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Bouncing balls, neckties, balloons, and apps, oh my!

Bouncing balls, neckties, balloons, and apps, oh my!. Ben Tomczak. Bouncing balls, neckties, balloons, and apps, oh my!. Come ready to learn and share tools and techniques for engaging K-8 students in the music classroom.

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Bouncing balls, neckties, balloons, and apps, oh my!

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  1. Bouncing balls, neckties, balloons, and apps, oh my! Ben Tomczak

  2. Bouncing balls, neckties, balloons, and apps, oh my! Come ready to learn and share tools and techniques for engaging K-8 students in the music classroom. Use familiar (or unfamiliar!) tools in non-traditional ways to meet the emerging music curriculum with your students.

  3. Agenda Greet and Go! A brief look at curriculum A Teaching Bag of Tricks PowerPoint: Note Reading Your Bag of Tricks Web Sites Apps

  4. Agenda (continued) Choral techniques and philosophy Band techniques and philosophy Liturgical music techniques and philosophy Professional organizations NCMEA Mini-grants Recognition opportunities Parting Thoughts

  5. Greet & Go

  6. Greet & Go • “Greet” each other person in the room with the words on your notecard. • The greetings pertain to music curriculum and philosophy. • Greet & Go introduces or reviews information. • Students love the social nature of this activity. • Remember to set a “stop” cue.

  7. A brief look at curriculum

  8. A brief look at curriculum • Common Core • Not written for music, but contains important concepts of process/product and foundational skill-builiding • NCDPI: AE Essential standards and 2012-2013 music curriculum • Revised Bloom’s Taxonomy • Looking ahead

  9. A brief look at curriculum • Revised Bloom’s Taxonomy

  10. A brief look at curriculum • Looking ahead • Considering the curriculum with Catholic identity • Centered in the Person of Jesus Christ • Contributing to the evangelizing mission of the Church • Distinguished by excellence • Committed to educate the whole child • Steeped in a Catholic worldview • Sustained by Gospel witness • Shaped by communion and community • Accessible to all students • Established by the expressed authority of the Bishop

  11. A Teaching Bag of Tricks

  12. A Teaching Bag of Tricks • David Frego • Tennis Balls: downbeat and time signature • Neck ties: “Gabriel’s oboe” • Balloons: conceptual thinking, rhythm • Lee Gwozdz • Vocal/Instrumental “Toy” Box

  13. PowerPoint: Note Reading

  14. PowerPoint: Note Reading • Review note reading via PowerPoint’s ability to automatically advance slides. • Students enjoy the “live” challenge of decoding notes. • Encourage this activity as a game and self-challenge to avoid “testing” perception.

  15. Your Bag of Tricks

  16. Your Bag of Tricks • You are invited to share your ideas and teaching tricks, • Or to save them for Session 3. • Various demo CDs from WLP, GIA, and Choristers Guild are available the table. I am finished with them, and you may take them with you.

  17. Web Sites

  18. Web Sites • Interactive sites • Media sites • Informational sites • A Complete Review of Sites is Available Online • Each Review includes the grade levels of the site’s target audience and a brief description of the what is available.

  19. Apps

  20. Apps: A Quick Review of Useful Tools • MeeGenius (Beethoven’s Monster) • Musical Me! • Beatwave/Idle • ThumbJam • Garage Band • Visual Metronome • Analyzer/n-track Tuner • Harmonizer

  21. Choral techniques and philosophy

  22. Choral techniques and philosophy • Tone/Vocal Production, Diction, Technique, Intonation, Interpretation, Presentation • Speech-level singing: Seth Riggs • Emphasis of natural voice mechanics for natural voice production • Voice Teacher v. Voice Scientists • Pointed praise • Or, affirmation, then critique followed by affirmation • Sense of impending success

  23. Choral techniques and philosophy • Blend & balance Exercise: “My Country Tis of Thee” • Also, phrasing • Singing with hands in a “V” • Spikes out: careful with this one! • 95% Listening, 5% singing • 90% breath: Russ Robinson

  24. Choral techniques and philosophy • Use Quality recordings • Students hearing an adult male/female voice will emulate an adult male/female sound • Repertoire • Sign up your successful repertoire on a list we can share • Hymn Festivals • We will, we will praise him!

  25. Band techniques and philosophy

  26. Band techniques and philosophy • Sense of impending success • Scales: every practice • Rhythm reading: every practice • To “blues” riff • Slideshow: “sellabrating” it! • Newsletter: parents can get the word out • Smartmusic

  27. Band techniques and philosophy (continued) • Tapered Release: Tom Jenner • Especially important for the “Warm/Fuzzy” pieces • Avoids stopping the sound with the tongue • How to teach it • Fermata, then stop on your release • Then, ask the students to do the same, except GASP on the release. Young bands love this. • Then, do the same, except inhale silently on the release. • If you are brave, ask the tuba to sustain a hair longer.

  28. Band techniques and philosophy (continued) • “How much should I hear myself?” dynamics • 60/40 blend: a “full” sound • 40/60 blend: a softer sound • 80/20 blend: loud, but never louder than beautify • 20/80 blend

  29. Liturgical music techniques and philosophy

  30. Liturgical music techniques and philosophy • Music teachers – general, choral, band, and strings – often must plan at least one liturgy • Training for this role is essential. • NPM and USCCB are strong resources • Liturgical Music Today • Music in Catholic Worship • Sing to the Lord • The three judgments

  31. Liturgical music techniques and philosophy • The three judgments (not “I like this song, so let’s use it”) • Musical • Liturgical • Pastoral • Help inform other staff and students; understanding liturgical music is in the curriculum

  32. Professional Organizations

  33. Professional Organizations • NCMEA/NAfME North Carolin Music Educators’ Association and National Association for Music Education • NPM National Association of Pastoral Musicians • ACDA American Choir Directors Association • TI:ME Technology in Music Education • Chorister’s Guild

  34. NCMEA Grants

  35. NCMEA Grants • Yearly deadline March 15 • Must have NCMEA membership to apply • Mini-grant • Professional development

  36. Recognition Opportunities

  37. Recognition Opportunities • Maxine Swalin Award: open to all music teachers, administered by NC Symphony • NCMEA Music Educator Award: for music teachers, administered by the statewide music educators association • NCMEA Music Administrator: for administrators especially supportive of the arts, particularly music

  38. Recognition Opportunities (Continued) • Youth Concerto: competition open to students, administered by NC Symphony • Deas Concerto: competition open to students from nearby counties, administered by Wilmington Symphony Orchestra • NCMEA Scholarships

  39. Parting Thoughts

  40. Parting Thoughts • Every child must be valued as an artist, and every teacher must consider himself a cultivator of genius. -Charles Fowler

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