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Articles found matching your search parameters: 34
Certified To Serve by Deb Stevens 
Let's band together and orchestrate life
Quality in Music by James Neilson
All music is not created equal, but how can we judge what makes music "good"?
Building Student Confidence by Don DeRoche
Along with theory and technique, give your students a sense of accomplishment by teaching them how to achieve success
Music For Everyone: Part One by Robert Rawlins
Though music can sometimes be a professional calling, it's often much more than a career choice
Music For Everyone: Part Two by Robert Rawlins
Since America loves to make music, your students of today could be the backbone of tomorrow's community bands
False Assumptions: What Students Really Think by Donald DeRoche
If you wonder what junior-high music students really think, just ask them
Developing Musicianship by Al Payson
. . . with a little help from Alfred North Whitehead
How to Choose a Good Set of Cymbals by Gene Markiewicz
This article will focus on the actual cymbals and what I recommend to choose good sounding drum set cymbals
Some Dismantling Required by Eugene Dowdy
Music, as we have learned in our theory classes, is made up of elements. The compositional process is a wondrous skill of assembling these parts onto a time frame creating a work of art.
Getting Serious About Being Positive Is No Contradiction Of Terms by Dr. Tim Lautzenheiser
Many researchers have confirmed that "a positive environment is the most conducive for maximum learning results."
When Festival Fever Strikes, It's A Sure Cure For The Winter Blahs by Shirley Strohm Mullins
Every year about this time I catch a mysterious malady called Festival Fever. Strangely enough, it is one disease I anticipate with great pleasure. It's a sure cure for the after-holidays letdown and usually carries me straight through to spring break.
Our Perceptions of Hearing by Charles Martyn
Our perceptions of hearing do indeed differ. It always fascinates me to gather the impressions of what people have heard following a truly outstanding performance. Some can be critical while others are absolutely uncritical of what has transpired. Many are only loaded with superlatives. But how often do we hear perceptive insights regarding the pedagogy involved in making an outstanding ensemble?
NEW RELEASE OF AUTHENTIC EDITION OF VLADISLAV BLAZHEVICH 26 SEQUENCES FOR TROMBONE by Michael Mulcahy
From time to time in my role as Professor of Trombone at Northwestern University, I admit exceptionally gifted young musicians who possess both outstanding musicianship and keen intellectual acumen into our doctoral program. Such was the case when I encountered Russian Bass Trombonist, Andrey Kharlamov. Actually, it was a re-encounter, as I first came across him as a very young and precocious man, during a masterclass at the Tchaikovsky Conservatory during the Chicago Symphony's historic tour of Russia in 1990.
NEW RELEASE OF AUTHENTIC EDITION OF VLADISLAV BLAZHEVICH 26 SEQUENCES FOR TROMBONE by Michael Mulcahy
From time to time in my role as Professor of Trombone at Northwestern University, I admit exceptionally gifted young musicians who possess both outstanding musicianship and keen intellectual acumen into our doctoral program. Such was the case when I encountered Russian Bass Trombonist, Andrey Kharlamov. Actually, it was a re-encounter, as I first came across him as a very young and precocious man, during a masterclass at the Tchaikovsky Conservatory during the Chicago Symphony's historic tour of Russia in 1990.
Beginning Band and Orchestra, The Roots of a Successful Program (Part 1) by William W. Gourley
In today's economic climate and with the pressures from other academic disciplines music programs are in a fragile position.
WHAT A RIDE! by Bart Marantz
To those students who dream the impossible and realize that Booker T. Arts Magnet is a place where the impossible can become reality "Thank you". Thanks also, for allowing me to enjoy this incredible experience with you for the past 24 years. What a ride it has been!
Your Voice as a Musician by Keith M. Zimmerman
Today our culture gives the message that we should all be clones. The media and recording industries have sold the public on this and insist that everything and everybody must fit a neat little category.
Burnout and the Beginning Music Educator by Gene Bechen
If you're a beginning music educator, reading this article is just the beginning of your journey toward understanding stress and burnout. It is important for you to continue to learn about how stress affects your life.
Top 10 Ways to Avoid Burnout for Music Education Students by Gene Bechen
Many music education majors are profoundly affected by stress and burnout without fully knowing what it is or how to combat it. Some of these stressed individuals leave the major, while others shift from future music educator to music hobbyist.
Developing an Individual Marching Band Style - What is Your Band's Identity? by Marty Spitzer
Regardless of whether your marching band is competitive or not, it is important that the band develops a sense of personal identity to avoid becoming a "cookie cutter" band. The most successful competitive programs generally have a real sense of 'Who We Are.' This identity stems from several components, and over time lends to what your audience, adjudicators, other bands, come to know and expect of your group!
Choosing a 4 Valve Euphonium by Royce Lumpkin
Did you know that your school's three-valve baritone is a descendant of the saxhorn family created by Adolphe Sax? In the British Brass Band tradition, the baritone is used as an alto instrument, most often playing a rhythmic role. Its lighter sound blends well with French horns and trombones. Euphoniums, however, are related to the tuba family and traditionally have a darker, more resonant tone, playing melodies, counter melodies and the bass line, doubling the tuba at the octave.
Recruiting and Retention by Gary Gribble
Instrumental music begins in our school system in sixth grade. It seems that more
kids are getting "hooked" on multiple activities at earlier ages than ever before. We have
summer sports and arts camps for kids as young as four years of age. The potential
downside for our music program is that the kids become totally dedicated to other
activities before they get a chance to join a music program.
An Approach to Student Practice: Hints on Practicing or Close Enough only Counts in Horseshoes and Hand Grenades! by Keith Zimmerman
How do the really good players become so? How do the same people seem to always get high rankings in auditions? There is practice, and then there is quality practice! Which kind do you do? Do you just get close or do you really get the music down?
Choosing an Artist French Horn by Louis Stout
It is more difficult to choose a fine French horn than any other instrument in the brass family.
Time for Grant Writing by Marcus L. Neiman
Who in their right mind would even considered thinking about writing grants during an economic downturn? Who indeed!
A Pedagogical Approach to Effective Individual Music Practice by Dr. Michael Magruder
This document is intended to assist individuals in the area of effectiveness related to practice. I have attempted to describe the components required to become efficient and effective in the area of individual music practice related to clarinet performance.
Tone & Musicality by Murray Panitz
Professionals, when they teach, generally instill into their pupils the proper respect, technically and tonally, for their instrument.
The Jazz Big Band: Ingredients To Assure Good Ensemble Performances by Scott Cowan
Throughout my nearly twenty years of directing jazz big bands and observing a myriad of world class band leaders, I have observed a plethora of ingredients, so to speak, that have contributed to successful performances. The following ingredients reflect my observations.
The Flute Practice Techniques by Robert H. Willoughby
I strongly advocate practicing part of the time without vibrato. While it adds life to your playing, it also tends to obscure basic faults, such as lack of support. In addition, modern composers will often specifically request that a particular passage be played without vibrato. Likewise, in baroque music it should be used sparingly.
You Want Band in the Community - Delayed Gratification and Citizenship by David Willson
Each year I see the directors in the country have more hurdles thrown at them making it harder to have band where they are. These hurdles start with national testing, new graduation requirements, scheduling, and the list is endless. We as a society need to sell the real value of band to all in the community instead of getting stuck on the spirit or public relations area that all see and recognize.
Time for Grant Writing by Marcus L. Neiman
Who in their right mind would even considered thinking about writing grants during an economic downturn? Who indeed!
Stage Decorum: Set the Tone for Outstanding Performances by Gary Gribble
An important element of preparation for your performance is stage decorum. How will you enter and exit the stage? Will you warm up on stage? Will you tune the group? Will soloists be asked to stand?
Use Of Rhythmic Space by Frank Caruso
In this article I would like to explore some of the rhythmic devices I have found to be very helpful in creating more interesting rhythmic ideas and contrasts. As with all aspects of improv, the simplest approaches are usually the most effective.
The Lost Battalion: What to do with Your Army of Percussionists by Dr. Nicholas V. Holland
You can tame the tiger that is your percussion section by carefully selecting repertoire, by varying the types of ensembles offered, by designing the setup and by determining part assignments for a concert preparation. In the end, you will probably end up with terrific percussionists, and you just might live longer!
