The official journal of the Saskatchewan Music Educators Association

CADENZA 2012 The Official Journal of the Saskatchewan Music Educators Association

CADENZAThe official journal of the Saskatchewan Music Educators Association

2012



The Saskatchewan Music Educators acknowledge the financial assistance provided by:

contentsThe Journal of the Saskatchewan Music Educators Association 2012

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

Regional Workshops 2012 Review page ?

Rj Staples & Frank Connell Scholarship 2012 Winners page 4

Heart of the City page 5

SMEA Awards 2012page 9

SaskMusicAlliance Update page 9

SaskMusicCon Get a Grip page 14

SaskJuniorBands Update page 15

A Dozen Ways to Mentor... page 16

CyberTips for Teachers page 19

Saskatoon Children’s Choir page 21

SMEA Honour Groups 2012 page 25

Renewal & Nomination Forms 32

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

SMEA Board of Directors 2012

PresidentAaron Thingelstad [email protected]

Past-PresidentKara Helms [email protected]

Vice-PresidentLee Adams [email protected]

Executive DirectorVal Kuemper [email protected]

Region 2 Celia Hammerton [email protected]

Region 3 Jerry Lisitza [email protected]

Region 4Pat Kelly [email protected]

Region 5Lauren Campbell [email protected]

Region 6Kendra Worman [email protected]@sasktel.net

Region 7Sarah Roe [email protected]

Heart 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 242-7470 Honour Groups: 2012 Chairperson: Lenora Bells Newsletters: E-Notz: Lauren CampbellMemberships/Contibutions/Business: Valerie KuemperSMEA/IT Coordinator: Graeme Steen, [email protected]

CADENZA 2012 The Official Journal of the Saskatchewan Music Educators Association1

PRESIDENT’s message

With the changes in our fiscal year end, SMEA is required to complete a year end report and audit earlier than in previous years. It has only been a few months since our an-nual conference, yet our organization has had another busy and productive term as special subject council for music education in the province. As always, SMEA is proud to represent the numerous teachers across Saskatchewan, who are delivering quality music education to our young people through the classroom and in our communities. Here are the highlights of some of the great programming SMEA supports throughout the year.

Saskatchewan Music Conference – SMC 2012 continued our five-way partnership between the Saskatch-ewan Music Educators Association, Saskatchewan Band Association, Saskatchewan Choral Federation, Saskatch-ewan Orchestral Association, and Saskatchewan Music Festival Association. This year’s conference, held Novem-ber 1st to 3rd in Saskatoon, hosted approximately 250 delegates from across the province. The theme of the keynote address was finding balance in our busy musical/personal lives.

Provincial Honour Groups –High school students from music programs across the province came together for a weekend of music making, collaboration and develop-ment. Honour Groups 2012 was held November 1st to 3rd at Circle Drive Alliance Church, with Dr. Robert Taylor as band conductor, and Dr. Catherine Robbins as choir conductor.

Saskatchewan Junior Band – SJB is a joint project between the Saskatchewan Music Educators’ Association and the Saskatchewan Band Association to provide a provincial junior honour band for Saskatchewan students in grade seven or eight. Saskatchewan Junior Band South took place at Winston Knoll Collegiate in Regina, March 1st and 2nd. Saskatchewan Junior Band North was held March 8th and 9th at Rivier Academy in Prince Albert.

Saskatoon Children’s Choir – This July 4th to 17th, the choir will be touring Ireland, Wales and England. In Wales, they will be participating in the Llangollen International Musical Eisteddfod.

Since its inception in Saskatoon in 1995, the Heart of the City Piano Program 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 performing at music festivals. Many students will be participating in local musical festivals this spring as their confidence as young perform-ers grow.

The Dreambrokers Camp is a joint project between the SMEA, SCF, SOA, SMFA, and Sask Culture. The Camps are slated to continue this summer with the addition of a camp in Prince Albert. These summer camps offer at risk youth the chance to be introduced to the world of music through workshops, clinics, presentations and organized activities. Last years camps were a huge success and the final performances of the students at the end of the camp were truly inspirational.

SMEA is in the process of updating our technol-ogy infrastructure, which includes a new website (www.musicloud.ca) under construction, moving to paperless meetings, video conferencing, and ecommerce. The board is very excited about the improvements and we hope that all members will benefit from the upgrades.

Workshops/Professional Development – This past year we focused on increasing the number of workshops and spe-cial projects funded across the province. We are please to report that workshops and workshop requests are way up from previous years. Teachers are also taking advantage of PD funding that they can apply for attending conferences, workshops or special events to help in their own practice as educators.

SMEA is working hard to deliver and develop program-ming that will help grow music in our province. We value your continued membership and are excited about our future as an organization.

Respectfully submitted;

SMEA President 2012


SMEA EXECUTIVE DIRECTOR’S message

2

2012 has been a very busy and very exciting year. This past year, the SMEA has continued to develop and provide key programs that have been gaining momentum in our province. The SMEA and our Member Organiza-tions have again achieved tremendous success in 2012. 4,425 SMEA and Member Organizational members and volunteers spent a total of 139,865 volunteer hours to provide 908 programs and services that directly affect 100,708 individuals in 2012. Thank you to the remark-able, dedicated and talented members and volunteers who made this possible.

2012 SMEA total budget was $658,347 of which $200,423 was received in lottery and STF grants. These funds enabled the SMEA to lever and additional $457,921 in self-generated income to support the organizational Programs and Services. Self- generated income represented 69.56% of the total budget in 2012. The SMEA is very program focused and 74.46% of our total expenditures in 2012 were directly spent on programming and member services.

As you know, at the 2011 AGM the membership voted to change the SMEA’s fiscal year end from December 31 to August 31 effective August 31, 2013. Letters requesting permission to change our fiscal year end have been sent to the ISC and to the Charities Directorate and in January we received permission from both agencies to change our fiscal year end. This upcom-ing 2013 year will be only 8 months long and we will have another audit August 31 to complete our new fiscal year end. The Annual General Meeting for 2013 will be held at the Sask. Music Conference in November.

The global funding application the three years 2014-2015-2016 has been completed and sent to the Arts Board.

July 2012, the SMEA partnered with the Sask. Choral Federation, Sask. Music Festival Associa-tion and the Sask. Orchestral Association

to present a “Dream Brokers Summer Music Camp” with support from Sask. Culture and Corporate Spon-sors. The camps were held in Saskatoon – July 3-6 and Regina – July 23-26. This was a music camp with a twist – it was like a musical chairs camp! Children from ‘Dream Broker’ schools were invited to attend this camp for 4 days. They attended sessions for choral, violin, guitar, percussion, piano, trumpet, hand drumming and first nations story telling. After 2 days the children picked the instrument that they were most interested in and practiced for another day and a half with their clinician. At the end of the four days these children then performed for their parents, family, friends and invited guests. It was amazing. These children found their inner talents and hopefully will continue to persue this by starting music lessons this fall. The Dream Brokers work in 6 schools (Saskatoon) and 3 schools (Regina). They work with families to help them get connected with sport, recreation and culture. The Dream Brokers will

help these families to apply to ‘Creative Kids’ for assistance with music les-sons! The follow up reporting with the Dream Brokers and Creative Kids indicate that there were 16 students who have received assistance from Creative Kids to continue with their private music lessons. Also from the Dream Brokers there are stories of children from their schools who now are part of the band program! Of the 40+ students who participated in Regina – 24 students are participating in school band and private music lessons. Of the 40+ students who participated in Sas-katoon – 21 are participating in school band and private music lessons. This is

a very special program and plans are in place to continue with this program in 2013 and to hopefully expand to Prince Albert as there are two ‘Dream Broker’ schools located there now.

I would like to welcome all new members (teachers, students and beginning teachers) to the SMEA. I would also like to thank all our SMEA members for your con-tinuing support and congratulate you all for the excellent work you do to make the SMEA a culturally vibrant association. It is indeed a privilege to work with all of you.

Respectfully submitted,Val KuemperSMEA Executive Director

The highlights that appear throughout this Annual Report tell the Sask. Music Educators Association’s story for 2012. In all of these successes, you will see significant evidence that these activities address both the mandate and vision statement of the association. I strongly encourage you to read CADENZA in total, because it contains so many positive and

successful stories


Celebrating 55 years of wisdom, patience,

commitment and leader-ship....

SMEA PRESIDENTS 1957 - 2012

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)Aaron Thingelstad (2012)

CADENZA 2012 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)

2012 Samantha Stewart (U of S) Sydney Dunn (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.

Contributions can be made to

SMEAGeneral Office, Cudworth.


“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

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


overcoming 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.


HCPP – Biggar(Submitted by Peggy L’Hoir)

Biggar’s Heart (HCPP) …Five years and Still Giving!Biggar’s HCCP has been touching the lives of our community for five years. We are fortunate to have the support of the SMEA, local support as well as a dependable intergenerational volunteer base that together keeps this “heart” beating! Based on a desire to give, our ten volunteer teachers (in-cluding 2 adults and 8 high school students), four volunteer supervisors and two teacher supervi-sors mentor and generously share their enthusiasm with our eleven students. Our volunteer supervisors and teach-ers are extremely caring and continue building friendships with the students …empowering and affirming the stu-dents through their interactions. We annually celebrate our students in a Christmas and Year End recital, always filling our performance space with eager musicians and proud family members as well as community support-ers. The students are also pleased to partici-pate in the local spring Music Festival ….a portion of the afternoon is allo-cated to Heart of the City students, and each student receives adjudication and a certificate of participation.

We are very grateful to all those who make this program a success..may the Heart of the City Piano Program continue to beat strong and steady for many years to come!

HCPP – Saskatoon(Submitted by Stephanie Stephanson-Pexa)

The Heart of the City Piano Program underwent a year of re-building in 2012. Some schools were forced to end their pro-grams because of lack of space, while other schools expressed an interest in initiating the program for the first time. In four schools, students showed steady progress throughout the year, with the guidance of their volunteer teachers and dedicated school coordinators. A fifth school started the program later in the year and is planning to expand to serve more students in

the coming year. Three schools participated in the Saskatoon Music Festival, this year held at King George School. The adjudicator, Ly-nette Sawatsky, gave all of the young pianists much encour-agement and inspiration. Teachers, students, and organizers felt that it had been a positive experience for all. The Saskatoon HCPP Board members include Erin Bentley, Tanis Lindsay, Maureen Shadden, and Stefanie Stefanson-Pexa. We are currently seeking additional board members, including an Executive Program Director.

HCPP – Regina(Submitted – Catherine Folstad)

The Heart of the City Piano Program took place at Coronation Park Community School and Rosemont Community School. Volunteer piano teachers worked with two or three students for a total of one hour each week, starting in October and ending in May. Students had the opportunity to perform at a Christmas Concert in December, Music Festival in May, and a Final Concert in May.At Coronation Park Community School, the four volunteer teachers each taught three students, for a total of twelve students. All twelve students performed at both the Christ-mas and Final Concert, although only eleven performed at Music Festival.Theressa Burkholder, the school coordina-tor, supervised practice and lesson times. There are three electronic keyboards at this school, so three students are able to practice at one time.There were five volunteer piano teach-ers at Rosemont Community School. Two volunteer teachers started in October and each taught three students. Two volunteer teachers started in October and taught two students. A new volunteer teacher started in January and taught two students. In total,

twelve students participated in the program at Rosemont School. Rae Pelletier, the school coordinator, supervised practice and lesson times. There are three electronic keyboards at this school, so three students are able to practice at one time. Ten of the students participated in Music Festival. One volunteer piano teacher worked with two students in the Ranch Ehrlo Program, a specialized program that runs out of Rosemont Community School.

We’re always looking

for volunteers!


1. KNOW THE VALUE OF PERSONAL ENERGYMusic is energy supported by aural motion. Whether it is the energy the teacher exudes from the podium, or the energy required to sustain a rigorous class sched-ule, or meet the performance demands, or take care of the organizational obligations, the time-on-task for a music teacher is never-ending and we must face the fact the music teacher SETS THE PACE for all those students who are part of the various ensembles and classes.

2. EXPRESS APPRECIATIONIn every situation we are either appreciating or depre-ciating our environment, our given climate, and the at-mosphere around us. When we appreciate a student, a colleague, an administrator, a parent, we lift ourselves as well as the recipient of the acknowledgment. In turn when we depreciate those around us with sarcasm or cynicism we simultaneously chip away at our own self-confidence. The successful educators are quick to recognize (and support) individual and group growth and development; they are also focusing on areas where improvement is wanted-and-needed. Musical success is an ever-changing combination of positive reinforcement (appreciation) strategically mixed with the never-ending quest for EXCELLENCE.

3. EXEMPLIFY OPTIMISMEvery student wants to be a member of a quality or-ganization. While there are certainly occasions when the rigors-of-learning require a mature and serious approach, the successful teacher always finds victories throughout the process. Since music is a language of EXPRESSION, it affords the learner to FEEL as well as THINK. To be discouraging (removing the courage) may push the student away from the goal; whereas encouragement (creating the presence of cour-age) will oftentimes serve as the needed momentum for the student to embrace the challenges-at-hand. We certainly must avoid FALSE PRAISE, but we always strive to establish an optimistic approach to tackling the curricular objectives.

4. AVOID THE GAME OF COMPARISONWe live in a competitive society, and – like it or not – we have auditions for chair placements, elections for officers, tryouts for solos, etc. Despite these built-in traditions, the successful educators focus on intrinsic motivation (the opportunity to learn and to make great music) rather than extrinsic motivation (the chance to score higher than the neighboring school at a festival). If the goal is to reach a high level of musical excellence, then the emphasis is on the process rather than the product, and if the process is sup-ported by the theme of QUALITY MUSIC MAKING, the product/outcome will reflect the investment.

5. PUT PEOPLE FIRSTTaken directly from Stephen Covey’s bestseller, Seven Habits for Highly Successful People, “Choose to under-stand before being understood.” Each day we have budding young artists sit in front of us with one burning question in their inquisitive minds,” What will we do in MUSIC class/rehearsal today?” They chose to be in MUSIC because they want to play or sing; they want to EXPRESS. When they sense we are confident about their abilities (as well as our own) and that we care for them as fellow musicians, the pos-sibilities are at the limits of our imagination. 6. BE WILLING TO FAILThis paradoxical concept is one of the masked secrets of successful people. We know failure is part of the pathway to high-level achievement. Growth, in any aspect of life re-quires risk-taking; one must enter the realm of the unknown and be willing to be disappointed while refusing to turn back until there is a sense of satisfaction that only comes from attaining a new understanding and a greater awareness of the possibilities at hand. To be in a state of creativity we must relinquish control and overcome fear…in essence we must persevere in our ongoing climb to a new summit of quality regardless of the number of times we stumble and fall. Only those who are willing to risk going too far will ever find out how far they can go. PERSISTENCE is our most important companion in this quest.

7. THINK CREATIVELYWe live in a fast-pace society, our students are programmed to move quickly, therefore we must open our minds to new

The Master Teacher’s TOP TEN (THE WISDOM OF BEING AN EXEMPLARY ROLE MODEL.)

Tim Lautzenheiser

continued page 13

8


Stefanie Stefanson-Pexa 2012

Outstanding AchievementStefanie Stefanson-Pexa grew up on a farm near Bankend, Saskatch-ewan. She played clarinet in the Shamrock School Unit Band under the direction of Ray Banning, and studied piano with Ethel Keele in Wadena. Upon graduation from Wishart High School, she began studies at the University of Sas-katchewan, where she studied piano

with Naida Archer and clarinet with Margaret Wilson. She received a Bachelor of Music in Music Education in 1983. Stefanie began her teaching career in North Battleford, where she taught band and classroom music at Connaught and Bready Schools. In 1992 she moved to Saskatoon where she taught at L’Ecole Canadienne-francaise, Princess Alexandra, James L. Alexander, and W.P. Bate. In 2007, she returned to James L. Alexander, where she currently teaches Kindergarten to Grade 6 Arts Education and Grades 6 to 8 Band, as well as directing the Senior Choir and Handbell Choir. She has per-formed with the University of Saskatchewan Wind Ensemble, University Chorus, Saskatoon Youth Orchestra, Saskatchewan Sings Choir, Battlefords Concert Band, La Chorale francaise de Saskatoon, and Campanile Handbell Choir. Her involvement with provincial music organizations began in university where she served as president of the SMEA Student Chapter. She went on to serve ten years on the provin-cial Board of SMEA, including two years as President. She has also been a member of the Board of the SOA. Currently she is on the Board of the Saskatoon Heart of the City Piano Program and the Saskatchewan Orff Chapter, and serves as Board member and accompanist for the Saskatoon Suzuki String Program. Stefanie completed her Orff Level 1 Certification in Waterloo, then continued with Levels II and III, as well as a Master Class with Jos Wuytack, in Edmonton. She has been fortunate to attend numerous CMEA, ISME, and National Orff Conferences throughout her career. Stefanie is married to Harold Pexa and they have a twelve year-old daughter, Katrina, who is heavily involved in music and dance.

George Charpentier 2012Lifetime AchievementGeorge Charpentier, recently retired, was the Coordinator of Arts Education and Social Studies for the Greater Saskatoon Catholic Schools. He continues to conduct the Saskatoon Concert Band and the Saskatoon Philharmonic Orchestra. He received his Bachelor of Music and Certificate of Business Administration from the University of Saskatchewan. He holds a Diploma from the Kodaly Institute of Music Pedagogy in Hungary and a Mas-ters Certificate in Orff Schulwerk Methodology from Jos Wuytack. He is a student of the Saito method of conducting. He has studied piano, clarinet, voice and violin. He is a Past President of the Saskatchewan Music Educators Association, and has served on many of that organization’s committees. He is a charter member of the Saskatchewan Band Association. He served two terms on the Saskatchewan Arts Board, and sat as a volunteer on the funding committee for the cultural sector of the Saskatchewan Lotteries. He was a volunteer for several major Saskatoon events, including the Jeux Canada Games, Special Olympics, World Junior Hockey, University Cup and the Labatt Brier. Mr. Charpentier has taught instrumental, choral and classroom music from Kindergarten through Grade 12, and has lectured at the University of Saskatchewan and the University of Alberta. He was the Associate Conductor of the Saskatoon Youth Orchestra for many years.

SMEA 2012 Awards

bravo!


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 forth 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 is a graduate from the Yorkton Regional High School. From a young age, she was influenced to pursue and excel in her passion of music from her music teachers in Yorkton, Regina, and Saskatoon. Samantha has successfully obtained her Grade 9 Piano, Grade 9 Voice, and Grade 10 Clarinet through RCM. Samantha has been given many wonderful opportunities such as her recent participation in the U of S Wind Orchestra, the Greystone Singers, and her participation in ensembles such as the National Youth Band of Canada in Montreal in 2011. Cur-rently, 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; President of USMES (the University of Saskatchewan Music Educa-tion Student Society); a member of Golden Key Interna-tional Honour Society; a Recital and Office Assistant for the University of Saskatchewan’s Department of Music; a research assistant for Dr. Darrin Oehlerking; and, volun-teers her time regularly for multiple events such as being a volunteer clarinet sectional leader for the U of S High School Select. Samantha is excited to become a music educator and hopes that one day she will be able to inspire to discover their passion in music just as many of her educators have inspired her.

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.

Sydney Dunn (U of R).

Sydney Dunn moved to Lumsden, SK in 2001 where she joined the elementary band program in grade 6. She started playing the Flute and quickly realized her love of music. In the years to follow she would learn to play the alto and tenor saxophones, guitar and bass guitar, and piano. Over the next seven years in Lumsden she played in no less than 25 bands, choirs, jazz bands and jazz combos. In grade 11 she - along with the other members of her jazz combo - assisted the band director in promoting the band program in the surrounding communities. This resulted in several new bands being created. It is because of this expe-rience and the guidance of her band directors, Scott Peters and Al McWilliams, that she is now studying Education at the University of Regina.

After graduating from Lumsden High School in 2008 she took a year off before applying to the Bachelor of Music Education program at the University of Regina. She is cur-rently in her internship which will be followed by a final semester before convocation in the summer of 2013. After convocation she plans on applying for teaching positions in all fields but hopes to teach in a Saskatchewan music program.


Saskatchewan Music Alliance UpdateSaskatchewan Music Alliance2013 March Update

The Saskatchewan Music Alliance (SMA) continues to make progress. After completing the vision, mission and values for the organization and reviewing various operational models, the SMA recently completed its workplan for this year. The SMA is an initiative of the Saskatchewan Band Association, Saskatchewan Choral Federation, Saskatchewan Music Educators Association, Saskatchewan Music Festival Association and the Saskatchewan Orchestral Association to develop new efficiencies and ways to work together to share resources to enhance the music community in the province.The SMA will be governed by a board of directors with members appointed from each member organi-zation. The board will be responsible for governing the organization, approving and reviewing the work plan, and ensuring financial controls. The daily operations will be performed by the Management Committee, which contains staff from each organization. The Management Committee will meet on a monthly basis to create and implement the work plan through shared decision making. Its members will be responsible for overseeing vari-ous projects and reporting back to the others. They will also look for new ways to partner and enhance program service delivery.

Bylaws are currently being drafted and the SMA will be officially incorporated later this year.One of the main projects that will take place is a music advocacy campaign. The initial phase will be to conduct research to determine the current state of the music industry in the province, identify and prioritize issues, and develop solutions. This research is necessary because there is a diversity of opinion within the music organiza-tions regarding the overall goals and objectives of an advocacy campaign and what truly needs to be changed. Focus groups will be held this year to provide qualitative research on what and why things need to change. This project will also contain a literature review, consultations with other sectors, and inventorying current music programs to identify gaps. The goal is to create a state of Saskatchewan music report that will outline the gaps within our communities and proposed solutions to these gaps. This will lead to an advocacy campaign to bring about meaningful change in the music community.

Another important initiative will be the SMA Summer Music Camp, which will build upon a pilot project held last year in Saskatoon and Regina. Students at the camps had the opportunity to try eight different instruments, including violin, guitar, band, choir, First Nations storytelling, First Nations hand drumming, piano, and percus-sion. In fact, Creative Kids indicates that 13 kids who participated in the camps have now received funding to continue their musical pursuits. There are likely many more who are continuing to participate in music because of their experience at these camps. It is clear that this type of summer music program is wanted and needed in the community. It allowed children the opportunity to learn something that they would not otherwise have access to, and taught them important lessons that they can take with them throughout their lives. This year, the SMA is looking to hold another music camp in Regina and Saskatoon, and expand the project to Prince Albert.

The Saskatchewan Music Conference is another example of the SMA in action. Last year the conference was held in Saskatoon and this year it will be held at the Delta Hotel in Regina on Nov. 7-9. Plans are currently underway for the conference and clinicians are being contacted. Information and registration for the conference will take place on an enhanced SMA website.

Branding materials for the new organization are currently being developed and will help to provide a higher


Vision: The Saskatchewan Music Alliance provides a strong and unified voice

for the music community throughout the province.

Mission: The Saskatchewan Music Alliance will provide visionary leadership to

promote and develop music for the benefit of all through its member orga-nizations.

Values: The Saskatchewan Music Alliance’s core values are:

A. Collaboration: We are committed to enhancing communities through progressive partnerships.

B. Innovation: We develop music programming that incorporates the best of the past to create the future.

C. Respect: We are founded on mutual respect, demonstrating honesty and integrity with all stakeholders.

D. Community Focus: We think globally and act locally by bringing music alive in the community while partnering provincially and nationally.

E. Leadership: We demonstrate strong visionary leadership making music accessible to everyone in our province.

F. Education: We believe music is to be experienced, shared and gifted to future generations

profile. These materials will play an important role as the advocacy campaign begins to unfold.In addition to these projects, the SMA has led to greater cooperation and collaboration among members. With regular discussions and meetings, the members are creating new opportunities to work together to support the music community.


ways of thinking and being. If we do not we are doomed to: remain-the-same, status quo, predictable, boring, simply go-ing through the motions, STALE. Rich rewards go to those who stand back and see the bigger picture, to those who seek new opportunities, and to those who look for ways to create artistic and emotional beauty within the learning environment. We must put meaning into everything by interpreting the present so it serves as a guide the future, it will determines whether we flourish of flounder. Creative thinking can be the turning point in bringing NEW LIFE to our programs.

8. MAINTAIN A HEALTHY SENSE OF HUMORUnfortunately many have linked “sense of humor” with lack-of-substance. In the communication world, humor is the shortest distance between two people. Let’s not confuse humor with flippancy, silliness or mere entertainment; humor is the way the human psyche creates emotional release. One of the traits of superior teaching is the ability to efficiently and effectively connect with students, and there are certainly times when a hearty laugh or an amusing tale will serve as the best teaching tool. And, above all, we must be able to laugh at ourselves. Teachers are humans and humans make mis-takes, so we must be willing to stub-our-toes and join in the laughter, then we can take a deep breath and get back to work. Humor is a lubricant of the mind and soul; keep smiling, everything will run much smoother.

9. DEMONSTRATE PROFESSIONALISMSelf-improvement is ongoing, and the true professionals are always STRIVING and never ARRIVING, but the continued growth is evident, and it is mirrored by the members in the ensemble. Role modeling is (arguably) still one of the most ef-fective forms of teaching. That being the case, we have much to offer through our dress, our language, our demeanor, and every aspect of our chosen behavior. Here is the opportunity to allow every contributing member of the group to witness the commitment and dedication of we expect from them; it is the chance to “walk the talk,” and do it with a sense of class and dignity.

10. ENJOY TEACHING MUSICCertainly everything on the daily to-do list is not always pleasurable or fun; much of it can be mundane and utilitar-ian, however it seems like a small price to pay to have the opportunity to introduce a student to the priceless treasury of MUSIC. They cannot duplicate this KNOWING in any other facet of our educational community. There is no substitute for music; music itself is the reason to master the skills of music making. What greater gift could we possibly bring to a young impressionable mind? MUSIC TEACHERS MAKE A DIFFERENCE.

Saskatchewan Suzuki Piano Teachers Assoc.The Sask. Suzuki Piano Teachers Association was formed in 1987 and became a Member Organization of the SMEA in 1990. The organization is dedicated to the Suzuki Method of instruction that primarily is designed for teaching very young children. In February of 2012, we held our AGM in Saskatoon, while many of our teachers were here for our Suzuki Win-ter Workshop. We brought in a teacher from Calgary to do a Suzuki festival for our students. Regina had a winter workshop as well where they too brought in a teacher from Calgary to work with their students and teachers.

Both Saskatoon and Regina have their own Suzuki Par-ent /Teacher groups that provide Suzuki piano students and their families with opportunities each year to have recitals and workshops. Thanks to SMEA’s financial assistance to SSPTA, we were able to provide teacher bursaries to 7 of our teachers in the summer of 2012. This is the most we have ever been able to help and we are very thankful to SMEA for helping our small group out with this money. As Suzuki teachers, we believe in the mandate set forth by Dr. Suzuki himself who said that we are constantly learning and therefore must do training ev-ery year to enhance our skills. We had teachers travel to Montreal, London Ontario, Calgary and Minneapolis in 2012 to do professional development in the Suzuki method.

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2012 Saskatchewan Music Conference... “Get A Grip”The 2012 Saskatchewan Music Conference was a joint venture of the Saskatchewan Music Alliance. The partners were the Sask. Band Association, Sask. Choral Federation, Sask. Music Educators Association, Sask. Music Festivals Association and the Sask. Orchestral Association. “Get a Grip” was the theme for this year’s conference.

In a time when everyone seems to be overloaded and over-whelmed in the workplace, it was thought that this might be a timely topic for many of our delegates. The Keynote presenter, Patricia Katz, talked about the challenges in day to day work place and life and challenged us to rewire and inte-grate healthy, sustainable pauses that produce more thought-ful and strategic choices. Approximately 235 people registered for this conference held at the Saskatoon Inn in Saskatoon. The conference was a success and feedback from delegates was largely positive. The venue – Saskatoon Inn was excellent.There were many different sessions for all to participate in and enjoy. Sessions were very well received from all spon-soring organizations.Once again the music industry was represented at the confer-ence in the display area and also as corporate sponsors. The

Awards Banquet, held on Friday evening, provided each organization to present their organizational awards and recognized their outstanding volunteers. The conference ended with a fantastic SMEA Provincial Honour Groups Concert held at the Circle Drive Alliance Church in Saskatoon on Saturday evening.As Special Subject Council of the Sask. Teacher’s Fed-eration for Music educators, the SMEA is mandated to provide professional development for music educators.

The Saskatchewan Music Conference demonstrates the commitment of the SMEA to fulfill its Mission State-ment to promote high standards of music and music education ant to sponsor conventions, clinics and other means of musical development, information and educa-tion. The SMC also addressed the SMEA commitment to its Vision Statement to participate in partnership and cooperative ventures to maximize the use of available resources.

The Saskatchewan Music Conference is perhaps one of the most significant, premium learning experiences for our members and the members of the other music PCOs. 2013 Sask Music Conference planning is already in motion. It will take place in Regina at the Delta Hotel – November 7-8-9, 2013.


Saskatchewan Junior BandsThe Junior Band Program is a partnership project between the Sask. Band Association and the SMEA. This program is an example of the commitment by the SMEA and the SBA to respond to emerging needs in a cooperative, cost effective manner. Volunteers are appointed by the SMEA and SBA to facilitate the project.

The program is designed to afford an opportunity for approxi-mately 150 beginner and intermediate band students to partici-pate in a two-day musical experience with their peers in a unique and affordable manner. The program provides the opportunity for young aspiring musicians and music educators to directly interact in a very specialized musical experience with the pro-fessional music sector. The program also promotes leadership and musicianship for young people who are able to take their personal experiences from the program back to their individual communities and thus provide leadership as role models. Par-ticipation in the Junior Band Program is for students up to and including grade eight, who have received at least two years of band instruction

The Junior Band program, in a sense, represents an extension of the existing SMEA Provincial Honour Band. It targets a younger age group than the Provincial Honour Band, whose target age is grade nine to grade twelve students. A spin off effect of the Junior Band Program is that it has the potential to act as a feeder group to the Provincial Honour Band.

Junior Honour Band North ReportSubmitted by Lee Adams and Michael KurpjuweitMarch 9th and 10th, 2012. Seventy-three students from across the northern portion of the province attended the Saskatchewan Junior Honour Band North in Saskatoon, Saskatchewan. Students were from seven com-munities representing twenty-three band directors and thirty-five schools. Students spent two days in sectionals and full rehearsals led by Scott Yemen.The event concluded with a concert on Saturday afternoon in the theatre of Tommy Douglas Collegiate. The concert was

very well attended, with approximately three hundred guests in attendance. Students put on an excellent per-formance and audience members were impressed with how well the students played in such a short period of time working together. Students received a T-Shirt and a CD recording of their concert.The Saskatchewan Junior Honour Band North commit-tee was: Lee Adams, Chantelle Berg, Michael Kurpju-weit, Yvonne Kurpjuweit, and Gene Aulinger. Overall, we would say that the Saskatchewan Junior Band North was a great success. We received positive feedback from the students, parents, audience, clini-cians, and conductor. We received great support from our area band directors. This year was another success!

Junior Honour Band South ReportSubmitted by Jennifer TenfordThe South Junior Band event was held at Winston Knoll Collegiate in Regina on March 2 – 3, 2012. Greg McLean, as gust conductor, was excellent at engaging the students and encouraging them to grow as musicians. In response to suggestions from previ-ous participants, we included bowling as a social activity this year. 78 students were recommended by 27 teachers. To balance instrumentation, 71 students were accepted and 65 participated. Thank you to the rest of the committee: Kathy Anderson, Chad Huel and Rachel Casponi, and to Tim and Faith for their administrative support.

SJBNorth/South 2012


The purpose of this article is to describe effective ways to mentor a student teacher (or new/beginning teachers). Statistically speaking each year there are about 25-30% students in the TIME (i.e., teaching initiative for music educators) secondary cohort at UBC considered “best student teachers.” I suggest that through effective men-torship from both the school and faculty advisor, student teachers can change and grow to become independent, confident, and effective teachers. Despite the student teachers’ musical background, as mentors, it is important to recognize that teaching adults is different than teach-ing young children. Teaching adults is an opportunity formentors to grow, learn, inspire and encourage their innate desire toteach. Being a mentor can be one of life’s most rewarding experi-ences.From strong teamwork, student teachers grow into effectiveteachers.As musicians prepare to become music educators in classroomcontexts, research and literature pertaining to teacher preparation with an emphasis on mentorship takes on added significance. Stu-dent teaching is probably the most important component of the musiceducation curriculum with re-gards to teacher preparation and certification(Panhorst, 1971). It is an experience that bridges the gap between the university and professional world. After reading this article, it is hoped that potential mentors will gain new insight into helping adults learn new teaching techniques, and be revitalized whenmentoring a student teacher. Secondary practicum is my favourite time of the teaching year.Student teachers, school advisors and I embark upon an exciting journey together - much like the excitement a teacher might feel when young musicians enter their classroom for the first time. I feel both uncertainty and exhilaration. I want to shape their direction

“Reprinted with permission from the BC Music Educator, Vol 45 #2, Spring 2002”

A Dozen Ways to be an EffectiveMentor to a Music Student Teacher

Karen V. Lee, Faculty Advisor, UBC Faculty of Education (2002)

IT IS THE LAST WEEK OF

PRACTICUM...When final reports are signed, many school advisors say, “send me your

best student teacher next year.” I think of this sentence when reflecting upon my experience as a faculty advisor. If school advisors recall being a student

teacher, were they the best student teacher in their class?

objectify learning outcomes, instructional strategies,classroom management techniques, and assessment/evaluation procedures.I hope during teacher education that student teachers canconstruct a ‘teacher identity.’ In general, student teachershave more liberal, idealistic views toward children andteens. Many find, especially at the beginning ofpracticum, that real-life interactions do not meet theirexpectations of classroom situations. This transition canbe difficult. Student teachers often discover that studentsdo not respond as enthusiastically as they had anticipated.

When shaping a ‘teacher iden-tity,’ student teachers needto clarify/redefine their roles as teachers with students.This can be a challenging period for student teachers, asthey want to be liked and re-spected by their students.It is important to engage my entire personality whenmentoring adults: how I think, what I know, how I knowit, how I feel and why I feel that way about teaching.Adult learners want to be recog-nized and applauded fortheir strengths rather than focus on their deficiencies.Mentors need to encourage adults

to understand the meaning of what they learn, to create or explore ideas and strategies, and most importantly, be critical and think introspectively.

Here are twelve effective strategies that I have found tobe helpful:1. Assess Student Teachers’ Interpersonal Skills.This is the ability to build and maintain positive relation-ships. Interpersonal skills are the lifeblood of humanrelationships. They help with social initiative, understandingpeople’s reactions, and responding accordingly.Inevitably, student teachers will need effective interpersonal

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skills to build positive relationships with staff andstudents. Set the tone with your student teacher. Possibleactivities: coffee, tour of school, providing their own desk,helping with responsibilities (concerts, marking, photo-copying). Mentors may need to improve or even teach interpersonal skills.

2. Respect Responsibilities.Student teachers are often faced with extra responsibilitiesoutside school (e.g., family, financial, work). These respon-sibilities will affect their practicum performance. Mentors should be compassionate regarding these issues.

3. Use the words “change” and “grow” ...interchangeably so student teachers understand that practi-cum is not just about “showing off” their strengths but about professional growth.

4. Define Your Expectations, ...including goals and outcomes. A common complaint fromstudent teachers is that they are unclear about what is ex-pected of them. If you want your student teacher to remain after school everyday until 4:30p.m. then you need to articulate this expectation.DO NOT assume they will take initiative. Remember, adultlearners probably have other responsibilities.

5. Feedback, Feedback, Feedback.Provide daily and weekly WRITTEN feedback. It is the single most helpful way for a mentor and student teacher to gauge progress. Oral feedback is valuable, however, it is difficult for a student teacher to retain oral information especially right after teaching as they are transitioning from the lesson. Written feedback can be read and re-read.

6. Start with Three.Any more than three suggestions can be overwhelming, especially for an inexperienced student teacher. In my ex-perience, I find change is possible when focussing on a few realistic goals.After the student has successfully implemented the sugges-tion, then move onto the next goal, and perhaps, increase the number of suggestions.

7. Use Questions.When mentoring adults, have them critically reflect uponreasons for their teaching practice. It is tempting to givesolutions for problems but in the end this does a disservice, as they need to learn how to solve their own problems. Problembased learning (Barrows, 1998; Delouse, 1997) fa-cilitates the development of self-directed learning skills and

encourages independent information acquisition. In this way, students gain a deeper understanding of subsequent solutions. When providing written feedback try “Did you notice (name) talking when you gave instructions? Why did you change the sequence of activities? Why is pacing so slow?” Encourage thinking.

8. Encourage Self-Reflection.After lessons, I always ask the student teacher to tell me what they liked and disliked. It is important for me know what they see and how they think. It is often the weak stu-dent that repeatedly says their lessons “went well.” Strong students usually have a list of improvements they want to make. I also highly recommend student’s videotape or audiotape lessons.

9. Provide Constructive Criticism.It is most helpful to use “I” messages. They are less offen-sive and help turn the situation around. Say, “I’m frustrat-ed by the amount of noise,” or “I’m concerned about how you rehearsed that piece.” “You” messages may make the student teacher defensive. Avoid saying, “you must, you should, you never, you act like. . .”

10. Write Observation Reports When FacultyAdvisor Observes.This provides opportunities for you and the faculty advi-sor to collaborate on issues regarding the student teachers’ strengths and weaknesses. Sometimes, school advisors and I discover we have similar observations. If not, an open dialogue can be initiated.

11. Student teachers MUST implementsuggestions.Granted, not all suggestions will be effective for every-one. As mentors, we must encourage beginning teachers to try out new suggestions from colleagues. In reports, I have often written, “why have you not implemented my suggestion?” When initiating this concept with student teachers, I say, “I liked the way you (did that). May I use that strategy in one of my lessons? This validation opens the door for student teachers to see the value inimplementing suggestions.

12. Create the “Need to Know.”Adult learners “do not know what they do not know.”We need to teach them that they “now know that they do not know it all.” It is essential that student teachers learn to develop this attitude. Over the years, in completing student placements, I have assessed the student’s person-ality, readiness level, and teaching style. Student perfor-


mance in undergraduate courses can provide insight into pairing a student teacher’s needs with the strengths of the school advisor and avoid incompatible matches. For example, placing a structured student teacher with a mentor who abandons the lesson plan in order to “seize the moment” for extemporaneous teaching opportunities can be a challenge for the student teacher. Each year, I have had to intervene or interrupt the student teacher’s degree by counselling them out of the practicum or even the teaching profession. Though it is extremely difficult, I believe it is my responsibility to encourage the student teacher toreview whether they are ready or want to becomea teacher.Student teachers look to mentors to find their waythrough the thicket of facts and competing perspectives. They want mentors to help them decide what informa-tion is accurate and answer their problems. Through teamwork of the school and faculty advisor, the practi-cum produces ateaching graduate who can effectively teach music in a classroom context. The student teacher progresses through a cycle becoming more experienced and suc-cessful as there is a gradual professional growth from preoccupation with the self to concern with students (Fuller, 1969) and their musical growth. When teaching adults, I am reminded of a story...

During a symphony rehearsal, an audience member ap-proaches a violinist and says, “what are you playing?” Tersely, the violinist says, “you can plainly hear I am practising my scales.”

The violinist moves her bow and positions her fingers, seldom looking up or smiling.The audience member decides to move along to another violinist who seems to be playing scales equally as well but also humming along.“What are you playing?” the audience member asks. “I’m making music,” says the violinist proudly, a smile spreading across his face. “I’m making music.”

To mentor an adult is not just about playing scales but making music. We need to have a vision of what we hope student teachers’ will accomplish. Excellent men-tors help make music of the attitudes of student teach-ers with whom they work.

Signs of a Strong Student teacher• Good interpersonal skills• Extensive musical knowledge• Has performed professionally• Independent critical thinker• Self Reflexive• Ability to see alternative perspectives• Initiative/leadership qualities• Implements suggestions• Professional• Remains on task• Connects learning to teaching• Independent teacher• Resolves conflict• Focuses on student learning• Authoritative/Democratic Style• Strong teacher presence

Signs of a Weak Student teacher• Needs to improve interpersonal skills• Adequate musical knowledge• Has not performed professionally• Inability to critically reflect on practice• Dependent upon external reflections• Inability to see alternative perspective• No initiative or leadership qualities• Is resistant to implement suggestions• Unprofessional (late, confrontational. Irresponsible)• Overwhelmed• Unable to connect learning to teaching• Dependent teacher• Does not resolve conflict• Focuses on self• Laissez-Fair Style


Cybertips for TeachersCanadian Teachers Association “Heads-up”

The use of technology has increased dramatically in re-cent years, but the standards of professionalism have not changed. Teachers are professionals and expected to model ethical and appropriate cyberconduct. Teachers hold a posi-tion of trust with students and will be held accountable if their actions expose students to inappropriate material ,or communications. Remember, nothing is truly private when you communicate digitally. When you use school board equipment and networks, your employer has access to all your messages and ·any sites you have browsed.

WHEN PRIVATE BECOMES PUBLICNothing posted is ever completely erased fromthe Internet. Anything can generate unintended conse-quences far into the future. “Friending” students, posting pictures of partying, or send-ing overly casual messages or texts to students, parents and others may lead to profes-sional difficulties you did not anticipate. People tend to feel safe when surrounded by “friends”. While sitting alone in front of a monitor, it is easy to forget that you are on apublic forum. Consequently, the line between our public and private lives becomes blurred, making it easy to mis-take a web page for a diary.

DO’S AND DON’TS OF USING EMAIL• Do maintain exemplary professional standards when sending email messages to students, parents, colleagues and administrators.

• Don’t use your personal email accounts to contact students or parents.

• Do keep copies of all your email messages.

• Don’t share your user name and passwordwith colleagues or students.

• Do use a teacher voice when communicating with students via email.

• Don’t leave your computer on and unattended when stu-dents are around.

• Do use a signature that includes your name, assignment title and school name.

• Don’t send unnecessary attachments withyour emails.

SOCIAL NETWORKINGThe growth of social media since 2004 has beennoth-ing short of phenomenal, giving rise to a wide range of networking sites such as Twitter, YouTube, MySpace, Linkedln, Flickr and Google+. BothFacebook and Google+ al-low their users to formgroups/circles of “friends” and publish informationof varying nature in text, image or video as statusupdates. They allow friends to interact with each other, including the ability to “tag” others inphotos. Both these sites encourage users to gather

as large a number of friends as possible because it helps generate enormous revenue from targeted advertising.Social networking sites can carry tremendous benefits in one’s professional development but can also present pitfalls. As educators, we have a professional image to uphold and how we conduct ourselves online holds no exceptions. Be-fore launching a Facebook or Google+ page for yourclass or school, please check your school board policy with respect to the types of information that can be posted and shared with the wodd. With a little forethought, these social networking sites can offer a variety of educational benefits without risking any safety to students or members of theschool community.


Users of social networking should consider the following:

• Familiarize yourself with the networking site’s privacy policy and activate your own privacy settings.

• Never “friend” a student on your personal Facebook or Google+ account. You can set up a separate profile to be used only for school, based on the professional teacher-studentrelationship. This will require using a different email from that which you’ve signed up for your personal account.

• Do not permit images of yourself to be taken and posted on any site without appropriate privacy safeguards; learn how to “untag” photos.

• Never post criticism of-or share confidential information about-colleagues, students or administrators.

• Never post confidential images or information about your-self.

• Do not post anything on a social media site that you would not post on the bulletin board outside of your classroom.

• Establish professional boundaries. Do not share any of your personal information with students (.eg. photos), and do not succumb to doing so if students ask

• Only communicate with students online in media where a record or transcript of each conversation is automatically made, to have as evidence if any concerns arise down the line. Please note that you must download special apps in both Facebook and Firefox to be able to log Facebook chats.

• If you’re going to “chat” with students online, ensure you set up “office hours” so that you are free to end the conversa-tion when the time is up. You may also want to set time limitson how long you speak with each student.

• Interacting with colleagues online can be a great way to stay connected. However, you should avoid using online con-versations to vent frustrations arising either from yourprofessional or personal lives.

CYBERBULLYINGCyberbullying is the use of information and communication technologies to bully, embarrass, threaten or harass another person. It also includes the use of these technologies to en-gage in conduct or behaviour that is, derogatory, defamatory, degrading, illegal or abusive . Despite all precautions, if you or one of your students be-come targeted by cyberbullying:

• Make copies of all questionable messages, web post-ings, information and other related material and data, including the URL.

• Demand that the sender stop transmitting or posting the material and state that the conduct is unacceptable and inappropriate; do not further engage the person who is targeting you as this may escalate the situation.

• Advise the administration of your school if the situa-tion requires immediate action and/or the inappropriate communication continues.

• Access appropriate support and guidance through the school board or district cyberconduct policy or manual.Request that the administration contact the parents of the student who is cyberbullying you or one of yourstudents.

• Inform and involve your schoolbased occupational health and safety committee.

• Contact your teacher organization if the actions taken to address the inappropriate communication are ineffec-tive or if you need further support or advice.

At least two forms of cyberbullying are considered criminal acts-communicating repeatedly with someone if the communication causes a person to fear for his or her health and safety; and publishing defamatory libel-something that is designed to insult a person or likely to hurt a person’s reputation by exposing him or her to hatred, contempt or ridicule. Spreading hate or discrimi-nation based on race, national or ethnic origin, colour, religion, age, sex, sexual orientation, marital status, fam-ily status or disability may be a violation of the Cana-dian Human Rights Act and/or provincial or territorialhuman rights legislation.

KNOW YOUR RIGHTS AND RESPONSIBILITIESActivities that can result in disciplinary action againsta teacher:• Visiting inappropriate websites (i.e. those featuring adult. racist or pornographic content).

• Sending or forwarding offensive jokes andpictures via email. Online gambling using school boardequipment.

• Downloading audio, video or text-based materials in violation of copyright laws.

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Saskatoon Children’s Choir 2012 Performing Season Highlights

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The Saskatoon Children’s Choir was founded in 1996 by its present artistic director Phoebe Voigts. In the 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 particu-lar emphasis on classic literature, international folk music and Canadian works. The choir is sponsored 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 In-ternacional de Musica de Cantonigros (Spain: 2002); Second Place (children’s choir) and Second 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.

In July 2011, the concert choir visited South Africa on a performance tour, com-bined 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 Drakensberg Boys Choir, Keystone State Boychoir (visiting from Pennsylvania) and the Fezeka Choir from Cape Town. For this tour, the choir commissioned 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 recordings were compiled into national documentary broadcasts.

SING AFRICA!


There are presently three choirs: a Preparatory, an Apprentice and a Concert Choir under the direction of the Artisitic Director, Phoebe Voigts.

The SCC captures the fundamental principles of the SMEA Mis-sion, Vision and Key Result areas. The SCC promotes the devel-opment of high standards and music education and contributes to the development and appreciation of vocational arts activities and musicians in Saskatchewan. The Saskatoon Children’s Choir also captures the spirit of SMEA in that touring is an integral part of the culture of choirs. Tour-ing provides opportunities for singers to connect with the people in other parts of their own country and extend their experiences beyond their own borders. When young people extend their experience beyond their community, they are putting in place a capacity to understand the world beyond home. When singers bring their music to different audiences, they are sharing a rich part of who we are. It is in this spirit that the Saskatoon Children’s Choir endeavors to travel each year.

The SCC fosters an under-standing and appreciation for music from Canada while studying and performing musical works from other parts of the world. The SCC extends through choral music an understanding of their role in a global community. The SCC inspires audience members and others affili-ated with the choir to support artistic and humanitarian endeavors. The activities of the choir communicate a message of hope and serve to demonstrate that all young people can make a difference towards creating a more peaceful world

Overview of 2012 performing season: resources getting resultsSMEA: SMEA is the sponsoring organization for the choir. They administer our financial records and, while not involved in the day-to-day activities of the choir, offer support and expertise to the choir and their conductor.Saskatoon Children’s Choir Board of Directors:The Board of Directors advises and supports the conductor and the

choir as needed. The Board consists of Ann Mueller, Vivian Dyck, Wendell Owen and Gary Gullickson.Artistic Director: Phoebe VoigtsMs. Voigts oversees all aspects of the choir’s opera-tions, with a particular emphasis on decisions related to artistic programming. She conducts the three choirs under the umbrella of the Saskatoon Chil-dren’s Choir and guides the study and performance practices of the choristers. She also initiates or responds to all performance invitations and collabo-rations with other performing groups.AccompanistsThe choir employs two accompanists. Michelle Aalders, the principal accompanist, plays for the Ap-prentice and Concert choirs. As of September 2011,

the Preparatory choir is ac-companied by Kerry Agnew.The choir has two managers:General Manager: Dr. Rita McLeodThe General Manager directs and coordinates the over-all operations of the choir, including all details related to special projects, retreats, recording and touring; and all performances except our two home concerts. The General Manager is also responsible for research, records, com-munications, documents, grant applications, budgeting, concert programs, financial records, festival audition packages, public relations, communicating with potential

sponsors, musical instrument purchases, advertising and volunteer committees; and serves as our liaison between the choir and Third Avenue United Church. Administrative Manager: Gaileen WillickThe Administrative Manager facilitates all details related to our Christmas and spring home concerts; and coordinates auditions, voice checks, registration, uniforms, t-shirts, and courtesy.Responsibilities associated with rehearsals (such as memo minders, rehearsal suppers, and attendance) are shared between the General Manager and the Administrative Manager.Leadership AssistantsEach year, SCC hires experienced choristers from Concert choir to assist in work with the Apprentice

Touring provides opportunities for singers to connect with the people in other parts of their own country and extend their experiences beyond their own borders. When young peo-ple extend their experience beyond their community, they are putting in place a capacity to understand the world beyond home. When singers bring their music to different audi-ences, they are sharing a rich part of who we are. It is in this spirit that the Saskatoon Children’s Choir en-

deavors to travel each year.


and Preparatory choirs. These senior singers provide valuable leadership at rehearsals and serve as strong role models for the younger choristersParent Volunteers/CommitteesThe choir is dependent upon the expertise and leadership of the parents in our organization. Parents chair and serve on the following committees:• Archives• Fund raising (Usually six/seven member committee, which organizes at least five fundraisers each year.)• Choral library• Special projects• Receptions after our home concerts• Apprentice choir suppers• Lighting and equipment• Chaperones, both at concerts and on tours. Each choir has four chaperones during concerts. We have a team of five chaperones who accompany the Concert choir on tours and other projects. One of the chaperones is a designated medical person.• Concert assistance, such as Merry Men (who set up the risers and prepare the stage for the performance), ushers, ticket takers and CD sales. This mainly happens at our “home” concerts, and to some extent at our tour concerts.• Rehearsal helpers - parents rotate as rehearsal helpers, taking attendance and dealing with the many details that com-prise a successful rehearsal.

• “Roots and Wings” April 20 concert (750 in attendance) – Third Ave. United Church.

• “Saskatchewan Sings!” Concert choir tour to Yorkton and Estevan in May 2012, as part of the OSAC “Stars for Saskatchewan” concert series.

• Outing to a Master Series SSO concert with concert choir. The concert choir outing consists of a dinner at a restaurant and attendance of a Master Series concert (October).

• “Sing Choirs of Angels” – two concerts, December 2 and 3, attendance approx 1550. At Knox United Church.

• “United in Song” Choral Festival in Prince Albert in March. This was the first time that we took the Apprentice choir on an overnight tour. We involved several parents to serve as overnight parents, and the trip went without a glitch.

• Also in March, we organized a “Bring a friend to choir” rehearsal for the Apprentice choir. We had over 100 singers in the rehearsal hall! As one way of promoting the choir and recruiting new singers, this proved to be a success. Several parents signed their children for auditions in May. The practice will continue next year also.

• As every year, the Apprentice choir sang at Third Avenue United Church Service in April, as a way of saying thank you to the congregation for welcoming us warmly into their church.

• The Apprentice Supper tradition also continued this year. The suppers are organized, prepared and supervised by choir parents, and provide choristers with an opportunity to socialize with fellow choristers.

• Four days of auditions for the public – in May, June and August. We auditioned close to 80 children.

• Highlight for 2013 –Concert choir will be touring Ireland, Wales and England. In Wales they will be participating in the Llangollen International Musical Eiste


Continued from page 18 Using the employer’s equipment to engage in activities related to a second occupation.

• Constant text messaging, instant messaging and/or emailing during school time.

• Web browsing to sites not related to the curriculum.

• Posting pictures of yourself, especially if they are suggestive or inappropriate.

• Posting comments about students, parents, colleagues or admin-istration.

• Engaging in personal email exchange with students.

• Engaging in inappropriate conversations about fellow col-leagues through email or social networking sites.

• Criticizing principals, teachers, superintendents, school trustees or school boards-personally or professionally-online.

• Sharing confidential school board information through the board email system or a social networking site.

MORE HELPFUL ADVICE FOR TEACHERSAssociation des enseignantes et des enseignants franco-ontariensCyberespace : La prudence est de rigueurwww.aefo.on.ca/Bulletins/618_28mai1 O.pdf

Elementary Teachers’ Federation of OntarioElectronic Communication and Social MediaAdvice to Memberswww.etfo.ca/AdviceForMembers/PRSMattersBulletins/Pages/Electronic Communication and Social Media.aspx The Manitoba Teachers’ Societywww.mbteach.org/ library/mtslibrary.html

Nova Scotia Teachers UnionInternet and Communications Technology Policywww.nstu.ca/images/pklot/Gu idebook 2011 web sept2011.pdf (page 71)

Centrale des syndicats du QuebecBooklet on use of social media (both availablein English and French)www.csq.qc.net/sites/1676/documents/eng lish/media_sociaux_a.pdf

CLASSROOM RESOURCESwww.media-awareness.ca

Media Awareness Network and its Web Awareness Program features lesson plans, classroom activities, background articles and Canadian resources for media education. It also offers practical tips for helping parents manage media in the home.www.cyberbullying.ca

This is a great resource site for teachers, parentsand students (only available in English).www.ctf-fce.ca

For more information on this issue, please visit the Canadian Teachers’ Federation Web site.

This material is reproduced with the permission of the Canadian Teachers’ Federation. Special thanks to NSTU, AEFO, MTS, OTF, ETFO and theMedia Awareness Network for their valuable input.

24


SMEA Saskatchewan Honour Groups 2012

25

In 2012 the best high school student musicians from the province of Saskatchewan form a Concert Band, Concert Choir, and Concert orchestra which perform a Gala Con-cert under the direction of an acclaimed guest conductor. Students were recommended or auditioned by music specialists / teachers / directors and then attend 3 days of rehearsals in November. The event took place at Circle Drive Alliance Church in Saskatoon. Our Honour Band director was Dr. Robert Taylor, and band coordinator Adam Streisel. The intense rehearsals led to an excellent concert.

Honour Choir Director Catherine Robins was very professional and the students - excellent leadership. Our choir coordinator was Shaun Bzdel. Orchestra conduc-tor was Leanne Zacharias and coordinator, Betty Ann Arscott. It was very good to have the orchestra students join us at the venue and participate in all activi-ties.

Circle Drive Alliance Church was an excel-lent venue. The office staffs, custodians, chefs, all were very accommodating. This facility was terrific for all three groups- pleasant surroundings, lots of room, washrooms easily assessable, and food service worked out well. The Social included an interactive performance with the comedy act of The Soaps followed by pizza. Thank you to the University of Saskatchewan for sup-plying equipment.Doug McCosh was an excellent MC - always good to have his bow tie, organization, and sense of humor!

The quality of music and friendships formed during this event make it a unique experience that will be a highlight to many. Students are challenged both musically and personally and will no doubt take their new knowledge and enthusiasm back to their school band and choir.The Choir and Band coordinators, Shaun Bzdel and Adam Streisel, worked long hours and were diligent with all the duties involved – from organizing student partici-pants, music, equipment, rides, and basically stepping in with whatever activity and organizing needed doing. We had a few challenges – the weather being one, with

icy, snowy roads- we are a resilient group and we kept the music going! Equipment was another challenge, but all came together for another successful Gala Concert.We had many volunteers for equipment door stewards and more that were much appreciated.

Huge thanks to Val, Graeme and the support of the SMEA Board Members.Thank-you for an excellent experience. I met wonderful people, enjoyed meeting students and most appreciated the professional musicianship of our directors.

The following are some quotes by students who participated in the event in November 2012:

“In the past few days I feel like I’m improved as a musician. I think this happened because

my conductor ex-pected no less than perfection. This was hard but I’m walking away with higher standards for myself.

This was fun.!”“I felt that a lot of people found not only their singing voices but their inner voices as well. When I was up on stage I felt that the entire choir, director, piano player and all were all on the same page, we were one, and Tony really made that happen.” “It was such a great expe-rience, the best choir experience actually and I hope I can be a part of it again next year. ““Now for all of the students who are consider-ing joining an honour band, here is my ad-vice. JOIN IT!! Being in an honour band is an amazing experience. ……You get to play some amazing pieces of music and performing them feels like you have accomplished something amazing.”


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 Creatures’; ‘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 Squir-rel – 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 Combi-nation’ – 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’ – Jonathan 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

2012 - SaskatoonBand - Robert TaylorChoir - Catherine RobbinsOrch - Leanne Zacharias

Honour Group Conductors & CommissionsDr. Robert TaylorSaskatchewan Honour Band Conductor 2012 Robert Taylor is Director of Bands at the University of British Columbia, where he conducts the Symphonic Wind Ensemble and Concert Winds, teaches instrumental con-ducting, and heads the brass division. Dr. Taylor maintains an active schedule as a guest conductor and clinician. Past engagements include performances with the Vancouver Brass Project, Pacific Symphonic Wind Ensemble, and Chicago-based contemporary music group, the Maverick Ensemble, in addition to collaborations with a wide range of international artists - from Allen Vizzutti, Gail Williams, and Ingrid Jensen, to Manhattan Transfer and Big Bad Voodoo Daddy. As a passionate advocate of music in the schools, Dr. Taylor is in high demand as a rehearsal clinician and festival adjudicator and has made frequent appearances with young musicians, serving as principal conductor of the Puget Sound Youth Wind Ensemble and guest conductor of numerous honour groups. Dr. Taylor received the Master of Music and Doctor of Mu-sic degrees in conducting from Northwestern University and the Bachelor of Arts degree in Trumpet and Music Educa-tion from Humboldt State University. His research has been published in GIA’s Teaching Music Through Performance in Band series and featured in presentations at several regional and national music conferences.

Catherine RobbinsSaskatchewan Honour Choir Conductor 2012Catherine Robbins is in demand as a presenter,clinician, guest conductor, and adjudicator at workshops and festivals in both vocal and choral fields. Her areas of expertise include choral pedagogy, vocology and the advantages of developing anatomical awareness to encourage understanding of vocal processes in the choral rehearsal.Presently, Dr. Robbins teaches undergraduate conducting, choral techniques, vocal techniques, and choral repertoire at the University of Manitoba where she was the director of the Preparatory Divisio Youth Choir Program for seven years. She also serves as the vocal coach to the University of Manitoba Women’s Choir. Catherine loves working with en-thusiastic singers of all ages.Dr. Robbins has recently com-pleted her doctoral studies in Music Education through the University of Toronto. Her areas of research have included negotiating the solo voice in choral singing, the influence of music festival participation on music directors’ professional practice, reflective practice and teacher education, and the formation of the musical self of choral music educators.

SMEA Saskatchewan Honour Groups’ Conductors

26


Saskatchewan Honour Choir 2012

Saskatchewan Honour Band 2012

27

SOA Saskatchewan Honour Orchestra

Robert Taylor, Conductor Adam Streissel - Coordinator

Leanne Zacharias, conductorBatty Ann Arscott coordinator

Catherine Robbins, ConductorShaun Bzdel, Coordinator

SopranoLarissa Chipak NorthSarah Cunningham St BrieuxKelsey Davis ReginaLana Donnan SaskatoonEllen Durant Swift CurrentBrenna Feher Prince AlbertAmy Fong ReginaNicole Garies Swift CurrentKylie Gerwing SaskatoonAlisa Griffin Middle LakeDanielle Guina HumboldtApeksha Heendeniya SaskatoonChandra Hollands Prince AlbertAngela Howell Swift CurrentNaomi Jalbert Prince AlbertSarah Knutson NorthMadison Kowerchuck-Webster SaskatoonKatrina MacKinnon North Bat-tlefordKiara McDade RaymoreMadison McLean SaskatoonBethany McQuaid North BattlefordDanielle Miller ReginaKate Nachilobe SaskatoonJasmine Nikkari ReginaNicole Parker Saskatoon

Kayla Schmidt, North BattlefordHannah Wildman Flaxcombe

Alto Maddison Andrzjewski Swift CurrentJo Arnott SaskatoonOlivia Bolen ReginaJanine Brinkman Lake LenoreQuinn Cappelletto Prince AlbertSarah Closson SaskatoonMorgan Esquirol North BattlefordKaileigh Hargreaves North BattlefordAurora Herman SaskatoonDarian Jessop PunnichyElise Larreau ReginaSarah Longstaff SaskatoonHannah Luther SaskatoonAinslie Milley North BattlefordDanika Nickel Prince AlbertJohanna Nolin North BattlefordNicole Rapin SaskatoonMichaelas Solomon ReginaKate Spencer SuccessZoe Strutt KindersleyMadison Sutor Prince AlbertJanine Williams Regina

Tenor Emmanuel Canillas SaskatoonDaylen Friesen SaskatoonHernani Justiniani SaskatoonJosh Lees HumboldtDylan McInnes SaskatoonTiess McKenzie SaskatoonAyden Meginbir SaskatoonKurtis Pratt Swift CurrentAustin Shirley Saskatoon

BassMitchell Cassidy SaskatoonJulian Dale SaskatoonJack Fotheringham SaskatoonConnor Gillot SaskatoonGarrett Gizen SaskatoonColin Grant SaskatoonDominic Louis SaskatoonCaleb Meginbir SaskatoonJean VanDerMerwe North Battleford

Flute: Kayla Parker, SaskatoonAlaina Majewski, Regina Tybie Schmaus, Kindersely Jillian McLeod, Saskatoon

ClarinetMadison Engen, ReginaBruce Hu, SasktoonAnna Wilson, SaskatoonBrianna Ludwig, ReginaKim Shalley, ReginaMaribeth Gautier, Prince Albert Kelly Lee, Regina Jessica Engel, MuensterAmy Rempel, NipawinEmily Jackson, North Battleford, bassRobert Sturgeon, Saskatoon, bass

OboeCarl Hofmeister, Saskatoon Katie Douglas, Regina

BassoonJamie Bell, Saskatoon Ian Meadows, Saskatoon

SaxophoneCole Knutson, North BattlefordDevyn McIntyre, ChurchbridgeJessi Gilchrist, AsquithAryn Polichuk, BordenKaylee MacKenzie, Estevan, tenor

Karissa Gustafson, Macoun, tenor Jory Litt-Jukes. Moose Jaw, baritoneDaniel Stokalko. Mayfair, baritone

French hornEric Patterson, SaskatoonKaralie Near, KindersleyKara Shevchuk, SaskatoonAndrew Kim, Saskatoon Shaylee Foord, EstevanLisa Hattie, Saskatoon TrumpetAbby Fuller, Earl GreyEverett Schwab, EstevanDavid Kreiser, LloydminsterBrennan Schommer, Swift CurrentRobyn Binsfield, LloydminsterAlice Zhang, SaskatoonNolan Fuller, Earl GreyDylan Sylvester, North Battleford

TromboneMarc Dumont, Regina Kelsey Briens, Regina Daniel Leblanc, Regina Donovan Sullivan, Lloydminster Randy Paulgaard, WolseleyYifan Han, Saskatoon

BaritoneQuinn Bell, ReginaElizabeth Smith, LloydminsterMichael Kozushka, Yorkton

TubaAustin Deane, Saskatoon Soma Dalai, Saskatoon Skye Groot, LloydminsterSimon Tubello, Regina

String BassDelaine Ukrainertz, Lloydminster

PercussionAshley Patoine, Regina Haleigh Lorinczy, Lloydminster Kate Martin, Wroxton Jasmine Tsui, ReginaMariam Goubran SaskatoonAidan Rogers, SaskatoonJosh Dupuis, Saskatoon

Violin 1William Boan, Saskatoon ***Chen Chen Peng, Regina ***Arthur Boan, SaskatoonHannah Weger, ReginaAngela Luo, SaskatoonRebecca Weger, ReginaChristopher Waddell, SaskatoonKevin Chen, SaskatoonHannah Lissel-DeCorby, SaskatoonSarah Groat, SaskatoonBrandon Johnson, SaskatoonAlysse Sailor, SaskatoonSimone Friesen, WaldheimJungmin Kim, Saskatoon

Violin IIMerike Lepnurm, Saskatoon *Simone Ma, Regina *Katee Polischuk, SaskatoonKatherine Cole, VanscoyErica Pietroniro, SaskatoonAntoine Garez, NipawinGarrett Aspen, SaskatoonBethany Helm, KinistinoSilken Handford-Perronnet, SaskatoonJasmine Stevenson, MelfortFrancois Garez, NipawinJenna Polischuk, SaskatoonYanis Eberhart, Saskatoon

ViolaSamara St. Louis, Saskatoon *Raymond Knorr, Regina *Knut Lokken, Saskatoon

CelloEmily McBean, Saskatoon *Nathaniel Paquet, Regina *Devin Arndt, FurdaleChristopher Lim, SaskatoonBrianna Kaldor-Mair, ReginaLouisa Selby, SaskatoonCaleb Fiorante, ReginaErinna McMurtry, SaskatoonTaylor Gravelle, LumsdenJeremy Czajkowski, Saskatoon

BassEmmett Fortosky, Saskatoon, *Britni Korte, SaskatoonZoe Saladana, SaskatoonBen Kmiech, Battleford

***Co-Concertmaster** Co-Principal* Principal


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 Saskatchewan Honour Groups • November 3, 2012

SOA Saskatchewan Honour Orchestra 2012

Leanne Zacharias, Conductor

Saskatchewan Honour Choir 2012

Catherine Robbins, ConductorMark Turner Accompanist

Robert Taylor, ConductorSaskatchewan Honour BAnd 2012

ReverberationsBrian Balmages

Prelude & Fugue in G MinorJohann Sebastian Bach

Simple GiftsFrank Tichelli**

FoundryJohn Mackey

Hine e Hine(New Zealand Maori Lullaby)

arr. David Hamilton

All Too Soon(traditional Celtic Tune)arr. Stephen Hatfield**

Open the Window(Georgoa Sea Islands)

Elise Witt

Crisantemi- Giacomo Puccini

(String Orchestra arrangement by Lu-cas Drew, Kalmus Edition)

Bohemian-Danish Folksong- Carl Nielsen

(Paraphrase for String Orchestra, Kal-mus Edition)

SPECIAL THANKS TO:Our Honour MusiciansConductors - Dr. Zacharias, Dr. Taylor and Dr. RobbinsChoir accompanist Mark TurnerCoaches: Frank Harrington - Trumpet, Glen Gillis - Saxophone,Brian Unverricht - Trombone, Low Brass, Will Martin - Percussion, Marie Sellar - bassoon, Meaghan Haughian - flute, Alyssa Thompson - Clarinet, low woodwinds, Arlene Shiplett, - French Horn, Erin Brophy - Oboe, Courtney Atkins - Soprano voice, Megan Grier - Alto voice, Mark Turner - Tenor voice (and accompianist), Chris Kelly - Bass, Violin I – Robert Klose, Violin II – Joannie Savage, Viola – James Legge, Cello – Scott McKnight, Bass – Richard Carnegie & consultation in auditions and seating.Circle Drive Alliance Church and staffOur Volunteers in every areaPhotographer - Imagery PhotographySt. John’s MusicAudio recording and post production: Bruce WilkinsonEmcee: Doug McCoshGraeme Steen - SMEAHG systems/support


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

Advocacy


musiCLOUD.ca

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/regina

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

HigH

Quality

EuropEan

StringEd

inStrumEntS

&CompleteAccessoriesfor strings

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

32


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.

2013

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

Janet MarekBlaine McClary

SMEA HONOURARY LIFE MEMBERS

Gene AulingerLloyd BlackmanAlastair BrowneWilliam Browne

Marjorie BurnsGeorge Charpentier

Don Cowan *William Duignan

Gary EvjenVerla Forsyth **

Robert GibsonGary Gullickson

Gloria Herauf David Kaplan

Greg McLeanSharon Meredith

Dwaine NelsonCorinne Olson

John PanioMaureen Patterson

Carol PetrieJohn PoettckerMarvin Shields

Stefanie Stefanson-PexaJoan Therens

Wayne ToewsBrian Unverricht

Phoebe Voigts

Bina KeyserColin King

Marilyn KingRobert LatimerTom Magnuson

Debbie McPherson ***Isabelle Mills

Dwaine Nelson Floyd Nelson

John 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 2013nominee’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

34


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

The official journal of the Saskatchewan Music Educators Association