“Don’t go to music school”

Tags

arts, Education, music industry

“Penguin questioning by mimooh” by Mimooh – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons – http://bit.ly/1Nkzxok

Hmmm… 

When I made the decision to become a music major, I didn’t allow the question of practicality into my head. I remember saying things like, “Mooooom, it’s what I do!” “It’s meeeeee!” and “I can’t live without it!!!”

At times, musicians who are already working professionally have acquired a comprehensive education in music before reaching college. A music degree would not necessarily enhance their careers. Language study, literature, or history might make more sense.

Lately, though, I have gotten to know several accomplished musicians (not yet professional level) who have either double-majored (solo instrument/biochemistry, solo instrument/computer science, solo instrument/liberal arts) or chosen other fields while hoping to continue with music, professionally or “on the side,” after college.

Students’ reasons for going to college seem to be far different in 2015 than in past decades. Tuition has become so expensive, fewer students can afford to spend time in college exploring their interests and deciding what kind of job they might want to have post-graduation. Priorities have shifted, making it far more important to choose a major that corresponds with the best job prospects. Student loans go on and on, so having a decent salary soon after graduation is paramount.

Schools with which I am familiar have stopped offering “fun” courses, concentrating on business training instead. At UMass/Amherst, for example, it was easy to sign up for private music lessons for one credit through the university whether one was a degree student or not. The Continuing Education department offered tap dancing, drawing for beginners, and adult piano class for years. Now the summer catalog features classes in arts management, languages, and wind energy. Take a look at the Fall Continuing Ed. course listings here. Want tap dancing? Photography? Drawing? Try someplace else.

In Connecticut, students would hang out at the jazz department at The Hartt School in the evenings. Faculty would jam along with students for camaraderie and fun. What an opportunity! For the past few years, though, the place has been quiet after 5:00 p.m. One professor told me that students just want their piece of paper (degree).

In addition, I have heard that high school guidance counselors have been recommending against going to music school. Why? The changing job market is undoubtedly a major consideration. What is happening to pursuing things one is curious about? That seems to be more elusive.

Funding has shriveled so much recently that concert series have been canceled. Orchestras, opera companies, and smaller groups have disbanded. Players in surviving organizations have taken major pay cuts.

It is true that only a small number of those pursuing a major career in music will actually “make it big.” Even with a great deal of talent, luck is required. Having money and knowing influential people both make a difference, Being ready for one’s luck is crucial. And even then, there are no guarantees.

Do these scenarios sound familiar? Is this why Bert Stratton recommends, in his New York Times op-ed piece, not going to music school?

A different writer provides an accurate list of what is needed to make it as a pro.

Paul Weller of Salon talks about the music industry today.

Further thoughts…

With all this in mind, my goal in teaching has always been to instill a love of music in my students. When a child is grown, I would like for him/her to know what is happening when attending a concert, listening to a soundtrack, and educating his/her own children later on. Isn’t this where informed audiences come from? Future supporters of the arts? Savvy board members? Donors with an eye on sustaining the arts for generations?

Audiences and financial support are crucial. Aren’t people who were exposed to music as children more likely to be enthusiastic participants in adulthood?

… and links

Top 10 Reasons to Support the Arts, by Randy Cohen

From kidsmusiccorne.co.ukr:
Why is music important?

12 Amazing Things Scientists Discovered about Music This Year

Throw out the bath water! An excellent article about breaking down fences, expanding the definition of art to be friendlier and inclusive:

Each of these articles is relevant to the place music occupies in today’s world. In the interest of a civilized society, we all need to care so music remains in our schools, our concert halls, and all of our lives.

What in this dialogue resonates with you? Would you send your students to music school? Your children? How are you engaged in encouraging creative expression?

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How can we improve congregational singing? Part VI

Tags

alternative harmonizations, anthem, church choir, church music, congregational singing, Education, Hymnal, music education, new hymns

Source: Pixabay

The following conversation, in response to Part V of this series, took place on Facebook:

• Contributor Hi Gretchen, what’s your suggestion making sure the congregation doesn’t get thrown off when using alternative arrangements to accompany congregational singing (as opposed to using them when the choir is singing a hymn as an anthem)?
• Gretchen Saathoff  Hmm… I’ll think about it! At Riverside, it’s not a problem. Have the choir sing the melody, disperse the choir throughout the congregation, try the Hymn of the Month approach, Try practicing the alternative arrangement for 2 minutes with the congregation, then use it in the hymn. Use the traditional harmonization for all verses except the last. That way, the congregation has been singing the tune for several verses already.
• Gretchen Saathoff  And try not to go too far afield with the alternate harmonization. The green Lutheran hymnal that replaced the red one had so many funky arrangements, they made very little sense. So why would anyone want to sing them.
• Contributor  Thanks, Gretchen. Good advice here. There is a new red Lutheran hymnal, the ELW, that kept some of the old arrangements from the green LBW, and has lots of new hymns without harmonization, just melodies. So that helps. (But they left off the time  signatures, which leads to confusion.) But if the hymn is new, even if only the melody is printed, the alternative arrangement still challenges the ear. And about the funky arrangements, people who can sing parts, oftentimes can sing even the funky ones, and some need to do that, because the melody is too high for them. I like the idea of practicing the alternative arrangement with the congregation – hadn’t thought of it as a possibility before!
• Gretchen Saathoff  No time sigs? Not especially helpful, I’d think.
  Also, there is no need to use only the arrangements in the book. Change it so it works. Keep some parts and not others. Write a new one. If the melody is too high, something needs to change, such  as trasposing down or maybe singing the melody an octave lower. The congregation needs the choir to sing the melody in unison on alternate harmonizations. When they can hear it, they sing better.
• Contributor  Great advice!
• Gretchen Saathoff  There are lots of alternative harmonizations out there: volumes of hymns for organ, choral anthems, hymnals from other denominations, AGO website, etc. Plenty of hymn improvisations can be heard on YouTube.
• Gretchen Saathoff  Free association, you understand… and now it’s time for dinner! Back later.

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And a followup Facebook Message from yours truly:

During services in various denominations, I sometimes would play an alternative harmonization from a funky organ collection (The Sunday Morning Organist, I think). Just leave out the whiz bang awful parts when they don’t work.

Similarly, there are plenty of anthems that work, for the most part, but also have spots that don’t.  One example is asking the choir to hold the last note for 8 bars.  Does this make the ending better?  Does singing a high note improve the message?  That all depends on the choir, what else is going on (i.e. the keyboard part might be just fine on its own).  Sometimes a “festive” ending will be tacked on that isn’t really needed.  When the rest of the piece works well, I omit the parts that don’t work.

There may be one stanza of an anthem that splits into 8 parts, for example.  When you have 6 people in your choir that Sunday, you have to think on your feet and find something that works.  What do you have to keep?  The melody and the bass line?  Is the alto part more interesting than the tenor, or vice versa? 

If one stanza is too elaborate for your circumstances, then sing the rest of the anthem and omit that one.

If the printed introduction is too long or too short, or is confusing to your choir/congregation, then by all means change it!

Thanks so much to my contributor, who prefers to remain anonymous.

Which approaches have the most success in your church?Comments and suggestions welcome!

Please see previous posts in this series.

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While you’re here, please take a look at my ebook,

Goal-oriented Practice.  Now available at 50% off, only $10!

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Click on the link to see reviews, book intro, and table of contents!

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How can we improve congregational singing? Part V

Tags

children's choir, choir, Church, Congregation, Education, hymns, introducing hymns, Music, worship songs

Femme accordant son luth; Gerard van Honthorst (Gerrit van Honthorst) (1592–1656); Source: Wikimedia

How can we introduce new hymns and worship songs to our congregations?

People attend church for many reasons.  Among them are:

• to seek comfort and stability
  • through ritual (liturgy, order of worship)
  • through familiarity
• to hear compelling sermons
• to listen to the music
• to participate in making music
  • by singing hymns
  • by singing in the choir
  • by playing in the bell choir

We need to respect the desire for comfort and stability when introducing new hymns. Important factors include:

• Accessibility of the music
• Clear, inviting introductions
• Familiar hymns must be used in any service that includes a new hymn
• Remember that congregations in most churches are comprised primarily of non-musicians

Congregational Seating

If congregants are seated with large spaces between them, such as empty rows, encourage them to move forward and sit closer together.  This builds community and encourages people to sing.  They will hear each other much better and feel supported.

Hymn of the Month

This is an excellent way to give the congregation time to become more familiar with something new.

Including a different new hymn in every service is a good way to discourage participation. People feel overwhelmed and stop participating.  One new hymn or less per month is plenty, in my experience.

Rehearse with the Choir

• Yes, rehearse new hymns with the choir (and familiar ones, too.)  It makes a huge difference when the choir understands the words, sings with an emotional connection, and shows enthusiasm.
• During the service when a new hymn is being introduced, disperse the choir within the congregation.  Ask them to sing the melody until the congregation becomes more familiar with the music.  Part-singing can be added after a week or two.
• Avoid singing at the congregation or singing instead.  There can be a perceived gap between congregation and choir regarding ability which results in a reluctance on the part of congregants to try singing.
• In my organist/choir director positions, I have enjoyed using something familiar as an anthem from time to time.  One way to do this is to use an alternative harmonization for one verse.  A descant could be added, or the parts could be sung in different combinations (S and B, S and A, asking the tenors to sing the melody in T B, or making the alto or tenor part into a descant).  We invited the congregation to join us on the refrain of each verse.  The idea was to encourage participation, sparking interest and confidence and fostering inclusion.
• When a hymn is printed with two tunes to the same text, they can both be sung, alternating verses.

Teach New Hymns to the Children

• This can be done with your children’s choirs or religious education classes
• Children are quick to pick up new tunes
• Children will encourage their families to sing
• As the children become older, you will find the hymn repertoire expanding in the congregation.  So keep on keeping on.

Introduce New Hymns With Children Present

• Children often leave the sanctuary partway through the service to attend classes. Why not include them in introducing new hymns?  They love to sing!
• Children sing in other places as well.  When they go home, they will be singing the same music.  Their families, then, will learn it faster.

Hymn Leader

• Be prepared.  This cannot be overemphasized.  When the leader is unprepared, people stop participating.  Know what pitch to start on, know the tune and the words.  If you are unsure, enlist the help of the church musician(s) or someone in the choir.  If you are playing an instrument, learn the part ahead of time!  When you stop to correct missed notes, people can’t tell where you are, and they stop singing. Enthusiasm is not enough.  You need a plan and the preparation to carry it out.
• Welcoming.  Leave the guilt trip at home.
• Inviting.  Enjoy this with me!  Not, I’m going to show you how this goes.
• Non-operatic.  People hear an operatic sound, feel that they can’t do that, and drop out.
• Be non-judgmental.  Don’t criticize people for not singing!  Look at the situation instead. Why are they not singing?  It may be due to a lack of clarity, not shyness.
  • Since I am a trained musician, it helps me to think of myself in other situations, for example going into a hardware store.  I know nothing, and always ask for the manager.  Congregants who are not musically trained are also at sea.  It doesn’t mean that they’re stupid.
• Consider using banjo, guitar, autoharp, or piano, not always organ
• When organ is used, register the melody louder than the other parts and avoid mixtures.
• People need to hear an entire verse before singing something new.  If the leader is the only person in the room who knows the song, patience, clarity, and repetition are crucial.  Expecting a group to learn something after hearing it once is not realistic. You might think the song is easy, but in reality you have probably been singing it for years.

I recently participated in a sing-along that used material from Pete Seeger’s wonderful book.  A banjo player who attended would have been an excellent song leader.  The banjo has a timbre that can be easily heard.  His voice had a distinctive quality that would be heard over a group.  He had good rhythm and a great sense of style.  

What he lacked was a method of introducing songs.  He would begin playing, and people had to jump in somewhere if they wanted to sing.  Inexperienced singers have no idea how to do that.

My thought was that, given an appropriate situation with music he was comfortable playing, I would practice with him to find an introduction that worked.  After a few minutes of collaboration, he would have rocked the house!

Hymn-playing on the Piano

Leading hymns from the piano requires a specific way of playing.

• More percussive than a solo piece (i.e. Schumann), in order to be heard during the singing.
• Voiced so the melody stands out.
• Prominent bass line for support.
• Every note must be heard.  This may seem unmusical to the player, but when a focused sound cannot be heard, the result is a lack of clarity and easily-perceived rhythm.
• Using less pedal is very effective in maintaining the tempo.  Congregants may not know how to count rhythm, or be unsure about when to sing next. Sometimes people will wait for someone else to sing first.  When that happens with enough people in a group, the entire group slows down. Acoustics influence the way people hear the tempo as well.

Using Percussion Effectively

Drums and other rhythm instruments, when used to enhance the singing, can be wonderful. But a word to the wise:  don’t drown out the singers!  Your job is to impel the rhythm, not obliterate the sound.  It’s not a percussion solo, you are part of a group.

If you hand out hand instruments to untrained congregants, you could suggest a rhythm for each person to play.  It only takes two seconds, and the results tend to be more successful than random efforts.

Special Events

• Church dinners, presentations, and gatherings other than services can include singing a new hymn along with several familiar ones.
• Perhaps one service per month could begin 1/2 hour early for the purpose of singing a new hymn.  Introduce the hymn at the stated time and allow time for coffee.
• Some churches have a Music Sunday once or twice per year.  A new hymn could be introduced at that time and repeated on subsequent Sundays.

Are you hearing progress?  Are you able to tell?  Ask for feedback!

• Ask people how they feel
• Distribute a questionnaire
• Record the event.  You will always hear so much more on a recording than you can when participating.

What do you think?  Comments welcome!

Please see previous posts in this series.

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While you’re here, please take a look at my ebook,

Goal-oriented Practice.  Now available at 50% off, only $10!

Free of musical jargon, it will save you time.  By identifying practice goals, you will soon be able to learn music more accurately, resulting in confident playing.

Click on the link to see reviews, book intro, and table of contents!

Thank you!

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Q&A: One-handed lessons

Tags

Broken arm, Creative teaching, Education, Sight reading, student, teacher

US Congressman Donald Manzullo signs a short arm cast. (Photo: Wikipedia)

A reader asks:

One of my piano students broke her right arm.  Do you know of any method books to help improve her left hand during the 6 weeks she’ll be in a cast?

Response:

I understand your reasons for using this as an opportunity to address a common problem. However, you may want to put yourself in your student’s place for a moment first.

• Everyone’s left hand is 2 weeks behind the right.
• The left hand often learns by imitating the right.
• Someone who is forced to use only one hand is at risk of overuse and injury.  The uninjured hand is being used all day for everything.  That is tiring!  Have you ever tried it?

If this were my student, I would go with the situation instead.  There is so much variety to be found!  You and your student will both have fun, and your student will learn more than you imagine in the process.

A few suggestions:

• Duets
  • use music for 2 hands, with student playing one part and teacher playing the other.  Then switch parts.  (Your student will be playing the treble part with her left hand!  How unusual is that?)
  • play duets written for 4 hands, leaving 1 part out.  (You have 3 hands between you.)
• Chorus music or hymns
  • student can play all 4 parts, one at a time.  This is wonderful sight-reading practice.
• Teacher plays
  • student pedals
  • student walks around the room in rhythm, counts out loud, sings names of notes, plays triangle or drum with 1 hand
• Listen to a recording and talk about it
• Make up a piece

OK, now that I’ve gotten you started, it’s your turn!  I’m sure you will have more ideas.  Just go with it!  You can make up a lesson as you go along. Your student will have plenty of ideas, too.

Good luck, and have fun!

Have you taught a student who broke his/her arm?  What did you do?  Please share your thoughts in the Comment Section below!

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Untempered criticism: does it have a place in music lessons?

Tags

arts, Education, effective criticism, Music, student, teacher

Thumbs down icon.  Picture credit:  Wikipedia.

During dinner with a good friend on Monday evening, the conversation turned to effective methods of personal interaction between the person in charge and those she is supervising.

My dinner companion works as a facilitator in various group homes for developmentally disabled adults.  Like most people, these residents like to test their limits.

She has found that the residents respond much better to positive feedback and helpful direction than to “No!”  When they hear “You can’t do that,” they actually hear what the no-no is, but not “you can’t.”  And then, you guessed it… they go ahead and do exactly that.

If you are the supervisor, what do you do next?  Say “no” again?  That could spiral downward all day long!

Later that evening

After I arrived home, I found myself returning to our conversation.  Since my experience is in the field of music, not social services, I began running “yes” and “no” scenarios in my head.

Throughout my life as a student, from age 6 through graduate school, I had several different piano teachers, each with her/his own interpersonal skills or lack of same.

Speaking for myself, positive feedback and direction were so much more effective in my own lessons as a student.  That is also the approach I hope my students experience when I am their teacher.

Untempered criticism

I know several excellent musicians who were criticized severely in every lesson as students.  Yet they now have busy careers.

In addition, I have experienced students being yelled at by their teachers when I played for their lessons.

My conclusion, based on at least this much experience, is that sometimes untempered criticism can work.

Possible reasons for its success

• Maybe the student has a thick skin.
• From time to time, the teacher is so extraordinarily talented that the student is all ears regardless, giving the teacher a “pass” for his/her approach.

One teacher whose students I played for a few times would swear in every lesson.  This began with the very first mistake the student made, no matter how minor.  (If the student used a different fingering from the one the teacher thought to be optimal, that was considered a mistake.)  In this case, the teacher was so brilliant (in his late 80’s, knew the entire repertoire for the instrument, memorized, fingerings included) that I can understand why students put up with the bad mood.

In a different studio, the teacher would yell at her students.  She had a system for singing which involved assigning a number to the size of one’s mouth cavity.  The space increases as the singer goes up in range.  During lessons, the teacher would be seated behind the piano bench.  She would scream “HOW can you be at a 2 when you SHOULD be at a 7?”  Her piercing sound had no relation to where the singer was regarding the phrasing.  I jumped every time the teacher started in.  I see no use for that approach at all, ever.  How can a singer progress when the teacher is screaming?  Singers need to be relaxed!

Possible causes of unpleasant moods in a teacher

• Sometimes, teachers are so talented that they never had to figure out how to make things work.  Even when asked to explain something, they can’t.

• Another possibility is that the teacher has been in the business so long that they have forgotten what it was like when they first started.

• Maybe the teacher has an ego problem.  Believe me, this happens a lot.

• Or maybe the teacher has a headache.  Hopefully the next lesson will be more pleasant.

How have you experienced criticism?  How do you offer criticism to your students? 

Please share your thoughts in the comment section below!

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30 Obscure Scholarships That Actually Exist

Tags

Education, financial aid, scholarships

Many thanks to Jasmine Hall of http://onlinecolleges.net for sharing this post!

by Staff Writers

November 28, 2011

If you’ve been doing lots of searching for a scholarship, it’s probably no surprise to you that weird prizes exist. You can win money for college by duck calling, being a Star Trek fan, and even just for having the right last name. Read on, and we’ll take a look at 30 obscure scholarships you might not even believe exist.

Distinctive Talent

If you can do amazing things with duct tape, or even predict the future, you just might win money for school with these scholarships.

1. Stuck at Prom: It’s been said that you can do just about anything with duct tape. For some creative high school students, “anything” includes a prom dress. For 11 years now, Duck brand duct tape has offered a Stuck at Prom scholarship contest, which awards $5,000 scholarships to the couple with the most creative use of duct tape in their prom outfits. A bonus? Their school also gets $5,000.
2. The Kor Memorial Scholarship: Can you speak Klingon? Knowledge of the Star Trek language is encouraged, but not required, for this scholarship that awards $500 to a student in language study each year.
3. Make It With Wool: For budding clothing designers and wool lovers, the American Sheep Industry’s Make It With Wool competition offers several different scholarship winnings to students who make the most interesting and creative wool pieces, with some prizes as high as $1,500.
4. Ursinus College Creative Writing Award: JD Salinger once attended Ursinus College, and it seems the school is looking for their next great writer in residence with this scholarship. Applicants must share a portfolio of creative work in fiction and/or poetry in the spirit of Catcher in the Rye‘s unusual perspective, brilliance, and voice. The winner will receive not only a whopping $30,000, but also the honor of living in JD Salinger’s former dorm room.
5. Chick and Sophie Major Memorial Duck Calling Contest: A total of $4,250 in scholarship money is up for grabs at this duck calling contest, open to any current high school senior. The first place winner receives $2,000 to use for school. In 36 years, the contest has awarded more than $60,000 in scholarships.
6. Icy Frost Bridge Scholarship: Are you a female music student who can sing or play the national anthem with sincerity? Do you want to go to DePauw university? You just might qualify for this award, which offers money to attend the university to female students who take the national anthem seriously.
7. Excellence in Predicting the Future Award: You don’t have to be a psychic to win this award, but we think it might help. The Excellence in Predicting the Future award offers a maximum of $400 on a continual basis to the winners of a Prediction Market competition.

Unique Interests

Love candy, bagpipes, or amateur radio? These scholarships award cash to those who have obscure interests.

1. American Association of Candy Technologists John Kitt Memorial Scholarship: Students who love candy, and we mean really love candy, can qualify for this $5,000 scholarship from the American Association of Candy Technologists. College sophomores, juniors, and seniors who have a demonstrated interest in confectionery technology, and are majoring in food science, chemical science, biological science, or fields of related study, can qualify to win this sweet award for school.

1. Carnegie Mellon University’s Bagpipe Scholarship: Students who love to play the bagpipes, or even those who would like to, can take advantage of the bagpipe scholarship at Carnegie Mellon, which allows for the study of a bagpipe major. This difficult subject is often not financially rewarding, but those that love to play the ancient instrument can find great value in it, including this scholarship.
2. The National Association for Amateur Radio Foundation Scholarships: Students who love to practice on the amateur radio can qualify for these scholarships, especially if they’re pursuing studies in electronic engineering or related technical fields. The organization offers many different awards, some as high as $10,000 or more.
3. American Society for Enology and Viticulture Scholarship Program: If you plan to work in the wine and grape industry, this scholarship is for you. It’s awarded to students pursuing degrees in enology, viticulture, and other curriculum that studies the science of wine. Scholarship amounts vary from year to year.
4. Alice Mcarver Ratchford Scholarship: If you’re a female student at UNC Greensboro and like to keep things simple, the Alice Mcarver Ratchford Scholarship might be for you. This award is given to female undergraduate students who live on campus, do not possess a car, are single, and don’t have any other scholarships.
5. National Potato Council Scholarship Program: A love of potatoes can add up to a whole lot of money if you’re the lucky winner of this scholarship. Each year, a graduate student pursuing advanced studies in agribusiness for the enhancement of the potato industry will win $5,000 to put toward his or her education.

Special Groups

If you’re a member of a distinctive society, or someone in your family is, it’s worth checking out the possibility of getting a scholarship from that group, and we’ve detailed some of them here.

1. NRA YES Program: Every year, the NRA hosts the Youth Education Summit, where students participate in an educational opportunity that revolves around becoming knowledgeable about the Constitution, Bill of Rights, the federal government, and civic involvement. At the summit, scholarships totaling $10,000 are awarded through competitive debates, and a second round of $20,000 is available for participants who go through a secondary application.
2. National Association to Advance Fat Acceptance: For some people, fat is just a fact of life, and this organization awards scholarships to students who specialize in fashion design and health for fat people. The scholarship program offers $1,000 to a budding fashion designer specializing in plus-size fashions, and $1,000 to students who utilize Health At Every Size tenets in their studies and research.
3. Starfleet Scholarships: Star Trek fans who are also members of the Starfleet Star Trek Fan Association are eligible for scholarships from the organization. To qualify, you must be a member for at least one year before applying. Scholarships are available for medicine, engineering, performing arts, foreign language, business management, veterinary medicine, education, writing, law enforcement, and more.
4. Little People of America Scholarships: Anyone who can demonstrate a need for financial assistance can qualify for scholarships through the Little People of America program, but preference is given to LPA members with a diagnosed form of dwarfism, their family members, people outside of LPA with dwarfism, and disabled students in general.
5. Tall Clubs International Student Scholarships: On the other end of the scale, extremely tall people can qualify for scholarships as well. Women who are at least 5’10″ and men who are at least 6’2″ can qualify to receive $1,000 to put toward school funds.
6. The Vegetarian Resource Group: If you don’t eat meat, you just might get money for college. The Vegetarian Resource Group awards $10,000 in college scholarships each year to students who promote vegetarianism in their schools and communities. This $10,000 is split into two awards of $5,000, so being vegetarian and sharing your lifestyle in the community can really pay off.

Family Honors

If you belong to a family of rich people, chances are you’re going to be okay in the college finance department. But even long lost relatives, or anyone who shares your name can help.

1. Zolp: At Loyola University Chicago, some families just have all the luck. If you’re a Catholic student with the last name of Zolp, you could get a full scholarship to Loyola, no strings attached, but paperwork is definitely required.
2. Scarpinato Scholarship: Just like Loyola, the Scarpinato family has it easy at Texas A&M, with a full-ride scholarship available to anyone born with the last name, or those who have married into the family. According to the New York Times, the university sends out letters to every Scarpinato they can find.
3. Gatling Grant: Students born with the surname Gatlin or Gatling can qualify for the John Gatling Grant program at North Carolina State University, which offers $9,000 for NC residents and $18,000 for out-of-state residents. Unlike other family awards, this grant does have exceptional demand, and qualified students will have aid distributed according to priority, including qualifications such as residential status and financial need.
4. Harvard Ancestry Scholarships: Harvard has several scholarships available for select ancestors and those bearing chosen family names or ancestry, including Downer, Dudley, Ellis, Bright, Amory, Pennoyer, Hudson, Baxendale, Slater, Appel, Goodbar, Thayer, as well as funds for descendants of the Harvard College Classes of 1889 and 1902.
5. Van Valkenburg Memorial Scholarship Competition: Any member of the Van Valkenburg family attending college can qualify to receive $1,000, as long as they’ve completed an application that verifies they are a descendant of Lambert and Annetje Van Valkenburg, as well as an essay on Van Valkenburg heritage.
6. Sons of Confederate Veterans Scholarship: Ancestors of Confederate veterans (not just sons) can win this award of $1,000 for school, provided they are a member in good standing of the Sons of Confederate Veterans, Children of the Confederacy, or United Daughters of the Confederacy, organizations which require members to be ancestors of Confederate veterans.

Sports

Most students might expect to see scholarships for football, basketball, and baseball, but big team sports aren’t the only ones getting scholarship money. Check out these fun and unusual sports scholarships to see if you qualify.

1. Barry Lefkowitz Scholarship Billiards Tournament: University of Akron alumnus and former university billiards champion Barry Lefkowitz started this scholarship program to keep billiards alive at the university, and through tournaments in the spring and fall, three talented players can claim up to $1,000 to use for school and books at the University of Akron.
2. American Water Ski Educational Foundation: Water skiing can be much more than just a fun sport: it can earn you money for college, too. Young water skiing athletes can qualify for these awards as members of USA Water Ski, with good academic achievement, community activities, and a 500-word essay.
3. Body By Milk Sammy Scholarship: America’s Milk Processors, the people behind the “Got Milk?” campaign, have created the Sammy Scholarship, an award that shares $7,500 scholarships with 25 student athletes each year. Applicants are judged by their academic performance, athletic excellence, leadership, community service, and milk experience essay, and if they win, will be invited to take part in their own Got Milk? mustache ad.
4. Chick Evans Caddie Scholarship: Most people think of golfers as the only athletes in the sport, but the fact is that caddies have a vitally important role to play in golfing as well. The Chick Evans Caddie Scholarship honors the role of caddies, providing funds for outstanding caddy students to attend select universities with an Evans Scholarship House.
5. Robert J. Marriott Scholarship Grant for Fly Fishing: Fly fishing is a fun pastime, hobby, and even career for some, but without fish, there’s nothing to wade in and fly for. That’s why this scholarship grant offers $500 to a deserving student who is specializing in fish studies, including fishery management.

——–
Apologies for the numbering.  I was unable to make it continuous.

E-books

Give the gift of music! “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer” will give every musician a fresh perspective!

My book frees up time to learn more music, memorize, or do something else entirely!

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

How to Maintain Your Piano

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This audience can sing!

Tags

arts, Arts and Entertainment, audience, chorus, Education, Hampshire College, Vocal

National Yiddish Book Center, on the grounds of Hampshire College ~ Image via Wikipedia

As part of the mid-October Family & Friends Weekend at Hampshire College, the chorus presented a short concert which exceeded everyone’s expectations.

This first concert of the school year is always a challenge to put together because the year has just started.  As you can imagine, there there is only time for a few rehearsals!

Hampshire College Chorus on live TV! HC alum Dan Inglis conducted this performance ~ the group's regular conductor is Elaine Broad Ginsberg.

One piece on this year’s program, “Circle Chant” by Linda Hirshhorn, worked particularly well.

Both the title and the text (“Circle ’round for freedom…”) suggest that the chorus form a circle.  Even with our time limitations, I wanted to see how successful that might be.  The first verse is sung in unison.

The conductor agreed.  So, on cue, the chorus began leaving the risers on the stage as they sang.  After descending a few stairs, they proceeded around the back of the room to stand around 3 sides of the audience area.  This allowed the conductor to face the audience with all the singers able to see her.

The first verse lasted a few seconds longer than needed, so the new choreography worked out perfectly!

After seeing that the movement and new location worked so well, I suggested that the audience could be asked to sing the tune.

The conductor recalled performing the piece in that way several years ago, and was game to try it again.

On concert day, the audience was given a printout of the tune along with the program, “Circle Chant” occupying the last spot.

When the time came, the chorus encircled the audience, singing the unison verse and the following verses, in parts, as a group.

Then the audience was asked to join in!  They sang very well.  It was wonderful to hear everyone in the room making music together, thus going beyond the usual performers-on-stage-and-audience-on-the-floor scenario.

I think the parents in the audience not only felt that they were part of the chorus; they may have felt like they were back in college, too.

I’d call that a success.

Related article

• Five ways to hook your audience

How have you engaged your audience recently? Do you think audience engagement is important?  Useful?  Even crucial in terms of audience-building?

Please share your thoughts in the comment section below!

E-books

Looking for practice inspiration?  “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer” will give you a fresh perspective!

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

How to Maintain Your Piano

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Tuesday is College Radio Day!

Tags

arts, Campus radio, College Radio Day, Education, Student radio stations

St. Martin's College Radio Station ~ Image via Wikipedia

Many thanks to OnlineColleges.net for sharing this post.

20 Killer Stations You Should Tune Into for College Radio Day

by Staff Writers

October 4, 2011

College radio stations are more than just venues for students to hone their on-air skills. They also prove amazing sources for music that you can’t hear anywhere else, can help you stay in the loop about new bands and even learn more about the local music scene. Unfortunately, many college stations are battling to stay on air, and some have already been pushed out by major stations sold or relegated to broadcasting online only. It’s clear that college radio is in crisis, and without major support from the public many stations may not last.

One way listeners can show their support is by celebrating College Radio Day on October 11th. Students, community members, and people from all over the world can tune in to college stations on air and online to show the value of college radio. If your community has an active college radio scene, give it a listen or check out one of our selections for standout college radio. Whatever you do, show your support for college radio this October to ensure college stations stay on-air for years to come.

1. CJLO, Concordia University

   Concordia University’s college station, found at 1690 AM in Montreal, is a volunteer-run, nonprofit station that was formed by the merger of two other college stations in 1998. Listeners will find a wide range of musical styles represented on the station as well as some engaging talk radio. The station streams live 7 days a week and has been the recipient of numerous awards, including “Station of the Year” at the 2010 CMJ College Day Awards.

2. KAOS, Evergreen State College

   Coming out of Olympia, Washington, KOAS 89.3 FM is a hybrid college-community station and provides broadcasting education any students at Evergreen or members of the community who want to learn. KOAS is live over the air and on the web, and offers up an exciting mix of musical styles and talk radio. The station is famous for an early appearance by the band Nirvana in 1987 as well as a solo appearance by Kurt Cobain in 1990. Today, the station maintains its dedication to independent music, and a full 80% of the music broadcast must come from sources other than major labels.

3. WICB, Ithaca College

   WICB was first established in 1947, operating from a Quonset hurt in downtown Ithaca. The station has since expanded and offers alternative music and news programming to the greater Ithaca area 24 hours a day, 365 days a year. The station has been the recipient of numerous awards over the past decade including the Ithaca Times’ “Best Radio Station” award, mtvU’s Woodie for Best College Radio Station, and the number one spot in the Princeton Review for college radio stations.

4. WERS, Emerson College

   WERS is one of two radio stations on Emerson College’s Boston campus, and while student-run is professionally managed. Those on the east coast can listen to 88.9 FM for shows that feature over 20 different kinds of music, as well as news, interviews, and live performances. WERS has been ranked the #1 college station by the Princeton Review over multiple years and is one of the most highly-rated college radio stations in the U.S. Those who want to listen to WERS can also find it on iTunes radio under the “eclectic” category.

5. KZSU, Stanford University

   Owned and operated by Stanford, KZSU 90.1 FM got its start way back in 1947 as an AM station that broadcast only in the evenings. Today, the station broadcasts to a much wider audience in the San Francisco area, but still pays homage to its rich history, including notable DJs like actor Adam West, journalist Daniel Pearl, and inventor Ray Dolby. The station broadcasts simultaneously on the web, so listeners can tune in to music, sports and news no matter where they are in the world.

6. KZSC, UC Santa Cruz

   The University’s of California, Santa Cruz’s station, KZSC 88.1 FM, serves as a training ground for students and community members who want to get into broadcasting. The station is committed to providing access to alternative viewpoints and styles of music, and features over 60 different shows, talk radio hours, and public affairs programs, all of which listeners throughout California’s central coast can tune into or stream live over the station’s website. KZSC made the Princeton Review‘s list of top campus stations in 2003 and was chosen as the #1 radio station for six years in a row by Metro Santa Cruz readers.

7. WSBU, St. Bonaventure University

   WSBU, otherwise known as Rock Radio 88.3 The Buzz, is an entirely student-run station based out of Allegheny, New York. The station plays a wide variety of music, focusing on alternative rock during the week and hip-hop and classic rock on the weekends, as well as offering news, sports, and talk radio. The station has a long history of notable alumni and regularly makes lists of top college stations. Listeners can find WSBU on the airwaves, or through their website to help support them on College Radio Day.

8. WBRU, Brown University

   WBRU 95.5 FM holds the distinction of being the first student owned and operated campus radio station in the U.S. Founded in Providence in 1936, the station was originally called the Brown Network and was run out of a college dorm room. Over the years, WBRU has seen quite a bit of expansion and today listeners can enjoy modern, alternative and indie rock offerings from the station throughout New England and online. Rolling Stone named WBRU the best radio station in the country in a medium size market three years in a row, and the station has won numerous other accolades as well.

9. KUOM, University of Minnesota

   Perhaps better known to listeners as 770 Radio K or Real College Radio, KUOM 770 AM broadcasts to greater Minneapolis both on air and via the web. In 2010, the station was named Best Radio Station in the Twin Cities and KUOM has received praise from Pitchfork Media as well for its quality programming. The station broadcasts a wide variety of music as well as sports and news coverage.

10. WKDU, Drexel University

    Located in Philadelphia, PA, WKDU 91.7 FM is completely owned and operated by Drexel students and staff. The station got its start in 1970, and since grown and expanded due to several generous donations. WKDU’s musical format is free-form, so listeners can expect to hear a wide variety of styles throughout any given day, though the station is especially well-known for its Saturday reggae programming. The recipient of numerous awards, WKDU was the 2010 CMJ Station of the Year.

11. WCRX, Columbia College

    WCRX 88.1 FM was brought to Columbia College in 1982 from the neighboring University of Illinois, Chicago. The station is home to news, sports and community affairs broadcasts as well as a wide assortment of music from metal to meringue. All programming at the station is run by students and staff at Columbia College, and WCRX has had many notable alumni throughout its history, including many DJs who have moved on to major stations.

12. WLUW, Loyola University

    Broadcasting to Chicago and the northern suburbs, Loyola’s WLUW 88.7 has been in operation since the mid-1970s and today features programming that offers a wide range of music, community, news, and specialty shows. Throughout it’s history, the station has gotten interviews with some pretty big names in music history, including Chris Keer of the Pet Shop Boys, Curt Smith from Tears for Fears, and Donny Osmond. Listeners can hear all that WLUW has to offer by tuning in over their radio or visiting the station’s website for a live feed of what’s playing.

13. WSYC, Shippensburg University

    Shippensburg University is home to WSYC 88.7 FM. The station was founded in 1975 and today is dedicated to showcasing new bands and artists that aren’t usually played on major stations. WSYC’s programming features a variety of shows formed around select musical genres, news and talk. The station is also known as the Red Raider Radio Network for the broadcasting it does of the school’s football and basketball games.

14. KEXP, University of Washington, Seattle

    Started by a group of undergrads in 1971, Seattle’s KEXP 90.3 FM specializes in showcasing alternative and indie rock but listeners will also find programming that highlights genres like blues, hip hop and alternative country. Additionally, KEXP is sometimes home to live, on-air performances. Listeners can access KEXP through FM radio, on the internet, or over Intelsat’s Galaxy 18 satellite. The station is also simulcast in New York through Radio Liberation in an effort to expose New York listeners to a greater variety of independent music.

15. KWVA, University of Oregon

    Heard all over the Eugene, Oregon metro area, KWVA 88.1 FM plays a varied mix of music, talk shows, news, and sports. The station is wholly student operated and owned, though community members can contribute to DJing. The station has been around 1993 but was a continuation of student radio movements on campus that began in the 1970′s. Those interested in hearing what KWVA has to offer can listen over the web or on the radio.

16. Osprey Radio, University of North Florida

    Osprey Radio, founded in 1993, is a student-run station funded both by UNF’s student government and local sponsorships. The station is dedicated to helping UNF students learn more about radio and broadcasting, and all students are welcome to take part in the station’s operation. The bulk of Osprey Radio’s programming focuses on college and indie rock but DJs are encouraged to play other styles of music that interest them as well. Currently, the station is only available online, but UNF is working on getting the permits and funding to move to FM radio as well.

17. WGRE, DePauw University

    Serving the larger Greencastle, Indiana area, WGRE 91.5 FM is a 24 hour a day, 365 days a year college radio station. Established in 1949, the station today employs over 200 student DJs. The station plays a wide range of music, though focuses largely on alternative offerings. Other programming includes news and sports shows. WGRE has been ranked as one of the top stations in the country by mtvU and the Princeton Review and honored by the Indiana Broadcasters Association, Society of Professional Journalists, and the Indiana Associated Press.

18. WPUB, Pace University

    Listeners can check out this New York, New York station at any hour of the day, made especially easy with their online access. WPUB plays a wide variety of music, often asks for student volunteers to share their favorite music through their own shows. In addition to playing music, listeners will find a wealth of talk radio and interviews on the station.

19. WSOU, Seton Hall University

    WSOU 89.5 FM, also known as Seton Hall’s Pirate Radio, is based out of this New Jersey college’s South Orange campus. Started in 1948, WSOU was the first college owned FM station in New Jersey. The station focuses on playing modern rock featuring genres like heavy metal, punk, emo, hardcore and post-hardcore as well as other types of rock-based music. Listeners will find a number of specialty shows as well, focusing on genres like punk, Christian metal, and emo. Additionally, the station features community, sports, and news programming. Those interested in seeing what WSOU has to offer can check it out on the radio or online.

20. Radio DePaul, DePaul University

    This Chicago, Illinois station through DePaul university can’t get an FM license due to high number of stations in Chicago, but that hasn’t stopped them from putting together some great content online. The students working at this station play a wide range of music as well as offering talk programs, news, and sports.

Happy listening!

Please share your thoughts in the comment section below!

E-books

Learning a new piece? New program? Back in school? Looking for teaching ideas? Read “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer!”

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

How to Maintain Your Piano

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Must-read links: teaching music to disadvantaged children

Tags

Alsop, arts, children, Dudamel, Education, kids, Nunez

Image via Wikipedia

In this week’s New York Times, 3 musicians receive the credit they deserve for bringing music to disadvantaged kids and taking them far beyond anything they thought possible: 

Francisco J. Núñez, Marin Alsop, and Gustavo Dudamel.  To my mind, this is exactly what needs to happen with classical music in the 21st century.

In addition, there is a wonderful review of the Moscow String Quartet playing music of Russian composers at the Frick Collection.  I was surprised to learn that this is a group of 4 women, and that it has retained the same players since its formation in 1975.

Bravi!

Your reactions?  Please share your thoughts in the comment section below!

Imagine!

Tags

arts, Education, imagination, orchestration, piano reduction

Image via Wikipedia

How wonderful would our practice sessions, rehearsals and performances be if we allowed free rein to our imaginations?

How much fun could we have?

This business is about creating sound. Sound is intangible! I think that, confronted with printed symbols, we forget that sometimes. When we do, the wonder of music gets lost.

We become so attached to the page that our playing can become tedious, academic, and boring. No life. No fun.  We need to present something much more engaging to our audiences!

What does the music say?

What is the piece about? Sometimes the answer is obvious, sometimes not. Sometimes we have to live with the music for a while. And sometimes we have to make something up!

The biggest mistake, to my mind, would be deciding there is no story. If there is no story, then how do you play the piece?

A recent epihany

This is a narrative about an aria for soprano and orchestra.

The Soldier Tir’d by Thomas Arne

The first few practice days

When looking at this piece (unknown to me) for the first time, I noticed the long orchestral introduction and interlude right away.  The piece looked like it had to be fast, and I wondered whether I could play it.

So I learned the notes, and after a few read-throughs, found fingerings that worked.

That meant that I knew the piece, right?  Um… no… everything was the same volume!  It’s a long aria.  Can’t get away with that.

The next level

I looked at how the piece was written.  There were florid passages alternating with chords.  What was that about?

The words say, “The soldier tir’d of wars alarms… But if the brazen Trumpets sound…”

I decided that the florid writing was for trumpets, the chords for strings.

Practicing at that point involved making a clear difference in sound on the piano between the different instruments in the orchestra.

That worked well… but each compositional section had repeated phrases.  They couldn’t be played twice in a row the same way… we’re back to boring.

The string parts were easy enough to vary:  length of sound, legato sometimes, 2- or 3-note groups within longer phrases, dynamic changes.

The trumpet parts were more difficult for me.  For a day or two I attempted a loud trumpet sound, then a softer trumpet sound, without too much luck.

After struggling with that several times, a light went on in my head.

An imaginative interpretation

I am so happy that I’ve always had a good imagination!  Although it was not encouraged until my late 20’s, I never stopped enjoying my inner life.

The light that dawned was about the placement of the trumpet soloists in my imaginary orchestra.  Until that happened, the entire orchestra was in front of me.  But why did it have to be that way?

I kept 2 trumpeters on stage, and moved 2 more players offstage (stage right, to be specific).  Now 4 trumpeters were employed, and things became a lot more interesting and fun.  And easier.

Before the players moved offstage, I had been telling myself, “No!  You have to play softer!”  That didn’t work especially well at all.

Channeling imaginary players placed strategically in a hall could be the answer to all sorts of technical challenges.

In thinking further about this, it becomes obvious that calculating incremental variations in the weight with which we depress the keys doesn’t work, not to mention that it’s boring.  We’re playing music.  Sound.  A practice session, rehearsal, or concert is not an illustration of a scientific experiment!

Use your imagination!  No one can take it away from you.

Please share your thoughts in the comment section below!

E-books

Learning a new piece? New program? Back in school? Looking for teaching ideas? Read “Goal-oriented Practice: How to Avoid Traps and Become a Confident Performer!”

Goal-oriented Practice

August 2011 review by pianist Robert W. Oliver

When You Buy a Piano

How to Maintain Your Piano

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