Practicing is something all we musicians have done since we were little kids, so we’re all experts, right? Not exactly. Whichever scale method, etude book, or repertoire you prefer during your daily practice time, Janet Horvath reminds you about the importance of taking care of your body as well. She presents five rules you should practice that will help prevent injuries while you practice.
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Nearly all orchestra musicians are familiar with in-school education programs implemented by their respective education departments. But what options do players have if they want to become more active with in-school education programs or are not satisfied with their current options?
Until recently, players have explored that wilderness on their own. Fortunately, organizations such as the New England Conservatory have developed programs such as Learning Through Music (LTM). This article will provide an overview of the LTM program by its developer, Dr. Larry Scripp. Following this initial installment, we’ll examine how Minnesota Orchestra violist Kenneth Freed has implemented the program for the past two years in Minneapolis as well as how Lyric Opera of Chicago violist Frank Babbitt will begin implementing the program this fall in Chicago.
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The second installment in this series of articles about how individual musicians can become vested in a program of ongoing in-school education initiatives is an article from Minnesota Orchestra violist, Kenneth Freed.
Kenneth describes how he found the Learning Through Music curriculum and assessment frameworks and how he has been able to effectively implement them to build a partnership between a Minneapolis based arts magnet school and the civic orchestra where he serves as music director. His article conveys a successful personal example of how an individual musician can transform frustration into self-determination resulting in the creation of a worthwhile by partnership between an educational institution and a performing arts organization.
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The final installment in this series of articles about how individual musicians can become vested in a program of ongoing in-school education initiatives, is an article from Lyric Opera of Chicago violist, Frank Babbitt.
Frank guides readers along each step of the path he traveled to design and implement an in-school educational program modeled on the Learning Through Music curriculum and assessment frameworks developed by Dr. Larry Scripp at New England Conservatory’s Research Center. With the Research Center’s help, as well as guidance from musicians that have already implemented the program, Babbitt is putting his inaugural season into place this fall.
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How can you create a novel concert experience that truly engages the audience in unique ways without “dumbing down” the material or resorting to techno-parlor tricks? Paul Haas, music director of the New York Youth Symphony, has accomplished this with his REWIND concert, a most unusual concert indeed.
In an interview with Yvonne Caruthers, cellist with the National Symphony, Paul explains how he took a very fresh perspective on the relationships amongst differing repertoire, added unusual spatial positioning and lighting, and presented the concert in a great venue. Read on for a fascinating look at a very successful non-traditional concert concept.
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Most musicians develop a knot in the pit of their stomachs when contemplating bringing their instrument onto an airline. We all know that violins and violas fit in the overhead compartments; that reed knives are not weapons; that the AFM and the TSA have reached a policy agreement about allowing instruments on board; that there shouldn’t be any problems! Yet all of us continue to hear horror stories about airline personnel at the gate insisting that the instrument be checked as baggage.
Eric Beers, a member of the AFM’s SSD staff, has extensively researched the dilemma musicians must confront when traveling by air with their instruments. He offers some very practical guidelines for you to consider before you purchase your ticket.
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Back in 1987, when a Denver Symphony (now defunct) staff member rudely informed a school principal whose students had raised money for the orchestra that the kids couldn’t attend a rehearsal, Eric Bertoluzzi, cellist with the then Denver/now Colorado Symphony, saw an opportunity. He established Up Front and Musical, an organization that enables Colorado Symphony musicians to present in-school performances to Denver-area students.
Yvonne Caruthers, NSO cellist, interviewed Eric to find out all the details of his remarkably successful program, which presents more than 120 concerts a year to over 20,000 students. UCAM rotates 40-50 members of the Colorado Symphony through their programs, and Eric describes how his colleagues “blossom” as they learn to speak to the kids. They even made a CD in 1997, which they use to promote the groups. Eric discusses the funding he’s found for the group, the type of music they play, and offers his advice to other symphony musicians eager to put together first-class concerts for school children.
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Now that you’ve written the script, and selected and rehearsed all the musical selections, what do you need to know about actually performing your presentation in front of the students? In the third installment in his series, Gary Race takes you through the final process, step by step.
Three sessions will get your presentation polished. The first involves practicing the script itself, and getting all the details in place (where did I put that garden hose??). The second involves blocking the show – getting the stage directions figured out. Gary recommends making a diagram and even using a rubber ball (in rehearsal) to identify who has focus during different parts of the show. Now you’re ready for the dress rehearsal, preferably with a test audience of real children!
Finally, Gary discusses all aspects of the performance itself: how to set up your space, how to introduce yourselves, what to wear, and how to handle Q & A sessions. And of course, it’s important to constantly assess your own performance from all angles.
If you follow all of Gary’s suggestions in this series, you should be able to develop and present a first-class instrumental educational experience, while thoroughly enjoying yourself in the process. Educational ensemble performances should be fun for both you and the students!
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Another mistake in your part? Must be a Kalmus edition, right? We all know that they intentionally put errors in the part so that they can retain the copyright. Right? Wrong!!
Karen Schnackenberg has asked Clinton Nieweg, retired Principal Librarian of the Philadelphia Orchestra, and his colleague Jennifer Johnson, now Asst. Principal Librarian of the Minnesota Orchestra, to explain why certain editions contain errors and why we\’re not justified in blaming Kalmus. Turns out we should blame the people who made the original plates! Read on for a very concise presentation of the many steps involved in creating a truly error-free set of orchestral parts.
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Now that you’ve selected a theme and thought about the music you want to perform for the children, how do you go about preparing the presentation and writing the script?
In the second installment in his three-part series, Gary Race explains the process of selecting the specific pieces that will work with your theme, and then writing the script that will connect all the pieces together.
He describes several techniques you can incorporate into your “show,” such as directed listening, audience participation, and visuals. He has some interesting advice about how to do instrument demos and the dangers of trying to “wing it.” Following his directions, you should finish your second meeting with a list of repertoire and a draft of a script in hand.
Now you’re ready for Part III: Rehearsal and Performance, coming in July.
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