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2008
March 2008
Virtuoso! by Biana Kovic: Making a video of Matty Kahn's first cello lessons, at age 89.
Never too Late: The Right Way by Ruth Cazden: Sometimes the best way to make music is to find out what works for you.
Beethoven Variations by Elizabeth Morrison: Musical ideas to notice, love and marvel at in those movements called Theme and Variations in Beethoven's chamber music and symphonies.
Encounter with an Esraj by Casey Drury: You may never master the style and technique of a North Indian 27-string bowed instrument, but what better way to immerse yourself in a foreign culture than to find a local music teacher willing to give you a few lessons?
2008 Music Workshop Guide
Program descriptions and contact information for over 500 music workshops in 26 countries
2007
November 2007
A song a day keeps the doctor away by Ellen Capecchi
"Would you rather sit in the doctor’s office or in an orchestra hall? Would you rather pop a little blue pill or pop on earphones? Would you rather run a rehab treadmill or run your fingers across a piano keyboard?
While these scenarios might be extreme, the American Music Conference reports promising findings from tests comparing seniors who participate in music with seniors who do not. . . . "
The In Box : Resources on our web site; Teaching Children Peace; More Music on the Road
Never too Late: O, Say, Can You See? by Ruth Cazden
"The solution was to design my own music glasses. I asked the optometrist to position the music bifocal in the center of the lens, rather than at the bottom, which is standard placement. The rest of the lens, above and below the bifocal, has my distance correction . . ."
Getting Ready by Ted Rust
" . . . musical performances go a lot better when my mind has nothing left to attend to but performing."
Musically Challenged by Aunt Stanbury
". . . they let him walk on wearing a sailor suit and pushing a mop. This, he decided, was unsatisfactory."
Plucking the Harp Strings: In love with the instrument of angels by Rebecca Jens
"she spoke with some of the harpists and discovered that learning to play the harp was hard and very expensive.
“There goes that idea,” she thought. Still, she couldn’t quite let go of the thought. . ."
September 2007
NORTH AMERICAN MUSIC BEGAN IN NOVA SCOTIA:
The Theater of Neptune by Emily-Jane Hills Orford
"The first musical event in the European tradition to be composed and performed in North America was presented in 1606 in the new colony of Port Royal, Nova Scotia. . . . "
Learning to Sing: Family Music on the Road by Aunt Stanbury
" . . . Paula, and I, and later a third sister, Mary, added when I was fifteen, sang together in the car and elsewhere as soon as we could sing at all. Our family’s version of “Sweetly Sings the Donkey” figured prominently. We also sang “Three Blind Mice,” “Row, Row, Row Your Boat,” and another round with the text: “Why shouldn’t my goose/Sell as well as thy goose/When I paid for my goose/ Twice as much as thou?” Paula often couldn’t resist an exaggerated fermata on the highest note, on the last occurrence of “goose,” which of course train-wrecked the performance. . . . "
Advantage: Indian Music by T. V. Sairam
“Human activities follow a pattern of rhythms. As we talk, there is a rhythm. The thinking process,movements of limbs and body —all involve rhythm. The basic pattern followed in all forms of music—folk, modern or classical—cater both to our intellectual curiosity and our emotional needs. Even by unconsciously following any musical pattern, our thinking and emotional processes become regulated, paving way for our all-around health, growth and happiness. . . .”
The In Box : Finding New Music on the Internet . . . New Short Courses at Benslow . . . Guitar Practice Aid
Gregorian Chant and Sacred Polyphony by Cristina A. Montes
"“Do you want to sing Gregorian chant and sacred music of the Renaissance?” Jeffrey and Arlene recruit parish choir members with this invitation. Their choir now has twelve members—none of whom has a professional musical background—and a waiting list to get in. . . ."
July 2007
Growing a Community Orchestra by Janet Phillips
"How does one plant an orchestra in rural southwest Virginia, where most people’s music preferences are gospel, country and bluegrass?"
The In Box : FREE MUSIC SCORES ON LINE; HOLISTIC HARMONY IN COLORADO
Running a Summer Music Workshop by Betty Mock
"The most challenging job is scheduling, which at Summertrios I liken to setting up 100 blind dates every day."
Growing a Musician book review by Janet Weinstein
On The Wonderful Diversity of Amateurs by Nora Mular-Richards
The Montana State Prison Band by Margaret Scariano
"Horns tooted and drums beat and nobody quite played together yet, but the sound drifting over the prison walls was exciting. Atop a cell block roof, Montana State Prison band tuned up for a Sunday afternoon concert. While people waited for the concert to begin, they chatted with neighbors. Kids, laughing and squealing, chased each other in a game of tag. Then the drums rolled and the horns began. . . ."
May 2007
Player’s Paradise by Glenn Kauffman
"They call it Music City for a reason. And, although Nashville still fights the Hee-Haw reputation of its past, this town is no joke, particularly for anyone with a passion for music."
The In Box : A Metrotunerphone . . . Musical communities . . . Remembering Forrest B. Holmes . . . Chamber Music Holidays is 25
Returning to Music: Marc Adler Discovers Klezmer by Bob Jacobson
" . . . one day in the year 2000, a friend invited Marc to a rehearsal of a new klezmer band (see below) at their synagogue. The rehearsal inspired him to pull out the clarinet. Having forgotten some of the fingerings and how to read music, Marc began to re-teach himself from an elementary-level book. Then he began private lessons . . . "
Old Music Made New by Karen Haid
“As a Baroque score is often just a template, the contemporary interpreter has many choices to make when approaching this music. From tempo indications to dynamics to embellishments, the Baroque composer left more up to the performer than in following centuries . . .”
March 2007
Build Your Own Instruments by John Bertles
"The lure of building instruments is especially seductive to children, who just can’t seem to get enough of the exercise."
Book Reviews: The Anatomy of Melody, Do-Re-Mi: If You Can Read Music Thank Guido D'Arrezzo
"This book is about breathing a melody back to life from the skeletal indications on a printed page. If anybody can teach that, Alice Parker can."
“A thousand years ago, if you heard a song and wanted to hear it again, you would have to remember it by heart,” writes Susan Roth in Do Re Mi. Since the 11th century, songs have been shared at a distance, and over centuries, thanks to a beautifully simple notation system . . .
Blues: Capturing the Essence by Eric Roach
" simple doesn't equal easy when it comes to the blues. Years can be devoted to studying this musical art form"
Interpreting Chopin by Angela Lear
“(Chopin) shunned all forms of excess or exaggeration and was never a Romantic composer in the Lisztian or Byronic sense. . . . He revered the music of Bach and Mozart above all other composers . . .”
January 2007: The 2007 Music Workshop Guide
2006
December 2006
Naming Mt. Mahler by James B. Kimberly
The In Box: Children's Choirs Help African Orphans, Performance Spaces in Chicago, Mystery Mural Identified
Fun, Food and Folk Music in Bavaria by Jennifer L. Price
Forming a Chamber Ensemble by Melody Amsel-Arieli
Taking Responsibility by Christine Stone
Electric Bass: The Classical Connection by Ben Santora
Learning Popular Song Chord Progressions from Arthur Godfrey by Florence Calderone Blake
October 2006:
The Senior Harmonica Bands of Honolulu by Helen Kitchen Branson
"A pair of senior harmonica bands was formed in 1998 to provide the participants, aged 55 to 90, a choice of playing mostly East Asian or mostly western music. Both groups play an international repertoire of popular songs from the 1920s, 30s and 40s at nursing homes and senior day care centers where they encourage audience members to sing along. . . ."
The In Box
AmselFlorence
MYSTERY MURAL—FREE MUSIC SCHOOL IN MOSCOW NEEDS HELP — AUTHOR APOLOGISES
Never Too Late:
Ready for a Chamber Music Workshop? by Ruth Cazden
"Several late starter friends have told me they went to chamber music workshops before they were ready and had such stressful experiences that they never went back. . . . Having attended a number of music workshops as an adult beginner, I believe I can help you anticipate some stressful situations you may experience in a workshop with more advanced players, and share some strategies I have found useful. . . ."
Stage Fright: Five Antidotes by Ben Peterson
“Practice . . . Sing . . . Sit in front at concerts . . . Get familiar with the venue . . . Breathe! ”
Book Review: J. S. Bach Meets Frederick the Great by Ted Rust
"Gaines’ story of these pugnacious titans provides a fascinating perspective on intellectual, moral and artistic conflicts which remain remain unresolved to this day. . ."
Choosing the Right Piano by Becky Joitke
"Find your boundaries with your head, and then search with your heart. . . ."
Studying Music at a Small Private University by Gemma de la Cruz Gosuico
"I was given the opportunity to grow musically and an atmosphere in which I could thrive, which I feel I would not have gotten if I had attended a large public university."
How to Fix a Sticking Piano Key by David C. Carson
"First, press down the key that sticks. Now, press the key on one side and then the key on the other side, whether white or black. If the sticking key comes up when one of these other keys is pressed or released, there are two possible causes of the problem. . . ."
August 2006:
The Hidden Powers of Music by Hamish Binns
"Music is more than a mere form of pleasure: it has the power to alter our physical or emotional state and even to manipulate our free will. . . ."
The In Box
Letters on negligence, dementia and a clever kangaroo pouch for bashful musicians.
Musical Furniture by Alec Weir
"I’m responsible for the piano’s ugliness, but if an instrument is worn down because of use, if it’s loved to death, then I’m thankful such music and happiness could be drawn from it. . . ."
‘Tis a Gift to be Simple: Discovering the Lap Dulcimer by Kryss Speegle
“Music is not a spectator sport.”
A Style Guide for Concert Programs by Ted Rust
June 2006:
GRACE NOTES: People with Dementia Making Music by Ellen Capecchi
"While engaged in singing, listening to, or playing music, seniors with dementia are at peace with their world."
THE IN BOX: Music and Healing . . . Chamber Music Holidays is 25 . . . Hip Hop EMass
RACHMANINOV TO ROCK: Classical Cross-Training by Claire P. Whaley
"Who says an oboist can’t perform in a rock band?"
BOOK REVIEWS by Ted Rust: THE DEVIL'S HORN and DANCE AT A GLANCE
TALKING MUSIC by Richard W. O’Donnell
"Remember the 20th century? They knew how to talk music in those days. Mention Satchmo. Everybody knew who you were talking about. They had crooners in those days. And canaries too. . . ."
HOMEMADE JAM by Randal Bruce Thatcher
"It looked like music. Indeed, it was music—just not the kind that had always so thoroughly vexed and confounded me before. The five lines on this page of tablature music were a representation of the five strings of the banjo, with numbers on each line to indicate which fret to play on that particular string."
April 2006:
MUSIC IN THE AFRICAN BUSH by Isabel Bradley "In the grey light, a lion roared, shaking the earth, splitting the sky in the east where the sun was rising. The sound was enough to terrify anyone—it seemed endless; and when it did end, the silence was complete. The world held its breath."
COMMUNITY MUSIC by Ted Rust "Nearly 500,000 students participate in regular weekly instruction at
Community Music Schools in America"
THE IN BOX "Apologgiatura: a note you regret having played"
HARK! THE KRUMMHORNS by Christine Stone "Krummhorn: a sixteenth-century instrument with a capped double reed, which sounds like an oboe under a blanket or a singing duck"
FROM ADAMS TO ZEMLINSKY: ". . . unabashedly friendly advocacy for 253 pieces Lucy (Miller) likes, with persuasive reasons why you might like them too."
LIFE IN THE SLOW LANE by Ruth Cazden “ . . . It takes less time to learn things right by practicing slowly . . .”
DUETS WITH GRANDPA by Merrick Whyte “Don’t play ‘til you get it right. Play ‘til you can’t get it wrong.”
February 2006: THE 2006 MUSIC WORKSHOP GUIDE: Music Study and Performance Opportunities for Amateur Musicians World-Wide
2005
THE ADULT AMATEUR’S SUMMER 2005
MUSIC WORKSHOP GUIDE FOR NORTH AMERICA
THE IN BOX: ABOUT ACMP; EARLY SPRING WORKSHOPS; HAND CARE
GROWING GREATLY TO MEET GREAT CHALLENGES by Lily Friedman
"Showing me the surprising power of setting an ambitious goal at any age, Summertrios’ Concerto Program . . . has stimulated impressive spurts of artistic growth for some of our participants. . ." "Working her way through the Schumann concerto last year, (a participant) reported to me, “I don’t think I’ll go through this again. My friends keep asking why am I doing this to myself? After all, I am 81.” The answer came from her husband, who, at the conclusion of our last concerto concert, took me aside and whispered to me, “You must be sure she does this again.” “Why?” I asked. “Because it is a lease on life.”
MAKING THINGS HAPPEN
This issue relates the experiences of five musicians who decided to create their own opportunities, and ended up making good things happen for themselves, their families, friends and communities. Sue and Bob Lloyd started a part-singing group in a rural village, Bob Jacobson created a home jazz concert series, Virginia Anderson enlisted national magazine readers to unearth a song book she remembered from childhood, and Ken Pruitt told his wife for the third time that he wanted a tuba.
LOVE THAT TUBA ! by Don Stauffer
Angela Pruitt called me one busy day and asked me where she could buy a tuba. . .
AGAINST ODDS: AN EXAMPLE AND AN INVITATION by Susan M. Lloyd
THE LAUREL SONGS by Virginia K. Anderson
When a national magazine began a lost-and-found department, I was taken back to the Depression years when I was 12 or so, singing a tune from Mozart’s, The Marriage of Figaro. Here is the Laurel Songs’ setting of that melody . . .
JAZZ AT MY HOUSE by Bob Jacobson
I play sax and clarinet in a jazz trio which was slated to play an outdoor concert with a new guest vocalist. The concert was rained out, but we still wanted to play the songs we’d rehearsed. I’d heard about house concerts as a venue for folk-oriented singer/songwriters. Why couldn’t the format extend to jazz, classical or any other genre performed by a soloist or small ensemble? . . .
NEVER TOO LATE: BEYOND THE HOKEY-POKEY by Ruth Cazden
Parents and teachers get upset if kids say the “F” word, but it’s the “I” word that sets me on edge. When a chamber music coach or a string teacher mentions intonation my hands begin to sweat and my breathing becomes irregular. Oh, no! Not another intonation lesson! . . .
INDIVIDUAL STUDY MUSIC WORKSHOPS
Details on 83 programs where you can spend one or several weeks improving your individual skills through lessons, seminars, intensive practice and master classes.
PASSING THE TORCH
This issue features perspectives on coaching: the form of teaching in which a respected musician, not one’s main teacher, listens to work in progress, points out areas for improvement and helps the student or ensemble move forward. The specific problems addressed may be technical or interpretive, but a good coach’s most important contribution is often an infusion of new energy and self-confidence that last long beyond the coaching session.
PRACTICE TIPS: ACCOMMODATING TO AN UNFAMILIAR PERFORMANCE SPACE by Janet Telford
WORKSHOP REPORTS: SIERRA CHAMBER ENSEMBLE WORKSHOP by Esther Weinstein
WEEKEND WORKSHOPS: a world guide to weekend music workshops open to adult amateurs
PRACTICE TIPS: DATING DR. BEAT by Ruth Cazden
"
I’m going steady with a doctor. (My mother would be so pleased; she always wanted me to date a doctor.) He’s a regular sort of guy, always on time and very accurate. Who is this Prince Charming? Why it’s Dr. Beat, the ne plus ultra of metronomes. . . ."
. . . AND IGNORING MR. KORG by Ted Rust
"Ruth’s affair with Dr. Beat reminds me of a tip that San Francisco Symphony oboist Bill Bennett gave in a master class several years ago: the best way to develop good intonation is to turn off your electronic tuner and really listen. . . ."
NEW LIFE FOR A THEATER ORGAN by James B. Kimberly
"The organ in this story is one of the five “Wonder Mortons” built by the Robert-Morton Co. of Van Nuys, California. It was shipped to Loew’s Jersey City Theater in 1928, just one year after Al Jolson’s “The Jazz Singer” ushered in the end of the silent film era. Theater organ manufacturing slowed to a halt by 1930. Our organ was removed from the Jersey City Theater in 1970 and was headed for the dump. . . ."
COMMUNITY MUSIC PROGRAMS
The schools listed here are ones that offer ongoing participatory classes for adult amateurs.
FINDING YOUR OWN MUSICAL PERSONALITY by Ben Santora
"Finding one’s own musical personality is a worthwhile goal for every musician. We each have a unique musical voice, often hidden beneath the countless varieties of music we have been exposed to as players and listeners. . . ."
THE SACRED HARP REVIVAL by Theresa Ryder
"Shape-note singing, also called Sacred Harp or Fasola, is experiencing a renaissance. Originally an English and New England tradition, until recently it persisted almost exclusively in the southern United States. Southern sacred music has received new attention in the popular media with its inclusion in the soundtracks of movies like "Cold Mountain" and "Oh Brother, Where Art Thou?" Today there are Sacred Harp or shape-note singing clubs in almost every U.S. state and also in England, Canada and Australia. . . ."
PRACTICE TIPS: GET THE BEST OUT OF YOUR TEACHER! by Odile Leclerc
"You’re looking for a teacher. Not any teacher; the right teacher. The one that will be a good match for you, helping you achieve your musical goals. Since you are seeking joy and satisfaction from your music making, you don’t want to treat this decision lightly. You will have as much responsibility as this teacher in achieving success in your new venture. So, how do you get the most out of this new relationship? . . ."
WINTER HOLIDAYS AND WORKSHOPS
"The following winter holidays and workshops for ensemble music throughout the world are open to adult amateur musicians and are five or more days long. . . ." Listings include location, dates, a program summary and contact information for each workshop.
LEARNING MUSIC: COMMON OBSTACLES AND WAYS TO AVOID THEM by Nancy Garniez
"When my Cuban mother sang Cielito Lindo it was an invitation into her soul. . .
"Given such positive memories, why do most of us experience learning music as an obstacle course? Here are some common causes of frustration, and evasion maneuvers I have found useful in my own learning and teaching. . ."
THE REAL FOUNTAIN OF YOUTH: LEARNING TO PLAY THE PIANO by Virginia R. Armstrong
NEVER TOO LATE
PANIC IN THE CHOIR LOFT by Christine Stone
"
I was almost thirty when I began studying voice: a late beginning for any singer and particularly late for a soprano . . ."
HAND-ME-DOWN GUITAR by Shawn Shapiro
"Sweet sixteen is an important part in many girls’ lives, especially from girls of yesteryear. . ."
JAMMIN’ AT THE HAMMOND by Victor Verney
"For the past three years, the Court Avenue Brewing Company in downtown Des Moines has hosted a jazz jam session featuring some of the best players in town. Around 8 p.m. on Mondays, as the dinner crowd finishes up, jazz aficionados congregate in the adjoining bar . . ."
2004
THE AMATEUR MUSICIAN'S YEAR 2004 NORTH AMERICAN WORKSHOP GUIDE;
IN BOX: Song of the Hermit Thrush
THE YEAR AHEAD IN MUSIC FOR THE LOVE OF IT
Workshop Guides . . . Practice Tips . . . Perspectives on Music-Making . . . In-Depth Essays . . . Expect the Unexpected
PRACTICE TIPS: KEEPING HANDS AND FINGERS MOBILE by Ted Rust
"Then on my way out of her studio, she showed me these stretches. 'Do them every morning after a warm shower, and again before playing, and you’ll never have to see me again.' She was right."
2004 INDIVIDUAL STUDY WORKSHOP GUIDE
SUMMER WITH A CELLO by Marianne Gottfeldt
"My first contact with Oxford Cello School was the outrageous and indomitable Marianne, course director. Totally driven in her mission to teach and motivate cellists of all ages . . . "
SONGWRITING TECHNIQUES by Elizabeth Delaney
"It was July 17th of 2002 and I had never imagined that I would wind up in the office of a government dignitary. I had simply come to the country of Latvia (in the old Soviet block) as a part of a mission outreach to those in prison and to encourage the church. . ."
FIRST ANNUAL ISRAELI LUTHIERS' EXHIBIT by Joel Epstein
"Amateur musicians in Israel enjoyed an unusual opportunity to try out new instruments at the First Annual Israeli Luthier Exhibit in Tel Aviv. . . "
NEVER TOO LATE: LOST IN TRANSLATION by Ruth Cazden
". . . So I’m learning to ask questions and to re-state what teachers say, to be sure I’m receiving the same message they’re sending."
LIFE LESSONS ON THE ROAD by Bryan Farrell
"A puzzling question came to me as I wallowed in the backseat of a Ford Mark III conversion van with an excruciating case of food poisoning. 'How did I ever get this sick and end up in Louisville, Kentucky, parked behind a bar full of drag queens and dudes with enormous mullet hairdos?'"
AN ECHO IN THE MOUNTAINS by Deanne Savage-Blackhurst
"With spring finally reaching the foothills of the Utah Rockies, my husband and I could hardly wait to get out and take a drive up through the canyon. As we neared a viewpoint surrounded by pine-covered mountains, a curious sight drew our interest. A man dressed in traditional Swiss clothing stood blowing into a huge twelve-foot horn that rested on the ground in front of him. . . ."
THE SEISIUN: A Beginner’s Guide to the Irish Session by Stan Engel
"If you’ve ever stumbled into a traditional Irish music session, or seisiun, you may wonder why that fiddler went to the bar halfway through a number, or how everyone knew what to play next, when all the piper said was “Hup.” . . ."
PRACTICE TIPS: Becoming a Better Musician by Eric Ostling
"These eight points were all unexpected gifts, dropped into my lap from teachers, colleagues, and friends over the years. . . ."
SILVER IS GOLD: Great Neck North High School Inducts Honor Society’s Oldest Member by Dawn Alcott
"Fred Ritter, age 89, proves you’re never too old to enjoy making music, or to support younger players in their musical endeavors. . . ."
WEEKEND WORKSHOPS
An international list of weekend workshops open to amateur musicians for the 2004-2005 season.
LIFE-LONG SERENADE: NURTURING A LOVE OF MUSIC IN CHILDREN by Alyce Chiles
"With all the modern day distractions and the business of living, how can we instill a love and appreciation of music in our children? . . ."
GLORY FISHER’S CHAMBER MUSIC CLASS by Hubert Schwyzer
"For the past 25 years Glory Fisher has been single-handedly organizing, running and coaching a free Adult Education chamber music class in Santa Barbara, California. . . ."
MUSIC MATTERS by Katie S. Terry
"Adrenaline. It is vinegar running through your veins, poisoning the heart and tensing the muscles. You want to scream, but you can’t. You are in the middle of a crowded congregation, or a deep echoing recital hall, or . . ."
LEARNING TO GO WITH THE FLOW : A Classical Pianist’s Journey Into Performing Gospel
by Mary McFadden
PLAYING TORSHAVN by Ray Weaver
"I am a troubadour. Well, that’s what they call me in Europe. I am really just another singer/songwriter, acoustic-guitar-playing, folk-singing guy with a repertoire of whatever I can manage on a beat-up old Martin. . . ."
GO OUT ON A LIMB by Chris Noth
"Last November, a youth minister/musician at a local church asked me if I would be interested in playing bass with him and two other guys for a retreat coming up in January 2004. The ensemble was, to put it simply, professional; all had done the gig five times together and were over-prepared. The drummer, the only one not old enough to be my father, was a college kid who had incredible chops . . ."
COMMUNITY MUSIC PROGRAMS
"The following are ongoing community music instruction programs open to adult amateurs. . ."
(Program descriptions and contact information for 24 community music programs follow)
GREAT HONK! by Ted Rust
"To my knowledge, Meredith Willson, author of The Music Man, never defined this memorably weird exclamation, but to me it expresses as well as any the joy of really belting out good music with a good group . . ."
IF I WERE A PRESIDENTIAL CANDIDATE by Jack Gordon
"If I were a presidential candidate, I’d run my campaign to music. No boring rhetoric, no negative jabs at my opponents. To eliminate the chance of unintentional bias, I’d use the random shuffle feature. . . ."
HOOKED! by Jane Lenel
"There are two places in the Philadelphia area, one in Jenkintown, the other on Queen Street in Center City, where groups of unusual addicts go to indulge their habit. You see them there on Tuesdays or Wednesdays — about 50 or more in Jenkintown, fewer in the city — carrying odd-shaped cases full of what must be supplies or some kind of equipment . . ."
TAKING UP VIOL by Eileen Flory
"Four years ago I took up the viola da gamba (also called simply “viol”), a Renaissance and Baroque stringed instrument, after having played modern strings — violin, then viola — for five decades. It wasn’t a move I had planned on . . ."
WINTER WORKSHOPS AND MUSICAL HOLIDAYS
December 2004BARTOK AND THE LOST MINE TRAIL by Jane Carlberg
"Several months ago, I had the good fortune to be in Texas for a week of hiking with my husband in the Big Bend National Park. The following weekend I was in Maine with some musical colleagues working on a Bartok string quartet. At first glance, these two experiences would seem to have little in common: one is mostly physical, the other intellectual; one deals with nature, the other with art; one fairly concrete, the other abstract. However, as I reflect on both, I begin to see that they are related in many more ways than one would expect. . . ."
Preparing for a Musical Performance:
FLYING SOLO by Odile Leclerc
"In October 2003, I decided to give a solo recital. Having mastered Vivaldi’s Summer and what would be my encore, Massenet’s Meditation of Thaïs, I still had to learn two sonatas and the third movement of the Mendelssohn violin concerto, along with a few other pieces. Knowing I could do it was enough for me to feel confident about the upcoming recital. But it takes more than knowing the music well to prepare for a solo performance. . . ."
WALKING WITH DAD by Virginia Foley
I went for a walk with my father today. Conversation was non-existent, though I did listen to him. He was tucked into my jacket pocket, the one that holds my CD Walkman. Through my earphones I listened to his voice raised in song.
Dad passed away suddenly when I was 17, but he unwittingly left a gift behind. On an antiquated reel-to-reel tape deck, he recorded himself singing dozens of old song . . ."
OVERSEAS WORKSHOPS AND HOLIDAYS
February 2003
THE AMATEUR MUSICIAN'S YEAR 2003 NORTH AMERICAN WORKSHOP GUIDE;
IN BOX: World-Wide Workshop Information, Music Library on Line, Contemporary Music-Making for Amateurs, Newly Published Scores;
PRACTICE TIPS: GOT RHYTHM? by Janet Telford
QUIZ CORNER: How Many Musicians? How Many Amateurs? by Ted Rust
April 2003
MAKING MUSIC IN ST. PETERSBURG by Marjorie Gilbert
". . . Although she spoke not one word of English, we communicated beautifully, using music and sign language. She was so kind to me I took my earrings off and gave them to her . . ."
LEARNING JAZZ BY EAR by Garth Sundem
"At the Port Townsend Jazz Workshop, the saxophonist Jeff Clayton discussed his early practice routine, 'Man, I put on my cape, put on my sunglasses, stood in front of the mirror, and I WAS Cannonball.' . . ."
THE HEARTSONG OF SIYO TANKA by Jamie Haley
" 'I ain't playin' no darn flute at our wedding!' Tony declared vehemently. 'But it's not a regular flute, hon,' I protested. 'It's an Eagle Head Courting Flute.' . . ."
PRACTICE TIPS: PLAN AHEAD by Kasia Bugaj
ENSEMBLE TIPS: PLEASE DON'T SHOUT by Ted Rust
SEVENTY-EIGHT RPMs: Philologist Turns to Composition by James B. Kimberly
INVITING TERMITES by Deborah J. Beyer
"The termites are coming! I recently read that scientific studies have proved that homes in which loud music is played are more apt than others to be infested by termites. Although I hope for the best, I know in my heart that my new home is doomed. . . ."
PLAYING WITH PURPOSE: Kneisel Hall's Adult Chamber Music Institute by Abram Loft
"Kneisel Hall is a music-study center established in 1902 by Frank Kneisel, first concertmaster of the Boston Symphony, on his estate in Blue Hill, Maine. . . ."
FIDDLING AROUND WITH MY SOCIAL SECURITY by Barbara Clere Klain
"As retirement looms, I've been taking stock of my social security. Not Social Security with a capital "S. " Other than showing up at work each day, there's not much I can do about that. No, I'm more concerned about my social security &emdash; the assets that will make me popular and in demand no matter how old I get. When the daily commute to work is history, I don't want to sit at home watching TV and wishing I were behind a desk again. I want to be needed, courted, and loved. I want to play the viola. . . "
THE PING-PONG OF CHAMBER MUSIC by Nancy Garniez
"A certain number of people will testify to the liberating effect of a metaphysical approach to playing golf, tennis, the piano, and a few other things. Judging from the way I talk about the connection between musical substance and the mechanics of playing an instrument, you might suspect that I was a practitioner of Zen. However liberated I may be in relation to music, I confess that I have never been able to get beyond the need for utter predictability in another diverting sport: Ping-Pong. . . ."
IN PRAISE OF THE AIR-GUITAR by Jonathan Montpetit
"It is the opinion of some that understanding sound color is fundamental to any real appreciation of music. Others see time and rhythm as the keys able to unlock the mysteries of harmony. Still others devote their lives to studying the evolution of instrumentation, the history of musical theory, the biographies of musicians. But the real music lover knows there is only way to appreciate music: playing air-guitar. . . ."
CLEFTOMANIA: How I Learned to Stop Worrying and Love the Alto Clef by Ruth Cazden
"Seven years after taking up violin as a 45-year- old adult I decided to try the viola. I wasn't abandoning the violin; I wanted to be a switch-hitter. So in addition to struggling with basic string techniques, I had the daunting challenge of learning a second clef. Fools rush in where angels fear to tread! Most viola music is written in alto clef, which violists often call viola clef. I generally refer to it as "that %$#$@*&# clef." I decided to learn the clef without resorting to tricks. . . ."
MANY VOICES by Ted Rust
"Sometimes it helps to think of music in terms of voices. A single piece of music may have one or several different voices, each with its distinct musical personality. Music containing different voices can be hard to follow if its voices are run together and all played in the same manner. One way a performer can heighten the listeners' experience of the music is to make each individual voice distinct, immediately recognizable, and consistent in personality, like the characters of a drama."
SILHOUETTE by Robin Lynn Pratt
"Tonight I am in the audience for a change, in the second row, leafing through the program for a local women's choir. The seating is completely filled, and the concert is just minutes from beginning. Last year, I sang with some of these women . . ."
AN "ORGANIZED" TRIP TO HOLLAND by Jan Greenough
"It's 6.00 a.m. on a crisp spring morning in Oxford, England, and the streets are quiet and empty of traffic. In St. Giles a small group of people are boarding a bus: nothing out of the ordinary, but these travellers are distinguished by one common feature. As well as a suitcase, almost every one of them also carries a music case bulging with "the shoes." The Oxford and District Organists Association is off on its annual pilgrimage. . . ."
THE IN BOX: New Horizons, Brandenburg Play-In, Chorale Prelude Arrangements
NEVER TOO LATE:
The Best Advice I Ever Got by Ruth Cazden
"Ruth, when playing chamber music you have three jobs: to play in time; to play in tune; and to play with good tone. Sometimes, all you can do is play in time." . . .
CARNATIC MUSIC FOR ANYONE by Malathi Jivan
"The Carnatic singer throws her voice at will, adding rich ornamentation to the beauty of an ancient composition. The years of structured learning and endless practice sessions are finally paying off . . ."
REGIONAL MUSIC by Deborah J. Beyer
"We weren't far from the neon and glitz of Bourbon Street, but there was no neon here. The place was dim, the seating simple. The stage was hardly that, just a cleared area for the band. And the musicians weren't the slick, industry-massaged symbols from American Idol or the Las Vegas strip. Most were old men, most African-American, with a few "younger" (40- to 50-year-old) additions who had passed muster with the older players. This was Preservation Hall . . ."
PRACTICE TIPS: Productive Practice by Eric Proctor
"From the ten minute tinkler to the professional perfectionist, satisfaction comes with progress, yet at times improvement may seem a will-o'-the-wisp. Practice makes perfect &emdash; or does it? This would equate best progress with most practice. Only good practice will make perfect, or at least help us to perform better. . ."
ON BEING A CHRONICALLY UNTALENTED CHAMBER MUSICIAN by Paul Brest
". . . can a chronically untalented amateur &emdash; in my case, a violist &emdash; also enjoy playing? Based on personal experience, the answer is yes, though the reasons may not be immediately apparent."
THE RIGHT MOVES by Ted Rust
". . .Clear, expressive gesture can transform a competent performance into a barnburner. How? By clarifying the expressive content of the music, by strengthening the coordination of the ensemble, and by energizing both the performers and the audience. Like every other element of one's technique, it needs lots of practice. . . ."
BAND AID by Joy E. Moses-Hall
"My first leadership role at the U.S. Coast Guard Academy would be to conduct the Swab Summer Band. The first step toward conning a tender ship through big, buffeting waves is, apparently, to con a marching band across a stubbly parade field. . ."
KICKING THE BUCKET by Eleanor Dusté
"Paolo Uffizi had the worst job at the opera. It is natural that a boy of 12 should begin at the bottom of the employment ladder, but even so, he regarded his job &emdash; his first job &emdash; to be both unpleasant and degrading. He only consented to do it because the Teatro Stupendo was going on tour to Egypt where they would perform Verdi's Aïda in an authentic outdoor setting near the city of Luxor. So what if he had to follow the elephants around the stage with a bucket and shovel. . ."
OLD DOG &emdash; NEW TRICKS? ABSOLUTELY! by Janis Weller
"In 2001, well into midlife, with one son in college and another on the brink, I left my responsible job and returned to graduate school to pursue long-standing passions . . ."
THE LISTENER by Sharon B. Gurwitz
"Every September, we went through the same drill at Tatnuck School in Worcester, Massachusetts. Miss McDonald, the music teacher, walked around the room and made each student sing "Three Blind Mice" or "Pop Goes the Weasel." Those who had really horrible voices were dubbed "Listeners," segregated in the front row, and forbidden to open their mouths all year during music class. . ."
NEVER TOO LATE by Ruth Cazden
"We've all heard the lament of first time job seekers: 'I can't get a job without experience and I can't get experience without a job!' Beginning chamber musicians share the same dilemma. I recently met Andrea, a cellist who's been playing for five years and wanted to attend a chamber music workshop. She was turned down because she had neither chamber music experience nor workshop experience. 'How can I get experience if they won't let me play?' . . ."
BUSTED IN BALBOA by Dorothée Barth
"Ours is the music of Di Lasso, Morley, and Praetorius. The country dances and ballads of Old England. Van Eyk's birdlike, elaborate improvisations. Sometimes later epochs creep in. Music in its time unknown to the recorder as it slept for over a century is available to us now. The recorder is a most adaptable instrument &emdash; a survivor. . ."
WORKSHOP REPORT: Musik-Kurse by Roger Wildman
Rigi Kaltbad, Switzerland, July 2003
"Last summer I took part in a six-day quartet workshop run by Andras Toszeghi, a former viola virtuoso who studied with William Primrose. Andras pre-arranged four string and two mixed quartets, each given one work to study. Alongside, three tutors ran violin, flute, and cello course . . ."
PRACTICE TIPS: Leaping Over the Keys by Eric Proctor
"Keyboard music often ranges over large distances, yet the performer has the task of playing continuous sound without any apparent time to make the journey between consecutive notes which may be octaves apart. . ."
EUROPEAN WORKSHOPS
This guide to 2004 European music workshops for adult amateurs is organized by musical genre: Chamber Music for Mixed Instruments, Chamber Music for Strings (with or without piano), Choral Music, Orchestral Music, Historical Instrument Ensembles, Improvised or Traditional Music, Individual Study and Multiple Genres.
2002
February 2002: THE AMATEUR MUSICIAN‚S YEAR 2002 NORTH AMERICAN WORKSHOP GUIDE; A MUSICAL CROSSWORD PUZZLE by Dave Lyons; THE IN BOX: Why Wait for Summer?; Weekend Workshops; Musician/Editor Works (and Plays) to End Domestic Violence; CORRIDOS: SINGING THE NEWS by Cheryl Smith
April 2002: Chamber Ensemble Score for a Silent Film: THE GOLEM by Philip Freihofner 1
"Most of us think of silent film music as piano or organ improvisation. At the peak of the silent film era, though, chamber ensembles and even small orchestras were commonly used, . . ."
EFFECTIVE PRACTICE by Guy Brooksbank 1
"„Do you know how to practice?‰ The question caught me off guard. It was my first lesson with Randy Cannon: I was a little nervous, but he knew I was no beginner. I felt insulted. „Of course I know how to practice ˆ I‚ve been doing it for years‰ was my immediate reply. He asked me what my method was ˆ how I went about it ˆ and, after I stuttered for awhile, I realized I didn‚t have a plan. I spent that first lesson learning how to practice. . ."
THE IN BOX : Music Software, Workshop Evaluations and Updates 2 BACK ON THE RISERS AGAIN by Robin Lynn Platt 4
"Shoulder to shoulder, standing on these risers, there is barely enough room for our music folders to lie open. My new dress itches, my friend tugs at his bow tie. . ."
GOSPEL MUSIC AND VICTOR BELL by James B. Kimberly 5
"Choral singing calls up some of the greatest musical composing achievements by the great composers. But one form of choral singing that has only recently begun to capture much attention from white singers is gospel music. . ."
PIANO WIRE ACT by Joan M. Snider 6
"The curtain goes up. It goes up fast, with a loud whoosh and a rush of air, as a gasp, not leisurely and gracefully, as in the movies. I feel the breeze it creates and realize my skin is hot, sweaty. In the movies, the performer glides onstage, making a dignified, dramatic entrance; I feel more like I‚ve been dropped, plunged into an icy cavern. . . "
June 2002:
COPING WITH FOCAL DYSTONIA by Ryan Thomson
I suggest equal time for lefties. Unfortunately for me, I‚m a right-handed person with no choice in my playing style, since a medical disability forced me to switch from right to left in order to keep playing at all. . .
LISTEN by Dorothy Stanaitis
It was the rustling that woke Jean as he sat dozing in the comfortable old chair that faced his front window. . .
THE IN BOX
WORKSHOP UPDATE˜KUDOS˜HAIKU
Why DIVERSIFY? by Ted Rust
Specialists no doubt can become more skilled at a particular instrument, but does that make them better musicians? And for the amateur, does specializing better fulfill one‚s love of music?
EFFECTIVE BREATHING by Graeme Lister
I was taught to sing by the Munich-based Swiss tenor Ernst Häfliger, considered one of Europe‚s leading teachers. I learned a lot from him during the years . . .
SYMPHONIE IN FELS: A WORKSHOP REPORT by Lynda Cantor „When the Amateurs Defy the Professionals‰ was the headline of the Luxemburger Wort‚s review of our performance in Luxembourg Symphony Hall on Sunday afternoon . . .
August 2002:
MEDIEVAL YET MODERN: The Dazaifu Recorder Ensemble by Larry Retzack
"It‚s a classic example of Japan‚s merging of traditional and modern. . ."
FOCUS by Ted Rust
"The ability of a group to concentrate its attention while making music is an essential performance skill, but often an elusive one for an amateur ensemble. . ."
FAKE FOLK by Alice Parker
"I‚m confused. Quite often, in my work, I use the phrase 'folk song' with what seems to me a very specific sense: the song of the people, that which has arisen from the collective life of a community in a certain place and time. But today, we are surrounded by Œfolk‚ musics of many genres and places. . ."
MUSICAL TALENT: REAL OR A MYTH? by Norman M. Weinberger
"Should people drop out of music because they have been born without enough musical talent? The entire concept of talent in general, including musical talent, is being seriously questioned by scientists. . ."
PRACTICE TIPS by Laura Blum
"There is absolutely no way for a musician to grow in skill without practice. Practicing is a common bond between the beginning student and the concertmaster of the New York Philharmonic: both have a wonderful sense of accomplishment after a good practice session. Here are practice tips that I have used with my students for years. . ."
GINA TURNER, SONGWRITER by Gene Coleman
"Gina Turner has been playing music since she was old enough to crawl onto her grandmother‚s piano bench. Turner began writing songs at the age of fourteen, a rebellious teen creating music that Turner calls 'sarcastic as hell.' Turner has grown as an artist . . ."
October 2002:
JUST KEEP PLAYING: The IU Baroque Woodwinds and Dance Seminar by Sara Anne Hook
"For the past few summers, I have tried to invest at least a week of my vacation time to attend music conferences. . ."
DRUMMERS ON FILM by Tammy Ruggles
"Backbeat. Heartbeat. Drummers in the movies: Mysterious loner. Shy outsider. Brooding lover. Easygoing mediator. Sometimes even the leader. But usually, definitely, the glue, or steady beat if you will, that holds a band together. . . ."
THE IN BOX: A Canadian Thanksgiving; Chamber Music Holidays in Prague and Sydney; Elderhostel Winter Workshops; Euphoric About the Euphonium
QUIZ CORNER: Eminent Amateurs by Ted Rust
PRACTICE TIPS: Start-Up by Janet Telford
BOOK REVIEW: „The Piano Shop on the Left Bank: Discovering a Forgotten Passion in a French Atelier‰
MY LOVE AFFAIR WITH THE HAMMOND ORGAN by Betty Kobak
"As it says in the Bible: There is a time for everything. Fifteen years ago I bought a 'grand' Hammond RT3 organ. It was hard work to learn to play an instrument at the age of 45 . . ."
A TEACHER TO REMEMBER by Helen Kitchen Branson
"The teacher I remember most from my childhood never stood before a classroom of students. When I first started taking piano lessons from her . . ."
December 2002
2003 WORKSHOP GUIDE FOR EUROPE AND THE MEDITERRANEAN
THOUGHTS FROM AN ITALIAN CONVENT by Lucy Miller "The world of amateur chamber music continues to astound me. Certainly that was the case in my recent trip to Ripastranone, Italy with Jane Carhart's Musical Passages. . . "
HEART STRINGS by Elizabeth Marsh Morrison "My mother dragged me to my first string quartet session when I was in junior high. I was mortified, of course. I knew with the certainty of a 14-year-old that if my mother wanted me to do this, it had to be totally uncool. . ."
PRACTICE TIPS: THE MENTAL SIDE by Janet Telford "Well-known flutist and teacher Marcel Moyse says in the preface to his De la Sonorité, 'It is a question of time, patience and intelligent work.'. . ."
QUIZ CORNER: TOWER OF BABEL by Ted Rust "In Western classical music, musical performance indications tend to be Italian. Fill in the English, French and German synonyms, if any, for the following musical terms. . ."
April 2001: Re-Connecting With My Musical Goals by Susan Salm; Not So Loud by Joe Beck; The Patient Speaks by Eileen M. Benoit; In an Amateur Big Band Gig Anything Can And Will Happen by Susanna Williams
June 2001: DISCOVERING CELTIC MUSIC by Wendy Ellen Ledger; HOW GOOD DO YOU WANT TO BE? by Sydney Rott; SPIKE UP THE BAND by James B. Kimberly and Ted Rust; YOU CAN'T HAVE TOO MUCH RHYTHM by Ted Rust
August 2001: FAGOTTALE by Eleanor Dusté; MUSIC IS FOR MASOCHISTS by Sandra Miller; THERE'S MORE TO IT THAN MEETS THE EAR by Nancy Garniez; MY OWN SCALES BOOK by Sydney Rott; MUSIC, INSIDE OUT by Robin Lynn Pratt; WITH JUST ONE HAND by Richard Bauman
October 2001: THE SADDEST MUSIC EVER WRITTEN by Eleanor Dusté
THE MAN WHO WROTE TAPS by Richard Bauman
THE IN BOX : Workshop Evaluations, Mill Valley Weekends, Rehearsal Spaces
WILDACRES FLUTE RETREAT by Sara Anne Hook
December 2001: THE AMATEUR MUSICIAN‚S YEAR 2002 EUROPEAN WORKSHOP GUIDE; THE IN BOX: Corfu Holiday Report; Weekend Workshops ALL DAY MUSIC LESSONS by David Kaslow; NORTH AMERICAN WORKSHOPS WITH EARLY APPLICATION DEADLINES
2000
April
CLOSING OUT THE MILLENIUM ON THE WORKSHOP CIRCUIT by Bernard Gondos
IS THIS DRUG ABUSE? by Sydney Rott
OPINIONS ABOUT THE USE OF INDERAL FOR PERFORMANCE ANXIETY
LIMERICK words and music by David Goldstein
ME AND MY PICCOLO by Lior Eitan
BRASSCHAMBER MUSIC by Mark Anderson
TWO TEACHERS by Helen Spielman
June
4 HANDS, 2 BRAINS, 20 FINGERS by Nancy Garniez
AN ENCHANTED MAY by Janet Telford
SIGHTREADING TIPS by Suzanne Flaig
JOB SATISFACTION? by Barbara Beckwith
TEACHERS AND GROWNUPS by Pam Morakis
August
42nd SUMMER FOR HUMBOLDT CHAMBER MUSIC WORKSHOP
FIRST INSTRUMENTS by Ted Rust
TENSION IN MUSICAL PERFORMANCE by Ezra Allen Adams
October 2000
A FOCUSSED WORKSHOP: The Prairie School by Marion Taylor
WOLFGANG GOES AWOL by Eleanor Dusté
A NOVEL WORKSHOP FORMAT AT CHICO by Ted Rust
BIRDS OF A FEATHER: A Double-Reed Conference by Sydney Rott
PUTTING THE "CLASS" INTO "MASTER CLASS" by James Kimberly
HELPING AUTISTIC PEOPLE MAKE MUSIC by Brenda Alony
BOOK REVIEW: Ada P. Kahn's "Keeping the Beat -Healthy Aging Through Amateur Chamber Music Playing" by Ted Rust
Verse: TO A BASSOONIST ON HER BIRTHDAY by Dorothy Wright
FUN MUSIC by Marian Brovero
December 2000
EUROPEAN WORKSHOP GUIDE
BOOK REVIEW: Sara Frommer's The Vanishing Violinist, by Mark Anderson
FIFTH LESSON by Eileen Benoit
HUISMUZIEK: A Philosophy of Music and Life by Clara Legene
February - April - June - August - October - December
February - April - June - August - October - December
April - June - August - October - December
April - June - August - October - December
April - June - August - October - December
February - April - June - August - October - December
April - June - August - October - December
January - March/April - May - June - July - September - October/November
January - March - May - Summer - September image - September text - October - November - December
January: Singing by Ear by Alice Parker; Zen and the Art of Music by Kerry Grippe; Organizing Performance Groups; Computers and Music - March: Sex and Music; Musical Travels; Music for the Little Clarinet; Opera: the Original Star Wars; New Composition for Woodwind Quintet - April - May - June/July - August - September - October - December
March 1988: Music and Community; The Blue Angels and an Ensemble Ethic: Making the Most of Your Workshop Experience; Sonoma Chamber Music Weekend; The 1988 Adult Amateur Summer Music Workshops of North America; The Chamber Music of Sergei Taneyev; Piano and Winds: The Six Great Sextets; A Conversation with Colin Hampton, Chamber Music Coach
June 1988: Returning to Music ; Breathing Life into Practicing; Why Volunteer? DuBois Concertino for Saxophone Quartet and Orchestra; Music Organizations; The World of Experimental Musical Instruments &emdash; Ocarinas
July 1988: Coping With Fear; We Are Not Together; Conversation With Laurette Goldberg
August 1988: The School Music Programs Can Use Your Help; Do Players Really Need to Resemble Their Instruments? World Cello Congress; Dvorak Viola Quintet
Sep-Oct 1988: The Drum and Bugle Corps: A Model of Mastery Learning; African Drums: Their Lore and Their Language &emdash; Why Party? One Man's Conducting Book, Part 1; Words and Sounds
November 1988: Involving a Harp; Life in the Chorus; One Man's Conducting Book, Part 2; Georges Onslow; In Conversation with Burke Schuchmann; Music and Medicine
December 1988: Bell tales; Good Party Music for Woodwind Quintet Players; Christmas Music; Newly Published String Quartets; From Betty Boop to Beethoven