SKU: GI.G-9199
ISBN 9781622772087. English.
A summary of the practice of music advocacy, this book compiles research and thirty years?? experience of one of the nation??s most successful advocates for music education. It gives music educators, administrators, school board members, and community advocates step-by-step procedures for saving and building school music programs. John L. Benham has been in music education for over forty years and has worked as an advocacy consultant saving and building music programs for thirty years. His advocacy work and the methods presented in this book have saved $70 million in proposed music cuts, equivalent to approximately 2,000 teaching positions and 500,000 music students. Read what people have to say about Music Advocacy: Moving from Survival to Vision: Finally??a how to book for music education in our own districts! John L. Benham provides us with ??the right stuff?? as well as rules to ensure that programs stay intact and keep complacency at bay. This must-have resource helps us understand educational processes and how budget decisions are made. It also provides suggestions on how to involve all constituents in the process of advocacy by guaranteeing that the best interest of the students remains the basis for all decision making. Music programs can be saved even when cuts appear to be imminent, and Music Advocacy: Moving from Survival to Vision provides effective, proactive strategies not only to avoid these cuts but also to establish a long-term plan for continued development. ??Marcia M. Neel, president, Music Education Consultants, Inc. John Benham is a rare individual who walks his talk with a sense of mission unknown in common hours, and every person connected with arts education is the beneficiary of his immeasurable commitment and dedication. Once again he has come to the forefront of the profession by sharing his profound knowledge and wisdom. Simply put, this book represents a tried-and-true blueprint of success. It is a priceless gift to the future of our educational landscape and a reflective tribute to the visionary contribution of an author of purpose. ??Tim Lautzenheiser, Attitude Concepts for Today, Inc. Benham??s new book is a must-have for every music department at both the K??12 and collegiate levels. His theory of reverse economics along with his guidance have saved music education experiences for thousands of students as well as many careers. This book provides information on scheduling issues as well as a clear explanation of his reverse economics theory. It gives a step-by-step outline on how to handle threats to music programs. The book is a wealth of information and is highly recommended. ??Mary Wagner, chair, Fairfax Arts Coalition for Education, and National ASTA past president As a music retailer who has worked closely with John L. Benham for over ten years, I appreciate his discovery of reverse economics. It is brilliantly simple and proves the financial efficacy of a healthy music department! Every instrument retailer needs to share this vital resource with all of their school customers. This is the manual that every music department needs to fully support their program. The information needs to be shared with your school board every year. ??Doug Schmitt, vice president of music education, Schmitt Music Stores.
A summary of the practice of music advocacy, this book compiles research and thirty years’ experience of one of the nation’s most successful advocates for music education. It gives music educators, administrators, school board members, and community advocates step-by-step procedures for saving and building school music programs. John L. Benham has been in music education for over forty years and has worked as an advocacy consultant saving and building music programs for thirty years. His advocacy work and the methods presented in this book have saved $70 million in proposed music cuts, equivalent to approximately 2,000 teaching positions and 500,000 music students. Read what people have to say about Music Advocacy: Moving from Survival to Vision: Finally—a how to book for music education in our own districts! John L. Benham provides us with ‘the right stuff’ as well as rules to ensure that programs stay intact and keep complacency at bay. This must-have resource helps us understand educational processes and how budget decisions are made. It also provides suggestions on how to involve all constituents in the process of advocacy by guaranteeing that the best interest of the students remains the basis for all decision making. Music programs can be saved even when cuts appear to be imminent, and Music Advocacy: Moving from Survival to Vision provides effective, proactive strategies not only to avoid these cuts but also to establish a long-term plan for continued development. —Marcia M. Neel, president, Music Education Consultants, Inc. John Benham is a rare individual who walks his talk with a sense of mission unknown in common hours, and every person connected with arts education is the beneficiary of his immeasurable commitment and dedication. Once again he has come to the forefront of the profession by sharing his profound knowledge and wisdom. Simply put, this book represents a tried-and-true blueprint of success. It is a priceless gift to the future of our educational landscape and a reflective tribute to the visionary contribution of an author of purpose. —Tim Lautzenheiser, Attitude Concepts for Today, Inc. Benham’s new book is a must-have for every music department at both the K–12 and collegiate levels. His theory of reverse economics along with his guidance have saved music education experiences for thousands of students as well as many careers. This book provides information on scheduling issues as well as a clear explanation of his reverse economics theory. It gives a step-by-step outline on how to handle threats to music programs. The book is a wealth of information and is highly recommended. —Mary Wagner, chair, Fairfax Arts Coalition for Education, and National ASTA past president As a music retailer who has worked closely with John L. Benham for over ten years, I appreciate his discovery of reverse economics. It is brilliantly simple and proves the financial efficacy of a healthy music department! Every instrument retailer needs to share this vital resource with all of their school customers. This is the manual that every music department needs to fully support their program. The information needs to be shared with your school board every year. —Doug Schmitt, vice president of music education, Schmitt Music Stores.
SKU: GI.G-6531
ISBN 9781579994778. English.
“On extremely rare occasions, we may be privileged to encounter a unique and special individual who can dramatically change our perceptions, a person who will elevate thinking to new levels, rekindle fires long forgotten, and cause us to see the world as it should be. In this lifetime, for millions of students, teachers, and lovers of music, that person is Tim Lautzenheiser.” —Paula Crider, in the Foreword The role of the music teacher doesn’t stop when the last note of each rehearsal fades away. There are so many “off-the-podium” responsibilities, just deciding where to begin can be a daunting task! Tim Lautzenheiser, one of the most sought-after speakers on education and leadership in the United States, comes to the rescue yet again. He covers music advocacy, student leadership, and teacher responsibilities with insight, detail—and his trademark sense of humor! The chapters in Music Advocacy and Student Leadership represent some of the best of his published writings and lectures. You won’t want to miss the wealth of information gathered from more than a decade of experience by one of the foremost experts in the field. This is a book you’ll want to turn to again and again for inspiration and advice. Keep it within arm’s reach!
SKU: AP.49462
ISBN 9781470650261. UPC: 038081571041. English.
This arrangement of The Prince of Denmark March, or Trumpet Voluntary, provides the perfect setting for advocacy and striving for excellence since it is so recognizable. Three different versions of the final 8 bars, containing incorrect notes, are included. Each version contains an increasing percentage of correct pitches. Each represents a different letter grade. Play all four versions and then explain to parents and administration that the A+, 100% correct version is what we do every day in orchestra. All sections play the melody in this piece, still providing a solid musical setting in a novelty piece. Audience members are sure to recognize it which makes it perfect for finding errors. Along with the real music for the final 8 bars, three other versions are included. The first version has 80% of the correct notes and 20% incorrect. The next has 90% correct notes and 10% incorrect. The next has 95% correct notes and 5% incorrect. The final, real version has 100% correct notes. The 100% version should be played first for the audience explaining this version would get an A+ in an academic setting. Then play the 80% or B- version, then the 90% or A- Version, and then the 95% A version. Then explain to parents and administration that the only version that is acceptable is the 100% version and that is what we do every day in orchestra. This provides a perfect advocacy moment to discuss the benefits of music education with parents and a tangible explanation of striving for excellence to parents and students. Includes an educational packet with each part that features technical exercises, history, theory, composition, and more. Correlated to Sound Innovations, Book 1, Level 5. (2:00).
SKU: AP.49462S
ISBN 9781470650278. UPC: 038081571058. English.
SKU: HL.275105
ISBN 9781540026002. UPC: 888680742782. 9x12 inches. By John Jacobson and Lynn Brinckmeyer.
Who are the very best advocates for your school's music programs? The kids! Advocacy is a continuous process of diligent education to bring awareness about the benefits of music learning to the general public. And, kids can expertly share the joy of music making and learning in a variety of different ways. The authors worked together to develop a musical revue about the wonder of music. Each of the seven original songs can be performed together as a complete program, or they can be sung in other contexts as well. The 30-minute revue includes piano/vocal arrangements with choreography, short narrations for up to 65 speaking parts and digital access to student PDFs. To perform with recordings, the Performance Kit includes the Teacher Edition and digital access to student PDFs and performance/accompaniment audio recordings. Songs include: Music Is an Everyday Thing, Many Things I Learned I Learned Through Music, Playing Music Is Hard Work, A Song in My Heart, Working Together, If I Didn't Have Music, Our Place in the Choir. In addition to a musical revue, the second half of the book is focused on strategies, ideas and conversations about the importance of music study in children's and adolescents' lives. There are even writing and advocacy activities to engage students in the promotion of the critical role that music plays in their lives. The ten chapters concentrate on attributes of music education and how children benefit from music study highlighted in the Broader Minded Campaign put forth by the National Association for Music Education (NAfME): Decision Making, Grit, Multiple Ways of Knowing, Creativity, Collaboration, Communication, Critical Thinking, Emotional Awareness, Reflective Learning, and Process Orientation. Suggested for grades 2-6.
SKU: AP.35673
UPC: 038081398693. English.
No matter what the melody, . . . high or low, in harmony, sing your song. Though each of us is different, this song encourages unity, especially through music. An important lesson simply stated for younger choirs, and a terrific choice for music advocacy.
About Alfred Choral Designs
Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.29675S
UPC: 038081330235. English.
Here's the answer when the orchestra needs to play for birthdays, events at the school or in the community, or to honor someone. Simple Advocacy! Make your program visible with these very easy songs. All in D Major and very playable, the four movements are each self-contained featuring the songs Happy Birthday to You, For He/She's a Jolly Good Fellow, The Star-Spangled Banner and Pomp and Circumstance. Perfect to leave in the folder all year long! (3:00).
SKU: GI.G-9342
ISBN 9781622772209. English.
For thirty-five years, Tim Lautzenheiser—a nationally recognized advocate for the importance of leadership development and music education—has inspired thousands through his insightful workshops and lectures. And for twenty years, he has compiled his wisdom in each volume of the celebrated Teaching Music through Performance in Band series. This new edition compiles all ten of Lautzenheiser’s thoughtful and practical chapters into one convenient and indispensible volume. Included are chapters on “Successful Music Advocacy” (Volume 2), “The Selection and Development of Effective Student Leaders” (Volume 4), “The Cornerstones for Program Success” (Volume 7), and much more. Ultimately, the wisdom of these chapters will help music educators stay fresh and focused to inspire and engage their students. Learn from a seasoned music educator who has enlightened more than three million students and their teachers. As Lautzenheiser says in the new Introduction to this volume: Let the music begin!
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr” indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “tr”sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper” trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito” is interpretedas faster than the “Allegro” (without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: HL.155676
ISBN 9781495056734. UPC: 888680601256. 8.5x11.0x0.146 inches. The Music Achievement Council.
Tips for Success will help answer a range of questions, from how to prepare an instrument replacement plan to how to expand the learning power of music. These tips are complemented by short videos and will enhance the user's experience. The future of our music education landscape continues to warrant the proactive efforts of everyone. The Music Achievement Council has once again come to the forefront with their latest/greatest edition of Tips for Success. Let us all pledge our heartfelt efforts - and energies - to the most positive, beneficial music making opportunities for today's young artists who are destined to be tomorrow's leaders by incorporating this priceless blueprint for success in our ongoing music advocacy outreach. - Dr. Tim Lautzenheiser.
SKU: GI.G-10377
ISBN 9781574635324.
A unique resource for both novice and experienced band directors gathering effective teaching tools from the best in the field including more than 40 chapters dealing with every aspect of teaching instrumental music from curriculum to valuable websites. This best-selling and highly praised text has become the method of choice for university methods courses throughout the United States and Canada. What's New in the Revised Edition? Curriculum—updated to 2014 National Music Education Standards, including relevant learning theories, modalities, and music instruction theories. Resources—for concert band, marching band, pep band, jazz ensemble, and chamber groups School Law—learn more about the teacher’s Code of Ethics, music copyright law, and examine common ethical teaching scenarios. Anatomy of Music-Making—presents effective methods for teaching tone quality, balance, blend, intonation, pulse, rhythm, technique, style, articulation, phrasing, interpretation, and expression. STEPS© Method—for creating rehearsal plans and providing a theoretical approach to understanding the ensemble to improve score study and objective assessment. Motivation—surveys current intrinsic and extrinsic methods, and explores the development of leadership and character in the instrumental program, including Social Emotional Learning (SEL). Job Readiness—new teacher assessment and certification requirements, as well as valuable information guiding the new teacher throughout the music practicum and the job interview. Intonation—expanded tools for training the ear in both the individual student and full ensemble. Program Administration— the “nuts and bolts” of managing the instrumental program have been updated with topics on assessment, evaluation, rehearsal planning, score study, repertoire selection, programming, rehearsal facilities, auditions, seating, recruiting and retention, budget planning, music library management, basic instrument repair, booster groups, advocacy, time management, practicing tips, and classroom management and discipline. Mind Your P’s and Q’s—considers the implications and relationships of Professional Growth, Personal Growth, Intelligence Quotient, and Emotional Quotient. Supplementary Website—numerous charts, figures, templates, a balanced instrumentation calculator, teaching tools, recruiting materials, assessment rubrics, various learning activities. Learn more about this new resouce in this short video below: Click here to download Lesson Plan Forms. A wonderful resource for all music educators! Dr. Jagow’s book is comprehensive and impressive in scope. An excellent book! Bravo! —Frank L. Battisti Finally, an exceptional text that offers the depth of understanding our students need in critically important topic areas. Bravo! —Don Harris So many important facets are uncovered and solutions revealed. It’s a must for the library of any serious music educator. —H. Robert Reynolds There are a growing number of fine books dealing with different aspects of the wind band and ensemble, none cover so many essential aspects in so much detail. —Tim Reynish Dr. Jagow's book is a fantastic resource for instrumental conductors, both the young and the more experienced! —George Edge . . . a book which contains a wonderfully diverse wealth of knowledge that is 'hands on' for the informed music educator. . . . an excellent resource for both beginning teachers and veteran music educators. —Dr. Linda R. Moorhouse From creating artistic musical experiences to establishing a first-class organization blueprint, there is no stone left unturned. This is not a book to be recommended, but a book to be REQUIRED. —Tim Lautzenheiser.
SKU: AP.48415
UPC: 038081552385. English.
Celebratin g the many ways that music touches our lives, the lyrics of this piece were inspired by words from young singers. A spoken section in the middle offers an opportunity for your students to add their own thoughts, or use the provided script. The memorable piano accompaniment provides its own voice while supporting the tuneful lines, and an optional descant brings the final chorus to new heights. Program for Music in Our Schools month, for combined pyramid performances, as an advocacy anthem, or as a concert theme.
SKU: HL.48024898
UPC: 840126930672. 9.75x13.0 inches.
This book is the first pictorial monograph about the Korean-German composer Isang Yun, who was born in southern Korea in 1917 and died in Berlin in 1995. It was first in Germany, with influence from what around 1960 was then the avant-garde that he developed an individual musical language of his own. A little later Yun was drawn into the field of tension between political advocacy motivated by humanitarian, societal concerns and responding to ideological incitement, between imprisonment, torture, and reparation. It was in his compositional work that he found a place of refuge. His music proceeds from the primacy of melody and the sustained tone, which he found preformed in the traditional music of his native Korea and then succeeded in developing heterophonically and spatially. The resultant works were characterized by unusual intensity and rich tone colors.
