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

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

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

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

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

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

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

  5. Greet & Go

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

  7. A brief look at curriculum

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

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

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

  11. A Teaching Bag of Tricks

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

  13. PowerPoint: Note Reading

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

  15. Your Bag of Tricks

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

  17. Web Sites

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

  19. Apps

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

  21. Choral techniques and philosophy

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

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

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

  25. Band techniques and philosophy

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

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

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

  29. Liturgical music techniques and philosophy

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

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

  32. Professional Organizations

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

  34. NCMEA Grants

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

  36. Recognition Opportunities

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

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

  39. Parting Thoughts

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