TEACHER’S EDITION · 2019-01-03 · the guitarist’s new music as taking you on “a journey brimming with exhilaration and pas - ... not only on the talents of the artist but

MONTHLY

VOL. 16 • NO. 3 • DEC 2018

THE YOUNG MUSICIAN’S TEXTBOOK

GRETAGRETAVAN FLEETThe song remains the same? Hit millennial band strikes classic-rock pose

MODERN BAND

PLAYING ZEDD’S “THE MIDDLE”

THE BUILDING BLOCKS OF

COUNTRY MUSIC

SOUND & LIGHTSMAKING THE MAGIC HAPPEN BEHINDTHE SCENES

MODERN BAND


MODERN BAND


✦ Insights for Music Teachers – from Music Teachers✦ How to Teach In Tune News✦ Winning over skeptics to music technology✦ Student Edition of In Tune Monthly✦ Website and Subscription Information

Every Music Student Needs to Get In Tune! To get subscriptionsfor your class, see the back cover

✦ T E AC H E R’ S E D I T I O N ✦

D e c e m b e r 2 0 1 8 ○ V o l . 1 6 , N o . 3

Student subscriptions available at InTuneMonthly.com

We have prevIously used this space to promote the

activities of the Association for Popular Music Education

(APME). That’s because for more than a decade, the pioneering

members and board of trustees of APME have been working to

advance and support the teaching of a broad array of subjects

in popular music, along with the techniques and technology

needed to produce the music and the career opportunities for

students who study it. Sound familiar? The mission of In Tune aligns closely

with that of APME, and that’s no accident.

APME will hold its annual summer conference at New York University,

in the heart of Manhattan’s Greenwich Village, June 12-15. After events in

Boston, Miami, Los Angeles and the Nashville area, it’s fitting that APME now

swings into the Big Apple. Aside from its great history as a music city, New York

presents extraordinary opportunities for immersive cultural experiences.

An advertisement for APME 2019 at NYU appears in these pages, and the

organization’s website – popularmusiceducation.org – provides more info.

Why join APME and/or register for the NYU conference? There will be

teaching materials available to members there, as well as resources to help

educators with curricula and professional development; but most of all, it is

to network with those teachers involved in similar pursuits. One of the

reasons APME was created is that the teaching of popular music is

incredibly diverse, and many who do so have invented individual, creative

approaches. Connecting with teachers from all levels of education and all

walks of life can be incredibly informative and rewarding. APME attendees

and members have benefited simply by meeting with like-minded

colleagues and comparing notes.

In Tune has been involved with APME since its first days and will again

participate in this next conference. We hope to see you there!

APME in Big AppleTeachers ordering six or more sets of

In Tune student subscriptions can go to intunemonthly.com/lessonplansfor full lesson plans and videos.

This month, lesson plans are available for the following stories:

Teacher’sediTion

Greta van FleetYoung Michigan band makes its name channeling

classic rock even as the style divides opinion.

Modern BandCharts and performance notes for how to play

a band version of Zedd’s hit “The Middle.”

TechniquesLearn the ABCs of a classic American style:

country music à la the Carter Family and more.

sound & lightsMusic careers aren’t just for performers. Stage

magic happens thanks to those behind the scenes.

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GRETA VAN FLEETThis issue’s cover story pro-files young band Greta Van Fleet, a quartet from Michi-gan that has earned remark-able buzz for its sound and fashion patterned after such classic-rock giants as Led Zeppelin. That the familiar riffs and gestures have polarized critics is an understatement, but the group is bracingly confident. About the 1970s, Greta guitarist Jake Kiszka says: “Music meant something during that period, a lot more than it does now.”

MODERN BANDA feat of networking, “The Middle” is a collaboration among Russian-German producer Zedd, Los Angeles-based electronica duo Grey and Nashville singer Maren

Morris, among others. The song offers the chance for a band to reinterpret an electro-pop hit in an organic way. In addition to background on the song and technical tips on how to play it, our story includes an accompaniment chart.

WHAT YOU WILL DO?This In Tune column profiles professionals working in music, offering insights for students into potential careers. December’s subject is inspiring teacher Melissa Salguero, who reani-mated the dormant music program of a school in New York City’s South Bronx – earning her the GRAMMY Music Educator Award, as well as vocal apprecia-tion from her students. Wiping his eyes, fifth-grader Luis Galvez got emotional talking about Salguero, saying: “She makes us feel special. It’s not every day that you get to meet someone who will be so important in your life.”

CLASSIC ALBUM COVERSWith the cover for its album London Calling, British band The Clash paid tribute to an Ameri-can pioneer. The 1979 London Calling cover mirrored that of 1956’s Elvis Presley LP, thereby aligning the volatile energy of punk with the visceral allure of early rock’n’roll. Along with

striking type design, each cover featured performance photos that are thrilling in their own way.

The Tao of In Tune

ICONThis month’s column devoted to great musical figures in history presents classical pianist Arthur Rubinstein, who wasn’t only the 20th-century’s definitive interpreter of Chopin and much more; he was also a social animal, the life of the party wherever he traveled. The New York Times said about his versatility: “No pianist has put everything together the way Rubinstein has. He is the complete pianist.”

PLAYERSGlobe-trotting guitarist Sergio Pereira, a native of Brazil, has ventured out as a composer-bandleader after decades of featuring in other people’s groups. Critic Bill Milkowski described the guitarist’s new music as taking you on “a journey brimming with exhilaration and pas-

sion, soulful reflection and deep-seated feelings that speak of Pereira’s homeland.”

TECHNIQUESClassic country is one of the signature sounds in American music. In this lesson, Nick Mil-levoi explores the building blocks – song form, arrange-ment, lead instruments, etc. – of vintage songs by the likes of the Carter Family, Hank Williams and such bluegrass pioneers as Bill Monroe.

SOUND & LIGHTExperiencing our favorite musical performers l ive onstage can be a thrill, if the magic happens. What we see and hear in a club, theater, hall, arena or stadium depends

not only on the talents of the artist but also the alchemical work of technicians behind the scenes. This feature follows sound engineer/lighting designer Tyler Soucy and monitor engineer Jamar Hector.

WELCOME TO DECEMBER This issue presents

stories about influential musicians from rock and reggae to

country and Brazilian jazz, as well as a feature about live sound

and lighting designers plus a profile of an award-winning music

teacher. As ever, there are also tips on playing techniques, band

arrangements and catchy songs from around the world.

WHAT’S IN THIS ISSUE AND WHY

TEACHING WITH IN TUNE

Take summer classes and watch your teaching skills thrive. Apply now. Graduate degree, nondegree and workshop rates available.

Choral | Instrumental | Kodály | Orff Schulwerk | Piano Pedagogy | World Music

stthomas.edu/music/graduate

Y E A R S O F E X C E L L EN

CE

RA

I SIN

G T

H E S T A N D A R D

START NEXT FALL ON A HIGH NOTE

Graduate Programs in Music EducationCollege of Arts and Sciences

Young Artist solo CompetitionApplications and recordings are dueSunday, Jan. 27, 2019. For further details visit:www.navyband.navy.mil/solo_competition.html

In Tune YASC 2019.indd 1 10/22/2018 7:21:22

THE INITIAL PAGES of In Tune Monthly follow a considered for-mula, with a consistent design for many moons. Like the magazine as a whole, that opening News section of In Tune seeks to strike a balance, presenting a potpourri of enlighten-ing pieces for both male and female

teen music students of various backgrounds. Its recipe is one-part band and orchestra, something for the singers, a touch of tech, some instrument info, a bit of business, and anything cool and unusual overall.

What’s the method for the story selection here? Well, like most news sources, we seek to keep our readers up to date. Coming out

monthly, though, our News section isn’t necessarily timely. What we’re seeking to highlight most of all in News is achievement. If the criterion for stories chosen for the news on TV has often been “if it bleeds, it leads,” then ours is “if it succeeds, it leads.” In Tune News celebrates success. Even if we include the rare obituary, it’s about someone who had signi� cant musical accomplish-ments. We’ll try to debunk a myth here and there, as well as point to a fading fad on occasion, but almost exclusively, the open-ing pages of In Tune are meant to inspire.

So, beyond recommending our collection of “did you know…” narratives to get stu-dents reading about music and keeping them

engaged in its study, what lessons can be derived from the News in In Tune?

Lessons using our News stories can be created by category, such as information about tools of the trade. From new develop-ments in instrument construction to product innovations to new instruments themselves, there’s always something in the News about new gear. The October issue of In Tuneincluded a story in News about an implement for vocal training, the Oovo Straw, a device made of silver and likely out of the price range for most students and teachers. But the short piece was chock full of discussion

i nt u nemont h ly.comD E C E M B E R 2 0 1 8 • I N T U N E M O N T H L Y - T E A C H E R E D I T I O N 6

intunemonthly.com

10

news[ ]

tO illuminate how culture connects us, iconic cellist

Yo-Yo Ma has embarked on “The Bach Project,” traveling

the world playing Johann Sebastian Bach’s Six Suites for

Solo Cello, which he recently recorded for the third time

over his award-winning career. The cellist is spreading

the word about the project via a new Alexa Skill called

Musical Moments. In his 36-episode series, Ma discusses

his experiences across six decades as a performer of Bach’s

music. If you have an Alexa device you can say, “Alexa,

open Yo-Yo Ma’s Musical Moments.” By touring the

globe as well as taking listeners with him via

Alexa, Ma hopes to connect with as many people

possible – of every age, nationality and back-

ground. For e-mail updates and more, go to

bach.yo-yoma.com.

Yo-Yo Ma’s new alexa skill

The Last StrawvOCal exerCises have long

been known to improve one’s

singing, of course, and one such

method involves working with a

straw (search for it on YouTube).

But plastic straws are bad for the

environment, with the move-

ment for their elimination

growing. One solution, albeit a

pricey one, is the OOVO Straw.

The OOVO is the first antibacte-

rial, chemical-free straw for

maintaining healthy and strong

vocal cords. Singing through a

straw can elongate your vocal

tract, which then reduces the

pressure placed on your vocal

cords and saves your pipes.

Plastic straws also quickly

collect bacteria, putting you

at risk for illness. The OOVO

Straw is made out of

sterling silver. It costs

$129, but you will have

it at your side for

years. Use this

exclusive discount

code for free

shipping: INTUNE.

to achieve great things,

two things are needed: a plan and not quite enough time.” —Leonard Bernstein

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Lesson LinkOnline Lessons We Like

Double-Pedal Patterns with Korn’s Ray LuzierRay Luzier is the drummer for

veteran nu-metal band Korn, but

he understands the beginner’s

desire to start out playing fast

and strong, just like his or her

favorite players. To Luzier,

though, it’s vital for a young

musician to work up gradually to

difficult drumming patterns: “It’s

not about how fast you can do it

– it’s about the precision of your

playing. The speed will come

later.” Search YouTube for Part 8

in Pearl Drums’ “Time to Play”

instructional series, which

features Luzier’s lesson on pedal

patterns for double bass drums.

the Oovo straw, oovostraw.com

In Tune Monthly • October 2018

center for popular

Music preserves cultureaCCOrDinG tO Middle Tennessee State University in

Murfreesboro, the mission of its Center for Popular Music is to

“promote research in American vernacular music, and to foster

an understanding and appreciation of America’s diverse musical

culture.” It houses some 1 million items: sheet music, songbooks,

sound/video recordings, manuscripts, photographs, periodicals,

posters, catalogs. The National Endowment for the Humanities

has donated more than $200,000 toward a renovation of the

CPM’s archival storage room and the preservation of its research

collection. The Center has also been named a Phase 1 site in the

new Tennessee Music Pathways initiative, as an organization

that promotes cultural landmarks. Go to mtsu.edu/popmusic

to browse such online collections as American Vernacular Music

Manuscripts, which includes works across a wide range of classes,

occupations and regions going back to the 18th century.

Music News

How to Teach withIn Tune

Stoke curiosity in students via tips, tidbits and current events in music. BY PAUL IRWIN

TEACHING WITH IN TUNE

10

The Last StrawvOCal exerC






environment, with the move




The OOVO is the first antibacte
















In Tune Monthly

monthly, though, our News section isn’t necessarily timely. What we’re seeking to highlight most of all in News is achievement. engaged in its study, what lessons can be

Music News

Teach with

MUSIC

intunemonthly.com

9

October 2018 • In Tune Monthly

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On the 19th anniversary of its last championship, the Santa Clara Vanguard Drum Corps has earned the first-place title at this year’s Drum Corps International World Championships in Indi-anapolis. According to dci.org, Vanguard had been bested by the Blue Devils in nearly 200 head-to-head meetings since 1999, but this was Santa Clara’s year. Shaun Gallant, director of the Van-guard Drum Corps, said after the announcement of his group’s big win: “This year has been very special from the beginning. We had some huge hurdles to get over on tour and in logistics, but the membership has overcome and bonded together like in no other year.”

With a final score of 98.625 out of 100, Vanguard also took home honors for “best general effect,” “best visual,” as well as “best brass and percussion.” The group’s winning performance of “Babylon” featured multi-leveled stages and choreography inspired by the tale of the Tower of Babel. The display included a “crumbling” tower, with parting stages that then rushed across the field. All of the instrumentalists reached out their arms, showing the desperation of wanting to commu-nicate but not being able to; ulti-mately, there was a celebration of unity when the band came back together. Santa Clara Vanguard earned its DCI gold medal at the championships following 22 consec-utive wins on this year’s summer tour.

In ThIs space last February, In Tune covered the launch of Pearl’s new “Adjustable Range Electronic Mallet Controller,” a pitched percussion instrument that has silicone bars arranged like those on a marimba. Striking the bars triggers sounds in music apps, audio workstations and sound libraries via phones, tablets and computers. This summer season, malletSTATIONs were spotted in the pits of DCI Drum Corps Spirit of Atlanta and Phantom Regiment, adding electronic spice to their marching music.

pearl Brings electronica to Drum corps with malletstation

santa clara Vanguard Rated Top Drum corps with “Babylon”

2018 DCi World Championship winner santa Clara vanguard

i nt u nemont h ly.com I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N • D E C E M B E R 2 0 1 8 7

11

news[ ][ ]

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Tonic • n The beginning and ending note of the scale

that is used to compose a piece of music; the

pitch name of the key.exaMpLe: In the key of C Major, the “tonic” is C.

What’s theWOrD

iBassNo, your eyes aren’t deceiving you. The man pictured above is

playing the bass on a huge iPhone. The Danish band D-A-D

broke this baby out and turned its camera on the crowd – the

instrument not only looks like the popular handheld device, it

live-streams video. If you look closely at the image, you can see

the audience looking back at you on the screen.

YOU haVe heaRD music performed in 4/4 time, you have heard it in 3/4 time, you may have even

heard it in 5/8. But it’s likely that you have never heard music performed in a meter pattern like

the one invented by B.C. Manjunath. In an online video that has now gone viral, the percussionist

changes time signatures measure by measure according to the numbers in the mathematical

Fibonacci sequence, creating a uniquely beautiful rhythmic rotation. The first seven numbers in

the sequence (1, 2, 3, 5, 8, 13, 21) become the beats per measure, which means that most

musicians could get dizzy just counting the measures out. On top of this, he speaks the rhythms

in konnakol, the “South Indian art of speaking percussive syllables in rapid fire.” Such syllables as

“tha,” “ki,” “ta,” “jho” and “nu” flow fluidly off his tongue in contrast to the mind-boggling

rhythms. In the impressive video, Manjunath shows exactly where his pattern derives from, as

well as the music to go along with it. It’s a super geeky combo of math and music, but definitely

the coolest thing we’ve seen this month. Check it out at intunemonthly.com/music-news.

The hours of music uploaded

to soundcloud every minute

intunemonthly.com

eVeR WOnDeR what music other people around the world

are listening to? Some are actually listening to the same music we are here in the United

States, but many are also listening to music made in their

own countries, and in any variety

of languages. Music created overseas often reaches the States, but sometimes not. To

give listeners a better sense of

the global music scene, podcaster Christopher Currier

has launched the Worldwide Countdown, which offers what

he calls “a potpourri of pop music.” Each month, Currier will

focus on the music of a few different nations to let us hear

which songs heard in the U.S. are also playing abroad, along

with sharing music that is only

being broadcast in other countries. Now you can listen to

it all on the Worldwide Count-down on intunemonthly.com.

InTRODUcIng The

Fibonacci Sequence Leads to Unique Rhythms

12


leonard Bernstein in 1945

Boosey & hawkes salutes Bernstein on spotifythis year marks 100 years

since the birth of Leonard Bernstein.

“Lenny,” as he was affectionately known,

is one of the most important figures in

the history of American music, as an

ultra-versatile conductor, teacher, pianist and composer of scores for the

concert hall, films and musical theater

– including the timeless Broadway hit

West Side Story. In honor of his centennial,

music publisher Boosey & Hawkes has

curated “Bernstein at 100,” a playlist

featuring 19 selections by the great artist

you can hear for free on spotify.com.

11

haVhaVha e heaheard it in 5/8. But it’s likely that you have never heard music performed in a meter pattern like

the one invented by B.C. Manjunath. In an online video that has now gone viral, the percussionist

changes time signatures measure by measure according to the numbers in the mathematical

Fibonacci sequence, creating a uniquely beautiful rhythmic rotation. The first seven numbers in

the sequence (1, 2, 3, 5, 8, 13, 21) become the beats per measure, which means that most

musicians could get dizzy just counting the measures out. On top of this, he speaks the rhythms

in konnakol, the “South Indian art of speaking percussive syllables in rapid fire.” Such syllables as

“tha,” “ki,” “ta,” “jho” and “nu” flow fluidly off his tongue in contrast to the mind-boggling

rhythms. In the impressive video, Manjunath shows exactly where his pattern derives from, as

well as the music to go along with it. It’s a super geeky combo of math and music, but definitely

the coolest thing we’ve seen this month. Check it out at

The hours of music uploaded

to sound

Fibonacci Sequence Leads to Unique Rhythms


Boosey & alutes Bernstein spotifyhis year marks 100 yearssince the birth of Leonard Bernstein.

“Lenny,” as he was affectionately known,

is one of the most important figures in

the history of American music, as an

ultra-versatile conductor, teacher, pianist and composer of scores for the

concert hall, films and musical theater

– including the timeless Broadway hit . In honor of his centennial,

music publisher Boosey & Hawkes has

curated “Bernstein at 100,” a playlist

featuring 19 selections by the great artist

you can hear for free on spotify.com

intunemonthly.com

10

news[ ]










open Yo-Yo Ma’s Musical Moments.” By touring the



possible – of every age, nationality and back-


bach.yo-yoma.com.

Yo-Yo Ma’s new alexa skill

The Last StrawvOCal exerCises have long
























it at your side for

years. Use this

exclusive discount

code for free

shipping: INTUNE.

to achieve great things,


(ma

) Ja

so

n B

el

l

Lesson LinkOnline Lessons We Like

Double-Pedal Patterns with Korn’s Ray LuzierRay Luzier is the drummer for

veteran nu-metal band Korn, but

he understands the beginner’s

desire to start out playing fast

and strong, just like his or her

favorite players. To Luzier,

though, it’s vital for a young

musician to work up gradually to

difficult drumming patterns: “It’s

not about how fast you can do it

– it’s about the precision of your

playing. The speed will come

later.” Search YouTube for Part 8

in Pearl Drums’ “Time to Play”

instructional series, which

features Luzier’s lesson on pedal

patterns for double bass drums.



center for popular

Music preserves cultureaCCOrDinG tO Middle Tennessee State University in











that promotes cultural landmarks. Go to mtsu.edu/popmusic

to browse such online collections as American Vernacular Music

Manuscripts, which includes works across a wide range of classes,


In Tune News covers the various indus-tries of music. Again, we will occasionally do big stories on trends and opportunities in the music business, but when news happen in music creation, publishing and rights, the label community, touring and law, we’re interested and will report on it. Those small stories can lead to larger lessons in career preparation. Too often, we hear from adults who are pursuing musical vocations that they wish they had known more about career or music-business opportunities at a younger age. In Tune can turn on those light bulbs. In each issue this year, we’re pro� ling careers

opportunities. Why might a straw of any material help singers train? This might lead to a discussion about vocal training in gen-eral. So there’s one universal tip for teaching with News. But each story should be con-sidered a diving board of sorts, a jumping o� point to begin the transfer of knowledge about a subject that might not be mission critical to your teaching, but will round out a class, keep things fresh and heighten inter-est about a set of subjects that creatively connect to your teaching.

Then there’s technology. We’re inter-ested in it, your kids are interested in it, and technology is inexorably changing everything in music, not to mention our

lives. In Tune presents extensive features on trends in technology and their impact on music, but the drumbeat of developments in music tech is such that we want to keep up in the moment. With each such News story, the question should be: How does this development change the way we learn to play and sing, as well as the way we perform, record and distribute recorded music? Is it a good thing or could it be bad? How does it work? In conversation and throughout the curriculum, sidebars on technology and its impact are integral to music education, and the News section can be a springboard for classroom discussion, ancillary readings, project work and other interaction.

10

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possible – of every age, nationality and back


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that promotes cultural landmarks. Go to

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MUSIC

intunemonthly.com

9

October 2018 • In Tune Monthly

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On the 19th anniversary of its last championship, the Santa Clara Vanguard Drum Corps has earned the first-place title at this year’s Drum Corps International World Championships in Indi-anapolis. According to dci.org, Vanguard had been bested by the Blue Devils in nearly 200 head-to-head meetings since 1999, but this was Santa Clara’s year. Shaun Gallant, director of the Van-guard Drum Corps, said after the announcement of his group’s big win: “This year has been very special from the beginning. We had some huge hurdles to get over on tour and in logistics, but the membership has overcome and bonded together like in no other year.”

With a final score of 98.625 out of 100, Vanguard also took home honors for “best general effect,” “best visual,” as well as “best brass and percussion.” The group’s winning performance of “Babylon” featured multi-leveled stages and choreography inspired by the tale of the Tower of Babel. The display included a “crumbling” tower, with parting stages that then rushed across the field. All of the instrumentalists reached out their arms, showing the desperation of wanting to commu-nicate but not being able to; ulti-mately, there was a celebration of unity when the band came back together. Santa Clara Vanguard earned its DCI gold medal at the championships following 22 consec-utive wins on this year’s summer tour.

In ThIs space last February, In Tune covered the launch of Pearl’s new “Adjustable Range Electronic Mallet Controller,” a pitched percussion instrument that has silicone bars arranged like those on a marimba. Striking the bars triggers sounds in music apps, audio workstations and sound libraries via phones, tablets and computers. This summer season, malletSTATIONs were spotted in the pits of DCI Drum Corps Spirit of Atlanta and Phantom Regiment, adding electronic spice to their marching music.

pearl Brings electronica to Drum corps with malletstation

santa clara Vanguard Rated Top Drum corps with “Babylon”

2018 DCi World Championship winner santa Clara vanguard

i nt u nemont h ly.comD E C E M B E R 2 0 1 8 • I N T U N E M O N T H L Y - T E A C H E R E D I T I O N 8

in music with a column called “What Will You Do?” But items in News about changes and achievements in commercial music can also easily connect to how those involved came to help in� uence these events. Discus-sions about how young students can prepare for careers – materials to read, college and vocational programs to check out, and courses to take – can be linked to stories about the music industry.

Three other tidbits included in each News section of In Tune are an intriguing quote; a de� nition of a musical term, or word; and our “Lesson Link.” The quote is simply a few pithy words of wisdom, but always a window on a much larger concept. They each make for great essay themes, which can then jump-start productive classroom discussions. What did Leonard Bernstein mean when, as quoted in the October edition of the News, he said, “To achieve great things, two things are needed: a plan and not quite enough time”? Whoa. How does that concept apply to the great things Lenny composed and conducted?

Our “What’s the Word” definition is another lesson-starter that can be a good way of wrapping up a classroom session. Likewise, sending students o� with a Lesson Link URL for a particular video tutorial we like is another way of broadening hori-zons. Sure, double-pedal patterns with Korn drummer Ray Luzier may not seem all that

relevant for choral students, but every musi-cian or fan can appreciate rhythm, and providing some diversity in music education, especially as home study or enrichment, makes excellent educational sense. Besides, you never know if your fresh-faced young � utist might decide to become a drummer in a heavy-metal band. Could happen…

Our “What’s the Word” definition is relevant for choral students, but every musi-

MUSIC

intunemonthly.com

9

November 2018 • In Tune Monthly

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Music is being shared in new and profound ways, and not just online. In early October, The Mile-Long Opera came to life on the High Line – a park that has transformed an old, disused elevated train track on the west side of Manhattan into a popular destination for tourists and New Yorkers alike. Liz Diller, music enthusiast and architect of the High Line, worked with composer David Lang and writers Anne Carson and Claudia Rankine to create a one-of-a-kind artistic event. For each per-formance, the High Line was the stage for more than a thousand singers (drawn from various choirs), each of whom had a distinct a cap-pella part to sing. They told a story of the city’s daily shifts via personal anecdotes: “individual experiences reflect unique ways of coping with the contemporary condition – anx-iety, humor, nostalgia, vulnerabil-ity, joy, outrage – that together form a biography of 7 o’clock,”

according to the organizers. The opera was staged once a day at 7 p.m. for five days, with the tickets free. Audience members walked the High Line among the vocalists, who sang their repeating parts on a virtual loop.

The opera’s setting of 7 p.m. focuses on the period when people often transition from daytime to nighttime activities, leading to a day’s greatest diversity in events, attitudes and encounters. With The Mile-Long Opera, main lyricist Rankine convened a personal conversation on a large scale. She wrote scripts for each singer by compiling bits and pieces from the personal histories of New Yorkers whom she interviewed. As New Republic culture writer Josephine Livingstone put it, the polyphonic chorus ranged from a “story about leaving work and walking home” to “a complaint about how the streets are clogged with trash” to “tender lyrics about solitude and work and the city.”

zero-gravity Sounds for astronautsThe Massachusetts Institute of Technology Media Lab has created the Telemetron – the first electronic musical instrument to be designed specifically to be played in zero gravity, helping to continue a tradition of “off-Earth music.” The Gemini 6 crew played “Jingle Bells” in space on harmonica in 1965, and astronaut Chris Handfield gave a free-floating 2015 performance of David Bowie’s “Space Oddity” on vocals and guitar. On a mission to capture the elegant feeling of weightlessness, MIT’s Sands Fish teamed with

Opera Comes to Life on NYC’s High Line

colleague Nicole L’Huillier to create a transparent chamber with chimes inside, to be played by astronauts. Although the chimes don’t produce sound directly, Fish explains, “they each contain a gyroscope that can detect how fast each of the chimes are spinning in any direction. We take these rotational speeds and wirelessly transmit them to a nearby laptop, where they are trans-formed into sounds.”

By Anna Black

Each story should be considered a diving board of sorts, a jumping off point to begin the transfer of knowledge about a subject that might not be mission critical to your teaching.

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i nt u nemont h ly.com 9

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I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • d e c e M b e r 2 0 1 8

The statement “I have a best friend at work” has been included as part of my school system’s Gallup survey, which measures employee engagement by using a series of statements that staff members are asked to rate on a scale rang-ing from strongly agree to strongly disagree. The first time I read this statement, I rolled my eyes a bit. That’s because most music educators have little time to socialize with colleagues

throughout the school day. our schedules are crammed, and we often forgo our planning period or even lunch breaks in order to teach more sessions to individuals or small groups of students. We arrive early to school or stay late to schedule even more of these sessions. Finding time to enjoy friendly moments with co-workers can be a challenge. That said, I responded to the query of whether or not I have a close friend within the workplace by check-ing “strongly agree.”

When I take inventory of all of my friends, I come to realize that they have similar traits. They are ambitious, determined, meticulous and proud of their work. They care about honing their craft, working with integrity, maintaining excellence, collaborating effectively and supporting others. Many of my cherished friendships have evolved out of the workplace, and I’m certain that this has a direct correlation to the admiration I have for these people as educators. When there is mutual respect among colleagues, programs function more cohesively – and it even feels like music is performed more expressively. With sup-port evident, professional development is also easier to attain. Many of my co-workers have inspired me to think differently, try new techniques or perform beyond my comfort zone or that of my students. Incred-ible friendships have come out of this.

last issue, I suggested writing a letter of gratitude to the most influential people on your educational

journey. For my part, I initially thought of my father, grade-school teachers, private instructors and college professors, among others. In reflecting on these amazing mentors throughout my life, I also began recalling past and present colleagues with whom I worked the closest. I thought about how they have supported and inspired me, too. They taught me invaluable lessons.

For instance, fellow music teacher sue snyder was pregnant with her first child when I started my

band directing career. upon her return from mater-nity leave, she preferred to teach general music. because of this, a full-time instrumental music posi-tion was offered to me. sue made it her mission to make me feel welcome and comfortable by introduc-ing me to staff, including me in social events and recommending my services. she taught me the importance of inclusion.

celia bowman is an elementary-school band direc-tor who inspires young musicians to begin playing an instrument. she was one of my primary “feeders” at

friendship as mentorship Colleagues can be your best resource, profession-ally and personally.

Lori Schwartz Reichl is a music educator and writer. Visit her at makingkey changes.com.

tooLS foR EduCatoRSb y L o R i S C h w a R t z R E i C h L

K e y C h a n g e s : R e f R e s h i n g y o u R M u s i C P R o g R a M

“Mentoring is a brain to pick, an ear to listen, and a push in the right direction.” — John C. Crosby

i nt u nemont h ly.comd e c e m b e r 2 0 1 8 • I n T u n e m o n T h l y - T e a c h e r e d I T I o n 10

the start of my career. Each time I watched Celia teach or provide an instrument recruitment presentation, she impressed upon me the importance of encouraging students to really enjoy performing music – which will help anyone approach music-making with confidence, creativity and energy. She taught me that quality is more important than quantity.

Alison Parish and I were childhood friends who were reunited years later as colleagues. She served as choral director while I was band director within the same program for a few years. Her grace and passion for doing the right thing is always remarkable, as is her sheer consistency. Alison’s example taught me composure, integrity and dependability.

Rich Roberts was assigned as my men-tor when I began teaching in a new state. But we didn’t form our strong friendship until we spent several years conducting and coordinating our county’s middle-school honor band and secondary solo and

tools for Educators

ensemble festival together. R ich reminds me that everyone has his or her own way of work ing. Even though certain methods are different, it doesn’t mean that they are necessarily wrong. He has taught me to accept change, while allowing people, including myself, to “just be you.”

The longtime choral director and general music teacher at the school I transferred to was Cynthia Shepherd. Even with a revolving door of band directors and the administrative changes occurring at her school, she taught with gusto – emphasiz-ing the importance of her class. She taught me authority.

My longest partner in school was Sarah Castrillon. She serves as a well-respected orchestra director. She doesn’t let trivial

things get under her skin; she manages to be fiercely competitive, yet with the brightest smile. She taught me how to put things into perspective and that a little competition can be healthy and motivational.

Jenny Neff and I were music directors and room-mates on my second American Music Abroad Tour of Europe. When you spend nearly every hour of each day for three weeks with the same person, you

either bond or bicker. We immediately bonded and conversed about our personal and professional goals and frustrations. She taught me how to envision my future.

As I’m a woodwind player, one of the areas in which I have been less confident is teaching brass. Andy Spang has been my go-to guide for brass pedagogy, recom-mendations for repertoire, and simply to talk shop. We don’t always agree on every-thing, but we always come to an accord on how to handle situations. He taught me that having an opinion builds character. And then there is Jon Sindler, a colleague who entered my life when I was going through professional and personal changes. He served as coordinator of an honor ensemble that I was invited to conduct. As band directors, we started rehearsal swaps to critique each other’s ensembles. Because his actions always demonstrate that a posi-tive outlook outweighs negativity, he helped rekindle my positivity and refocus my eye for new opportunities.

A mentor is defined as an experienced, trusted adviser, but this influential confi-dante can be the co-worker located in the classroom next to yours, the music direc-tor at a neighboring school or the associate whose program you admire. Pick her brain. Listen to him. Allow this person to guide you, and show appreciation for the value he or she adds to what you do. You will be amazed not only at the knowl-edge you gain but at the cherished friend-ship that may form.

A mentor is defined as an experienced, trusted adviser, but this influential confi-dante can be the co-worker located in the classroom next to yours, the music director at a neigh-boring school or the associate whose program you admire.

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d e c e m b e r 2 0 1 8 • I n T u n e m o n T h l y - T e a c h e r e d I T I o n 12

to provide technology for students. Often, plans for instructional technol-ogy include providing each student with a laptop, Chromebook or tablet (one-to-one device to student). Since students will be using these devices in other subjects, inclusion of music instruction, practice, creativity and assessment apps on the devices is a logical, affordable piece of the overall instructional technology plan. Integrating technology into instruction helps provide access to a quality music education for all students.

2 Technology Across The curriculum(https://tech.ed.gov/files/2017/01/NETP17.pdf)

Many states and local districts mandate the integration of technology into all subject areas. The U.S. Department of

Education’s 2017 National Educational Technology Plan Update (NETP17) provides specific strategies for integrating technology in all subject areas as part of the federally mandated ESSA. NETP17 recommends making personalized learning experiences more engaging and relevant, thereby providing transformative learning opportunities for all learners, regardless of economic or physical challenges. That’s what music creation software – and the myriad music streaming and playlist creation services available – are all about. This technology

Tools for educATors

All of the In Tune content in support of technology’s role in music education underscores the magazine’s position that tech is essential to use and teach. But administrators, board-of-education members and other decision-makers may not be so convinced. Since they hold the purse strings to your budget and keys to your students’ future – even as they face constant criticism about the rising cost of education – these administrative figures may expect you

to demonstrate why music technology matters before approving any new spending. Here are five imperatives to help you win over even the biggest skeptics…

1 music for every sTudenT(www.ed.gov/essa)

The Every Student Succeeds Act of 2015 (ESSA) stipulates that all students must receive a well-rounded education, with music

being a required subject that contributes to this goal. ESSA also protects students from being pulled out or excluded from music to receive alternate or supplemental instruction. Furthermore, Title I funds can be used to help support music instruction as part of this well-rounded education for all learners.

To honor ESSA’s mandate, many schools have purchased or plan

Here are five imperatives for winning over budget-challenged skeptics to the use of technology in teaching music. By Marjorie LoPresti

Why

Technology?Music

i nt u nemont h ly.com I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • d e c e M b e r 2 0 1 8 13

facilitates and feeds on a personal connection to the arts, turning personal connection into a passion.

NETP17 also recommends that schools foster digital leadership skills and build connections to the larger community, including experts and creators in every field. Such connections provide students the opportunity to learn from others regardless of distance, as well as the chance to share their own knowledge and develop their leader-ship skills.

3NatioNal Core arts staNdards(www.nationalartsstandards.org)

The National Core Arts Standards (NCAS) provide a process to guide educators in providing a unified, quality arts education for

students in pre-K through high school, including music, visual art, theater and dance. Since the June 2014 release of NCAS, 27 states and the Department of Defense have adopted revised standards in one or more arts disciplines. In a budget-conscious environment, these stan-dards can all be met with technology-supported instruction.

Creating. Technology, including music production software, gives

every student the opportunity and structure to create or compose music in ways not previously possible. Instructional software guides students in learning compositional technique. Inexpensive music production software provides scaffolding and sophisticated tools to enable students to create in ways previously reserved only for those with vast amounts of musical experience. Many music software programs include sequenced lessons to help students learn the software while acquiring skills for the creation of music.

Performing/Presenting. Software for the learning and practice of music provides structured environments for students to refine musical improvisation and performance. Previously, students needed coaching by an experienced teacher to provide in-person feedback, corrections and suggestions for improvement. Practicing software gives students real-time feedback about their musical accuracy, guiding students toward more productive practice and gains in performance between the times they meet with teachers.

Responding and Connecting. The internet provides a virtually unlim-ited online musical library. Online discussion tools provide unprec-edented opportunities for musical response, discussion and connection H

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tools for Educators

between music students and experts. Instead of needing a teacher to obtain and curate a physical library of recordings, students can access virtually any kind of music in seconds, as well as respond or share via online discus-sion forums and video chats. Musical experts, including composers and performers from across the globe, can join the online conversa-tion and even appear via videoconference.

4thE triplE E framEwork (www.tripleeframework.com)

Triple E stands for Extend, Enhance, Engage. Developed in 2011 by professor Liz Kolb at the University of Michigan, the Triple E Framework helps bridge the gap between daily classroom activities and research-proven best practices for integrat-ing technology.

Extend. Technology has the power to take learning beyond school walls and traditional school hours. For music, technology can provide instructors from around the world, as well as virtual tutors and practice rooms, creative studios and boundless listening libraries. (The digital edition of In Tune makes for an ideal portal, too.) These are available to students anytime, anywhere there is an internet connection. The broad availability of popular music and music production soft-ware makes the experience real and relevant for students.

Enhance. Music technology provides unprecedented support and scaffolding for music learning and creation. Students can hear what they have created immediately, and revise or continue their work accordingly. Built-in music l ibrar ies provide source material and struc-ture to support creativity, even for those with limited experience. Online and software-based tutorials provide meaningful feed-back and supplemental instruction to meet the pace of the individual student.

Engage. Technology brings immediacy to music-making

– you can hear it right away, rendered in quality sound by the computer. Similarly, feedback from instructional or practice software provides information for students to self-correct and progress. Many of these applications have such game-like elements as point systems, which encourage continued practice toward a goal. Some music produc-tion and practice software programs include collaborative features, enabling students who are in different locations to perform or create music together.

5futurE rEady schools(https://futureready.org)

The Future Ready Schools (FRS) program provides assistance and

certification for schools seeking to better prepare students for college, careers and citizenship. Technology integration is a key piece of this initiative. Economic leadership in the U.S. often depends upon

innovation. The intrinsic rewards of music technol-ogy can provide the train-ing, technology sk i l ls, creative thinking and focus required for students to compete and succeed in a workplace that demands such innovation.

Three of the seven “gears” of the FRS framework are central to music education. Students benefit from tech-nology-infused Curriculum, Instruction and Assessment, freedom with Use of Space and Time through online

learning platforms, and the global Commu-nity Partnerships possible with composers and performers near and far.

luck favors thosE who arE prEparEd Too many well-meaning arts instructors assume that administrators know all about these issues, thinking that the case for fund-ing music technology should be obvious. It may seem to be, but running an arts pro-gram, school or district requires balancing competing interests. So, if you want to get your program funded, start with a plan.

The advocacy strategies suggested here are simply starting points for making the case to include technology in your music program. But, ultimately, knowing your specific audience – including administrators, board-of-education members and commu-nity leaders – will help you target your messaging to obtain the support and funding needed to prepare well-rounded global citi-zens for college, careers and technologies not yet imagined.

marjorie lopresti is digital

content manager for Music-

First, a corporate member of

TI:ME, Technology in Music

Education (musicfirst.com). She has some

25 years of experience teaching elemen-

tary and secondary general and vocal

music, piano, music technology, music

theory and composition. She was named a

New Jersey Music Educators Association

Master Music Teacher, as well as a TI:ME

Music Technology Teacher of the Year.

Too many well-meaning arts instructors assume that the case for funding music technology should be obvious. But if you want to get your program funded, start with a plan. H

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P o P Q u i z

M a t c h Q u i z

the following quiz questions can be used to test for comprehension or for general reading of this issue of In Tune. (answers are on pg. 3 of the teacher’s Edition.)

Match the name in the left column to the song on the right.

1. In what century did pianist Arthur Rubinstein make his stage debut?

a. 20thB. 18thc. 19thD. 21st

2. Where did guitarist Sergio Pereira grow up?

a. CubaB. Brazilc. MexicoD. Argentina

3. What famous performing family pioneered country music?

a. The JacksonsB. The Trumpsc. The KardashiansD. The Carters

4. What award did New York City teacher Melissa Salguero win?

a. Oscar best documentary awardB. Golden Globe homework awardc. Emmy music educator awardD. Grammy music educator award

5. What instrument is The Clash’s Paul Simonon smashing on the cover of London Calling?

a. PianoB. Mandolinc. Bass guitarD. Acoustic guitar

6. Rock band Greta Van Fleet came up with its name inspired by which figure?

a. Michigan musicianB. Dutch explorerc. German folk singerD. Austrian president

7. Which reggae classic is the signature hit by Toots & the Maytals?

a. “Pressure Drop”B. “One Love”c. “I Shot the Sheriff ”D. “Many Rivers to Cross”

8. Which TV show did Kane Brown quit?

a. American IdolB. The X Factorc. How I Met Your MotherD. The Voice

9. How many No. 1 albums has Justin Timberlake had?

a. FiveB. Sevenc. FourD. None

10. Which Baroque composer wrote The Four Seasons?

a. Johann Sebastian BachB. Domenico Scarlattic. Antonio VivaldiD. Alessandro Corelli

a r t i s t

1. Bob Marley

2. Hailee Steinfeld

3. The Aces

4. Amber Mark

5. The Carter Family

6. Greta Van Fleet

7. Luis Fonzi & Ozuna

8. Alessia Cara

9. MØ

10. Justin Timberlake & Chris Stapleton

s o n g

a. “Say Something”

B. “Will the Circle Be Unbroken”

c. “Blur”

D. “Not Today”

E. “Put You On”

F. “Stuck”

g. “Starving”

h. “Highway Tune”

i. “Stir It Up”

J. “Imposible”

tools For EDucators

Books For StudentsCOOL JOBS IN THE MUSIC BUSINESS $24.95 x _____ copies = $_________Jeffrey Rabhan starts from his own experience to clearly explain career paths in today’s (and tomorrow’s) music business (w/DVD).

JAZZ THEN & NOW $24.95 x _____ copies = $_________A textbook (w/CD) on jazz history and its relationship to today’s jazz.

MUSIC ALIVE!’S PERCUSSION $24.95 x _____ copies = $_________Daniel Glass offers students a comprehensive introduction to drums and percussion (w/CD).

YOUR SOUND ONSTAGE $33.95 x _____ copies = $_________A textbook (w/CD) about gear, mixing live sound, onstage presentation, and more!

MARCHING MUSIC $24.95 x _____ copies = $_________Everything young musicians need to know to get started–and succeed–in marching music.

Lesson Books For TeachersA TEACHER’S GUIDE TO JAZZ THEN & NOW $39.95 x _____ copies = $_________With lessons on jazz history and its relationship to today’s jazz. Companion textbook for students also available! (w/CD)

SOUNDS OF THE CITIES $39.95 x _____ copies = $_________Explore the unique sounds and artists of famed cities such as New Orleans, Memphis, Philadelphia, and Chicago (w/CD).

MUSIC FROM AROUND THE WORLD$39.95 x _____ copies = $_________Explore the music and culture of South Africa, Mexico, Brazil, India, China, and more! (w/CD)

EXPLORING THE BLUES $39.95 x _____ copies = $_________Topics include: Birth of the Blues, Early Blues Guitarists, Women with the Blues, The Blues Begin to Rock (w/CD).

GREAT COMPOSERS OF THE 20TH CENTURY$39.95 x _____ copies = $_________With lessons about Debussy, Stravinsky, Bernstein, and others (w/CD).

CLASSICAL CONNECTIONS TO U.S. HISTORY $39.95 x _____ copies = $_________Connect history and classical music with lessons on the War of 1812 (Beethoven, Schubert), the Civil War (Liszt, Brahms), and the early 20th century (Holst, Prokofi ev) (w/CD).

In Tune is accepting subscription orders for the 2018-2019 school year, so act now to get The Young Musician’s Textbook for your students. Order today to get eight issues of the magazine that addresses students’ passion for music and helps you give them a well-rounded music education.

MONTHLY

VOL. 15 • NO. 6 • MARCH 2018

BLACK PANTHERUNMASKED!

THE MUSIC OF

How the hit fi lm spawned two successful soundtrack albums.

HOW TOGET IN STEP

SPECIAL REPORT

MARCHING 2018

ACCLIMATEYOURSELFWITH MUSICAL

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BE AN “ALL STAR” BY LEARNING TO PLAY

SMASH MOUTH’SHIT SINGLE

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THE YOUNG MUSICIAN’S TEXTBOOK

✦ Gypsy Jazz: Swing with a European Flair

✦ King of the Jukebox Louis Jordan

✦ The “Hit Like a Girl” Drum Contest

✦ Mikky Ekko, the Listening List, and More!

VOL. 15 • NO. 6 • MARCH 2018

BLACK PANTHER

BLACK PANTHERUNMASKED!

UNMASKED!

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THE MUSIC OF

THE MUSIC OF





HOW TOGET IN STEP

SPECIAL REPORT

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The In Tune LibraryPresenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books feature reproducible articles with lesson plans, activities, and a CD.

Now’s the Time to Get Your Students

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Documents

TEACHER’S EDITION · 2019-01-03 · the guitarist’s new music as taking you on “a journey brimming with exhilaration and pas - ... not only on the talents of the artist but