TABLE OF CONTENTS:

1. The Chorister: Cover Page2. Weber: What, When, Why of ACDA3. Photo Flash: Surround the State5. Lichtblau: Seasonal Multicultural 6. McIntyre: All State Sight Reading8. Petrik: Where Conductors Happen

10. Gerszeweski: Cartoon Corner12. Wolter: Vocal Health: Conductors13. Popejoy: Defining Who You Are15. Holler: Professionalism Old School?17. McIntyre: Surround the State18: Photo Collage: Surround the State19. Raber: Techie-Talk

Fall

Issue

2013

The C

horiste

r

The What, Why & When of ACDA

Michael Weber, NDACDA President

What does is mean to be the president of a state ACDA chapter? What would being the president or any other position of leadership do for me? Why would I be willing to give hours of my time over and above the hours I put in for my job? When does ACDA stop challenging me to do more? Where will I find the inspiration to write articles? I have often asked myself these questions throughout my career and now I have the opportunity to answer these questions.

What does is mean to be the president of a state ACDA chapter? It means that I have the opportunity to work with creative people from across our state to further the mission and goals of ACDA. All of the current and past board members are commit ted to keep ing our professional organization vibrant and exciting for the members of our state chapter. Our charge is to create opportunit ies for teachers and s tudents to experience choral music at the highest level possible. We do this t h r o u g h o u r a n n u a l s t a t e conference and special events like Surround the State in Song. We also provide opportunities for our students to participate in honor choirs as the state, division and national levels. In addition, I have the opportunity to meet and work with other great musicians from our division as the North Dakota representative on the North Central ACDA board. It is great to know that al l the members of ACDA are striving to work together, to sing together and to support each other.

W h a t w o u l d b e i n g t h e president, or any other position of leadership, do for me? Since I

have been back in North Dakota, I have watched many of the people who have previously served as president in our state including Gloria Knoll, Sheila Zinke, Leesa Levy and Rebecca Raber. I have also observed Jo Ann Miller as she served as our North Central Division President. I have come to understand that leadership means service. We us the phrase “serve as the president” to describe the t e n u r e o f s o m e o n e ’ s l e a d e r s h i p . When you see all that has b e e n accomplished b y o u r leaders, non gratis and often without thanks, I can honestly say that I truly appreciate the work and the service they gave to our organization. It is a service of dedication and appreciation to our career as professional musicians—much in the same way as we serve our students daily in our classrooms and ensembles. And as the saying goes, “to lead is to serve.”

Why would I be willing to give hours of my time over and above the hours I put in for my job? Part of the reason is to pay back to the people who have given so freely given of their time as a leader in our organization. Another reason is to pay it f o r w a r d s o t h a t t h e n e x t g e n e r a t i o n h a s t h e s a m e opportunities that I did when I began my career. And most importantly , it is a way of honoring the organization that I believe has given so much to me i n t e r m s o f p r o f e s s i o n a l

development and musical experiences.

W h e n d o e s A C D A s t o p challenging me to do more? Hopefully, never! I really can’t imagine what my professional life would be without ACDA. I’ve learned something from every state, divisional and national conference that I have attended.

Where else can we learn new repertoire, meet the prominent conductors in our f i e l d , o b s e r v e teachers working with honor choirs, reminisce with old friends and make

new friends? The list goes on and on. I hope I

always have the opportunity to attend a conference and grow as a conductor and teacher.

Where will I find the inspiration to write articles? To me, this is the most daunting part of being the president. I would rather teach the entire works of Ockeghem to a room full of 8th grade girls, with only an autoharp as a source for pitch, than write any article. But since Ockeghem didn’t write any SSA music, I think all I will have to do is look around me to find inspiration. The people I work with, my NDACDA colleagues, my students and the choral music we all love will hopefully give me a multitude of ideas to share with you as president.

Thanks to all of our members who truly inspire their singers to be musicians and to love the choral art. Have a great year!

Surro

und th

e State

Gaudete! arr. by Michael Engelhardt for SSA or TTBB voices is a terrific piece to use for the holiday season or any time of year. Rhythmic accuracy, dissonant chords, and a bright forward sound are what make this piece d i f f e r e n t f r o m t h e t y p i c a l pieces that I p r o g r a m during the year. I used this with the w o m e n o f my Concert Choir that were juniors and seniors. It begins with a soprano solo chant that is biting, strong, and confident but can be freely expressed. A duet with an alto is added on the repeat. All of the women enter and build on dissonant chords and tight harmonies. When choosing a tempo for this I found that I had to remember what was happening on page four. If I started too fast measure 38 would have been a bit chaotic. There are opportunities for a small group and then sections are added during the repeats. It also calls for Chorus 1 and Chorus 2. The changing meter made it very fun to conduct. Our jazz teacher helped me when it came to adding the percussion parts. The drums, including a brake drum are used to add the rhythmic drive giving it a cold and metallic sound. I am looking forward to the next opportunity to teach and perform this great piece. The audience absolutely loved it!

Another seasonal piece that I have enjoyed is Chapua Kali Desemba. The words are by John Parker and the music is by David Lantz III. It is for SATB, 3-part mixed, SSA or 2-part and piano, there is an accompaniment cd that is available also. The

pronunciation and translation of the Swahili is on the back cover to aid in teaching the text. My choir performed the SATB version. There is a solo much like a call throughout the piece. I chose different soloists to give it variety and more options to use my soloists. It is mostly homophonic but the rhythms make this one very fun and easily accessible. This was a later add on to my holiday concert one year and the students learned it quickly. It also has percussion parts (shaker, bongos, guiro, woodblock and udu

d r u m ) f o o t s t o m p s and hand claps. My students a l w a y s e n j o y stomping a n d clapping w h i l e singing. I f y o u

h a v e a n y suggestions for multi-cultural pieces, I always w e l c o m e t h e m . M y e - m a i l i s lichtbs@fargo.k12.nd.us. I’d be happy to review something that you have enjoyed performing.

Seasonal Multicultural Pieces

Sara Lichtblau, Ethnic & Multicultural Music R & S

All State Sight ReadingCheryl McIntyre, NDMEA Guest Column

The All State Committee is making changes to the choral All State Sight Reading this year. We would like to make sure the sight reading serves as an effective measurement tool to determine the music reading ability of each student. After several rotations of the current sight reading, it was decided that we are ready for a new set. We have asked a conductor/composer from out of state who is aware of the North Dakota All State audition process to create examples for the next four years.

Many teachers have asked for information on how to prepare for students adequately for the All State sight reading. This year we will provide practice examples and have asked that t h e e x a m p l e s be written in the key of D for the altos and basses and the key of F for sopranos and tenors. Each student will be asked to sight read t w o e x a m p l e s . T h e f i r s t example will b e a m e l o d i c progression

with smaller intervals allowing capable students to establish a tonal center. The second e x a m p l e w i l l b e m o r e challenging and will feature larger interva ls and more complicated rhythm patterns while maintaining a melodic line.

Here are two examples to assist you in preparing students to have a successful sight reading e x p e r i e n c e d u r i n g t h e i r upcoming All State auditions. Begin working with them now.

E x a m p l e # 1 - N o t i c e t h e stepwise progression with occasional skips of 3rds; The r h y t h m i c p a t t e r n i s n o t difficult; Pay close attention to where the melody line changes direction.

E x a m p l e # 2 - N o t i c e t h e common descending interval of the 4th and ascending skips of

3 r d s a n d 4ths; Notice t h e combination of steps and thirds in the same l i n e s ; T h e r e a r e s e v e r a l repeated notes; The rhythmic pattern is a bit more difficult than the first example; Be sure to hold dotted half notes for 3 beats each; Set a steady tempo.

When students get nervous t h e y t e n d t o o v e r s h o o t s m a l l e r i n t e r v a l s , c h a n g e t e m p o s t h r o u g h o u t t h e exercise, and miss repeated notes. Help them take time to prepare by showing them what to look for. Spending s o m e t i m e w o r k i n g w i t h students on reading rhythms and patterns independently

a n d i d e n t i f y i n g intervals on a regular basis w i l l b e n e f i t

the students in the long run. I t i s h e l p f u l t o w o r k o n ind iv idual s ight reading in

addition to the d a i l y s i g h t reading done w i t h i n y o u r choir.

As students prepare each example, some suggestions include:• Establish a tonal center in the designated key.• Look for steps and skips, and larger intervals throughout the example.• Look for repeated notes or frequently visited notes within the example.• Look for rhythm patterns. Find similarities and differences.• Notice any accidentals which indicate notes that are outside of the current key.• Set a steady tempo.

Good luck on All State auditions this coming January.

On the first day of rehearsal last fall, a young choir began by singing and sharing something about themselves. I asked the children what they thought being a “choir” meant. Their responses were “singing together” and “singing in harmony”. As every choir director knows, part of this process of becoming a choir is developing relationships within the choir. I was very grateful to have a young adult partner in the rehearsal supporting that process. Sitting in the circle with the children, was a freshman music education major. She was there to support the singers and the director and to learn from engaging in the process.

This article is about the power of connection that is embodied in all choral singing. This power is rooted in the unique interrelationships that occur between the music, the director, each singer, the accompanist, and the audience. Song emanates from each individual singer in concert with every other singer, vibrating in a giving and receiving motion within and between all parts of the choral ensemble. This giving and receiving motion ‘moves’ or ‘touches’ performers and listeners. This act of working together, sharing selves, sharing the meaning of the music a n d t h e m u s i c -making, and giving a n d r e c e i v i n g emotion creates r e l a t i o n s h i p . Christopher Small c a l l s t h i s a c t “musicking”. He explains:

The social and the individual meanings of the act of musicking are intertwined, being

c o n c e r n e d w i t h t h e participant’s feeling of their own identity, of who they really are. The social dimension arises from the fact that individual identity, who one is, is based on relationships, … and music is concerned with the exploration, the aff irmation, and the celebration of relationships. (Small, 1987, p. 56)

I believe that, at least in part, it is this experience of connecting emotionally with self and others, joining our voices in concert and making meaning through the music, that drives individuals to seek out and participate in choral singing. These connections also become a driving force for those who seek to share choral singing as future choral educators.

The connections inherent in choral ‘musicking’ are alive and well in a special relationship between children’s choirs and choral teacher preparation at Minot State University. A program known as the Choral Educator Early Experience (CEEE) has been facilitating connections between undergraduate choral educators and the Western Plains Children’s Choirs for the past five years. At present,

three choirs: Western Plains Junior Choir, Western Plains Children’s Choir, and Western Plains Youth Choir, provide teacher candidates opportunities to work side by side with experienced directors. Teacher candidates begin as aides to the director. In this capacity, they lead warm-ups, are responsible for logistics, and conduct sectionals. After serving as an aide for

one year, teacher candidates have the opportunity to intern as an assistant director with any of the three choirs.

A Place Where Conductors Happen

R e b e c c a P e t r i k , G u e s t C o l u m n

Through CEEE, teacher candidates benefit from firsthand experience through observation, participation, and teaching. Invaluable personal growth of skill and confidence occurs through real-world connections with developing singers. Likewise, the child singers in the choir benefit from rich relationships with the college choral assistants. Young choral educators and the children in the choirs are forging a chain of connections that continues to expand.

This fall, the music education major mentioned in the opening paragraph is initiating a new facet of CEEE. She is returning to serve as an assistant director and to implement a mentorship program for high school alumni (our oldest choir goes through 10th grade). This mentorship program is based in her own past experience as a high school mentor in the Grand Cities Children’s Choirs. At the end of our season last year, she connected with recently graduated children’s choir members who indicated their

wishes to become mentors. She is presently training these new mentors who will each work with one of the choirs. Hence, the power of connection continues; as she mentors each of her high school mentors, they in turn, develop skills in working with children, in sharing “musiking”, and in becoming future choral educators.

ReferenceSmall, C. (1987). Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: Wesleyan University Press

Article shared by Rebecca Petrik, Artistic Director of the Western Plains Children’s Choirs and Music Education Specialist at Minot State University. Rebecca Petrik is completing her PHD in Teaching and Learning at UND.

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Saving the Voice: Vocal Health for the Music Teacher

Fact: Music teachers are over four times more likely than classroom teachers to develop voice disorders and greater than eight times more likely to have voice-related problems than the general public.  Fret not! With a few changes, you can avoid debilitating complications.

Hydrate, Hydrate, Hydrate!Do you get to school before the secretaries, administration, and all the other teachers and receive assistance from some caffeinated beverages? Avoid caffeine if possible, but if it is a must have, drink equal amounts of water to balance the giant thermo mug of coffee.

Give Nonverbal CuesIt is tempting to give loud vocal signs to refocus a group when the class becomes distracted. Change it up by utilizing echo patterns with claps, stops, snaps, pats and other creative body percussion. Consider it a proactive approach. If you are feeling ill but must be at school, you have a tool other than “Everybody listen up!”

You can also train your singers to learn directions from various gestures. Patting your head may signal start from the top. A double slap on your lower back may show you want an improvement in the students’ posture. As long as you consistently pair the verbal instructions with the gesture, basic psychology tells us you can remove the verbal cue and they will still know what to do only by the physical gesture.

Rest!When the chest cold, laryngitis, or any other various illness students can share start to weaken your voice, rest! If there is not a looming concert fast approaching, chances are you can make up a lost rehearsal day by adding intensity to rehearsals later.

If you choose to utilize your voice when it is damaged, you are straining your instrument. Menthol lozenges

may feel good, but that numbing agent will also cause you to overuse the voice more than you would have without the drops.

If the laryngitis lasts more than three weeks, Mayo Clinic suggests visiting a doctor. You may have done damage beyond what the body is capable of recovering.

A-hem! Do not clear your throat.Throat clearing and coughing are both harsh activities for the vocal folds. Clearing the throat because of a tickle make the folds more agitated which increase the urge to “A-hem” again. If there is too much mucus due to the common cold or other respiratory diseases, the extra junk can be removed without using the voice. The Texas Voice Center suggests to “take in as deep a breath as possible, momentarily hold your breath, and produce a sharp, silent “H” sound while you expel the air.”

Other Tips-Do not smoke-Avoid dehydrating drugs such as antihistamines-Refrain from glottal attacks when singing-Be wary of vocal frying

-Use a humidifier when weather becomes dry

-Record one of your classes to see if there are any of these unhealthy

habits that you have developed

Remember what mom used to say – an ounce of prevention is worth a pound of cure! Treat yourself and your voice right, so

you can continue to share your musical knowledge with your

students and community!

1  Journal  of  Voice  2011 Jul;25(4):441-62  Retrieved  from  h6p://www.mayoclinic.com/health/laryngi>s/DS00366/DSECTION=preven>on

3  Retrieved  from  h6p://www.texasvoicecenter.com/advice.html

Vocal Health for the Music Teacher

James Wolter, Middle School Choirs Co- R & S

Thirteen years ago, I came in contact with some wonderful young people in the Greater Grand Forks area who loved to sing. My conversations with them about singing, the friendships made through the common bond of singing, and their desire to be excellent singers, planted the seed in my mind for what is now the Grand Cities Children’s Choir (GCCC). In my mind, I had hoped to have enough talented, young singers to fill out one choir, hire a great accompanist and off we would go. Well, all of that happened, and the program has since grown to include four choirs, four accompanists, five directors, a Mentoring Program, a Parent Advisory Board, Finance Manager, Managing Director, and Executive Board. In essence, what began as a children’s choir has grown into a non-profit business!

Out of necessity, I had to begin to change from thinking solely like an educator, to thinking more like a business manager. Thinking like an educator has always come natural for me. It is what I have wanted to do all of my life. However, my repertoire of business courses I took in college consists of one. So, where to begin? I recall Henry Leck’s advice: “Surround yourself with great people.” I looked at our database of parents of the singers involved and found prominent businessmen and businesswomen from our community. I asked them to serve on our parent board. It is there that my business education began.

Now entering our 1 2 t h C o n c e r t Season, the GCCC Executive Board is w o r k i n g o n developing a core purpose statement and business plan, under the leadership of a local CEO, area business owners, and a marketing firm. The process has required us to reflect on our program. Whether you are a public school teacher, or a community chorus conductor, I truly believe that you would find this process very useful in evaluating your program. As choral directors, we are able to define

“what” we do and explain “how” we do what we do, but we fall short of communicating “why” we do it. What, ultimately, do we want the results of our work to be, or do? What is our reason for being?

One of the activities we engaged in was discerning who our primary and secondary targets are (Target), what we would like for them to do (Action), and what we want them to think about us (Perception). For example, the most obvious of our primary targets are young singers in grades 3-9. We discerned that we want them not only to audition for our program, but we want them to make a commitment to our rehearsal schedule, to work hard and give their all each week, and to take pride in the organization. Finally, we want their perception of our program to be that they will learn a lot, grow as a musician, make friends, do cool things, and have fun.

We went through the same thought process with two secondary targets: parents and the community. For the parent target group, the actions we want to elicit include encouraging their children to audition, making a commitment to support their singer in this activity, being willing to volunteer, and talking

positively to others in the community about the organization. The perception we want the parents to have is that their singer is in a safe environment, they are engaged in an activity where they will develop musical skills, as well as life skills.

For the community target group, the actions we want to elicit include having an awareness that such an organization

exists in town, making it a point of conversation, attending our performances, and supporting special projects. The perception we want the community to have is that these young people are a true reflection of the best this community has to offer, quality is considered in everything they do, and that there is a sense of ownership, in that this is “our” choir.

Defining “Who” You Are

Melanie Popejoy, Community Choirs R & S

Following an evening of activities such as the one mentioned above, our marketing partner is taking all of our feedback to discern what our overall message, or “core purpose statement,” should be. A core purpose statement describes the essence of an organization; why it exists. Wal-Mart’s core purpose is “We save people money so they can live better.” 3M’s core purpose is “To solve unsolved problems innovatively.” I can hardly wait for our meeting in November, to see how the Grand Cities Children’s Choir will be summed up.

I encourage you to try this activity with your music colleagues, your parent board, or any governing body of your organization. The process of reflection and evaluation will be both gratifying and invigorating. The resulting information will keep everyone involved in your program focused, and become what drives your decision-making, on all levels. This will give you clarity on who you are at your very best!

Melanie Popejoy currently serves as Associate Director of Choral Activities at the University of North Dakota, and is the Founder and Artistic Director of the Grand Cities Children’s Choir.

Educating the next generation of outstanding musicians.

Dr. Tom PorterDirector of Choral Activities

Katherine HenjumAssociate Professor of Music, Voice

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Are Professional Ethics Old School?

Valerie Holler, Small School Representative

This past spring a colleague applied the term “old school” to herself as we discussed teacher behavior in out-of-school situations. “Old school” is a term I’ve heard throughout my entire career, and I wondered if “old school” should be considered as a negative or is it something else?

I created a short questionnaire and distributed to a group of colleagues. All of the colleagues are presently teaching or recently retired. Some of them know each other, some do not. They currently teach or have taught in various fields; Administration, Music, Elementary, Business, and English. The only common thread among them is that these are people I consider to be professional educators with strong ethical behavior and they have or have had a connection to small schools. Summaries of their answers follow the set of questions. The questions were:

Was professional behavior beyond the school day ever discussed in any of your college classes?

How did you acquire your sense of professional behavior?

D o y o u t h i n k p u b l i c expectations of appropriate professional behavior outside of school is different in a large district in comparison to a small district?

If you were giving advice to a “new” or “young” teacher concerning professional behavior beyond the school day, what would you tell them?

According to those questioned, professional behavior beyond the school day was discussed very little, if at all in college. One person who attended a private Christian college said the importance of being a role model was freely discussed. This same person, upon transferring to a public university, told of professional behavior discussions initiated because of a student openly

divulging activities from the night before. The professor used the opportunity to discuss p o s s i b l e p r o f e s s i o n a l consequences of that type of behavior. This same professor also discussed appropriate and inappropriate classroom dress. One person, an administrator, said behavior outside the school day was discussed from a legal standpoint; what teachers did outside of the school day couldn’t be held against them.All those questioned agreed that their families were their first role models. Some of them also credit other teachers, those they had as students and those they work with, as being role models. Other influences were involvement in the arts, performing and other professional organizations.

Since all those questioned work or have worked in small districts, they felt the expectations of

appropriate teacher behavior in large

a n d s m a l l districts, were probab l y the same. They all stated they felt the visibility of t e a c h e r b e h a v i o r s i n small districts

i s d e f i n i t e l y m o r e

pronounced. They a l l m e n t i o n e d t h e

community connections teachers have in small districts. Examples cited were supervision of students at school events, attendance at sporting events, involvement in church activities, family connections, and various other social events. Some mentioned teachers needing to “be on your toes” or “under a microscope.” One person felt that sometimes the most vocal and assertive faction in the community sets the community standard and this community standard can vary from one community to the next.

In giving advice to “new” or “young” teachers, all of the people questioned expressed a strong belief in the influence teachers have on those around them, primarily on students, but on others too. Most strongly agree that teaching is not a “9 to 5” job. No matter what the setting, they all cautioned “new” teachers to consider and to be aware of the possible consequences of your behaviors.

As I reflected on the opinions of my colleagues, some questions lingered. One responding colleague, a board member of North Dakota United, created from NDEA and NDPEA(North Dakota Public Employees Association, suggested I research the NEA Code of Ethics(www.nea.org). There is also a North Dakota Code of Professional Conduct for Educators on the North Dakota Education Standards and Practices site ( W W W . g o v / e s p b / p r o f p r a c t i c e s /ethics.html). I wonder, since most of the responding colleagues had little exposure to professional ethics in college, should

aspiring teachers be exposed to these two Codes of Ethics? The colleagues I questioned believed they had strong family examples as a guide; what if those strong family guidelines aren’t in place? I personally have heard teachers say, “I can do what I want, I’m an adult.” I also remember someone saying that if you’re not willing to be a role model 24/7, you shouldn’t be a teacher. I had great respect for the colleagues who agreed to answer the questionnaire before I read their responses, and my respect for them deepened. I understand more fully how they are succeeding or have succeeded in a challenging, but influential profession.

Quite possibly, “old school” is not only an awareness of the tremendous personal respons ib i l i t y o f an educator , but choosing to live your life in a way that has a positive effect on those around you.

Music filled the great state of North Dakota. On Oct 12th, Three hundred and eighty se lected 5th and 6th grade students participated in ND ACDA’s Surround the State in Song. This festival took place simultaneously throughout the state in Dickinson directed by Paulette Huber, Minot directed by Deb Eraas, Grand Forks directed by Pam Burns, Bismarck directed by Al Kary, and Jamestown directed by Peggy Bartunek. Sound files were provided on the ND ACDA website to assist students in learning their music. Students came well prepared to the festival. They brought an incredible amount of energy. They rehearsed with our guest directors beginning at 9:00 a.m. In some locations teachers assisted with sectionals t h r o u g h o u t the day. At 4:00 all sites p e r f o r m e d t h e i r f i n a l concert with the 5th and 6 t h g r a d e honor choirs. M u s i c p e r f o r m e d included The Star Spangled Banner, Jubilate Deo by Praetorius, Hush, Somebody’s Callin’ My Name by Rollo Dilworth, A Distant Shore by Donelly and arr. By Strid, and Alexander’s Ragtime Band arr. By Besig and Price. Teachers commented that they are so grateful to have an activity such as this to encourage their students to excel.

Thank you to the work of t h e s i t e m a n a g e r s f o r making the day go smoothly. Site managers for this event were Bruce Southard in Dickinson, Lindsey Kerzman in Minot, Brian Saylor in Bismarck, Melanie Popejoy in Grand Forks, and Cheryl McIntyre in Jamestown. Thank you to the teachers who gave their students the opportunity to participate in this memorable event and for bringing them to the festival prepared. We encourage all teachers to include this in your events for next year.

This year, we have an added opportunity for t h e s e 5 t h a n d 6 t h g r a d e

students to participate in the Showcase Concert

at the North Dakota S t a t e A C D A Convention in Grand Forks on Jan. 31. Parents wi l l be in charge of housing and t ranspor ta t i on f o r these students so that teachers are able

t o p a r t i c i p a t e i n workshops at the ND

A C D A C o n v e n t i o n . M o r e information will be coming to schools that participated in Surround the State in Song from Cheryl McIntyre the R & S Chair in the near future. Be sure to check out the ND ACDA website for photos of this event from the various sites from this year and for further information about Surround the State in Song.

Surround the State in Song!

Cheryl McIntyre, Children/Youth Choirs R & S

Surrou

nd th

e Stat

e in S

ong!

Techie-Talk: Using Spotify

Rebecca Raber, Past-President, Chorister Editor

In the rewarding and hectic world of teaching music, there is seldom time available to search out new technology tools to feature in our classrooms. Usual l y , we learn about new technology options through staff inserv ice days ; however , the technology is seldom beneficial to us specifically as music educators. In this article, I want to share with you, an application that I have used for the past year and a half, both personally as well as in my classroom, in a variety of ways. Spotify! I encourage you to try it!

The first time I used Spotify, it was just to create a studying playlist of 80’s tunes that I liked! I quickly realized that it was so simple that I began to think of ways to use it in my classroom. I had that very opportunity while teaching Music 108: History of Rock and Roll at NDSU last fall. My students were learning a great deal of music in a relatively short amount of time. I realized what a great opportunity it was to use an online service like Spotify, rather than hauling in cds every day I had class. I started to build a playlist for every chapter that I was teaching. After I had done so, I copied the http link of the playlist and emailed it out to my students or posted it on Blackboard. They were able to “follow” the playlists and use it for studying for the tests. Here is a link to my Chapter 8 playlist on Motown: MUSIC 108: Chapter 8.

Spotify is:• FREE! Go to: www.spotify.com• Available: on any computer that

accesses the internet.• Searchable: a huge database of

music is available at your fingertips.• Flexible: integrates your own

iTunes music library.• Social: build your own playlist and

send it to someone else or follow their playlists.

Those of you who use Spotify already know that the caveat with such a great service is that there are o c c a s i o n a l 3 0 s e c o n d commercials. I don’t find this to be a

burden, especially for the ease of using such a service.

There is a paid service available (I admit to being a paid subscriber) that allows you to have the app on your phone and have access to your playlists while offline. This really comes in handy when wifi is sketchy or if you’re traveling. To me, it’s worth the monthly cost.

How will it benefit me?

Using Spotify in Your Classroom:

1. Increase your exposure to all sort of music, searchable by title, composer, artist, etc. There is a wealth of music to choose from.

2. Build playlists organized in whatever manner you choose.

3. Share your playlists with students and increase their learning and exposure.

4. Use music as a demonstration, search for it “on the spot” and not have to pay for it.

5. Connect with others!

I play music each d a y a s m y s t u d e n t s a r e ar r i v i ng i n my classroom. I use my Spotify lists for this and plug in my iPhone or my laptop to my stereo to get a bigger sound, although you can just use your computer speakers. I can quickly and easily switch between music for arrival, warmups or example recordings of pieces that we are working on in class.

I have incorporated a new idea into my teaching this fall. I have asked my fellow teachers to build a playlist of their favorite songs (all school appropriate, of course) and share the link with me. When students enter the room, they always ask which “celebrity playlist” is playing. They are interested to find out about their teachers through music! It’s a great way to connect with your colleagues. Here is a link to our principal’s celebrity playlist: Mr. Mitchell's Playlist

I know...we all have plenty to do without searching to learn new technology, but some technology is worth it. To help my colleagues in their quest to learn how to easily make a Spotify playlist (as I didn’t want it to become a burden for them), I made a screencast of the process for them. I also offered to build it for them if they just provided me with a list. I offer you the same link with the hopes that you will try it! The video is casual, but will give you a step by step process. It literally only takes a few minutes and afterwards, you’ll have a login that you can use on any computer and access your music and millions of other songs on any computer! Enjoy!

Screencast Video: Spotify Tutorial

Please contact me if you have any questions...I’d be happy to try help! Here is a link to my new holiday music playlist. I just created it yesterday! Holiday Music Enjoy discovering what Spotify has to offer you and your

classroom!