Podcasts about general music

Remember to get your tickets to the 2025 CPMAs coming up on March 5th:https://amtshows.com/show/6th-annual-cpmas-hall-of-fame-induction-ceremony/This week we have:Gloria Horn Tice:Educator of Note Award Winner - From the Central Pennsylvania Music Hall of FameGloria is a retired music teacher from Lebanon, PA. where she taught General Music at both Lebanon Catholic School as well as Lebanon School District. She is a graduate of West Chester University where she received her B.S. degree in Music Education; University of Turabo in Puerto Rico and Penn State University where she earned her M.S. degree in Teaching English as a second language; and Walden University where she earned her M. Ed. degree in Elementary Reading and Literacy. She was inducted into the Lebanon County Musicians Hall of Fame in 2014, and is a member of the Lebanon County Educators Honor Society. Among many, many more accomplishments in both music education and performance. For a more comprehensive bio, please click the link below:https://www.facebook.com/share/p/18fAG3MLQo/&RUINESS:A new Female-Fronted Original Hard Rock Band, RUINESS started as a tribute project and morphed from performing set from Paramore and Flyleaf to writing their own original music. Consisting of 4 accomplished local musicians; Ariana (Vocals), Greg (Guitar), Greg (Bass), and Dylan (Drums), RUINESS brings the flare and style of other female-fronted Rock Bands along with their own unique and heavy sound. Ariana has described their sound as "Paramore but PISSED". You can listen to their released singles on all streaming platforms, and keep up with their upcoming music releases and live shows on their website below.Please stay to the end of the episode for an exclusive live performance from Greg and Ariana.https://www.ruiness.com/https://www.facebook.com/profile.php?id=61557614114972https://ruinessofficial.bandcamp.comYou can find out more about the CPMHOF @ https://cpmhof.com/Brought to you by Darker with Daniel @ Studio 3.http://darkerwithdaniel.com/All media requests: thecpmpodcast@gmail.comWant to be on an episode of the CPMP? For all considerations please fill out a form @ https://cpmhof.com/guest-considerationJoin us back here or on your favorite audio streaming platform every other week for more content.

In episode 83, Theresa and Kathryn welcome Jasmine Henderson to discuss her innovative approach to empowering students through social justice projects in general music classes. Jasmine shares her journey from teaching K-8 general music and choir to collaborating with university students to design a groundbreaking project called the "Sonic Justice Collage." This unique initiative allowed students to explore topics they were passionate about—such as climate change and racial injustice—and express their ideas through music, using tools like Soundtrap to create public service announcements and multimedia collages. Jasmine reflects on how this project fostered student voice, creativity, and community while also providing valuable teaching experiences for pre-service educators. Listeners will be inspired by Jasmine's emphasis on student-centered learning and the power of music to address meaningful societal issues. She also provides practical tips for music teachers looking to implement similar projects, including strategies for collaboration, encouraging student choice, and navigating potential challenges. Whether you're a seasoned educator or new to teaching, this episode offers actionable ideas to engage students and cultivate a classroom environment where they feel seen, heard, and empowered. Don't miss Jasmine's heartfelt advice and the impactful stories from her classroom! Connect with Jasmine: Email: jas.d.henderson@gmail.com Other Resources from this Episode *Episode 81: Professional Collaboration - https://bit.ly/49HlA51 *Recording Studio Checklist - https://buymeacoffee.com/passthebaton/creating-classroom-recording-studio-3403049 *Recording Studio Private Podcast (Coffee Club Members only) - https://buymeacoffee.com/passthebaton/creating-classroom-recording-studio Learn more about Pass the Baton *Pass the Baton website:  https://www.passthebatonbook.com/⁠⁠⁠⁠ *Join the Coffee Club: https://buymeacoffee.com/passthebaton/membership *Support Pass the Baton: https://www.buymeacoffee.com/passthebaton *Amplify student voice with Exit Tickets for Self Reflection! Get it for free now: https://landing.mailerlite.com/webforms/landing/f8l7g9

In episode 81, Kathryn and Theresa reflect on the power of professional collaboration for music educators. Drawing from their own experiences, they discuss how connecting with fellow educators—whether across the country or in the same district—can transform teaching practices, reduce isolation, and foster creativity. They share anecdotes of innovative classroom projects, such as their cross-state recorder pen pals and collaborative feedback sessions using Flipgrid, which helped students develop skills in constructive critique and purposeful music-making. These experiences underscore how collaboration not only enhances teaching but also models lifelong learning and teamwork for students. Kathryn and Theresa also highlight the importance of finding support networks to combat the isolation many music teachers face. They suggest starting with conferences, social media, or even colleagues outside of music education to brainstorm ideas or share lessons. For those looking for a structured way to connect, they recommend the Pass the Baton Coffee Club, which provides opportunities for group planning and idea-sharing. Take the leap into collaboration, whether by exchanging lessons or teaming up for larger projects, and share your experiences to inspire others in the music education community. Learn more about Pass the Baton: Pass the Baton website:⁠⁠⁠⁠ https://www.passthebatonbook.com/⁠⁠⁠⁠ Join the Coffee Club: https://buymeacoffee.com/passthebaton/membership  Support Pass the Baton: https://www.buymeacoffee.com/passthebaton Amplify student voice with Exit Tickets for Self Reflection! Get it for free now: ⁠⁠⁠⁠https://landing.mailerlite.com/webforms/landing/f8l7g9 Episode 56 - Straight Talk on Student Centered Music Classes, with Tom Chester and Justin Johnson Episode 41 - Empower Students to Practice with Purpose, with Katie LaBrie and Tracy Magwire Episode 75 - From Student to Artist: The TAB Approach in General Music, with Emily Meyerson Episode 33 - Fostering Independent Musicians, with Amy Rever Oberle and Lauren Staniszewski

In episode 75, Theresa and Kathryn are joined by Emily Meyerson, a seasoned music educator, to discuss her unique approach to teaching music through the TAB (Teaching for Artistic Behavior) pedagogy. Emily shares her experiences transitioning from a traditional teaching model to one that empowers students to behave and think like musicians. She emphasizes the importance of giving students creative control in the music classroom, encouraging them to take ownership of their learning. From integrating technology, like electronic instruments and recording studios, to fostering a collaborative environment, Emily highlights how this innovative method nurtures independent thinkers and lifelong musicians. You will also hear Emily's insights on balancing student-led projects with structured lessons and how she adapted TAB for various grade levels. She discusses the importance of classroom management, collaboration with other educators, and the profound impact of giving students creative freedom. This episode offers practical tips for educators interested in empowering their students while maintaining classroom structure. Connect with Emily and learn more: NAfME Presentation: https://vimeo.com/513015857 Yamaha Article: https://hub.yamaha.com/music-educators/40-under-40/2023/meyerson-emily/ Email: emeyerson@nbls.org X: @MsMeyerson Learn more about Pass the Baton: Pass the Baton website:⁠⁠⁠⁠ https://www.passthebatonbook.com/ Join the Coffee Club: https://buymeacoffee.com/passthebaton/membership Support Pass the Baton: https://www.buymeacoffee.com/passthebaton Amplify student voice with Exit Tickets for Self Reflection! Get it for free now: ⁠⁠⁠⁠https://landing.mailerlite.com/webforms/landing/f8l7g9

“That's my job: to take the foundation of what they have – love of singing and basic vocal technique – and then just refine it, to challenge them to start being more musical artists themselves. I personally do a lot of giving the kids choices: ‘If it's not in the music, how do we want to sing this? What are your thoughts?' We listen, we reflect. I really want them to have ownership of what we're doing.”Karla McClain (she/her) is a National Board Certified Teacher in Early Adolescent/Young Adulthood Music in her 24th year of teaching. Currently, she teaches Choir and General Music at Illing Middle School in Manchester, CT. Prior to teaching in Manchester, Karla taught at Irving A. Robbins Middle School and East Farms Elementary in Farmington, CT, in West Hartford, CT and Hilliard, OH. She also is the former director of the Canticum Choir of the Connecticut Children's Chorus at the Hartt School of Music, Community Division. Karla is also an active staff member at Laurel Music Camp in Plymouth, Connecticut. Karla is an active presenter and clinician and has presented for state, regional, and national conferences. Her choirs have been Featured Showcase Ensembles for the CMEA State Conference. Karla has served on the Diversity Initiatives Committee of CT-ACDA and was the Co-Chair of Middle School Repertoire and Resources. She is a past member of the Professional Development Committee for CMEA. She is a frequent adjudicator for Regionals and All-State. As a performer, she has remained active by singing as a soloist and section leader, currently with the South Church Chancel Choir in New Britain. She has also performed in several musical theater groups. Karla received her Bachelor of Music in education from Ohio Wesleyan University, and her Master of Science in Music Education from Central Connecticut State University. In 2021, she was selected as the CT- ACDA Choral Director of the Year. She has a passion for using music technology and global music to engage students. She lives in Cromwell, CT with her husband and 2 children.To get in touch with Karla, you can find her on Instagram (@karlachips) or Twitter (@karlachips).Choir Fam wants to hear from you! Check out the Minisode Intro Part 3 episode from February 16, 2024, to hear how to share your story with us.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Episode 002 • March 4, 2024 • “Culture Before Technique”   FIRST STRAIN: News ‘n' Notes • Ralph Yarl makes Missouri All-State Band a year after being mistaken for an intruder and shot: https://abcnews.go.com/US/ralph-yarl-named-missouri-state-band-months-after/story?id=106232534 • University of Arizona marching band wins 2023 Sudler Trophy: https://news.arizona.edu/story/pride-arizona-marching-band-wins-prestigious-sudler-trophy https://sousafoundation.net/sub_menu_items/1   SECOND STRAIN: Do What You Love: A Lesson About Band from a Journalism Professor Howard M. Ziff: https://rhammerton1.wordpress.com/2012/04/11/gotta-love-it/ http://www.gazettenet.com/2012/04/11/venerated-journalist-professor-ziff-dies   TRIO: interview with Zoe Stinson She's a music teacher, she's a researcher, she's a salsa band baritone saxophonist! … and if you've been in western Massachusetts in the last several years, you also may have seen her, possibly on the podium in front of some outfit called the Minuteman Marching Band, or behind the wheel of a Pioneer Valley Transit Authority bus. Renaissance person? Or just casting her net really wide?   A chat about a beginner-band teaching strategy which Ms. Stinson piloted at her East Windsor (Connecticut) teaching gig, which she calls “Culture Before Technique”.   STINSON BIO: Zoe Stinson is a music educator and instrumentalist originally from the Capitol Region of New York, and currently teaches grade 5-8 Band, Chorus, and General Music at East Windsor (CT) Middle School. Zoe grew up studying saxophone, cello, and voice, but always gravitated towards saxophone. In 2016, Zoe was selected to perform at NYSSMA Conference All-State, and to perform in the International Performance Series at Carnegie Hall. Zoe furthered her saxophone studies at Eastman, Crane, Hartt, and University of Oklahoma summer programs throughout high school and college, and has performed in masterclasses for virtuosos such as Arno Bornkamp, Chien-Kwan Lin, and Christopher Creviston. In 2017, Zoe attended the University of Massachusetts Amherst for Saxophone Performance. While she studied at UMass, Zoe was heavily involved in numerous activities as a student musician. Zoe was initiated into Tau Beta Sigma, National Honorary Sorority for Collegiate Bands, and has since become a life member. Zoe performed in the University Wind Ensemble, Symphony Band, University Choral, Chapel Jazz Ensemble, Jazz Ensemble I, Marimba Bands, and the University of Massachusetts Minuteman Marching Band, for which she served as a Drum Major for two seasons. Aside from larger ensembles, Zoe was also associated with several notable chamber ensembles including the 4/4ths Saxophone Quartet, and the Rebel Saxophone Quartet, which traveled to Virginia for the Navy Band Saxophone Symposium in 2019 with their tour program. As a soloist, Zoe has performed multiple solo recitals and been invited as a guest performer at many others. Her most recent recital, “A Showcase of the Baritone Saxophone”, was performed entirely on the baritone saxophone in effort to legitimize the instrument in the classical medium. Zoe was also a concerto competition winner at UMass in Spring 2020 performing Rhapsody by Andre Waignein on the alto saxophone. Zoe has recently begun her professional career as a music educator, and is a member of the Gordon Institute for Music Learning. Specializing in instrumental instruction, Zoe applies Music Learning Theory in her classroom with a focus on ear training. Outside of the classroom, Zoe still enjoys playing her cello to this day, and plays baritone saxophone with recreational ensembles such as the “Salsa Train” salsa band in Springfield, and “The Onlys,” her fusion rock trio in New York. On the weekends, she occasionally likes to hop into the driver seat and drive for PVTA in Amherst, MA. (text courtesy The Valley Winds website: valley-winds.org/ensemble-member/zoe-stinson/)   DOGFIGHT: Internet Rabbit Hole of the Week: Balkan Paradise Orchestra Their website: https://bpo.cat/en/biography/ Your gateway to their performances: https://www.youtube.com/watch?v=_5b5KzDHUSY   FOLLOW US! BandWagon RSS feed: feed.podbean.com/heyband/feed.xml BandWagon website: heyband.podbean.com BandWagon on Facebook: facebook.com/profile.php?id=61555170345309 Rob ("HammertonMedia") on Facebook: facebook.com/HammertonMedia Rob on X/Twitter: twitter.com/DrRob8487   SUBSCRIBE TO BANDWAGON! https://www.podbean.com/site/podcatcher/index/blog/eg706GUVzixV   SEND US YOUR FEEDBACK! Email: heybandwagon@yahoo.com Voicemail: speakpipe.com/HeyBandWagon

This year, Rochester, NY is in the path of the total solar eclipse. There are lots of special events happening in town—the orchestra is performing a special concert, the science museum is hosting a festival, and the schools are giving everyone the day off to experience this historical event.As I looked ahead at this year, I thought it might be fun to plan a special event of our own to mark this occasion in the studio. Maybe special repertoire? An incentive program?Then I thought about the informances the performing ensembles at my school put on early in the year: an informal demonstration for parents of what they're learning and what they're working on.What if we did something like this in the studio? I thought.Today, I'm taking you behind the scenes in real-time as I research, plan, and organize my first informance for my students. I'll share a few historical examples of musicians who exemplified this model of education and engagement, talk about ways you could structure this, outline the necessary components that separate an informance from a performance, and share how my students and I are preparing for this event.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.Ep. 064 - How I Plan a Year of Student RepertoireD. Headlam (2021). "Musical Informance: Performance for the Information Age." The Oxford Handbook of Public Music Theory. https://doi.org/10.1093/oxfordhb/9780197551554.013.2C. Nowmos (2010). "Using Informance to Educate Parents and Demonstrate the Music Learning Process." General Music Today, 23(3): Special Focus Issue: The Informance as a Teaching Tool in General Music, 5-14. https://doi.org/10.1177/104837130936"Watch me play... the audience!" (Bobby McFerrin)Live Improvisation at the Kennedy Center (Bobby McFerrin)Interactive performance at Cornell (Bobby McFerrin)Curious, Collaborative, Creativity (CCC)Curious, Collaborative Creativity: A Guide for Transforming Music Ensembles (Dr. Caron Collins & Dr. Danni Gilbert)If you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyew

Can You Pass This General Music Knowledge Quiz? What is the highest-grossing concert tour of all time? More at ⁠⁠www.CooperandAnthony.com⁠⁠ #nycradio, #radio, #syndicatedradio, #podcast, #podcasting, #podcasts, #spotify, #podcastlife, #podcaster, #radio, #music, #comedy, #podcasters, #applepodcasts, #itunes, #podcastshow, #spotifypodcast, #applepodcast, #radioshow, #nycradio, #CLT,#longisland, #Listen, #pandoraPodcast, #TampaRadio,#Tampa, #LasVegas, #lasVegasRadio, #FtMyers, #FtMyersRadio --- Send in a voice message: https://podcasters.spotify.com/pod/show/cooperandanthony/message Support this podcast: https://podcasters.spotify.com/pod/show/cooperandanthony/support

Can You Pass This General Music Knowledge Quiz? What is the highest-grossing concert tour of all time? More at ⁠⁠www.CooperandAnthony.com⁠⁠ #nycradio, #radio, #syndicatedradio, #podcast, #podcasting, #podcasts, #spotify, #podcastlife, #podcaster, #radio, #music, #comedy, #podcasters, #applepodcasts, #itunes, #podcastshow, #spotifypodcast, #applepodcast, #radioshow, #nycradio, #CLT,#longisland, #Listen, #pandoraPodcast, #TampaRadio,#Tampa, #LasVegas, #lasVegasRadio, #FtMyers, #FtMyersRadio --- Send in a voice message: https://podcasters.spotify.com/pod/show/cooperandanthony/message Support this podcast: https://podcasters.spotify.com/pod/show/cooperandanthony/support

In the final episode of Season 3, we are joined by Madison Wise, PK-8 music teacher at a Boston public charter school. Madison describes the joys and benefits of elementary general music education along with the importance of approaching children's music learning with curiosity. Link to Inclusive Cabaret class: https://www.allnewton.org/inclusivecabaret Link to Joy of Music class: https://www.allnewton.org/toddlers-and-youth Parenting Musically Episode 3.5, Music for Now, Music for Later Dr. Lisa Huisman Koops's book, Parenting Musically

Gregory Landes is a versatile musician, excelling as a drummer, percussionist, composer, educator, and arranger. His impressive orchestral credits include serving as a timpanist and percussionist for esteemed ensembles such as The New Jersey Symphony, Garden State Philharmonic, The New Haven Symphony, The American Symphony Orchestra, New York Chorale Society, The Brooklyn Philharmonic, Princeton Symphony, Albany Symphony, Little Orchestra Society of New York, Greenwich, Stamford, and Westchester Symphonies, Masterwork Chorale Orchestra, Goldman Band, and The New Jersey Wind Symphony.For the past three decades, Gregory has demonstrated his musical prowess as both a drummer and percussionist in over 50 Broadway and Off-Broadway productions. Notable mentions include his involvement in the 2019 Lyrics and Lyricists show "Live and in Living Color" at the 92nd St. Y, with Andy Einhorn and Rob Berman as musical supervisors, as well as his contributions to the 2018 musical "The Beast in the Jungle" by John Kander, directed and choreographed by Susan Stroman. He has also been involved in Director John Doyle's productions of "Pacific Overtures" and John Kander's "Kid Victory." Gregory played a crucial role in creating the drum and percussion book for John Kander's musical "The Landing."Gregory has an extensive list of credits in the world of theater, having performed as the original drummer and percussionist in productions of "How The Grinch Stole Christmas" on Broadway, in Chicago, Boston, and Madison Square Garden. He has also showcased his drumming and percussion skills in various other productions, including "Avenue Q," "Newsies," "In The Heights," "Curtains," "Wicked," "42nd Street," "Play Without Words," "Ragtime," "Les Miserables," "Falsettos," "Putting It Together" (with Julie Andrews), and many more.Additionally, Gregory Landes is a founding member of The Pit Stop Players, a chamber ensemble composed of highly sought-after freelance musicians in New York City. The group is dedicated to performing new works by emerging composers. Gregory's arrangements and pieces written for percussion ensemble can be found in publications by Bachovich Music Publications. He held the position of director of percussion studies at The Calhoun School in New York City and was involved with The Calhoun Percussion Ensemble. Furthermore, he serves as a drum and percussion instructor in the Encore Program at Ridgewood High School in New Jersey and has taught General Music and Percussion at The Pingry School.Gregory's talent has gained recognition from renowned musical instrument manufacturers, as he is endorsed by Paiste cymbals and is an Innovative Percussion artist. Since 1997, he has been performing alongside his brother Garah Landes, a pianist, as the duo Synchronicity. To learn more about their extensive performance history, interested individuals can visit their Facebook page, watch their videos on YouTube, or explore their website at www.synchronicitymusic.com. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome everybody to the Built Different Podcast. We bring you High Off Life, where Tom, Kem and sometimes a guest get high off life and discuss a range of things! On this episode they invite Domboy, an aspiring artist in the 518. On this episode they discuss Life, AI, Spirituality, Music, Fast Food, and so so much more. Make sure to follow Dom's social medias as well as ours! #like, #share, #subscribe Leave some feedback below!All media- https://linktr.ee/thebuiltdifferentpodcast00:00:00- Introduction00:04:00- High off life without the THC00:07:43- What are you doing if AI took over, AI and recreation conversation00:15:33- Deja Vu and spirituality00:25:23- Sports00:36:10- Doms Music00:43:24- What keeps you going?00:49:00- General Music conversation00:59:04- Fast Food Draft01:18:52- Hilary Clinton QuestionFast Food Poll: https://www.surveymonkey.com/r/59CLTMZ

In 2005 David Reynolds Jr. was teaching General Music to Elementary School students when he was approached to start a percussion ensemble for kids as a community service project. At first the group consisted of about two dozen 5th and 6th graders banging on instruments available to them in the school from xylophones to trash cans and other non-traditional instruments. Fast forward to today, The Vienna Jammers is celebrating it's tenth year as a not-for-profit organization consisting of 5 performance ensembles, a tech group focused on directing and editing video performances, and serving over 130 students aged 8-18 across 25 schools throughout Northern Virginia. The performance ensemble group has traveled out of state and graced stages around Washington DC as well as on the grounds of the Lincoln Memorial. On this episode of the pod David, a 2018 Music Educator Grammy nominee, shares his approach to performance, how complex music pieces are taught and broken down that make it fun and engaging for the kids, the penultimate goal for his students to perform abroad in the countries where the marimba and steel pan sounds originated, and the meaning and importance of always bringing the "turtle poop" to every performance.

In this week's episode, Eric and Justin had the great honor of talking with educator extraordinaire Jasmine Fripp. Jasmine Fripp is the Director of Choral Activities and General Music at Kipp Nashville Collegiate High School. Mrs. Fripp is an innovator and world-class music educator. Yet, in this episode, she is speaking about something that evades every music educator—the concept of finding balance and why it's important to the music classroom and students.Tune in and check out this week's episode!! Enjoy and share!!!In Rotation:Eric- Grupo Frontera & Bad Bunny- "Un x100to"Justin- Brandy "Full Moon"Jasmine- OddisceeConnect with Jasmine: Facebook, Instagram, TikTok, EmailSupport the showConnect with us on Facebook, Twitter & Instagram: @podthescoreEmail: podthescore@gmail.com | The Score Podcast WebsiteSupport The Score on Patreon or PaypalMusic Credits:Intro: Justin McLean In Rotation & Outro: Ben Bohorquez - @jamin_music

This episode of the podcast is a replay containing the audio version of the Musical Monday LIVE video recorded on 4/24/23. This week I shared about five different lessons you can use with older grades at the end of the year. If you're not familiar with musical Mondays, every Monday night at 8 p.m. Eastern time I go live on Facebook and Instagram to share about the lessons that I'm using in class with my students.  I give a recap of my K-5 lessons and then do a deep dive about one grade level and share the books, instruments, songs, and process that I use to teach the lesson to kids.  This podcast episode contains all the audio from the Musical Monday video, but if you'd like to see a replay of the video itself you can follow this link to the archived video on YouTube.  Click here to see the Musical Mondays LIVE recap page where I share links to resources and ideas mentioned in the video.

Lionel Vivier est mon hôte du jour. Artiste du sud de la France renommé pour créer des mondes faits de vidéos, de dessins, d'installations, de sculptures et de photos, il eut également des vies parallèles où il fut disquaire, graffeur, et créateur d'une marque de prêt à porter, Sixpack France, qui eut pour origine un concept store en Avignon à la fin des années 90.  Une boutique où se côtoyaient bombes aérosols, sape, et disques à la pointe de ce que Melody Maker pouvait vanter. Internet n'était pas encore démocratisé mais ce provincial réussit à se faire connaitre des parisiens, fricota avec des têtes pensantes des scènes rap alternatif et électro parmi lesquelles TTC, Para One, Monsieur Oizo ou Dj Feadz avec qui il se lia d'amitié au point de pondre ensemble quelques mixtapes qui eurent leur succès d'estime à l'époque dans le milieu.  Dans ce diggin' reportage chez lui de près de deux heures vous allez en apprendre davantage sur son parcours, ses rencontres et sa mélomanie.

In this episode, I share my favorite part of General Music Jumpstart. Links and Resources: General Music Jumpstart Download the free Elementary Newbie Guide Download the free Disabilities Guide Download the free Steady Beat Survival Guide

In this episode of That Music Podcast, I discuss the five pillars of general music success. I truly believe that by increasing our understanding and our ability to perform each of these five pillars, we are able to create more success in our classrooms in so many different ways. Links and Resources: General Music Jumpstart Download the free Elementary Newbie Guide Download the free Disabilities Guide Download the free Steady Beat Survival Guide

In October I had the privilege of being interviewed by Victoria Boler for her podcast Elemental Conversations.  We discussed three main areas: 1. How to ask for help 2. How to have conversations with parents 3. How to have difficult conversations with parents I hope you enjoy our conversation and a special thank you to Victoria for allowing me to share our talk on the Afternoon Ti podcast. If you haven't checked out her work, I highly recommend that you do!  Victoria is thoughtful, thorough and knowledgeable about how to teach music to elementary students. Victoria's Links: Victoria Boler Website  Instagram: @victoriaboler YouTube Channel   Jessica's Links: Jessica Grant Website Instagram: @highafternoonti  

Un podcast produs de Centrul Dialectic. Realizatori: Ionuț Dulămiță, Mihai Lukàcs, Paul Breazu ==================================== Când și în ce context au apărut așa-zisele protomanele în România? Cu ce spațiu specific din oraș este asociat sound-ul lor? Cine a revoluționat în anii '80 scena bucureșteană de muzică lăutărească? De ce este romanțată mahalaua în muzica lăutărească și cea de petrecere? Care sunt originile muzicii lăutărești bucureștene? Vorbesc, în ordinea apariției: Ionuț Dulămiță (Arhiva de Sunet), Mihai Duțescu (arhitect și scriitor), Paul Breazu (Arhiva de Sunet), Bogdan-Mihai Simion (culegător de folclor, muzician și lăutar), Costi Rogozanu (jurnalist), Mihai Lukács (Arhiva de Sunet) ==================================== Muzică: Morometzii, „București, București” (muzică: Cezar Cristea, Costel Grecu, Sorin Ilie, Albatros, text: Cezar Cristea, Sorin Ilie, Albatros, album: Luminiles-austins, A&A Records, 1998) Albatros „București, București” (muzică și text: Albatros, album: Formația Albatros Vol. 2, Eurostar, 1992) Nelu Vlad & Azur, „În stație la Lizeanu” (muzică și text: Nelu Vlad, album: În stație la Lizeanu, Taifasuri Media, 2010) Frații Pește, „Toată lumea poartă blugi” (muzică și text: Frații Pește, album: Vol. 8, General Music, 1992) Zorile din Galați, „Eu în piață vând casete” (muzică și text: Mitică Blându, album: Selecții vol. 1, 2, 3, Amma, 1997) Îngerii Negri, „Sînt șmenar și mă distrez” (muzică și text: Îngerii Negri, album: Muzică orientală, Eurostar, 1996) Dan Armeanca, „Miri ghili romani” (muzică și text: Dan Armeanca, album: Muzică țigănească, Eurostar, 1922) Dona Dumitru Siminică, „La Șalul cel Negru” (acompaniament: Orchestra Ion Mărgean, Electrecord, 1965) Gabi Luncă, „București, ora exactă” (acompaniament: Orchestra condusă de Ion Onoriu, album: Fata care vinde flori, Electrecord, 2002) Romica Puceanu, „Florăresele” (acompaniament: Orchestra condusă de Ion Albeșteanu, album: Ridicați cu toți paharul, Electrecord, 1991) Paulina, „București” (text și muzică: Paulina, 2022) ==================================== Fragmente sonore (surse: YouTube, archive.com): Interviu trupa Albatros (https://www.youtube.com/watch?v=ANv4m...) The_ Black_angels (https://archive.org/details/The_Black...) Dan Armeanca - Spectacol Polivalenta anii 90 (https://www.youtube.com/watch?v=1NU2r...) Printisorul meu - Petrecere cu lautari pe vremea lui Ceausescu - manele vechi (https://www.youtube.com/watch?v=tc9qj...) ==================================== Echipa Arhiva de Sunet: Paul Breazu, Ionuț Dulămiță, Mihai Lukàcs Editor audio: Cătălin Matei Comunicare: Ana-Maria Pop Producătoare: Laura Trocan ==================================== Proiect susținut de Ordinul Arhitecților din România din timbrul de arhitectură. ==================================== O producție Centrul Dialectic, 2022

How do we bring musical experiences to students in the general music room?  How do we get their input and help them learn musical content that they enjoy?  Dr. Virginia Davis shares how we can give our older opportunities to share what they want to learn, use our strengths as teachers to provide possibilities, and shares about the importance of enjoying personal musicianship outside of the classroom. She made me think about several things in regards to teacher comfort, student perspective about music, and how to use music that students relate to or listen to outside of the classroom. Links Book: Fertile Ground in Middle Level Music by Stephanie Cronenberg Email: virginia.davis@usrgv.edu Research: Academia.edu    Dr. Virginia Davis Bio: Dr. Virginia Wayman Davis is Professor of Music Education at the University of Texas Rio Grande Valley, where she teaches courses in music education and research for undergraduate and graduate students. She is on the editorial board of The Journal of Popular Music Education and the advisory board of the Desert Skies Symposium on Research in Music Education. Dr. Davis is published in the Bulletin of the Council for Research in Music Education, General Music Today/Journal of General Music Education, The Journal of Popular Music Education, The Journal of Music Teacher Education, and several others, in addition to several upcoming authored and edited books and book chapters. Her research interests include meaningful music education practices, secondary general music, drumming and percussion, and popular music education. Dr. Davis stays active as a musician, currently playing percussion with the Valley Symphony Orchestra and her faculty pop/rock band The Minör Revisiöns. Afternoon Ti Instagram: @highafternoonti Website:  www.jessicagrant.org

If you teach upper elementary music students or middle school general music, this is the course that you need this summer!  Danielle Larrick and I are teaming together to bring you an incredible course that will inspire and prepare you as you are mentored along the way to build confidence in your teaching.  The Confident Music Educator Course opens on June 1, 2022 and closes on June 11, 2022.  Sign up anytime June 1-3 to get additionial freebies!!  Look for course information on our Instagram pages below. Follow us on Instagram: @theconfidentmusicteacher @musicalmiddles (Danielle) @highafternoonti (Jessica)  

This week Nick Averwater continues his conversation with Alexis Yatuzis-Derryberry, General Music Teacher at Stewarts Creek High School in Smyrna, Tennessee. Before moving to Stewarts Creek in 2021, Alexis spent nearly 20 years teaching general music and choir at the elementary and middle school levels. She is also President of the TMEA, The Tennessee Music Education Association, and an adjunct Music Education Instructor at Middle Tennessee State University.In this episode, Alexis shares ideas that will help to keep students interested in music throughout Elementary School, Middle School, and High School, and how Tennessee's strong musical traditions create unique opportunities for students during their school years, and beyond. She'll also talk about the challenges for women in leadership positions in music education.Our conversation was recorded February 9, 2022, and is broken up in to two episodes, and this is part two.

This week Nick Averwater talks with Alexis Yatuzis-Derryberry, General Music Teacher at Stewarts Creek High School in Smyrna, Tennessee. Before moving to Stewarts Creek in 2021, Alexis spent nearly 20 years teaching general music and choir at the elementary and middle school levels. She is also President of the Tennessee Music Education Association, and an adjunct Music Education Instructor at Middle Tennessee State University. We'll learn more about the path that led her to general music, why she thinks it's such an important part of a student's education, and more. Our conversation was recorded February 9, 2022, and is broken up in to two episodes. This is part one.In this conversation, Alexis mentions a couple of publications that you can link to here:First Steps In MusicWorld Music Drumming

Music happens in so many ways both inside and outside of our music classrooms. This week's episode of That Music Podcast is all about the intersections between the music education that happens in our classrooms and that that occurs in a private lesson setting. Links and Resources: Check out That Music Teacher Store

Music happens in so many ways both inside and outside of our music classrooms. This week's episode of That Music Podcast is all about the intersections between the music education that happens in our classrooms and that that occurs in a private lesson setting. Links and Resources: Check out That Music Teacher Store

Welcome back! This week, Kathryn and Theresa interviewed Rachael Sanguinetti, a middle school music teacher in Rochester, New York. Rachael's teaching load includes middle school chorus and a variety of general music classes, such as 6th grade foundational music, audio production and modern band, ukulele, and more. Being at an independent school, Rachael has the flexibility to create courses the students are most interested in - which is perfect for student empowerment! Connect with Rachael and learn more: Website Instagram: @mssangteachesmusic Creating a Student-Centered Secondary General Music Classroom Learn more about Pass the Baton: Get a free book preview here: Pass the Baton: Empowering All Music Students For more info: Pass the Baton Free Download: 6 Questions to Pass the Baton and Empower Your Music Students Free Download: Amplify Student Voice With Exit Tickets for Self Reflection

This week's episode is all about choir at the elementary level. You are not going to want to miss this fantastic interview with Emma Bassett. Emma Bassett was born and raised in Wisconsin, but got to Texas as fast as she could! After graduating from the University of Wisconsin Stevens Point with degrees in Music and Psychology, she moved to Texas, where she fell in love with the great state, and its dedication to Fine Arts Education and decided to stay. While growing up in Milwaukee she found her love of music through Piano lessons. She is also a proud 10 year alum of the Milwaukee Children's Choir. Since beginning her career, Mrs. Bassett has taught all levels and genres of Music in grades K-8 including Choir, Band, Orchestra, and General Music. She is absolutely thrilled to be the Music Specialist at Pomona Elementary where she also directs the award winning Pomona Pirate Choir, who are honored to be an invited performing group for the 2022 Texas Music Educators Association Convention. You'll often find her wearing her tutu and sparkly shoes, while singing and dancing down the halls of Pomona. When she is not at school, she enjoys spending time with her husband, and their two young children. Links and Resources: Learn more about General Music Jumpstart Join the Elementary Choir Directors FB Group

This week's episode is all about choir at the elementary level. You are not going to want to miss this fantastic interview with Emma Bassett. Emma Bassett was born and raised in Wisconsin, but got to Texas as fast as she could! After graduating from the University of Wisconsin Stevens Point with degrees in Music and Psychology, she moved to Texas, where she fell in love with the great state, and its dedication to Fine Arts Education and decided to stay. While growing up in Milwaukee she found her love of music through Piano lessons. She is also a proud 10 year alum of the Milwaukee Children's Choir. Since beginning her career, Mrs. Bassett has taught all levels and genres of Music in grades K-8 including Choir, Band, Orchestra, and General Music. She is absolutely thrilled to be the Music Specialist at Pomona Elementary where she also directs the award winning Pomona Pirate Choir, who are honored to be an invited performing group for the 2022 Texas Music Educators Association Convention. You'll often find her wearing her tutu and sparkly shoes, while singing and dancing down the halls of Pomona. When she is not at school, she enjoys spending time with her husband, and their two young children. Links and Resources: Learn more about General Music Jumpstart Join the Elementary Choir Directors FB Group

In this episode, we're discussing the biggest music news of the week including the Astroworld tragedy, the ongoing vinyl shortage, and new music releases from Silk Sonic, Avril Lavigne, Adele, and more. Thank you for listening!Hosted by Stephen Williams and Zack Miller

Hear us dive into our opinions on how music today is different from the music back then. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

I am joined by very first musical education teacher and my old friend, former classmate, Jill McCorkmick. Jill graduated from Indiana Wesleyan University with a B.S. in Music Education 2001, complerted her Masters in Music at NIU 2005. Jill has an endorsement in English as a Second Language 2018. She has been the Music Coordinator for District 428 since 2012-1 and currently teaches General Music to K-5 at Founders Elementary. Jill also sings in the community with the DeKalb Municipal Band. Has been married to her amazing husband, Brendan for 20 years, who is also an educator. Raising three sons: Sam (15), Jack (12), Ben (9) and loves to watch sports, cook, read, and many other things. We talk about The value of Music Education and navigating the classroom during a pandemic. Trying to have work/life balance and serving the community where you live. --- Send in a voice message: https://anchor.fm/pixelclassroom/message Support this podcast: https://anchor.fm/pixelclassroom/support

Find the show notes here: victoriaboler.com/podcast/2021/8/11/planning-a-music-curriculum

The first week of school is tricky. Alongside opening routines, we're also trying to figure out, quite literally, what to do with our kids for the rest of the year. What do they know? What can they demonstrate? And how are we going to continue to make music for the rest of the year?Well, today on the podcast, you're in luck because we are having our another "Tea with V" episode with Victoria Boler, where you get to listen in on a conversation we had all about pre-assessmentHere's a little bit about what we talk about on this week's episode:How to figure out where your kids are in your curricular sequence and what they are ready for next.How to actually do the pre-assessment things, and what to do with the information.What to do when you don't have a sequence and what you should be assessing and how to make meaningful next steps.If you loved today's episode, make sure to take a screenshot and tag both @victoriaboler and @annemileski on instagram!Today's episode of The Anacrusic Podcast is sponsored by my FREE guide, The Planning Playbook. Snag your copy here: annemileski.com/playbookFor today's full episode notes, click here. To chat with other music teachers and share Ideas and strategies for all things #musicteacherlife, join the Anacrusic Insiders Community here: anacrusic.com/community 

Find the show notes at victoriaboler.com/podcast

Dr. Payne and Eric are excited to start our Summer Spotlight series, where we take a deep dive into pedagogy in various settings. Joining us this episode is Mr. Steve Giddings teaches K-6 General Music and has a comprehensive website at https://www.stevesmusicroom.com. We will discuss popular music education, modern band pedagogy, and musicking of our students.Support the show (https://www.patreon.com/notyourfortepodcast)

We get it. We’re music teachers. We understand what we do and we understand our value. But to outsiders, it’s hard to define what we do. After all, it just looks like we’re only having fun. So what do music teachers do and how specifically do we help grow children? Crystal, Marc, and Jon dig deep into this discussion. Join us! Song of the Week: "Gak Goon Went the Little Green Frog" Our Social Media: @CHClassroom Find Us on Instagram, Twitter or Youtube Marc Keehmer: @mrKeehmer Crystal Pridmore: @FinneyVAPA Jonathan Seligman: @mrSeligman Email: chaoticharmonyclassroom@gmail.com Bryan Pridmore is a financial advisor at Mission Trails Financial. Mission Trails Financial provides awareness, education, and implementation for individuals and businesses looking to navigate their financial pathways. As a Fiduciary, the financial advisor is required to act within the best interest of the client. Please set up an appointment by calling (619) 419-0238 or by visiting https://missiontrailsfinancial.com Crystal Pridmore is a co-host of Chaotic Harmony Classroom. To see more of what she is doing, visit Crystal Pridmore's home page at https://www.crystalpridmore.com Production & Equipment provided by Bryan Pridmore with Pridmoria.com "Capturing Memories Worth Treasuring" https://www.pridmoria.com https://www.facebook.com/pridmoria/

Round 1 - General Pop Culture Trivia Round 2 - Music Trivia Round 3 - Movie Trivia 

I'm so excited for you to listen in to this episode with Eric Young. We talk a lot about how to connect elementary music to secondary music and why it's important for it to be a seamless transition for students. But, Eric also talks about his love for Orff Schulwerk and how it easily transfers to what he does in secondary music as well as what technology he has used with his students and why. Eric has been both an elementary and secondary music teacher, so he understands both worlds. This conversation will help bridge the gap in a way between what happens in elementary and secondary music and how teachers of both worlds can talk to and help each other out. Eric Young taught Pk-5 Elementary Music for 12 years with Montgomery County Public Schools in Christiansburg, VA. In 2016, Eric left the classroom to focus on full time music education consultant work. He worked with Lynn Kleiner's Music Rhapsody teaching online teacher training, manager of Lynn Kleiner's Music Box, and content/lesson development. In 2018, Eric returned to the classroom teaching K-3 music and 4-5 beginning band with Roanoke City School. He then returned to Montgomery County in 2019 teaching Pk-5 Elementary Music. Currently, Eric is in his first year teaching middle school Band, Choir, Guitar and General Music at Auburn Middle School in Riner, VA. Additionally, Mr. Young is an adjunct faculty member at Radford University where he teaches Music Technology for the Music Educator. Eric frequently presents music education workshops all over the US and China. Eric holds a BAchelor of Music in Music Education from Radford University and a Masters of Arts in Curriculum and Instruction from Virginia Tech. Mr. Young completed his Orff Schulwerk Levels I, II, III and Master Class from Appalachian State University. Eric lives in Christiansburg with his husband Joe and their spunky boxer, Luna. You can connect with Eric here on: Instagram @heymisteryoung Twitter @heymisteryoung Find out more about and sign up for the HARMONY membership waitlist here. Head to my website to grab your free music teaching resource. Join the Elementary Music Teacher Community Facebook group to continue the conversation and you can watch the Thursday Facebook lives on my Facebook page The Domestic Musician. I'd love for you to leave a rating and a review of the podcast on I-tunes, be sure to share the podcast with any music teacher friends who would find it helpful and be sure to tag me on Instagram or Facebook.

In this post we talked about why we need options for music education that are as accessible as possible to all our learners. We discussed the three brain networks that impact how students show up in our classrooms (Affective, Recognition, and Strategic), and some general strategies to consider when it comes to UDL. Today we'll zoom in on the Affective brain networks. In this model of brain research, the Affective networks are responsible for the level of engagement students experience in learning, as well as their motivation level to become a lifelong musical learner. We'll look at concrete examples of providing multiple means of engagement in elementary general music. This is by no means an exhaustive list, but it can get us started in thinking through practical applications of UDL in music. Let's jump in. On the go? Listen to this post instead of reading. Do I Need to Add More Means of Engagement?For some of us, UDL is a framework we learned in a recent teacher training course. For many of us, we're learning about this approach after many years already in the classroom. When we hear about a new approach in education, we might wonder if we really need to add one more thing to our list of things to think about.How will we know if students are being provided enough means of engagement?The answer might be more simple than we think. It doesn't come down to what our principals say we need to do, or a checklist from a PD session, or a trend in education. Look at the StudentsIf students are off task and unengaged in learning, it may be time to try out some new methods of recruiting interest, motivation, and self regulation. If there are students who struggle to participate in musical tasks - for whatever reason or whatever perceived reason - we can brainstorm more ways to engage them.We can also ask students about their experiences in our classrooms and listen to their feedback. If their answers show that they don't feel particularly interested in our curriculum, way of teaching, or level of ownership they're given, it might be time to explore some new ideas. Our goal is for students to be purposeful, motivated, and musical in our classrooms. Providing multiple means of engagement is how we can partner with elementary musicians so they make as much music as possible. The Guidelines for Engagement: Recruiting InterestWe like to learn about things that are interesting! How can frame or rework our presentations to nurture more student interest? Sustaining Effort and Persistence: Musicianship takes practice over time. How can we help students be attentive through the whole process? Self Regulation: When we self regulate emotional responses, we contribute to a classroom environment that's conducive to learning. How can we help students regulate their behavior so they're set up for success?These are guidelines from Cast, with examples of how they can be applied in elementary general music. Recruiting Interest (Guideline 7) We like to learn about things that are interesting! These are ways we can partner with students to engage them in classroom activities. Much of this has to do with the repertoire we select, but it also has to do with student roles in the classroom. Are students active participants in musical tasks, or are they only being asked to follow teacher directions quickly? Here are some ideas for adjusting our learning environments to be more interesting to students.Optimize individual choice and autonomy (7.1)Provide learners with as much discretion and autonomy as possible by providing choices: When we build lessons with student choice embedded, we not only strengthen our overall musicianship expectations, but we put students in a better place to take ownership of their part in learning. This starts with clear goals in our curriculum planning. From there, we can be flexible and creative about how students will show their learning. There are so many opportunities for student choice in the music room! Students can choose whether they will tiptoe or slide to their spots. They might choose to clap the rhythm of the words or pat the steady beat. They could choose to come in 1st or 2nd in a two-part round. They might choose to play an ostinato or clap the rhythm of the main song. Let's imagine we want to expand students' melodic vocabulary by exploring new melodic patterns that use low la in the extended pentatone. Early in this vocabulary building phase, we'll want students to show melodic contour of a specific pattern. Students can choose if they'll show the melody through movement or through body percussion. Since both options in this scenario move students toward our learning objective, we don't need to dictate how students show melodic contour. Both pathways give us the evidence we need to move learning forward.Read More:Musical Choice - Steps to Take Before ImprovisationAllow learners to participate in the design of classroom activities and academic tasks:Students can help us create arrangements for sharing activities like informances or other presentations. They can also help create arrangements just for fun to be performed in class. If letting students create class arrangements is new for you or your students, an easy way to get started is with rhythmic building blocks. When we work with a folk song, students can use rhythmic building blocks to create their own rhythms in small groups. With their rhythms created, we can decide as a class if the rhythms will be a B section the class plays all together, or if a few of them will be ostinati that happen throughout the whole song. Read More: Planning an Elementary Music Informance (Part 1)Optimize relevance, value, and authenticity (7.2)Vary activities and sources of information so that they can be age and ability appropriate: Among other criteria, repertoire we engage with in the music room should be repertoire we expect students to enjoy! We can select repertoire that is age appropriate, and then see how students respond over time. Students can also suggest repertoire to be used in the music room. Using student-provided repertoire requires more time and creativity from us, but the buy-in from students makes it a worthwhile endeavor.Read More: Resources for Creating a Grade-Level Song ListDesign activities so that learning outcomes are authentic, communicate to real audiences, and reflect a purpose that is clear to the participants When our musical tasks are authentic, they can be transferred to real-world scenarios outside of the music classroom. In an active musical learning environment, students learn music by musicing - by actively embodying musical ideas - not by simply being in the room while a teacher talks about musical ideas. This emphasis on active musicing engages students in authentic, real-world activities. When we think beyond things like worksheets and memorizing the lines and spaces of the staff, so many new possibilities open up like singing, playing instruments, speaking, moving, reading, writing, improvising, composing, arranging, and listening.Read More: Planning an Active Music CurriculumMinimize threats and distractions (7.3)Create an accepting and supportive classroom climate: From the first day of class, we can make sure our classrooms are safe places to learn. Our music classrooms should be places where student mistakes are welcomed and encouraged, and where forward motion is praised. Students might need coaching on the specific language to use in group work or in other classroom sharing activities when peers perform musically so the feedback is process-oriented. Read More: First Day of Elementary Music Lesson PlansVary the social demands required for learning or performance, the perceived level of support and protection and the requirements for public display and evaluation: Music engagement requires vulnerability on the part of us and our students, specifically when it comes to specific performance tasks such as singing or improvising. Because we learn by actively musicing, it's possible for the performance aspect of our classrooms to cause nervousness in some students. When we compare music learning to a traditional math class, this difference is highlighted well. When students learn math in a traditional classroom, they often sit at their desks while the teacher talks about math. When it's time to show their knowledge, students often write down an answer on a worksheet. If a student has trouble with a specific math skill, their peers won't know. In contrast, in an active music room students perform musical tasks to show their knowledge. The emphasis on authenticity can also cause anxiety for some students who can be concerned that if they don't perform a skill well, everyone will know. We can help minimize threats and distractions by scaffolding skills well and lesson planning with intention so students aren't put in a vulnerable position before they're ready. When it's time to do a skill like singing or improvising, we can practice as a whole class, we can inner hear answers in our heads, we can practice with small groups, and then with partners all before necessarily asking students to perform alone.Read More: Improvisation Tips for Elementary General Music The Takeaway: We can offer students choice, make learning active, and scaffold tasks strategically to engage more student interest. Sustaining Effort and Persistence (Guideline 8) When we learn a new skill, we need a combination of challenges to move us forward and assistance to help us meet those challenges. Thoughtful practice over time and internal motivation are both necessary to create lifelong musical learners. How can we partner with students so they're self-aware and motivated to persevere as they build musicianship over time? Because we see (on average) ages 5 - 11, the answers to this question will change as our students change with age, interest, and life experiences.Heighten salience of goals and objectives (8.1)Engage learners in assessment discussions of what constitutes excellence and generate relevant examples that connect to their cultural background and interests: Students can be involved in the creation of goal setting and evaluation in the classroom! In preparation for an informance or another sharing event, students can think about what an excellent final product would be, and come up with a list of criteria to know they've reached the goal. Class-created rubrics can be helpful to get the whole group of musicians on the same page. Learn More: Active Embedded Assessment in Elementary General MusicUse prompts or scaffolds for visualizing desired outcome: As we work toward an aural picture of musicianship, there are many ways we could achieve our desired outcomes! We could listen to field recordings. The teacher could demonstrate. We could listen to peer ideas. We could inner hear our desired vocal sounds. We could mime playing the instrument while inner hearing. We could map out the form of our arrangement on the board. There are many possibilities to provide an aural and visual image of the final musical goal!Vary demands and resources to optimize challenge (8.2)Vary the degrees of freedom for acceptable performance: When we're clear on our long-range and short-term learning goals, we get clarity on how much room we have for individual choice within those learning parameters. For example, if students are asked to perform a B section with rhythmic building blocks using patterns containing and beat and beat subdivision, there are many options embedded! Will students perform on text or on rhythm syllables? Will they clap the rhythms as they speak? Could they put the rhythms on body percussion? Will they add movements for each rhythm item? Will all cards have two beats or will some have four? Will students come up with the rhythms or will we provide them? We can consider what parameters we will set as teachers and what freedoms within those parameters students will have after we clarify our specific learning goals.Read More: The Ultimate Guide to Lesson Planning in the Music Room - Part 1Emphasize process, effort, improvement in meeting standards as alternatives to external evaluation and competition: Why should students be interested and engaged in our learning tasks? Is it to see their class score on a behavior chart? Is it the threat of punishment or potential for a reward (both two sides of the same threat-based coin)? Thoughtful practice over time and internal motivation are what create lifelong musical learners. We can help deemphasize stickers, charts, pizza parties, and competition by emphasizing student progress, effort, and improvement. Instead of “Yessss your class is winning the good behavior competition between the 3rd grade classes! One step closer to free choice day in music!” we can try “I think our class rondo sounds even more expressive after today's class! Let's compare the audio I just recorded with what I recorded three classes ago and see what we think. After you listen, talk to your shoulder partner about what we can do next.”Foster Collaboration and Community (8.3)Our classrooms aren't isolated contexts. Elementary music students have a lot to learn from each other, and it's important that they leave our classrooms able to listen and collaborate with other people.Create cooperative learning groups with clear goals, roles, and responsibilities: In an active music classroom, information is shared from teacher to student, student to teacher, student to student, and students to community. This is an important part of deemphasizing the teacher as the source of all musical knowledge, and reframing the teacher's role to the musical guide while the students construct their own knowledge. Students can work in small groups to figure out how to play a melodic pattern on barred instruments by ear. They could create a group ostinato. They could brainstorm ideas for a B section. They could discuss the meaning of the text in a song, book, or story. Create expectations for group work: Like us, young musicians can have conflict when working in groups. What are the expectations for listening to ideas? What are the expectations for trying those ideas? Creating rubrics or checklists for students to work toward in small groups can be helpful to establish boundaries and goals. Increase mastery-oriented feedback (8.4) Musical skills are built, not born. Despite the wide-spread myths around innate talent and creativity, our students become better musicians when they are motivated to thoughtfully practice over time. All of us are motivated to keep learning when we feel we're making progress. One of the teacher's jobs in the UDL classroom is to help students approach challenges through mastery-oriented feedback.Provide feedback that encourages perseverance, focuses on development of efficacy and self-awareness, and encourages the use of specific supports and strategies in the face of challenge:When students encounter challenges to things like pitch matching, we can give them specific supports such as vocal sirens, inner hearing the melodic contour while moving, or singing with a friend. Instead of “Grace, you have such a beautiful voice!” we can try “Grace, did you hear how your voice changed after we did the sirens together?!” One implies an innate ability. One implies building skills over time through strategic support and self-awareness.Provide feedback that models how to incorporate evaluation, including identifying patterns of errors and wrong answers, into positive strategies for future success: In preparation for an informance or another sharing scenario, students may be working on a whole class ensemble arrangement of (just as an example) Engine Engine Number Nine. In this arrangement example, as one group is moving like a train, one group is playing a steady beat on tubanos, and one group is playing the rhythm of the words on rhythm sticks, it's possible to get off from the steady beat. When that happens, we can say something like “hmmmm let's do that again and listen across the room while we perform. When we're done, we'll tell someone next to us what we notice.” Students perform the arrangement again, discuss with their shoulder partner, then share a few comments with the class. If steady beat matching is identified as a problem, students can brainstorm solutions that the teacher writes on the board (inner hear and pretend to play your part, play quieter, watch the other groups, etc.). Students choose their strategy, then discuss whether or not it helped the ensemble.Listen to More: Rhythm vs Beat Arrangement for Engine Engine Number Nine The Takeaway: We can create safe learning environments where students create goals, explore freedom within boundaries, and get process-oriented feedback from us. Provide options for Self Regulation (Guideline 9) Students differ in how engaged they are in specific tasks and how aware they are of their behavioral reactions to emotion. We can build in checks to strategically help students monitor their behavior, motivation, and engagement. The more we circle back to these internal motivation checks, the more opportunities we provide for students to be successful. Promote expectations and beliefs that optimize motivation (9.1):It can be challenging for some students to wrestle with their current musical skill level in comparison to where they want to be. It's possible for students to act out of frustration when musical tasks are beyond their reach the first try. Provide prompts, reminders, guides, rubrics, checklists that focus on elevating the frequency of self-reflection and self-reinforcements: It can be helpful for students to have checks with group or independent work so they're not alarmed or panicked when time is up. This idea is one I adopted from my Orff level 1 instructor, Alicia Knox. When student group or individual work time is nearing its end, the teacher plays an attention-grabber (bell, clap, chimes, etc.) and students hold up fingers for the number of minutes they still need to complete the task. The teacher scans the numbers quickly, then shares how many more minutes (if any) students will work before moving on with the lesson. When we ask students what they need, we give them an opportunity to mentally check in on their own musical progress and make an statement on what they need next.Support activities that encourage self-reflection and identification of personal goals: As we work on individual or group assignments like compositions, it can be helpful for students to create their own goals for independent work. When working on a composition or other extended project, students can turn their paper over and fill in the blank to two simple prompts: “Today I ___ (write what was worked on)____. Next class I will ___ (write the next steps)___.” Students can also discuss these goals with a shoulder partner before writing. This helps keep the whole class focused on the next steps.Read More: An Orff Arrangement for Bluebird BluebirdFacilitate personal coping skills and strategies (9.2):We all have times we feel sad, nervous, or angry in music class. Managing responses to emotions may come easier to some students than others, but there are ways we can help all students move toward managing their emotionally reactive behavior.Provide differentiated models, scaffolds and feedback for appropriately handling subject specific phobias and judgments of “natural” aptitude: When we feel uncomfortable, anxious, or embarrassed, it's normal to behave in a way that helps us avoid those feelings. Often that behavior isn't conducive to the classroom environment we want to build. For example, students might react to these feelings by throwing mallets, yelling, shutting down, using comical voices or gestures, attempting to leave the learning space, or using hurtful words. Other guidelines in this post have mentioned the importance of scaffolding musical tasks and offering choices so students are challenged appropriately. We can also help students clarify their wording from “I'm not good at music” (a thought that can trigger an unproductive emotional behavior response) to “I didn't play the 16th notes the way I wanted this time, but what if I try with a slower tempo?” (a thought that can move toward more positive and musical behavior).Develop self-assessment and reflection (9.3)Offer devices, aids, or charts to assist individuals in learning to collect, chart and display data from their own behavior for the purpose of monitoring changes in those behaviors: I taught a particular musician who found it incredibly difficult to go through class without verbal outbursts. These were harmful to the learning environment and I wanted to partner with the student to see how we could find alternative ways of expression. The first step was simply helping this musician see what I was talking about when I referred to “verbal outbursts.” We came up with a system where the musician would keep track via written talleys for the number of outbursts in the class. There was no punishment for more talleys and no reward for fewer talleys. At the end of class the musician would share their numbers with me quickly before going to baseball practice. In those conversations, we mostly talked about what the student thought about class that day, and how baseball was going. The outbursts lowered dramatically in those weeks, and my relationship with the student improved.Read More: Upper Elementary Classroom Management for Music Teachers The Takeaway: We can help students monitor their thoughts and behaviors by incorporating regular check-ins and opportunities for reflection. In this post we've discussed many different angles for providing multiple means of engagement in Elementary General music. Again, this is by no means an exhaustive list! The purposes just to get us thinking about some practical applications of Universal Design for Learning in elementary general music. As teachers we are learners first. When we learn about a new framework for education we have an opportunity to try on new ideas, new philosophies, and new practices. Sometimes we also get to connect those new philosophies to actions that we're already doing in the classroom. Most of us we are likely already implementing some of these UDL ideas, so perhaps we decide to highlight those practices moving forward. Perhaps there are some things that we could tweak just a bit to enhance the types of engagement we offer. If you have thoughts about Universal Design for Learning or this particular pillar of multiple means of engagement I would love to hear from you. You can drop a comment below, shoot me an email, or find me on instagram. How to Cite this Blog Post: Boler, V. (2021, March 2). Multiple means of engagement in elementary general music (UDL in music part 2). Victoria Boler. https://victoriaboler.com/blog/udl-elementary-music-multiple-means-of-engagement

In this post we talked about why we need options for music education that are as accessible as possible to all our learners. We discussed the three brain networks that impact how students show up in our classrooms (Affective, Recognition, and Strategic), and some general strategies to consider when it comes to UDL. Today we'll zoom in on the Affective brain networks. In this model of brain research, the Affective networks are responsible for the level of engagement students experience in learning, as well as their motivation level to become a lifelong musical learner. We'll look at concrete examples of providing multiple means of engagement in elementary general music. This is by no means an exhaustive list, but it can get us started in thinking through practical applications of UDL in music. Let's jump in. On the go? Listen to this post instead of reading. Do I Need to Add More Means of Engagement?For some of us, UDL is a framework we learned in a recent teacher training course. For many of us, we're learning about this approach after many years already in the classroom. When we hear about a new approach in education, we might wonder if we really need to add one more thing to our list of things to think about.How will we know if students are being provided enough means of engagement?The answer might be more simple than we think. It doesn't come down to what our principals say we need to do, or a checklist from a PD session, or a trend in education. Look at the StudentsIf students are off task and unengaged in learning, it may be time to try out some new methods of recruiting interest, motivation, and self regulation. If there are students who struggle to participate in musical tasks - for whatever reason or whatever perceived reason - we can brainstorm more ways to engage them.We can also ask students about their experiences in our classrooms and listen to their feedback. If their answers show that they don't feel particularly interested in our curriculum, way of teaching, or level of ownership they're given, it might be time to explore some new ideas. Our goal is for students to be purposeful, motivated, and musical in our classrooms. Providing multiple means of engagement is how we can partner with elementary musicians so they make as much music as possible. The Guidelines for Engagement: Recruiting InterestWe like to learn about things that are interesting! How can frame or rework our presentations to nurture more student interest? Sustaining Effort and Persistence: Musicianship takes practice over time. How can we help students be attentive through the whole process? Self Regulation: When we self regulate emotional responses, we contribute to a classroom environment that's conducive to learning. How can we help students regulate their behavior so they're set up for success?These are guidelines from Cast, with examples of how they can be applied in elementary general music. Recruiting Interest (Guideline 7) We like to learn about things that are interesting! These are ways we can partner with students to engage them in classroom activities. Much of this has to do with the repertoire we select, but it also has to do with student roles in the classroom. Are students active participants in musical tasks, or are they only being asked to follow teacher directions quickly? Here are some ideas for adjusting our learning environments to be more interesting to students.Optimize individual choice and autonomy (7.1)Provide learners with as much discretion and autonomy as possible by providing choices: When we build lessons with student choice embedded, we not only strengthen our overall musicianship expectations, but we put students in a better place to take ownership of their part in learning. This starts with clear goals in our curriculum planning. From there, we can be flexible and creative about how students will show their learning. There are so many opportunities for student choice in the music room! Students can choose whether they will tiptoe or slide to their spots. They might choose to clap the rhythm of the words or pat the steady beat. They could choose to come in 1st or 2nd in a two-part round. They might choose to play an ostinato or clap the rhythm of the main song. Let's imagine we want to expand students' melodic vocabulary by exploring new melodic patterns that use low la in the extended pentatone. Early in this vocabulary building phase, we'll want students to show melodic contour of a specific pattern. Students can choose if they'll show the melody through movement or through body percussion. Since both options in this scenario move students toward our learning objective, we don't need to dictate how students show melodic contour. Both pathways give us the evidence we need to move learning forward.Read More:Musical Choice - Steps to Take Before ImprovisationAllow learners to participate in the design of classroom activities and academic tasks:Students can help us create arrangements for sharing activities like informances or other presentations. They can also help create arrangements just for fun to be performed in class. If letting students create class arrangements is new for you or your students, an easy way to get started is with rhythmic building blocks. When we work with a folk song, students can use rhythmic building blocks to create their own rhythms in small groups. With their rhythms created, we can decide as a class if the rhythms will be a B section the class plays all together, or if a few of them will be ostinati that happen throughout the whole song. Read More: Planning an Elementary Music Informance (Part 1)Optimize relevance, value, and authenticity (7.2)Vary activities and sources of information so that they can be age and ability appropriate: Among other criteria, repertoire we engage with in the music room should be repertoire we expect students to enjoy! We can select repertoire that is age appropriate, and then see how students respond over time. Students can also suggest repertoire to be used in the music room. Using student-provided repertoire requires more time and creativity from us, but the buy-in from students makes it a worthwhile endeavor.Read More: Resources for Creating a Grade-Level Song ListDesign activities so that learning outcomes are authentic, communicate to real audiences, and reflect a purpose that is clear to the participants When our musical tasks are authentic, they can be transferred to real-world scenarios outside of the music classroom. In an active musical learning environment, students learn music by musicing - by actively embodying musical ideas - not by simply being in the room while a teacher talks about musical ideas. This emphasis on active musicing engages students in authentic, real-world activities. When we think beyond things like worksheets and memorizing the lines and spaces of the staff, so many new possibilities open up like singing, playing instruments, speaking, moving, reading, writing, improvising, composing, arranging, and listening.Read More: Planning an Active Music CurriculumMinimize threats and distractions (7.3)Create an accepting and supportive classroom climate: From the first day of class, we can make sure our classrooms are safe places to learn. Our music classrooms should be places where student mistakes are welcomed and encouraged, and where forward motion is praised. Students might need coaching on the specific language to use in group work or in other classroom sharing activities when peers perform musically so the feedback is process-oriented. Read More: First Day of Elementary Music Lesson PlansVary the social demands required for learning or performance, the perceived level of support and protection and the requirements for public display and evaluation: Music engagement requires vulnerability on the part of us and our students, specifically when it comes to specific performance tasks such as singing or improvising. Because we learn by actively musicing, it's possible for the performance aspect of our classrooms to cause nervousness in some students. When we compare music learning to a traditional math class, this difference is highlighted well. When students learn math in a traditional classroom, they often sit at their desks while the teacher talks about math. When it's time to show their knowledge, students often write down an answer on a worksheet. If a student has trouble with a specific math skill, their peers won't know. In contrast, in an active music room students perform musical tasks to show their knowledge. The emphasis on authenticity can also cause anxiety for some students who can be concerned that if they don't perform a skill well, everyone will know. We can help minimize threats and distractions by scaffolding skills well and lesson planning with intention so students aren't put in a vulnerable position before they're ready. When it's time to do a skill like singing or improvising, we can practice as a whole class, we can inner hear answers in our heads, we can practice with small groups, and then with partners all before necessarily asking students to perform alone.Read More: Improvisation Tips for Elementary General Music The Takeaway: We can offer students choice, make learning active, and scaffold tasks strategically to engage more student interest. Sustaining Effort and Persistence (Guideline 8) When we learn a new skill, we need a combination of challenges to move us forward and assistance to help us meet those challenges. Thoughtful practice over time and internal motivation are both necessary to create lifelong musical learners. How can we partner with students so they're self-aware and motivated to persevere as they build musicianship over time? Because we see (on average) ages 5 - 11, the answers to this question will change as our students change with age, interest, and life experiences.Heighten salience of goals and objectives (8.1)Engage learners in assessment discussions of what constitutes excellence and generate relevant examples that connect to their cultural background and interests: Students can be involved in the creation of goal setting and evaluation in the classroom! In preparation for an informance or another sharing event, students can think about what an excellent final product would be, and come up with a list of criteria to know they've reached the goal. Class-created rubrics can be helpful to get the whole group of musicians on the same page. Learn More: Active Embedded Assessment in Elementary General MusicUse prompts or scaffolds for visualizing desired outcome: As we work toward an aural picture of musicianship, there are many ways we could achieve our desired outcomes! We could listen to field recordings. The teacher could demonstrate. We could listen to peer ideas. We could inner hear our desired vocal sounds. We could mime playing the instrument while inner hearing. We could map out the form of our arrangement on the board. There are many possibilities to provide an aural and visual image of the final musical goal!Vary demands and resources to optimize challenge (8.2)Vary the degrees of freedom for acceptable performance: When we're clear on our long-range and short-term learning goals, we get clarity on how much room we have for individual choice within those learning parameters. For example, if students are asked to perform a B section with rhythmic building blocks using patterns containing and beat and beat subdivision, there are many options embedded! Will students perform on text or on rhythm syllables? Will they clap the rhythms as they speak? Could they put the rhythms on body percussion? Will they add movements for each rhythm item? Will all cards have two beats or will some have four? Will students come up with the rhythms or will we provide them? We can consider what parameters we will set as teachers and what freedoms within those parameters students will have after we clarify our specific learning goals.Read More: The Ultimate Guide to Lesson Planning in the Music Room - Part 1Emphasize process, effort, improvement in meeting standards as alternatives to external evaluation and competition: Why should students be interested and engaged in our learning tasks? Is it to see their class score on a behavior chart? Is it the threat of punishment or potential for a reward (both two sides of the same threat-based coin)? Thoughtful practice over time and internal motivation are what create lifelong musical learners. We can help deemphasize stickers, charts, pizza parties, and competition by emphasizing student progress, effort, and improvement. Instead of “Yessss your class is winning the good behavior competition between the 3rd grade classes! One step closer to free choice day in music!” we can try “I think our class rondo sounds even more expressive after today's class! Let's compare the audio I just recorded with what I recorded three classes ago and see what we think. After you listen, talk to your shoulder partner about what we can do next.”Foster Collaboration and Community (8.3)Our classrooms aren't isolated contexts. Elementary music students have a lot to learn from each other, and it's important that they leave our classrooms able to listen and collaborate with other people.Create cooperative learning groups with clear goals, roles, and responsibilities: In an active music classroom, information is shared from teacher to student, student to teacher, student to student, and students to community. This is an important part of deemphasizing the teacher as the source of all musical knowledge, and reframing the teacher's role to the musical guide while the students construct their own knowledge. Students can work in small groups to figure out how to play a melodic pattern on barred instruments by ear. They could create a group ostinato. They could brainstorm ideas for a B section. They could discuss the meaning of the text in a song, book, or story. Create expectations for group work: Like us, young musicians can have conflict when working in groups. What are the expectations for listening to ideas? What are the expectations for trying those ideas? Creating rubrics or checklists for students to work toward in small groups can be helpful to establish boundaries and goals. Increase mastery-oriented feedback (8.4) Musical skills are built, not born. Despite the wide-spread myths around innate talent and creativity, our students become better musicians when they are motivated to thoughtfully practice over time. All of us are motivated to keep learning when we feel we're making progress. One of the teacher's jobs in the UDL classroom is to help students approach challenges through mastery-oriented feedback.Provide feedback that encourages perseverance, focuses on development of efficacy and self-awareness, and encourages the use of specific supports and strategies in the face of challenge:When students encounter challenges to things like pitch matching, we can give them specific supports such as vocal sirens, inner hearing the melodic contour while moving, or singing with a friend. Instead of “Grace, you have such a beautiful voice!” we can try “Grace, did you hear how your voice changed after we did the sirens together?!” One implies an innate ability. One implies building skills over time through strategic support and self-awareness.Provide feedback that models how to incorporate evaluation, including identifying patterns of errors and wrong answers, into positive strategies for future success: In preparation for an informance or another sharing scenario, students may be working on a whole class ensemble arrangement of (just as an example) Engine Engine Number Nine. In this arrangement example, as one group is moving like a train, one group is playing a steady beat on tubanos, and one group is playing the rhythm of the words on rhythm sticks, it's possible to get off from the steady beat. When that happens, we can say something like “hmmmm let's do that again and listen across the room while we perform. When we're done, we'll tell someone next to us what we notice.” Students perform the arrangement again, discuss with their shoulder partner, then share a few comments with the class. If steady beat matching is identified as a problem, students can brainstorm solutions that the teacher writes on the board (inner hear and pretend to play your part, play quieter, watch the other groups, etc.). Students choose their strategy, then discuss whether or not it helped the ensemble.Listen to More: Rhythm vs Beat Arrangement for Engine Engine Number Nine The Takeaway: We can create safe learning environments where students create goals, explore freedom within boundaries, and get process-oriented feedback from us. Provide options for Self Regulation (Guideline 9) Students differ in how engaged they are in specific tasks and how aware they are of their behavioral reactions to emotion. We can build in checks to strategically help students monitor their behavior, motivation, and engagement. The more we circle back to these internal motivation checks, the more opportunities we provide for students to be successful. Promote expectations and beliefs that optimize motivation (9.1):It can be challenging for some students to wrestle with their current musical skill level in comparison to where they want to be. It's possible for students to act out of frustration when musical tasks are beyond their reach the first try. Provide prompts, reminders, guides, rubrics, checklists that focus on elevating the frequency of self-reflection and self-reinforcements: It can be helpful for students to have checks with group or independent work so they're not alarmed or panicked when time is up. This idea is one I adopted from my Orff level 1 instructor, Alicia Knox. When student group or individual work time is nearing its end, the teacher plays an attention-grabber (bell, clap, chimes, etc.) and students hold up fingers for the number of minutes they still need to complete the task. The teacher scans the numbers quickly, then shares how many more minutes (if any) students will work before moving on with the lesson. When we ask students what they need, we give them an opportunity to mentally check in on their own musical progress and make an statement on what they need next.Support activities that encourage self-reflection and identification of personal goals: As we work on individual or group assignments like compositions, it can be helpful for students to create their own goals for independent work. When working on a composition or other extended project, students can turn their paper over and fill in the blank to two simple prompts: “Today I ___ (write what was worked on)____. Next class I will ___ (write the next steps)___.” Students can also discuss these goals with a shoulder partner before writing. This helps keep the whole class focused on the next steps.Read More: An Orff Arrangement for Bluebird BluebirdFacilitate personal coping skills and strategies (9.2):We all have times we feel sad, nervous, or angry in music class. Managing responses to emotions may come easier to some students than others, but there are ways we can help all students move toward managing their emotionally reactive behavior.Provide differentiated models, scaffolds and feedback for appropriately handling subject specific phobias and judgments of “natural” aptitude: When we feel uncomfortable, anxious, or embarrassed, it's normal to behave in a way that helps us avoid those feelings. Often that behavior isn't conducive to the classroom environment we want to build. For example, students might react to these feelings by throwing mallets, yelling, shutting down, using comical voices or gestures, attempting to leave the learning space, or using hurtful words. Other guidelines in this post have mentioned the importance of scaffolding musical tasks and offering choices so students are challenged appropriately. We can also help students clarify their wording from “I'm not good at music” (a thought that can trigger an unproductive emotional behavior response) to “I didn't play the 16th notes the way I wanted this time, but what if I try with a slower tempo?” (a thought that can move toward more positive and musical behavior).Develop self-assessment and reflection (9.3)Offer devices, aids, or charts to assist individuals in learning to collect, chart and display data from their own behavior for the purpose of monitoring changes in those behaviors: I taught a particular musician who found it incredibly difficult to go through class without verbal outbursts. These were harmful to the learning environment and I wanted to partner with the student to see how we could find alternative ways of expression. The first step was simply helping this musician see what I was talking about when I referred to “verbal outbursts.” We came up with a system where the musician would keep track via written talleys for the number of outbursts in the class. There was no punishment for more talleys and no reward for fewer talleys. At the end of class the musician would share their numbers with me quickly before going to baseball practice. In those conversations, we mostly talked about what the student thought about class that day, and how baseball was going. The outbursts lowered dramatically in those weeks, and my relationship with the student improved.Read More: Upper Elementary Classroom Management for Music Teachers The Takeaway: We can help students monitor their thoughts and behaviors by incorporating regular check-ins and opportunities for reflection. In this post we've discussed many different angles for providing multiple means of engagement in Elementary General music. Again, this is by no means an exhaustive list! The purposes just to get us thinking about some practical applications of Universal Design for Learning in elementary general music. As teachers we are learners first. When we learn about a new framework for education we have an opportunity to try on new ideas, new philosophies, and new practices. Sometimes we also get to connect those new philosophies to actions that we're already doing in the classroom. Most of us we are likely already implementing some of these UDL ideas, so perhaps we decide to highlight those practices moving forward. Perhaps there are some things that we could tweak just a bit to enhance the types of engagement we offer. If you have thoughts about Universal Design for Learning or this particular pillar of multiple means of engagement I would love to hear from you. You can drop a comment below, shoot me an email, or find me on instagram. How to Cite this Blog Post: Boler, V. (2021, March 2). Multiple means of engagement in elementary general music (UDL in music part 2). Victoria Boler. https://victoriaboler.com/blog/udl-elementary-music-multiple-means-of-engagement

This week's podcast comes from an Instagram live I did with a General Music Mastermind alumnae. Kate took the course when we did our beta launch over the summer and is going to be taking it again with us this time around. Kate shares her experience with the course and helps me answer questions about the course for those who were tuning in live. If you want to learn more about General Music Mastermind, click here! Hurry, we're closing the doors on January 31st.

This week’s podcast comes from an Instagram live I did with a General Music Mastermind alumnae. Kate took the course when we did our beta launch over the summer and is going to be taking it again with us this time around. Kate shares her experience with the course and helps me answer questions about the course for those who were tuning in live. If you want to learn more about General Music Mastermind, click here! Hurry, we’re closing the doors on January 31st. --- Support this podcast: https://anchor.fm/thatmusicpodcast/support

Bill and I talk about Mother Buskers along with our music choices for the week, female vocalists to be specific. What is a Busker, dial in and listen…our show begins and continues to tailor down to our original intention, music. We take a listen and sample music buskers, some Spanish music…Johnny Marr. Pour me another brother

Zach VanderGraaff is an elementary school general music teacher who has been adapting his teaching during the global pandemic in interesting ways.  He launched his website Dynamic Music Room prior to the pandemic, and he has been offering resources like his 9 weeks of online lessons survival pack to teachers looking for guidance in the unfamiliar new format of teaching.   We talk about Zach’s background, his wonderful interview for the Musicality Now podcast, the Kodaly method, and much more.   Check out Dynamic Music Room on Facebook and YouTube, and you can use the code JASON55 for $5 off of Zach’s  9 weeks of online lessons survival pack through the end of the year!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Practizma - The Practizma practice journal is packed with research based strategies to turn your ho-hum practice into extraordinary practice.  Develop your curiosity, discipline, creativity, daring, tenacity and zen.  Take a journey with four elements each week: goal setting, reflection prompt, action challenge, and journal pages to track your practice.  Curious? Download the introductory chapter of the journal for free - this gives you an idea of what it's all about.   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

For this episode of Comm Talk By Geek Devotions; we are introducing a new segment called Primitive Rhythm Machine. This new monthly instalment features our dear friends John Harju and Stephen MacDonald who aim to educate you Devoted Geeks about really good Christian music and how to use discernment about what we as Christians listen to. In this episode, we have a loose introduction of Steve and John and their thoughts on music in general. They also take some time to talk about how they hope the show will go and assign listening homework for each other, and you. Time Code: 0:00 Show Intro 1:00 Meet John and Stephen 6:00 What on earth is happening here? 7:40 What's the Intentions of PRM? 10:12 How do John and Stephen interact with secular music? 23:42 What is Stephen's musical taste? 28:43 What caused a shift in Christian Music? 33:15 Was there a band or album that opened Stephen's eyes to “alternative” Christian music? 42:26 John's musical tastes 49:30 General Music recommendations 57:36 Album Homework… Stay of Execution - Deliverance: https://www.facebook.com/DeliveranceRocks/ White Lighter - White Lighter: https://www.facebook.com/whitelightermusic/  If you have questions or recommendations for PRM, email Stephen at steveandchrista@me.com Playing Games with Strangers: https://playinggameswithstrangers.com/  Theme Song: “Smile” by DJ Lebreno = https://soundcloud.com/lebreno Used with the Express Permission of DJ Lebreno We want to give a very special thank you to the Devoted Patreon Geeks who help to support Geek Devotions on a monthly basis: Francisco Ruiz Adam Arciniega Cody McGurk Erin Straus Andrew Markham Paul Turner Jacob Russel Mike Alderman Nathan Marchand The Dapper Man Dale White Ashley Kronenbitter Scott Minor MagicFroggi Michael Joseph Manacci If you'd like to become a Devoted Patreon Geek or learn more about the benefits of becoming one, click the link below; https://www.patreon.com/GeekDevotions You can do a one time gift via PayPal here https://www.paypal.me/geekdevotions Check out our Devoted Geek Apparel: https://www.revivalsigns.org/geek-devotions  Visit our Website: http://www.geekdevotions.com

Breaking The Third Wall Through Music's Mission statement: The mission of Breaking The Third Wall Through Music is to break the barriers between ableism and music, by bringing a wide range of musicians, regardless of disability, instrument, background, and field of interested across all genres to chat. This specific episode had Tyler Mazone, a composer and clarinetist to talk about his experiences as a deaf individual in the music field. His bio: " I never expected to be composing and playing music like I am today. I was born deaf. I grew up in love with science, video games and the usual nerdy things a typical boy at that age would be. I merely participated in General Music class. However, when I first chose my instruments in Fourth Grade I was attracted to the clarinet the most. This began my band career, and I was in for quite a journey. My deafness made it a huge challenge for me to learn how to play music. I struggled to learn how to practice and listen to myself play the clarinet, but I had several music teachers that helped me along the way. Hard work had to happen in order for me to get through it. The idea of much of my peers coming together to make music was just magical for me, and I kept coming back and working for more. I wanted to grow and get better to be able to enjoy the music even more. I started composing because I wanted to create the magical music that I heard in video game soundtracks but I eventually started learning how to compose for band by studying scores, and by listening in my band rehearsals. This enabled me to indulge myself in the music even more, and I enjoy it on a deeper level than I did before. Now a graduate of Guilderland High School, and a student at the Crane School of Music, I can surely say that I am still indulging and enjoying new kinds of music. My goal for my composition work is to be able to inspire others to listen and indulge just as I have been, and to tell my story in a medium that is not comprised of words. I have recently been involved with the 2019 Young Composer and Conductor Mentor Projects headed by composer Mark Camphouse and hosted by the US Air Force Band! " His website: https://tylermazone.wixsite.com/home/bio Social media for Breaking The Third Wall In Music: Facebook + Youtube: @BreakingTheThirdWallInMusic This episode will be soon available on youtube with captions for those who are deaf and hard of hearing.

We're chatting with Kevin Coyne, a public middle school teacher who teaches both band and general music. Referenced Resources and Media: JW Pepper - sheet music retailer Flipgrid - video discussion website for classrooms SmartMusic - Music Learning Software Soundtrap - Online Music Studio Google Hangouts - Communication Software Music credit: itsmochajones (user) at freesound.org Have any feedback or want to hear yourself on the show? Email me at: soundsinsilencepodcast@gmail.com

Thank you for listening to this episode of That Music Podcast. This week I'm talking to my good friend Melody Oberschlake about Little Kids Rock. Melody Oberschlake received her Bachelor of Music in Music Education from Ohio Wesleyan University in 2017. During her time at Ohio Wesleyan she majored in vocal music education while also minoring in clarinet and piano. She is in her third year of teaching 5th and 6th grade General Music at Lakeview Intermediate School in the Stow Munroe Falls City School District where she also teaches choir and directs the school musicals. In her free time, she loves crafting, trips to Cedar Point, and spending time with her husband Jonathan and dog Theo. Links and Resources: FREE Music Teaching Portfolio Template Little Kids Rock This episode is brought to you by my FREE editable music teaching portfolio template. Whether you are looking for your first job, or are just trying to find something new, this free template will help you stand out from the rest of the applicants. To grab your easy-to-use template, head over to www.ThatMusicTeacher.com/Portfolio Be sure to subscribe so you don't miss any new episodes of That Music Podcast. You can check out show notes and more at www.thatmusicteacher.com. While you're here, take a moment to join the free General Music Mastermind Facebook group!

I sit down with trivia player and musician Sean Tamillo and chat about some general music trivia while eating lunch at The Habit. Do you know tunes from Beyonce to Boy George? Then this ep's for you!  THE FIRST TRIVIA QUESTION STARTS AT 03:09. Theme song by www.soundcloud.com/Frawsty http://TriviaWithBudds.com http://Facebook.com/TriviaWithBudds http://Twitter.com/ryanbudds http://Instagram.com/ryanbudds Book a party, corporate event, or fundraiser anytime by emailing ryanbudds@gmail.com or use the contact form here: https://www.triviawithbudds.com/contact SUPPORT THE SHOW! New PATREON page is up at: www.Patreon.com/TriviaWithBudds Send me your questions and I'll read them/answer them on the show. Also send me any topics you'd like me to cover on future episodes, anytime! Cheers.  SPECIAL THANKS TO ALL MY PATREON SUBSCRIBERS INCLUDING: Kerry Moore, Manny Majarian, Alexis Eck, Earl Clark, Alex DeSmet, Sarah McKavetz, Simon Time, Jess Whitener, Jen Wojnar, Kyle Bonnin, Douglas French, Erika Cooper, Feana Nevel, Scott Budds (The Scorpion), Brenda Martinez, and Casey Becker!