MENC: The National Association for Music Education

The MENC Adviser

Source: Music Educators Journal, Vol. 77, No. 7, Special Focus: Summer Study (Mar., 1991), pp.
13-14
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music
Education

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-4-~~~
I am a high school general music
teacher who has several students
who are showingtremendoustalent
and interestin a numberof musical
areas, especiallyinstrumentalperformance,voice, composition,and
electronicmusic.These youngmusicianswouldliketo knowmoreabout
potentialjobs in the music field.
What contactpeople, organizations,
or resources can you recommend
that would help me give them an
overviewof musiccareers?
You can finda list of many professional music organizationsin a
recentlypublishedbook, Exploring
Careers in Music. The publication
is designed to give students and
other interested people a broad
look at music and music-related
careers. The book (stock no. 1011)
is available from MENC Publications Sales (1902 Association
Drive, Reston, VA 22091-1597).
All orders must be prepaid, but
VISA or MasterCard holders may
orderby calling 800-828-0229.The

cost is $6.40 for MENC members

and $8.00 forothers.-M.B.
A band directorpurchases an arrangementonlyto discoverthatthe
publisherhas onlythreesaxophone
parts and his or her band has nine
saxophonists.Can duplicatedparts
be used forrehearsalif the players
sharethelegitimatecopiesforpublic
performance?
The phrasing of your question
mightlead thereaderto the conclusion that rehearsals are illegitimate-heaven forbid! The question,however, is an excellent one,
in that it deals with the biggest
problem that exists between conscientious school instrumentaldirectorsand publishersof all types
of music. The problem arises because the primarypurposes of the
two groups are different.Publishers want to sell the arrangementof
each composer's music that they
believe will produce the best ver-

I
Ask the MENC Advisers!
Do youhavea questionaboutsomeaspectofmusiceducation
in theareas of
or generalmusic,collegiateactivities,
orthemusic
band,chorus,orchestra,
Are you confusedabout copyright?
Would you like a second
industry?
Otherreadersmaybe
opinionabouta problemwithyouradministration?
facedwiththesamesituation.
Sendyourquestionto "The MENC Adviser"on theformprovided
below.
to photocopythispage.) Questionsneed notbe
(You have ourpermission
signed.Publishedquestionswill be editedto fitMEJ styleand length

restrictions.

Dear MENC Adviser:

Send to: The MENC Adviser,MEJ, 1902AssociationDrive,Reston,VA

22091-1597.

sion of the sounds thatthe composer had in mind. Withoutthis attitude, publishers would soon lose
their "stables" of composers.
Teachers, although they want to
achieve this same musical goal,
have a stronger,overridingpurpose: theyare dedicated to involvingas manystudentsas possible in
musical experiences, even if this
means findingways to make use of
a dozen fluteplayers at once.
Publishers and music educators
have discussed the problem at
length. Teachers have become
aware of the fact that the cost of
handlingand mailingseparate parts
is largeenoughthatpublishersusually lose moneyon such orders. In
spite of this, some publishershave
been willingto supply parts in order to serve customerswho represent an importantsegmentof their
market.Some dealers don't handle
part orders,so teachers should order partsdirectlyfromthe publisher. Those firmsthat have shown
thegreatestunderstanding
of music
educators' difficultiesshould expect to reap the rewards of future
sales.
Working within this constraint
can be difficult,but educators
oughtnot to expect composers and
publishersto allow them to duplicate music beyond the limitations
of currentcopyrightlaw without
gettingwrittenpermissionforeach
use. As an aside, I want to comment on the impression given by
thisquestionthatone mustbe more
careful in performanceof music
than when the music is being rehearsed. Performanceis merelythe
icingon thecake forschool groups;
the importantwork with music is
done in the classroom and rehearsal hall. The privilegeof using publishedmusicto help us do ourjob is
one of the reasons that we are
willingto reimbursecomposers and
publishers.-C.L.G.
MEJ/March
'91

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13

TIPS: Technology for Music Educators - Offersideas on how students

can learn to createmusic and communicatein musical ways by using
synthesizers,videodiscs, and electronickeyboardsas learningvehiclesin this
new approach to teaching.Compiled by Charles G. Boody. 1990.48 pages.
Stock #1096.$6.00/$4.80MENC members
To order,write:

MENC PublicationsSales
1902 Association Drive
Reston,VA 22091
(Send paymentwithorder)

wi

o
2ON3W

Credit card
holders may call:

toll-free
1-800-828-0229,
Monday-Friday
8:00 am-4:00pm, E.T.

DALCROZE EURHYTHMICS
16TH SUMMERWORKSHOPS
CarnegieMellonUniversity
WORKSHOP I - JUNE 24- 28, 1991

WORKSHOPII - JUNE24 - JULY12, 1991

movement,solfege, improvisation
WorkshopsI and II offerclasses in rhythmic
and Dalcroze methodology.Bothworkshopsare designed to enhance the
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musicianship,teaching and performing
conductorsand movementspecialists.
teachers, performers,

Faculty: Dr. MartaSanchez,

Dr. Annabelle Joseph, Dr. HerbertHenke

inDalcroze
Forinformation

Dr. MartaSanchez
Director,Dalcroze TrainingCenter
Departmentof Music, Carnegie MellonUniversity
PA 15213-3890
Pittsburgh,
(412) 268-2391 or 2373

and License
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ACCREDITEDSINCE 1968AS A DALCROZEEURHYTHMICS

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ofMusic
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'1

Adviser
How can I help my brass students,
especiallytrombonists,
developtheir
lip trill?
The lip trillis most necessary on
the trombonebecause it is the only
methodof trillingwithoutan "F"
attachmentforthe instrument.It is
also an importantaspect of horn
and trumpetplaying. Trumpeters
use thistechniqueto create what is
knownas thejazz shake.
As you would do when teaching
multipletonguingon brass instruments (see The MENC Adviser
column in the February 1991 MEJ
on this topic), approach the technique up to speed by startingwith
one turn and practicing it alone
until success warrantsmoving on
to two, three,four,and so forth.
On the trombone, an excellent
place to startis on highF, played in
the fourthposition. Then have the
studentlip up to G, which is in the
same position. Any of the notes of
the sixthand or seventhpartialwill
work well for initialpractice. The
studentcan then expand to other
partials that are farther apart.
Again, practice themat fullspeed.
Once trills are learned at high
speed, they can be slowed down
and graduallyspeeded up as dictated by specific performanceprac1
tice.-G.H.S.
Michael
ADVISORY
PANEL:
Bennett, Yamaha Corporation of
America, Grand Rapids, MI-

music industry;Robert E. Ber-

4a

gantino, Cleveland Heights High

School (retired), South Euclid,

OH-orchestra; Robert L. Cow-

Offeringundergraduateand graduatedegrees in music,music

education,and dance. Scholarships,Graduate Assistantships,
and otherfinancialaid available.

den, Indiana

Charles L. Gary, The Catholic

University of America, Washing-

ton,

** under$2,000annualtuitionforNew YorkStateresidents,
under$5,000annualtuitionout-of-state.

Appalachian

Bill

State

University, Boone, NC-collegiate; KennethH. Phillips, Universityof Iowa, Iowa City-choral music; Carol Rogel Scott, Seattle

Time magazine

DC-copyright;

McCloud,

Nancy Hager, Director

State University,

Terre Haute-administration;

For furtherinformation, call or write:

14

MENC

OF NEW YORK

"Afirstclass education..."*
...fora songanda dance!!**

Conservatory of Music
Brooklyn, New York 11210
(718) 780 - 5286

The

Pacific

Seattle-general

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H. Shull, Poudre High School,

Fort Collins, CO-band.

MEJ/March'91

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