided a framework for understanding El Sistema. He said that it is not a pedagogical system. Rather it is an umbrella that covers a wide range of activities. Its roots are in the core philosophy that is shown above. He gave a personal, generalized perspective saying that the program focuses on social change through the pursuit of musical excellence in an ensemble environment. Students are expected not only to learn but also to contribute. There is a notable connectivity between the various parts of the network so that students can move to the optimal place for them to play and progress. His vision for a similar program in Canada is “to unite the passion and potential for music with the knowledge, wisdom and experience we have in musiceducation to create something that has the power to change our lives and those around us”.

Mr. Govias also writes about advocating El Sistema 8 and maintains a Blog.9

Noemi Weis presented her new documentary, “Teaching the Life of Music” which records TinaFedeski’s trip with three young Or-Kidstra musicians to Toronto to see Venezuela’s acclaimedSimon Bolivar Youth Orchestra perform at the Rogers Centre.10 In 2007 Tina Fedeski and Margaret Tobolowska created the Or-Kidstra program in Ottawathrough the Leading Note Foundation.11 The OrKidstra and KidSingers Programs have over 100 students, and had spaces for 170 students as of September 2010.

Ken MacLeod of Sistema New Brunswick presented infor-mation about their new program which has already received $1.8 million in government funding and has already raised


from private donors $1 million of the matching $1.8 million. The program is hiring 13 teachers. A video about theprogram is posted on the New Brunswick Youth Orchestra (NBYO) website.12The introduction of the Sistema program into the NBYO pro-gram caused substantial controversy based upon differences in philosophy and the new direction of the program.13 14 15In August 2011 the orchestra proudly and widely announced: “The NBYO won 1st place in the Orchestra category and the highest distinction of ‘Outstanding Success’ from the panel of international judges” in the Summa Cum Laude International Youth Music Festival and Competition.7 http://jonathangovias.com/8 http://jonathangovias.com/2011/08/17/advocating-sistema/9 http://jonathangovias.com/el-sistema/blog-directory/10 http://www.ottawacitizen.com/entertainment/Getting+tune+

with+Ottawa+youth/4990986/story.html11 http://www.leadingnotefoundation.org/12 http://www.nbyo-ojnb.ca/sistemanb/en/Video2.html13 http://www.cbc.ca/inthefield/2011/01/january-25-2011.html14 http://www.ipetitions.com/petition/saveournbyo/15 http://www.nbyo-ojnb.ca/news/system-strikes-sour-note

They did not mention that theirs was the only orchestra to per-form. Their winning performances are posted on YouTube.16The NBYO hosted a Symposium on El Sistema on May 14 & 15, 2011. The organization has used the media and public exposure to create much excitement about the program in New Brunswick. Katherine Carlton, Executive Director of Orchestras Canada, spoke about the initiatives of four Canadian orchestras related to the support or introduction of el Sistema programs and the challenges they face in doing so, especially related to orchestra schedules, resources, local conditions, financial considerations and existing community programs. There is no commonperspective about el Sistema in the professional orchestral community. She noted a dynamic tension between music for music’s sake and music for social change. She said that profes-sional orchestras believe in the intrinsic and deeply personal value of music. Orchestras are not fundamentally about social change. Music is an end in itself not as a means to another end.

Jonathan Govias posted his perspective on her presen-tation on his Blog.17 Clark Bryan, a concert pianist who lives in London ON, described how he purchased the Aeolian Hall and made it into a community performance venue in spite of many challenges.18 Brian Levine of the Glenn Gould foundation and David Visentin, Executive and Artistic Director, Sistema-Toronto explained the project through which the Glenn Gould foundation provided a million dollars to bring the Simon Bolivar Youth Orchestra, the crown jewel in the El Sistema program, to Toronto in October 2009.Partly as a result of the excitement generated by the appearance of the Simon Bolivar Youth Orchestra in Toronto a new organization, Sistema Toronto, will launch a new program in September 2011. 19 Richard Hallam of “In Harmony” in the UK presented information about the developments of that program. that is supported by cellist Julian Webber.20 Mr. Hallam noted “Since the original projects were established, there has been the global economic crisis. Nevertheless, the Government is continuing to provide £500,000 between the projects in the current year.” His presentation isavailable on the conference website.21 Among the similar programs in the USA is Kid-zNotes.22

The presentations included many superb and very sophisticated video documentaries about the ElSistema program, several of which were produced in Canada. The documentary about Sistema New Brunswick was to be shown in eastern Canada in July 2011. All the Canadian El Sistema programs have successfully used the media to introduce and expand their offerings.

16 http://www.youtube.com/watch?v=LJQAI087Y7g&fe

ature=player_embedded

17 http://jonathangovias.com/2011/06/07/orchestrated-

downfall/

18 http://www.aeolianhall.ca/clark-bryan

19 http://sistema-toronto.ca/

20 http://inharmonyengland.org.uk/

21 http://ir.lib.uwo.ca/lme/May29/Program/12/

22 http://www.youtube.com/watch?v=luiwRGLDvoU


Following the presentations there were round table discussions led by the presenters. Each group was assigned a question. The list of presenters, the questions and the notes written on the flipcharts can be found in the Appendix.I recommend that our Music Provincial Cultural Organizations (PCOs) explore El Sistema and its possible adoption in Sas-katchewan to give us insight into our culture and the changes that have occurred in education during the past few genera-tions, especially related to funding for music programs. To determine if such a plan would work in Saskatchewan, I urge the music PCOs to examine how strong relationships between the El Sistema nucleos allow them to share resources, instruc-tors and ideas for the benefit of the students and teachers. We in Saskatchewan have done a notable job of serving young people in innovative and quality music programs as I stated in my pre-sentation. We are left with many questions about the currentand future programs offered in our province. Among the ques-tions that need answers are: • Do you subscribe to the core values of El Sistema as stated by Mark Churchill? • Can music education goals for Saskatchewan students be met by a program like El Sistema? • Would you support the creation an El Sistema program if it means that music education becomes as much a social services program as a cultural one in order to get funding? • Would you support the creation an El Sistema program if it means that music education is offered only outside of school hours? • If SaskLotteries were to provide the funding would you promote the creation of an El Sistema program in your school or community? • Which communities would be the best fit for such a program? • Would you be prepared to donate your time to teach, administrate or help in such a program? • What problems, if any, do you see in the adoption of El Sistema-type programs?

A GoogleDocs survey using these questions is posted at:https://docs.google.com/spreadsheet/viewform?formkey=dEsyT0tvaGJ4M1NJTFhWWWpua0gyb3c6MQThe symposium sessions are available for viewing on the internet. 23The next initiative in exploring El Sistema is Symposium II “Promoting Canadian Action”, November 17th, 2011 from 8 am until 7 pm at the Schulich School of Music, McGill Univer-sity, Montreal. Dr. Lisa Lorenzino, a Saskatchewan native, is hosting the event. The organizers are currently invitingpapers for presentation at Symposium II.24 25

Another event to discuss the development of El Sistema programs will be hosted by the LeadingNote Foundation in March 2012.

23 http://www.livestream.com/westernu/

video?clipId=pla_e21eb78a-15c7-4280-9a3f-

8d9caa63c30e&utm_source=lslibrary&utm_

medium=ui-thumb

24 http://www.cmea.ca/resources/latest-news/182-cana-

dian-symposium-ii-on-el-sistema

25 https://docs.google.com/viewer?a=v&pid=explorer&

chrome=true&srcid=0B9gz89Y3X3LNjFkMmI5NWUt

NWNjZi00OTE0LWExZjYtYzVhY2Y4YWNkZTU2&

hl=en_US&authkey=CJmBwMMI


Appendix to:A report on the Canadian Symposium on El Sistema: Music Education and Social Change,

Roundtable discussion reports from the flipcharts.Richard Hallam & Katherine Carlton: Do Sistema programs enable social change?Yes No None of the above-what kind of social change? who decides-sensitivity & responsiveness to community context

Wayne Toews & Clark Bryan: Could the model work with other musical styles/genres/ensembles,apart from Western Music and Orchestras?Yes!Factors-culturally appropriate and appealing- instructors- sustain local cultural modelscomposing and improvisationInclusive?“Non branded” El Sistema – Canadian adaptationsQuality education experience

Jonathan Govias & Theodora Stathopoulos: What needs to be adapted from the Venezuelanmodel for it to work in other countries?- what is the Venezuelan model?- context – completely different- Problems in Canadapoverty not as obvious“poverty” and “need” need to be definedgeography – free transportlearn as we go alongcommitment to innovation and learning

Ken McLeod & Tina Fedeski: What needs to be in place for an El Sistema model to succeed?- believe that you can succeed- ability to identify with what you’re creating- vision- leadership/team- ownership- demonstrable results- teachers - how they relate to kids/care deeply (helps retention) and volunteer (to start, localmusicians- transportation – covered by school board? walkable?- equipment – instruments/stands- legal/accounting advice- repertoire – compose?- community partnerships


Good afternoon,How many of you have been to Saskatchewan? Good, then you know that our primary exports are grain, potash and mu-sicians. It is an interesting challenge for us because we look jealously at places that have more musical resources.Research for this paper has taken me on a journey of discov-ery and re-discovery that has been exhilarating, refreshing, heartening, inspiring as well as a cause for much soul search-ing and a feeling of loss. I remember seeing the Mambo from the West Side Story Symphonic Dances in the afternoon before I went to a symphony concert that evening andI wondered what it would be like if our symphony players would stand and dance while they played. That influenced me to invite our youth orchestra players to be less stodgy and wechoreographed a popular piece from a Harry Potter movie. It brought a whole other sense of what we were trying to do to display joy in our music-making. Today it has been heart-warming to see the efforts of so many people to serve young people who would not otherwise be served.

I’ve learned a lot about music programs in Saskatchewan and Canada; there are many parallels to El Sistema. Even music educators are not aware of the high quality orchestra pro-grams across Canada. Last week at Musicfest I heard many first-rate performances by young Canadian musicians lead by their dedicated and expert teacher/conductors. The perfor-mances at the 2010 Association of Quebec Youth Orchestras festival were extraordinary, and that of Stravinsky’s Firebird Suite by the combined Montreal and West Island Youth Orchestras was world-class. I’m sure that you didn’t see the television program of that performance because it wasn’t made. The power of those of you who have been able to enlist the media to show what constructive things can happen in El Sistema is something that we look jealously at because we haven’t seen orchestras on television recently. We haven’t seen youth orchestras, choirs and bands on television or heard them on radio. I had a discussion with a former student who is a CBC radio producer out of Winnipeg and asked, “Why can’t we hear more youth groups on radio and she replied, ”There’s no time in the schedule for that.” I wrote to the national boss of radio and he said, “Talk to the local people.” We’re fortunate to have a world-class children’s choir and many other ensembles in Saskatchewan and there has been a little time, I think about one hour per year, that these groups are featured. I see that as a key aspect to inspir-ing people to want to learn to play. I still remember, as a little boy in a boys’ choir, travelling from Saskatoon to the first CMEA convention in Winnipeg and hearing the Winnipeg

Symphony play the Toreador Song from Bizet’s Carmen. My students would tell you that it is the song that the youth orchestra knew best because we played it over and over and over again and it captured imaginations wherever we went.

The first stop on my journey was to think again about my philosophy of music education which was shaped initially by my early experiences as a singer in a boys choir and aviolinist in a youth orchestra, expanded by my studies with Bennett Reimer, given meaning by my work as a teacher, performer and composer and then provoked into a newconsciousness by David Elliott’s Praxial Philosophy of Music Education. In Saskatchewan we try to serve all stu-dents and work hard so that they enjoy success. AlthoughSaskatchewan music programs have developed many world-class performers, that is not a primary goal.The school band programs in Saskatchewan grew out of the desire to provide a music education that was appealing to students; they have been very successful. In the late1960s the provincial government provided a small match-ing grant to school boards wanting to offer band programs. I believe that there is sufficient interest now to develop orchestra programs if a similar financial initiative were provided to school boards. Currently there are two school-based string programs in Saskatchewan - one in Prince Albert and a small itinerant program in Regina. Both Saskatoon and Regina have youth orchestras. I watched Mark Churchill, who you have seen several times today, explain El Sistema in a TEDx talk available on YouTube. I encourage everyone to spend a moment or two to watch it. He said that the first goal was social change and spoke of the four core values of the program1. Every human being has the right to a life of dignity and contribution2. Each child can learn to express music and art deeply and receive its many benefits3. Overcoming poverty and adversity is best done by first strengthening the spirit, creating,as Dr. Abreu put it: “an affluence of spirit.”4. Effective education is based on love, approval and community experience.We embrace those values but rarely discuss them because our students have a wealth of opportunities, the stated val-ues are similar to those in all curriculum documents andbecause parents choose schools based on reputation, location or course offerings. We wish that all children in Saskatchewan received a quality music education. We in

“Made in Canada” a paper by Wayne Toews for “A Symposium on El Sistema” March 29, 2011

14


Saskatchewan are struggling to get out from under the wa-termelon football helmets of those who think that beer and football are culture. We know the power of the media, which we have seen again today, and the disproportionate value it has given sports in our society. I told you about my lobbying to get more exposure for young musicians, ontelevision in particular. Saskatchewan like the rest of Canada is undergoing a profound social change. I suggest that it is because of the changing role of women (My Mom took me to a lot of violin lessons. Many moms now don’t have the time.) and because of changes in the agricultural community (Distances in Saskatchewan are great and the buses don’t wait. There is no opportunity for after-school programs in most of rural Saskatchewan.) We now have parents who are so busy that they are more givers than providers. Mu-sic education is just one of many activities they give their children. The decision to participate in an ensemble is rarely based on the core values or on an evaluation of the quality of the experience. Saskatchewan is growing rapidly and we have many immigrants and new people coming who have many different kinds of expectations and values. Where, but in Saskatchewan, could a young first nations boy with a Mennonite surname win the woodwinds class in a music festival by playing bagpipes. Many Saskatchewan children are overwhelmed by their busy schedules. They’re involved in a broad range of activities; organizations of all types vie for their participation. Often the children are caught between adults who bully them with threats of banishment or failurewhen the problem lies with poor planning by the organiz-ers. Many of our most accomplished young musicians are of Asian heritage and some music programs in Canada would not exist without their participation.

I’m happy to tell you about several unique programs in Saskatchewan that provide a music education to the under-privileged.

1. Richard Dube created the Heart of the City Program in 1995. This program offers free piano lessons to children in community schools in Saskatoon. It is now a program of theSaskatchewan Music Educators Association. The intent of this ongoing project is to enhance the lives and learning opportunities of at-risk youth through a structured music program that continues throughout the school year. Teach-ers volunteer at 11 venues in Saskatoon to teach students on instruments purchased for the program or generouslyprovided by businesses and other donors. Currently, 50 vol-unteers are teaching 100 students. Since its introduction the program has expanded to Regina, Prince Albert, Moose Jaw, Edmonton, Calgary, Ottawa and Montreal.

2. Three years ago the Blazing Fiddle Kids community

school program, an outreach music program teaching inner-city students to play the violin, was started by the SaskatoonFiddle Orchestra in partnership with the Saskatoon Public School Division and the Greater Catholic School Division as a pilot program. Thanks to a Saskatoon Health RegionCommunity Grant, an accomplished musician, performer and teacher was hired to offer weekly group lessons to 30 students – 15 in a public school and 15 in a Catholic school. In one school approximately 80% of the partici-pating students are of first nation heritage where in the other the group is made up of 50% First Nations children and 50% immigrant children. We in Saskatchewan have been looking for ways to serve our First Nationsyoung people. It’s been a real challenge. We can’t simply go to them and ask if they want to learn to play the violin. This initiative has been ground-breaking. This partnership is particularly important because it is generating funding from non-traditional sources and leaves the responsibility for providing a music education to the school systems. The public schools must not be allowed to abandon their re-sponsibility to provide a music education for all children.

3. Children in most of the larger centers in Saskatchewan from grades 5 or 6 to grade 12 have the opportunity to learn to play a band instrument. The use of many instru-ments and the music is free of charge. The Saskatchewan Band Association provides bursaries to allow students without means to attend summer band camps. The Sas-katchewan Orchestral Association charges nothing for qualified musicians to participate in the Honour Orchestra and offers significant bursaries for summer study. The SOA provides 45 awards to string players in cooperation with the Saskatchewan Music Festivals.

In addition to the goal of social change Mark Churchill said that a second goal is promotingthe highest values of excellence in music education.Mr. Churchill’s said that:• Music making should be fun and joyful.• Learning is best in a supportive social setting.• Challenge and striving for excellence are at the centre of work and practice.I was an instructor in Saskatoon’s “Youth Development Program” created by Prof. Dwaine Nelson. It shared many characteristics with El Sistema. In the early 1970s our university’s music department was small and our commu-nity needed string players and quality string instruction. It was Prof. Nelson’s vision to develop our own orchestral players; his plan was embraced by our community and supported by the Saskatchewan Arts Board. Using anartists-in-residence model, Prof. Nelson created partner-


ships between the university and symphony to bring several excellent players to Saskatoon. The Suzuki string program was introduced. Local high school music teachers who were sym-phony musicians and a localprivate teacher became directors of the four stages of the program that consisted of the Suzuki program, the Jr. Strings, the youth orchestra and the advanced chamber orchestra. Prof. Nelson’s plan worked. The current Saskatoon Symphony would not exist if not for those players developed through the several stages of our youth orchestra program.The youth orchestra was in a rebuilding stage and had become independent of the symphony in 1983 when I became director. After Prof. Nelson left the Symphony the functioning of the program changed because the various stages of the program were assigned to string principals who typically lacked the training, experience and interest to work with young ensembles. Following the model I observed during my studies in Japan, Icreated a team of first-rate musicians and educators. I added a program to develop double bass players. Currently, all but the principal double bass player in our symphony were devel-oped in the youth orchestra’s program. The special and intense opportunities offered by the Canadian Association of Youth Orchestras festival helped to instill a passion for music that led many to careers in music.

Churchill listed practical aspects of the El Sistema program. Many have mentioned those. I would like to highlight a couple of issues that are so critical particularly for those of us in Saskatchewan because funding is a constant challenge. The Saskatchewan Orchestral Association provides both operational and project funding but the groups need to fundraise con-stantly. Compared to twenty years ago it is much more difficult for young players to make money by playing at events such as dances. It used to be very lucrative. Special opportunities such as touring and festival participation were made possible by working at bingos. Four people from a family make $200 a night, tax free. In the past few years the number and profit-ability of bingos has been drastically reduced in part because of the change of smoking laws. Bingos were very important to many families who had a huge commitment to provide musi-cal opportunities. We need to new find ways to support our orchestras.

There is work for more qualified string teachers in Saskatch-ewan, especially in rural areas. Because of drastic reductions in faculty neither of our universities currently provide coursesin string pedagogy. I’m very concerned that experiences so important in my own development are no longer available to young teachers and conductors. Most important among them is the loss of the Canadian Association of Youth Orchestras and the biennial festival. The festival, which was held at the Banff Centre, brought together youth orchestras from across Canada

for an intensive week of rehearsals under high caliber conductors, performances, sectional rehearsals with outstanding Canadian performer/teachers and the joy of being part of alarge community of music makers. We also lost the Ca-nadian String Teachers Association. These organizations provided powerful opportunities to learn. They werepractical and intense and were often valued more than formal study.

What have I learned on this journey?For decades Saskatchewan music educators have em-braced the values and principles similar to those of El Sistema. Like El Sistema, our students have developed their skills in group lessons, supplemented by clinics, summer workshops, festival performances and Honour Group participation.In Saskatchewan we have accomplished much by co-operating and working together. Five provincial music organizations provide professional development and support for teachers in an annual convention. Each year teachers cooperate to support the provincial HonourBand, Choir and Orchestra. Under leaders such as Dwaine Nelson, teachers, musicians and music orga-nizations together with service clubs and volunteers have built and sustained strong musical communities. Young leaders have begun to renew the infrastructure of those communities. During the past twenty years music communities have rallied several times to retain music performance programs in our schools.

Saskatchewan society is significantly different from that of Venezuela and is continuing to change very rapidly because of economic development and immigration.Saskatchewan music educators are constantly adapting programs to meet demands of new curricula and to suit the students and communities they serve. Native flutes and drumming are incorporated into some programs. Dedicated people who work hard outside of school hours develop the best programs. Like El Sistema, Canada has many superlative programs that deserve recognition.

Television is so powerful that I consider exposure on television essential to the sustainability and further de-velopment of music programs in Canada. Thank you for making the film about El Sistema in Canada.The Saskatchewan Orchestral and Music Educators’ As-sociations are eager to learn. We are interested in sharing and now I have lots to take back to our province.

16


Saskatoon Children’s Choir 2011 Performing Season Highlight

17

The Saskatoon Children’s Choir was founded in 1996 by its present artistic director Phoebe Voigts. In the fifteen years since the choir’s inception, they have developed a reputation for their musical sound, creative spirit and commitment to artistic excellence. The choir performs a wide variety of choral compositions with a particular emphasis on classic literature, international folk music and Canadian works. The choir is spon-sored and nurtured by the Saskatchewan Music Educators Association.

In 2008, the Saskatoon Children’s Choir premiered Flying Colours, a new dramatic composition by Canadian composer, Stephen Hatfield. Flying Colours draws the audience into powerful emotions, such as belonging, exclusion, conflict, intimidation and despair; and at the conclusion of the compo-sition offers the possibility of integrity, dignity and hope. In May 2010, the choir premiered a mini-opera, Strangers in the House, commissioned by the choir from Peter Tiefenbach.The Saskatoon Children’s Choir has twice been awarded Kathaumixw’s Elmer Iseler Award (2000 and 2004) for best performance of a Canadian work. Other recognition’s include First Place (folk) from the International Choral Kathaumixw (2000); First Place (children’s choir) at the Festival Internacional de Musica de Cantonigros (Spain: 2002); Second Place (children’s choir) and Sec-ond Place (folk) from Kathaumixw 2004; and the Leslie Bell National Award for Choir (2003). Both Apprentice and Concert Choirs have been awarded the Isabelle Mills Award for outstanding choral achievement. In July 2009, the SCC travelled to Europe on a performance tour of Austria and the Czech Republic. In Vienna, they participated in the prestigious Summa Cum Laude Festival, where they were awarded two first prizes - First Place “with outstanding success” in the category of treble choirs, and the Summa Cum Laude Award of the City of Vienna for best choir of the festival, which they accepted from the Lord Mayor of Vienna.

This past July, the concert choir visited South Africa on a performance tour, combined with a humanitarian project focused on children affected by HIV/AIDS. The choir performed two benefit concerts for agencies working with orphaned children, and another two concerts with the Drak-ensberg Boys Choir, Keystone State Boychoir (visiting from Pennsylvania) and the Fezeka Choir from Cape Town. For this tour, the choir com-missioned Quodlibet, by Peter Tiefenbach. Crews from CBC Saskatchewan Radio and Radio Canada accompanied the choir to South Africa to document their concerts and travel experiences. The record-ings will be compiled into national documentary broadcasts.

SING AFRICA!


AuditionsAuditions for the 2012/2013 performing season are scheduled for Friday May 4, 2012, Friday June 1, 2012 and Saturday June 2, 2012.

Auditions for the Saskatoon Children’s Choir are open to all children who love to sing or would like to learn more about singing through the SCC experience. While some previous vocal or music training is advantageous, it is not a require-ment. Many choristers who are new to music training are able to demonstrate a natural aptitude for singing at the audi-tion.

Applicants must be between the ages of 7 - 16.

There is no fee for auditions.

Selected choristers will be placed in one of three choirs:

1) Preparatory Choir, (ages 7 - 9) 2) Apprentice Choir , (ages 8 - 13) 3) Concert Choir, (ages 10 - 16)The audition is approximately ten minutes and designed to be a friendly, positive experience for all participants. At the audition you will meet with the artistic director, Phoebe Voigts. She will ask you to echo melodies, clap rhythms, and perform several ear training exercises. You do not need to prepare anything ahead of time. Singers auditioning for the preparatory choir will be asked to sing simple melodies and explore with the director beginning level rhythm patterns.

You will be notified of your audition results by mail after all applications have been processed and the choristers have been selected.

To book an audition appointment or for further information about the Saskatoon Children’s Choir please phone the choir office at (306) 249-3927.


SMEA Excellence


SMEA Excellence in Music Ed.


SMEA Provincial Honour Groups 2011

21

The 2011 Provincial Honour Groups weekend was a successful and memorable event for all those involed. Congratulations to all of our Honour Musicians for a job well done and a very enjoyable concert experience! Thank you to the music teachers and directors who encourage and take the time to help these students audi-tion and prepare for such an event. Many thanks also to the parents who continue to support these musicians and make the Hononur Weekend a priority during the busy school year.

Our HG committee this year included: Russ Baird (Choir), Deidre Baird (Choir), Scott Peters (Band), Rudolf Sternadel (Orchestra, Graeme Steen (Registrar and SmartMusic Pilot Project) with assistance from Sara Cruerer (Campbell intern). Thank you very much for all of the time and expertise you gave to make this event possible. Your dedication to giving these students this amazing opportuntiy is appreciately greatly.A sincere thank you to Val Kuemper (SMEA Executive Director) who graciously handled finances, selling tickets and promotions and prrovided guidance on an ongoing basis.

The weekend was held Nov 3, 4 and 5 at Campbell Collegiate in Regina. We were not charged for the use of the space at Campbell, which served us well during the rehearsal days. As the number of participants and conncert attendees grows, it may be time to consider a larger venue to host the event in the future.

We enjoyed having both Stephen Hatfield (Choir Direc-tor) and Dr. Gillian MacKay (Band Director) work with our musicians. Mr. Hatfield featured many of his own compositions. Having had the opportunity to see the rehearsal process, it was incredible to see how far the students were willing to be pushed and challenged and how ell they responded to the high expectations of these directors. Many students commented during the weekend that they would like to eoerk with these directors again in the future. Our Sectional Leaders were very help-ful and the section rehearsals were appreciated by all. I applaud the dedication of some of our musicians who continued to rehearse during their free time.

The Friday Night Social was a memorable time for those involved. The students had opportunity for audience partivcipation with the Campbell Improv Team and then chose to present their various talents during the talent show portion of the evening. After a long day of rehearsals, it was a delight to see and hear the musicians want to celebrate even more music, share their individual talents and encour-age one another. We heard musical theatre excerpts, body percusiion, poetry, improvised singing and even a jazz jam session. Our Saskatchewan Honour Musicians indeed are a talented bunch.

The HG Grand Concret was of the highest quality and a very successful concert event! Certainly one of the highlights of the evening was our surprise commission in honour of Ann Mueller for her service as Executive Director of the SMEA and for her support of music in Saskatchewan. The Gentle Rain From Heaven was composed by Hatfield, and our Hon-our Choir presented this debut performance.

I am very proud of our Saskatchewan Honour Musicians, the HG Committee and am thankful for the support of the teachers, parents and audience mem-bers. The Honour Groups Weekend was a successful and memorable exoerience for all involved

Respectfully SubmittedJocelyn Armbruster, SMEA Provincial Honour Groups Chair


Honour Groups – debuted in 1975First co-ordinatorsBand – Charles HendricksonChoir – Stewart WilkinsonOrch – Ernest Kassain

1979 – Moose JawBand – Jimmie Howard ReynoldsChoir – Joyce EilersOrch – Dr. Norman BurgessCommission – orchestra – ‘Prairie Wildflowers’ – Thomas Schudel

1981 – ReginaBand – Christopher IzzoChoir – Robert CooperOrch – Ed SchlueterCommission – choral – ‘The Poet’s Song’; ‘She is the Prettiest of Crea-tures’; ‘Turtle Soup’ – Alfred Kunz

1984 – North BattlefordBand – Harry BegianChoir – Earl DaveyOrch – Vahe Khochayan

1985 – Swift CurrentBand – Loran EckrothChoir – Dr. David GreenleeOrch – Dr. William Jones

1986 – ReginaBand – Howard CableChoir – Barbara ClarkOrch – Dwight BennettCommission – band – “Divertimento #8’ Murray Adaskin

1987 – Prince AlbertBand – Frank WickesChoir – John StandingOrch – David Ford

1988 – Moose JawBand – Dr. Peter DemosChoir – Don JamesOrch – Don WasilenkoCommission – ‘Little Suite for Strings’ – Malcolm Forsyth

1991 – North BattlefordBand – Allan McMurrayChoir – Henry EngbrechtOrch – Stewart Grant

1992 – SaskatoonBand – Claude LapalmeChoir – Dr. George EvelynOrch – David CurrieCommission – band – ‘Three Prairie Folksongs’ – Waterhen Waltz, City of Bridges, song of the Campground Squirrel – Scott Rogal

1993 – ReginaBand – Dennis PrimeChoir – Gerald FaganOrch – John GomezYoung Composers Competition‘Saxophone Silhouette’ – Michael Ibrahim‘Euphonic Melodies’ – Cari Perih‘Daffodils’ – John Guzik

1995 – Moose JawBand – Dale LonisChoir – Diane LoomerOrch – Robert SkeltonCommission – choir – ‘The Right Combina-tion’ – Elizabeth Raum

1996 – SaskatoonBand – Dr. Gerald KingChoir – Henry EngbrechtOrch – Wayne Toews (SYO)

1998 – Band – William SchmidtChoir – Dr. Burt Allen

1999 – ReginaBand – Dr. Dennis PrimeChoir – Dr. Geoffery Paul Boers

2000 – SaskatoonBand – Allan McMurrayChoir – Diane Loomer

2001 – ReginaBand – Richard BlattiChoir – Elaine QuillichiniOrch – Andrea Bell

2002 - SaskatoonBand – Joseph P. MissalChoir – Scott LeitheadOrch – John Thompson

2004 – SaskatoonBand – Dr. Dale LonisChoir – Dr. Laurence EwashkoOrch – Jean-Louis Barbier

2005 – ReginaBand – Connie TurnerChoir – Lisa FielderOrch – Mark RudoffSOA com. – ‘ Prairie Tides, Op. 17’ – Jona-than Ward

2006 – SaskatoonBand – Dr. Glen GillisChoir – Dr. Gerald LangnerOrch – Yaru Aloni

2007 – ReginaBand – Dr. Denise GrantChoir – Elaine QuilliciniOrch - Ken Hseih

2008 – SaskatoonBand – Dr. Shelly JagowChoir – Heather JohnsonOrch - Michael Gilbert

2009 - ReginaBand - Brent GhiglioneChoir - Dr. Aaron MitchellOrch - Dennis Simmons

2010 - SaskatoonBand - Clinton MarshallChoir - Scot LeitheadOrch - Martin MacDonald

2011 - ReginaBand - Gillian MacKayChoir - Stephen HatfieldOrchestra - Edmond AgopianGentle Rain From Heaven - Stephen Hatfield

Honour Group Conductors & CommissionsGillian McKaySMEA Honour Band Conductor 2011 Gillian MacKay is an Associate Professor of Music of the University of Toronto, where she conducts the Wind Ensemble and teaches conducting and trumpet. She is also Associate Dean of Graduate Education. An award-winning teacher, Gillian has an active professional career as a trumpeter, conductor, adjudicator, and clinician. She has conducted honour bands throughout Canada and the United States, and is Associate Conductor of the Canadian Wind Orchestra. Dr. MacKay has adjudicated Canadian band festivals at local, provincial, and national levels in Canada. She has conducted honour bands and judged competitions in Singapore and Thailand. Also recognized as a conducting pedagogue, Gillian leads the University of Toronto Wind Conducting Symposium each July, and has been the guest instructor at other symposia in Canada and the United States. As a trumpeter, she has a particular interest in the French solo trumpet and cornet music of the 19th century. Gillian holds degrees and diplomas from the University of Leth-bridge, McGill University, the University of Calgary, and North-western University. Previously, she served as Instructor of Brass at Medicine Hat College, and Director of the School of Music at the University of Windsor.

Stephen HatfieldSMEA Honour Choir Conductor 2011 Stephen Hatfield was born on the Pacific Coast of Canada, where his father was blood brothers with Chief Sewid of the Kwa-giutl tribe. Childhood piano lessons gave way to joining a theatre troupe, where he wrote music for the plays and won festival awards for best actor. He studied electronic music at York University, later transferring to Specialized Honours English, where he earned the highest average in the history of the department and won the Gov-ernor General’s Gold Medal during research that explored the link between the arts, philosophy and physics. He left school to give one-man shows in Toronto, where he won two Arts Council awards for his poetry, later earning the University of Toronto Award of Honour while taking his degree in education. He pioneered courses in creative writing and developed curriculum for guitar, keyboard, stage band, steel band, reggae band, general music, and a cross-disciplinary program for performing arts majors. A national gold medalist for his concert choirs and vocal jazz groups, he has created an acclaimed body of choral literature and held posts as disparate as composer-in-resi-dence at Disneyland and at the Belfast Board For The Traditional Arts. In 2002 his piece “One Drop” received the award for outstand-ing choral composition from the Association of Canadian Choral Conductors. He currently lives in St. John’s, Newfoundland and is published by Boosey & Hawkes, Roger Dean, Colla Voce and Alliance.

SMEA Provincial Honour Groups Conductors

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Provincial Honour Choir 2011

Provincial Honour Band 2011

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SOA Saskatchewan Honour Orchestra

Gillian MacKay, Conductor Scott Peters - Coordinator

Edmond Agopian, conductorRudolf Sternadel coordinator

Stephen Hatfield, ConductorDeidre Baird/Russ Baird, Coordinators

SopranoBrittany Doncaster, ReginaAmy Fong, ReginaCandice Giesinger, ReginaKelsey Hammond, BiggarApeksha Heendeniya, SaskatoonAngela Howell, Swift CurrentTaliah Lavertu, ReginaAmaya Lucyk, ReginaHannah Luther, SaskatoonJulia Macpherson, SaskatoonHannah Martinson, ReginaMichelle McGaffin, SaskatoonKaitlyn McKeown, ReginaAlyssa Mooney, SoutheyEmily Mooney, SoutheyKate Nachilobe, SaskatoonNicole Parker, SaskatoonSiarra Riehl, SaskatoonKarae Sotropa, ReginaChristina Tkachuk, SaskatoonSharelle Ulrich, PenseJacinta Van den Bussche, RocanvilleVanessa Wolfram, Regina

AltoJo Arnott, SaskatoonAlana Barr, SaskatoonSarah Closson, SaskatoonAnna Currie, ReginaDanielle Josephson, ReginaJessica Kelly, RocanvilleAmy King, PenseMadison Kowerchuck-Webster, SaskatoonElise Lareau, ReginaShaquille McGonigle, SaskatoonRachel McKen, SaskatoonMadison McLean, SaskatoonChonteal Ramsay, ReginaMcKenna Ramsay, SaskatoonMeagan Rieger, ReginaSheree Ann Sadler. ReginaCadence Smith, Swift CurrentKatherine Spencer, ReginaZoe Strutt, KindersleyBrittany Tancrede, ReginaAlena Vidyadhar, ReginaMikaela Wenman, ReginaJanine Williams, Regina

TenorArcher Bell, SaskatoonMark Dozlaw, ReginaBen Dyck, ReginaBrady Frank, Swift CurrentColin Grant, SaskatoonKurt Haunsperger, SaskatoonReid Loos, ReginaT.J. Mamer, SaskatoonTiess McKenzie, SaskatoonTrevor Poole, MoosiminBen Sefton, Regina

BassRyan Anderson, Swift CurrentCade Eastwood, ReginaAustin Eckert, ReginaBenjamin Korol, ReginaJonah Norman Gray, ReginaKeiffer McLean, ReginaChad Stanton, ReginaSpencer Williams, ElroseJames Yurkowski, Regina

Flute: Kaitlyn Kern, Swift CurrentShina Hom, ReginaMaija McKenzie, White CityRobin Little Regina

ClarinetVanessa Klassen, KindersleyMaribeth Gautier, Prince AlbertHaley Wrishko, SaskatoonKyla Deitz, EstevanTarah Gaboury, LloydminsterDanielle Miller, ReginaJacob Menun, Swift CurrentHellen Towers, ReginaMarcus Lee, Grasswood, bassEmily Jackson, North Battleford, bassAshley Slade, Lloydminster, clari-netcontrabass

OboeKatie Douglas, ReginaKelci Little, Estevan

BassoonKayla McKenzie, SaskatoonJamie Bell, Saskatoon

SaxophoneCole Knutson, North BattlefordAnna McGlaughlin, Swift CurrentRebecca McLaren, YorktonCatherine Boutin, Regina, tenorKaylee MCKenzie, Estevan, tenorDaniel Stokalko. Mayfair, baritone

French hornPaige Summach, SaskatoonBenjamin Giesbrecht, SaskatoonKaralie Near, KindersleyEric Patterson, Saskatoon

TrumpetAlice Fuller, Earl GreyAbby Fuller, Earl GreyAustin Shirley, SaskatoonDavid Kreiser, Lloydminster

TromboneBethany McQuaid, North BattlefordKelsey Briens, ReginaCassie Hersche, ReginaMitchell Cassidy, SaskatoonRandy Paulgaard, Wolseley

EuphoniumChristopher Bryant, Regina

TubaAustin Deane, SaskatoonEverett Schwab, EstevanSkye Groot, Lloydminster

String BassDelaine Ukrainertz, Lloydminster

PercussionTaylor Froese, SaskatoonTaylor Pozniak, SaskatoonAshley Patoine, ReginaHaleigh Lorinczy, LloydminsterKate Martin, Wroxton, PercussionNicholas Kowaliuk, Saskatoon

Violin 1William Boan, Saskatoon Arthur Boan, SaskatoonEvan Friesen, SaskatoonHannah Weger, ReginaSamantha Leech, ReginaRebecca Weger, ReginaSantana Gravelle, LumsdenVeronica Kmiech, BattlefordBrittany Hettinga, SaskatoonKira Paisley, SaskatoonChristina Beck, SaskatoonJayden Dreher, ReginaSimone Ma, ReginaChenchen Joanne Peng, ReginaJonas Hue, ReginaIvan Hue, ReginaAngela Luo, SaskatoonChris Waddell, SaskatoonRachel Dueck, Swift Current

Violin 2Evan Wegner, SaskatoonMerike Lepnurm, SaskatoonAndrew Beukert, ClavetBdhanya Ramaswami, SaskatoonBrandon Johnson, SaskatoonYuhao Wu, SaskatoonKevin Chen, SaskatoonAnna Tsui, SaskatoonSilken Handford-Perronnet, SaskatoonKylee Kosokowsky, St. BrieuxEsther Derksen, WymarkJasmine Stevenson, MelfortDale Wilson, Saskatoon Katherine Cole, VanscoyKatie Polischuk, Saskatoon Garret Aspen, Saskatoon Natasha Werbicki, Saskatoon Larissa Werbicki, Saskatoon

ViolaKieran Ramaswami, SaskatoonGeena Salway, Regina Knut Lokken, Saskatoon Ben J. Polasek, Regina

CelloKeegan Wegner, SaskatoonAlaina Joelle Majewski, ReginaArthur Jack, Regina Daylen Friesen, Saskatoon Jeremy Czajkowski, Saskatoon Nikola Babic, Saskatoon Taylor Gravelle, Lumsden

BassZachary Carter, Saskatoon Timothy Vuksic, Regina Nevin Buehler, SaskatoonCassandra Loustel, Regina Emmett Fortosky, Saskatoon Quinn Cappelletto, Prince Albert


Watching these students come together from all corners of our province is a truly magical experience as there is one ultimate goal – to make music together. Seeing young people come together and acting in a positive manner can only filter into creat-

ing more positive experiences in our world today. Thank you for coming out and support these young people.

SMEA Honour Groups • November 5, 2011

Bravo!

SOA Saskatchewan Honour Orchestra 2011 Saskatchewan Honour Band 2011

Four SketchesMarco Putz

SerenadeDerek Bourgeois

The Marbled Midnight MileSteven Bryant

BlackwaterFergal Carroll

MadurodamJohan DeMeij

Hold this Boy and ListenCarter Pann

Gillian MacKay, ConductorThe Honour Band Performance

will be chosen from:

Edmond Agopian, ConductorThe Honour Orchestra performance will

be chosen from:

Concerto Grosso, Op. 6 No.1- G. F. Händel

A Tempo GiustoAllegro e forte

AdagioAllegroAllegro

Serenade for the String Orchestra, Op.20

E. ElgarLarghetto

*Black Jacques (le chat noir) for String Orchestra

G.FenwickWith a swing feel…

Saskatchewan Honour Choir 2011

Stephen Hatfield, ConductorSarah Creurer, Accompanist

The Honour Choir performance will be chosen from:

Verleih’ uns FreidenMendelssohn

Sung in German

*Salish Songarr. Derek Healey

a cappella Sung in Salish

I Am The Great SunJussi Chydenius

a cappella

*Les draveurs de la Gatineauarr. Hatfield

Sung in French

*Willie Taylor(a mixture of folk song and madrigal)

arr. Hatfield

*Heaven Bound Trainarr. Hatfield

*The Gentle Rain From Heavenarr. Hatfield


Weapons of Mass Instruction? Part 3Honour Groups real impact.

Graeme Steen

2011 saw the third seeding of “SmartMusic” in the SMA Honour Group Choir and Band. SmartMusic is a practice tool mostly. Taking a page from the “Music Minus One©”, and “Aebersold” play along records and CD’s, SmartMusic can go a small stepfurther...“one small step for mankind, one giant leap for

musicianship”.SmartMusic (and newer computers with a plugin mic, uses built-in sensors which detect sound through an inexpensive little mic which clips on the lapel. The student can download the “Assessment file” for the Title, and rehearse at any speed while the part scrolls onscreen. The computer generates an accompaniment (which is reasonably realistic) which “waits” for the soloist... that’s what gives SmartMusic the sense of interactivity.

Waiting for the soloist of course is not what we want...well Smart Music keeps track of the pitch and rhythmic placement of each note the student plays and can scorethe student. As the student improves playing the part accurately and intune the score improves.Like all completely new applications, SmartMusichas taken a couple of years to settle down.

New applications are full of bugs (so wait for later ver-sions anyway). SmartMusic is now at version 2012.The second best thing about Smart Music is it’s useful-ness as a communications tool in general.It’s what in business circles would be called a “Com-mon Operating Environment” for music education.

It is possible then to set up one’s own SmartMusic network. The “Directors” version which is needed to access the “assessment” functions, and the student ver-sion. Once connected, a teacher can assign all kinds of things, including “parts”, tests, new musicetc, all online. For a teacher with a band made up of several different schools or cities, this has obvious potential.

Providing a folder of repertoire is one thing, but to provide support for it (an actual practice track of a virtual ensemble), and test it (optionally) is not Star Trek anymore.

It really helps to have a large library of SmartMusic “conditioned” scores (.smf files) to choose from. As soon as students activate their $30/year subscription to the SmartMusic system, (or in some cases through parent groups) they have access to hundreds of dol-lars of method books related specifically to them.

Since SmartMusic uses a proprietary file format which does not provide printing or MIDI output, MakeMusic© (the owners of SmartMusic) reachglobal deals with copyright owners. The copyright fees are included in the subscription fee structure.

This new style of interactive practice support andfeedback is producing excellent results. To read fur-ther visit the MakeMusic.com website.... theproduct is explained from EVERYONE’s point of view!

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Realtime.www.musiceducationonline.org/links/linxparent.html

Advocacy


www.musiceducationonline.org/smea/enotz.html

SMEA members now have the option of receiving brief email news pointers (links to news). They are small emails which occassionally can point you to the newest news in SMEA and the music education

community. Messages may include deadline reminders, program news which is important etc. NOTZ (printed) and CADENZA (printed) will still be distributed to all members. If you do not “sign-up” you will not

receive E-Notz. Your email is kept confidential.

Sign me up!

name

current email:

www.heartofthecity.ca

www.saskatoonchildrenschoir.org

www.musiceducationonline/smea/honour.html

www.heartofthecity.ca/circleofpeace.html


Why not join SMEA?...Complimentary Membership for Beginning TeachersAll beginning teachers of music can receive a one year complimentary membership in SMEA

FREE Resource AccessSMEA offers its members free access to all HonourBand/Orchestra scores and classroom resources at theStewart Resource Centre. In partnership with theSaskatchewan Choral Federation, we provide freeaccess to choral resources too!

STF SPECIAL SUBJECT COUNCIL (music)Since 1957, SMEA has represented SaskatchewanMusic Education professionals in issues related toSaskatchewan Education and the SaskatchewanTeachers Federation.

CommunicationsSMEA members receive newsletters and journals fromboth the SMEA and CMEA. Check out our website! You can receive e-news via your email.

SMEA Honour GroupsThe SMEA Honour Groups Program provides theopportunity to showcase our gifted band, choir and orchestra students from across Saskatchewan!

Support of Provincial University students!SMEA supports the U. of S. and U. of R. by providingfunding for student workshops and scholarships

Inclusive AdvocacySMEA promotes the interests of the entire music community through provincial, national and interna-tional affiliations. We also have advocacy materials available through our office and online at our website!

Funding for Workshops, Special Projects & Festivals. SMEA members can access funding for workshops and special projects. Your Regional Application forms are easily accessed online or through conventional mail. We also provide funding to UNIFEST and the Moose Jaw International Band and Choral Festival.

Saskatchewan Music Conferences (SMC)In partnership with other Saskatchewan musicorganizations, SMEA provides a yearly music con-ference to promote professional development for all educators involved in music.

National Affiliations!All SMEA members automatically become members of the Canadian Music Educators Association and receive the CMEA Journal and Newsletter.

SMEA Supports Excellence.SMEA sponsors the “Heart of the City” piano program, the “Circle of Peace” drumming program, the “Saskatoon Children’s Choir” and other projects which benefit the youth of our province.

DEDICATED and DIVERSEThe SMEA Board of Directors represents ALL corners of Saskatchewan and ALL music education specialities. We are open to new and creative initiatives.

We’ll do everything we can to make music happen!


Fehr-Way Tours6-1050 Henderson Hwy, Winnipeg, Manitoba R2K 2M5

is a corporate member of SMEA

Canadian Choral Centre380 - 550 Century St. Winnipeg, Man R3H 0Y1


THE BANDSTAND4824-93rd Ave. Edmonton, Alberta. T6B 2P8

WesternMusic Sales Inc.

check out Western Music Sales on the Saskatchewan Music Mall through:

www.musiceducationonline.org

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SMEA AFFILIATIONS / NATIONAL AND INTERNATIONAL ORGANIZATIONS:

Canadian Music Educators Association (CMEA)

International Society for Music Education (ISME) Affiliate of the United Nations

National Symposium on Arts Education

International Music Camp (North Dakota)

Canadian Coalition for Music Education

Canadian Conference of the Arts

Music Edventures 14925-112 Ave. Edmonton, Alberta. T5M 2V6


University of ReginaDepartment of Music


The Saskatchewan Music Educators Association

is the STF Special Subject Council for Music Educators in Saskatchewan

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Outstanding Achievement Award Honourary Life MembershipThe time has come again to honour colleagues who have put forth that extra effort to make music education a strong and vibrant part of their community.

The Outstanding Achievement Award recognizes either one outstanding accomplishment or an ongoing dedication to excellence in music. The recipient need not be or have been a member of SMEA

The Honourary Life Membership is given to someone who has made a significant contribution to SMEA and to music education in Saskatchewan. The recipient must be a retired teacher and either a retired or current member of SMEA.

These awards are adjudicated at the next SMEA Board Meeting and presented at the Saskatchewan Music Conference.

Nominations should be sent to any SMEA Board Member or the SMEA office in Cudworth.

2011

SMEA OUTSTANDING ACHIEVEMENT AWARD

Loraine ArnoldGene AulingerRhonda BakerDean Bernier

Cindy BurhamGeorge Charpentier

Lana Currie Richard Dube

Margo FournierGary Gullickson

Marlene HinzChris Hamilton

Colin KingTom Magnuson

SMEA HONOURARY LIFE MEMBERS

Gene AulingerLloyd BlackmanAlastair BrowneWilliam Browne

Marjorie BurnsDon Cowan *

William DuignanGary Evjen

Verla Forsyth **Robert Gibson

Gary GullicksonGloria Herauf David Kaplan

Bina Keyser

Janet MarekBlaine McClary

Greg McLeanSharon Meredith

Dwaine NelsonCorinne Olson

John PanioMaureen Patterson

Carol PetrieJohn PoettckerMarvin Shields

Joan TherensWayne Toews

Brian UnverrichtPhoebe Voigts

Colin KingMarilyn King

Robert LatimerTom Magnuson

Debbie McPherson ***

Isabelle MillsDwaine Nelson

Floyd NelsonJohn StieneckerMarlene Taylor

Joan Therens* Recipient of ISME Jewel Award 1978

** Recipient of CMEA Honourary Life 1991*** Recipient of CMEA Honourary Life 2011


Honourary Life Membership /Outstanding Achievement Award nominating form for fall 2011nominee’s information

name

address

telephone city/town postal code

institution(s) conferring degree(s)

Membership in SMEA (past or present) yes no If yes, #of years_____

Past involvement

[ ] music educator [ ] classroom teacher [ ] music supervisor[ ] principal other(specify)__________________________

Years teaching_______

Years teaching in Saskatchewan_______

List other professional organizations in which the nominee has held/holds membership

Principle reasons why nominee should be considered for Honourary Life Membership or Outstanding Achievement.(please include a short biography of your candidate)..........

nominator’s informationname address

city/town telephone

postal code

please forward this form to the SMEA office box 632 Cudworth, SK S0K1B0 Phone: 306-256-7187

CLIP OUT&

FAXor mail

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SMEA MEMBERSHIP APPLICATION/RENEWAL FORM

The following information will be used to contact members for renewal and membership drive purposes, to send newsletters or journals; and to forward conference, program, services and pro-fessional development opportunities information.

A membership in SMEA also entitles you to a membership in the Canadian Music Educators Association. Your name, address and membership catalogue will be shared with the CMEA. The SMEA is a Special Subject Council of the Saskatchewan Teacher’s Federation and receives grants based on membership. Your name, address, membership catalogue and Teaching Certificate Number will be shared with the STF. The SMEA receives funds from the Sask. Lottery Trust. Your name, postal code and membership catalogue may be shared with SaskCulture Inc. for advo-cacy purposes. Information gathered regarding individual members will be retained on database in the SMEA general office for a period of twenty-four months, along with this signed and dated consent form.

MEMBERSHIP APPLICATION/RENEWAL FORM (Please print clearly)

Name:_________________________________________ Address:_______________________________________ ______________________________________________ Postal Code_____________

Teaching Certificate Number (to verify STF membership)

Home Telephone________________ Business Telephone_____________________Fax Number ________________ Email _______________________________

Type of Membership Areas of Interest ___ Regular $50 _____ Instrumental___ Associate $30 _____ Choral___ Retired $30 _____ Classroom___ Student $15 _____ Mentor___ Administrative $100 _____ Consultant___ Parent/Group $25___ Corporate $75 I am enclosing _____________for membership fees

I choose to be excluded from lists that may be disclosed to ___SaskCulture Inc. Signature:___________________________________ Date_________

Please forward form along with your cheque to SMEA, Box 632, Cudworth, Sk. S0K 1B0

Sign me up!

SMEA members now have the option of receiving brief email news pointers (links to news). They are small emails which

occassionally can point you to the newest news in SMEA and the music education community. Messages may include dead-line reminders, program news which is important etc. NOTZ

(printed) and CADENZA (printed) will still be distributed to all members. If you do not “sign-up” you will not receive

E-Notz. Your email is always kept confidential.



Documents

CADENZA - elecqlx.sasktelwebhosting.comelecqlx.sasktelwebhosting.com/smea/CADENZA2011.pdf · CADENZA 2011 The Official Journal of the Saskatchewan Music ... Mikel Kalmakoff (1961)