Thursday, January 17, 2019 1:30 PM
2:15‐3:15 PM
UNA Trombone Quartet
Interest Session ‐ Forum C (2nd Floor) Bob Phillips: The Art & Science of Motivation
Highly effective music teachers must master the art of motivation. Learn some of the best practices for motivating students to be successful musicians.
2:15‐3:15 PM
Interest Session ‐ Forum Theater (2nd Floor) Jane Kuehe: Facing the Music: Addressing "‐isms" in Our Classrooms
This session focuses on how we address outright and hidden biases in our classrooms. The term "‐isms" refers to the many ways people can be biased (racism, sexism, genderism, and so on). Through personal reflection, role playing, and discussion we will examine ways to directly (and sometimes quickly) address "‐isms" that occur in our classrooms, within ourselves, and in our personal and observed interactions with students and other school personnel.
2:15‐3:15 PM Interest Session ‐ Forum J (3rd Floor)
Beth Ann Hepburn: Croaking or Singing? Developing Singing Part‐singing in the Upper Elementary Classroom
Come and explore songs and strategies that can help create solid part‐work in the upper elementary classroom. Melodic ostinati, descants, cannons and more! Discover helpful warm‐ups to support part‐work with your upper elementary singers.
2:15‐3:15 PM
Interest Session ‐ Forum K (3rd Floor) Jeremy Howard: Musical Make‐Believe: Weaving Your Way Through the Elementary Years
Embark on a journey! Students are naturally creative, curious, and ready for adventure! Learn how to make every minute of every lesson count through creative planning, weaving of song and story, and a variety of transitions. Through these techniques, students learn and internalize repertoire faster, develop critical thinking and prediction skills, retain musical content, and want to come back next class. A child hard at play is a child hard at work!
2:30 PM 3:30 PM
3:30‐4:30 PM Lobby Performance: Hoover High School Grace Note Lobby Performance: Oak Mountain Wind Ensemble Chamber Musicians
Interest Session ‐ Forum A‐B (2nd Floor) Damion Womack: Storytelling: Using Text, Phrase, and Forward Motion to Inspire your Choral Ensemble!
Many choral conductors primary goal is to communicate musically through text and phrasing. This presentation will offer a extremely concise look into the subject of how conductors can use poetry, story, word painting, and visual images to be able to properly demonstrate the composer’s intent. In addition, we will discuss how to use forward motion and phrasing elements to create musical creativity in every rehearsal and performance. Many of the following techniques I use have come down through the years from conductor to conductor and the pedagogy I will talk about is consistent with the ideas of many other successful choral conductors.
3:30‐4:30 PM
Interest Session ‐ Forum C (2nd Floor) Ted Scalzo: Get Started with Finale Basics
Learn how easy it is to compose, arrange, edit, transpose, play, and print your music with Finale. Topics include: Setting up a score; templates; tool palettes; entering notes with or without a MIDI keyboard; adding dynamics, expressions, lyrics, repeats and endings; playing back your score; key and instrument transposition and much more. We’ll also cover page layout, printing parts, exporting to audio, sharing your music with others, and music education resources that are included in the software (worksheets, flash cards and public domain repertoire).
3:30‐4:30 PM
Interest Session ‐ Forum D (2nd Floor) Joe Brennan: We All Perform on the Same Stage ‐ Improving the Ensemble Skills of your Secondary String Players
“We All Perform On the Same Stage” and "Just because you can play it by yourself, doesn't mean that you can play it with the rest of us”. If these phrases apply to you and your students, then this session is for you. Learn ways to improve rhythmic accuracy, intonation, and artistic expression of string players in secondary ensembles. Give your students the skills necessary to participate more fully in the ensemble. Rehearsal techniques, use of technology, assessments, and chamber groups will be discussed. Skills are given a hierarchy and related to specific musical elements. These skills are then directly related to the playing skills and technique of an orchestral stringed instrument. Musical examples are used to show how these skills are
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