band
Why Do I Do This? Pat Pollock, WMEA State Chair, Band
As I fished around for a topic to ex- plore, I considered the plethora of pos- sible practical point- ers for improving an ensemble. But, I realized that we all have ready access to many of these
“pointers” through various media sources. Then, I waded through the dozens of emails and memos analyzing different educational techniques to engage our students in the classroom. Now on the backside of my 25th
year as a director, I’m
always looking for new and innovative ways to successfully introduce and mas- ter the objectives of the curriculum. But
nothing there seemed compelling either. We’ve been there, done that.
So, I thought that I would venture away from the norm and explore a more in- spiring idea. Although part of our job is entertaining the public with numerous performances throughout the year, many of us find ourselves also trying to entertain our students. We need to retain a large number of them in our programs to justify our existence. It can be a worry for all of us, but as our district enrollment for the past few years has declined, I noticed that I continue to need more chairs and stands in the band room. The trend brought me to the topic for this article. I started think- ing not, “Why do I do this?” but “Why do they do this?”
I decided to ask my students to write about why they participate in the band program. In our district students begin their instrumental training in fifth grade, performing a few concerts. In middle school, expanded musical opportunities are offered through group and individual performances throughout the school year. Sounds like a typical band program, right? Well, then the high school years approach. The high school band program performs 12 months out of the year with a very demanding rehearsal schedule. After a typical high school band student’s senior year, he or she would have participated for eight years and would have given nearly 200 performances, not including honors bands, practice time outside the rehearsal schedule and special performances that arise during the year. Why do they do that? What do they think they are getting in exchange for all that effort? Assuming that most of their responses would refer to various plaques, medals, banners, flags and any other extrinsic reward that they could earn, I was pleasantly surprised to read what this instrumental music program means to them.
The University of Wisconsin-Eau Claire Department of Music and Theatre Arts introduces Dr. Melissa Koprowski. For more information on Dr. Koprowski and wind division programs at UW-Eau Claire, visit our website at
www.uwec.edu/ mus-the.
UW-Eau Claire offers degrees in music education, performance (all band/orchestral instruments, piano, and voice), theory and composition, and Bachelor of Arts and Science in music and music history.
Summer 2012
Total Percussion Camp • June 11-15 •
For more information, contact the UW-Eau Claire Department of Music and Theatre Arts at 715-836-4954 or visit our website at:
www.uwec.edu/mus-the.
Dr. Jeffery Crowell, instructor
For more information:
www.uwec.edu/ce
Excellence. Our measure, our motto, our goal. 50
Competition was an important compo- nent in their responses; however, it’s the intrinsic rewards that keep these kids going. Here are a few responses. A junior percussionist wrote, “Every morning when you’re freezing on the practice field being blinded by the sunrise, you question why you’re there, but when Friday night rolls around as you step out to march, the reason becomes very clear!” A freshman flute player responded, “There’s nothing like the feeling of stepping out onto the parade route on performance day and seeing all the people lined up just to listen to us.” Or, “It’s the adrenaline rush you get when you step on the field that’s indescribable.” From a trombonist, “Making music and sharing it with other people is one of those indescribable joyous things in life!” And finally, “Making music makes me feel different than any other activity I’ve done.
April 2012
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