Newsletter

I love autumn. I love music. I love young people. So why do I still have moments when I question my calling? I love teaching. I love learning. I love discovery. So why do I momentarily drift into discouragement? I love the process. I love possibilities. I love underdogs. So why do I feel impatient at times?

Hey, madame president, get over it. Teaching is messy. Interacting with other human beings is mess. Expecting more than I might get is risky. taking professional growth goals at face value is revealing. Trying to explain the potential of music in a young person's life is realy dicey. walking out on stage Tuesday night with a group of students who may or many note think a great deal about intonation and who may or may not be brave enough to look up from their music to capture the imperfect pulse of their conductor in maniacal. Expecting high school students to be awake and productive at 8:00 in the morning is ....... the computer cursor flashes as I search for a word ........ unrealistic?

This is the time I am given........should I ask students to cut their natils...get the hair out of their eyes...practice their music at home...have a pencil at the ready...dare to show the music by moving...or let their imaginations dictate how they use their bow?

Should I encourage thet marginal All-State contestant, or schedule that 7:00 am rehearsal? What an I thinking? should I agree to yet another challenging schedule change, knowing that curriculum will be diminished? Why should I work so hard when I question so much?

Hey, if I wanted a desk job from 9-5, with an hour lunch break, would I be, my jub might be...predictable...routine...anaerobic...sterile...I might not get to grow as a giver, transcendmy limitations, learn to be comfortable asking for help, remember my inspiration to teach, laugh really louf and almost snortovera freshman boy's jokes. Be inspired by a young girl's revelation that she is a leader. Validate that autistic child's contributions to the classroom, or see a sea of concentrating faces (senza bangs) looking up at me for a cue.

I might never provide a real and meaningful outlet for self expression, and self determination and an ongoing dialogue with cultures from around the world, or let minds time travel through the centuries.

If I wasn't teaching strings I would not know the joy of a shy senior, mastering a concerto, or a skateboarding sophomore learning to love Bach, or a Tri-M member volunteering to run a recital. I might not receive the honor of helping a new stduetn transition to a new building through her orchestra buddies.

Come to think of it...I might not question the improtance and the rewards of my job, because I might not be so totally engaged in a humongous task that takes every thing and more that I have to offer. Teaching is mess, but it is central. It is real. It is important and life affirming. We are central. We are core. we are life affirming.

Over the past few years I have become involved in a wisconsin-based teacher training program called CMP--Comprehensive Musicianship through Performance. For more than twenty-five years Wisconsin music teachrs have had the great opportunity to expand and deepen their teaching through this wonderful program. With its emphasis on teaching music comprehensively, rather than focusing only on rudimentary "notes, rhythms, fingerings, bowing and dynamics," students are led into a much broader and more meaningful experience of music-making. As a very brief introduction to CMP, here are some suggestions for approaching a new piece with your students. (Orchestra directors read on--these are wonderful ideas for everyone!!)

?Help your studetns discover what the music is about before they start playing the notes. Rather than taking the path of least resistance by using the notes (fingerings, bowing, etc.) as your starting point, talk about composer, the title, and the expressive markings; look for double bars, key changes, repeated motifs and sections. Guide your student through these components like a sleuth looking for clues to solve a mystery.

?Ask you students to look up the composer and/or composition on the internet and report back on what they find. Have the studetns identify what period the pieceis from and begin to explore stylistic elements fo that period. Talk about other influential aspects of that society, including language and literature, visual art, musical instruments and other cultural influences. Explore background information about why the piece was written; talk about the kind of person the composer was, what kind of like he/she lived, even an interesting anecdote to bring that person to life for the student.

?When teaching a technique, think about why the music needs the technique, rather than why the student needs it. Of course the student will need to learn the technique, but this approach gives context for the student to understand why learning the technique is necessary, not just that he or she is lacking in some way. Use this musical basis as your springboard for teaching the technique.

?Ask your students leading questions to allow learning to be a discovery process. Allow time for exploration rather than just telling students what they need to do. Questions such as "Why do you think you can use more bow weight when you get closer to the bridge?"or "How could you vary your dynamic level, vibrato, articulation, or tone color to make this section more musically expressive?" lead to understanding rather than simply following directions.

?Follow the score while you teach, rather than the instrumental part. Point out to your student imitation, motifs and interesting counterpoint. go to the piano or pick up your instrument, play the harmonies and interesting lines wiht your student and talk about how they affect the way the studetn will play his/her part.

?Ask yourself big-picture questions as you teach and make sure these questions and possible answers get communicated to your studetns as you teach. "Why?" is a great one--Why did the composer write this piece? Why do I believe it is important that my student learn this piece? Why will my studetn benefit from learning this information or this technique? Why does it matter that my students learn to practice well, or practice every day? And so forth. Share your questions and answers with your students, or better still, have them help you explore the answers.

?Consider ways for parents to learn more about what your students are learning. Have your students write recital program notes to share something importatnt they have learned about their piece, the composer, or something they have discovered by working on the piece. You might also want to use the back of the program to educate your audience on a variety of subjects about teaching and learning music, such as performance preparation, technical development, what you look for to see progress in a student, and so forth.

While these ideas all lead to some wonderful teaching, they are just the tip of the "CMP" website http://www.wmea.com/CMP Order their book "Shaping Sound Musicians" to dig deeper. Best of all, consider signing up for an inspiring summer workshop! And of course, you can always contact me any time. Corky Watkins, at rosindust@earthlink.net with your questions--I'd be more than happ to talk with you.

*We appreciate Cornelia Watkins granting permission to repring this article for our newsletter.*

My tune "Rhiannon" is named for a special little friend of mine. she sang in my children's choir until she and her family moved to Virginia a few years ago. this past March I received a sweet note form her, right in time for my birthday. That she should remember her "old" choir director like that put me in a pretty happy mood. The tune just kind of formed itself in my head, so I wrote it out and named it after my little red-haired pal in Virginia.

FOURTH ANNUAL NEBRASKA ASTA
FIDDLE TUNE COMPOSITION CONTEST!

FIRST PLACE: $100.00 SECOND PLACE: $50.00 THIRD PLACE: $25.00

This even inspires fiddlers to compose their own tunes and supports the cause of string education throughtout the great State of Nebraska.

The winners will be announced on May 26, 2007, during the Monumental Fiddling Championship held at the Homestead National Monument in Beatrice, Nebraska. The winning compositions will be performed at the Monumental Fiddling Championship, and printed in Stringing Along, the journal of the Nebraska Chapter of the American String Teachers Association. Direct your questions to: Deborah Greenblatt, The Old Schoolhouse, PO Box 671, Avoca, Nebraska, 68307-0671, or by e-mail to g-s@alltel.net.

The 2007 Contest Rules and Guidelines

1. Each submission should be an original composition which must be unpublished and composed after May 27, 2006.
2. Composers may submit more than one tune, but only one prize will be awarded to any one composer.
3. Four copies of the music must be submitted via computer generated sheet music, or hand-written sheet music.
4. The composer should include their name, address, phone number, e-mail address, and the title of the piece.
5. The entry fee of $20.00 should be sent in at the time of submission. Checks should be payable to Nebraska ASTA.
6. If you wish to receive written evaluation of your tune by the judges, include a stamped, self-addressed envelope with your entry.
7. Nebraska ASTA assumes no responsibility for loss or damage to works submitted.
8. Entries must be postmarked by March 31, 2007.
9. Send your entry to Deborah Greenblatt, The Old Schoolhouse, PO Box 671, Avoca, Nebraska, 68307-0671. The composer is responsible for keeping a copy of their work, as well as for copyrighting their tune.
10. The composer understands that if their tune is one of the winners, Nebraska ASTA has permission to have the piece performed on May 26, 2007, in Beatrice, Nebraska, as well as permission to reprint the tune in Stringing Along, the quarterly newsletter of Nebraska ASTA.

Previous Sponsors of the Nebraska ASTA Fiddle Tune Composition Contest:

Greenblatt & Seay Publications, Avoca, Nebraska
The Metropolitan String Quartet, Omaha, Nebraska
Nielsen's Violin Shop, Omaha, Nebraska
Shar, Michigan
SouthWest Strings, Arizona

LAZY TEACHER WEEK

BY ERIN COSBY

When I first started teaching private violin lessons, Ihad limitless amounts of time, energy, and creativity. Now that I've been teaching almost ten years and have three small children, i have toned down the extravagant studio projects and tried to focus on activities that help improve my teaching.

The one technique that I have found the most beneficial is the practice lesson. Once a year when the studetns arrive for lessons, they find a sign on the door. "There will be no lessons today. parents and studetns will do a sample home practice in front of the teacher. Please do not talk to the teacher until your practice is over." I had to use the element of surprise so that I could get an accurate idea of how practicies were going at home. At the end of the session, we discussed some practice techniques that would make practice more profitable. This was always a hard experience for the parents who felt that they were being graded on their child's practice.

After observing my first week of tear-filled practice and wasted time, I realized they didn't know how to practice. I had flunked in teaching them how to apply the techniques learned in lessons. Because fo the observations, I have tweaked the way I structure my lessons. Whenever we start a new piece or technique, I model how to practice it a home. With the older students that come on their own, we practice it together exactly as it should be done at home. Every year more of my students are able to demonstrate a productive practice. When it was time for the practice lessons this year, almost all of my families sailed through with flying colors!

Because the practice lesson is so uncomfortable for the parents and students, I decided this year to call is Lazy Teacher Week. I wore curlers in my hair, pajamas and a robe, and lounged on the couch while they practiced for me. After they were done, we discussed some practice techniques, the studetns got to pick our of the prize basket, and the parents got a sticker. Adding a little sense of humor made the week seem less stressful for everyone involved.

BACH TO ROCK CONCERT WITH MARK WOOD

Mark Wood, rock violinist and graduate of Juilliard School of Music, will bring the Trans-Siberian Orchestra East to Omaha on May 9-12. The Omaha Conservatory of Music will host a workshop and concert at the Orpheum on Saturday, May 12.

Mark Wood will be scheduled to work with Omaha Conservatory students and other area string programs who are interested in a mini-workshop on improvisation. Mark will travel with a keyboard player, electric bass, electric guitar, drummer, and vocal specialist. Any string program that would like to participate should contact Ruth Meints at the Omaha Conservatory (402.932.4978). One piece will be chosen for all string programs to prepare prior to mark's visit. This piece will be performed as the finale at the Orpheum concert on May 12. All studetns who have worked with mark Wood during the workshops will be encouraged to join mark on stage for the final number.

For students who have to travel from across the state, there will be a mini-workshop on Saturday afternnon. these studetns whould also learn the finale number and participate in the Saturday night concert. Mark's workshop hours are limited, so any interested progras whould contact Ruth Meints as soon as possible. The in-school wlrkshop sessions will fill up quickly. Students who do not have achance to work with Mark in the school setting can still come to the Saturday afternoon workshop.

Check mark Wood's website for more informaiton on his career and band. http://www.woodviolins.com

"WORD TO YOUR NEASTA" WE'RE ALL IN THIS TOGETHER.......

Do you have:

A performance of interest for the state?
An idea for recruiting new members or for networking with the fantastic current members?
A teaching question to post for feedback?
A concern about arts advocacy?
Let us know-we care!

NATIONAL HIGH SCHOOL HONORS ORCHESTA (NHSHO)
2006 APPLICATION

High school junior and senior students are eligible to apply for the orchestra. Students must apply for it through their ASTA state chapters. They submit an audition tape or CD of required literature and three minutes form literature of their own choosing. The students are required to be members of their school orchestra. Students must follow the application process as stated above to be considered by the national committee.

The next NHSHO will take place February 28 - March 1, 2008 in Albuquerque, NM. Applications for the National High School Honors Orchestra will be available on the ASTA website and in the ASTA journal in spring of 2007.

MARK YOUR CALENDARS!

"STRICTLY STRINGS' WILL BE HELD ON SATURDAY, NOVEMBER 11

This middle school orchestra event is for 7th and 8th grade string players and is held annually at Walnut Middle School in Grand Island. If you are interested in bringing students to this event, contact Christa Speed, cspeed@gips.org or at 308.381.0664 for further information.

DO YOU HAVE A HOTSHOT SOLOIST?

ASTA National Solo Competition State-level

Competitions Must Be Completed By November 16

The Biennial National Solo Competition, which takes place during the national conference, has served as a springboard for many artists to go on to careers in orchestral playing, studio instruction, university teaching, and as international soloists. Open to violin, viola, cello, bass, harp and quiter, more the 2,000 students have participated! Participants must be members or students of members. Contact David Neely, our NEASTA chair.

The national ASTA website http://www.astaweb.com/2007/Solocomp.html has all the information about this competition including: eligibility, how to apply at the state level, required repertoire for the national competition, deadlines and a list of state contacts. Nebraska candidates advancing to the national semi-finals must be sent to the national office no later than December 1, 2006. Finals of the National Solo Competition will take place at the 2007 National ASTA Convention, in Detroit, March 7-10.

Junior Division tape/CD due November 16

Senior Division tape/CD due November 27

Send recordings to:

David C. Neely, Nebraska State Competition Chair
232 Westbrook Music Building
University of Nebraska-Lincoln
Lincoln, NE 68588-0100

THE GREAT PLAINS BLUEGRASS AND OLD TIME MUSIC ASSOCIAITON

Free admission for string students and their parents for an energy-packed old-time music concert by "Little Brown Jug." This is a high energy old-time string band that adds a good deal of fun and excellent fiddling hosted by the Great Plains Bluegrass and Old Time Music Association.

Sunday, november 5th from 2-5 pm (concert is 2-3 pm. open jam following.) Bellevue VFW 2108 Franklin Drive in Old Town Bellevue.

the Great Plains bluegrass and Old Time Music Association would like to encourage students to come sample an important part of our country's musical history. "Little Brown Jug" is an old-time music band form Lincoln, Nebraska featuring 2 fiddlers, a banjo and upright bass. Nissa Evanson, a popular Lincoln violin teacher, is one of the fiddle players in this band. We feel this band will have particular appeal to a student audience as the songs are light-hearted and fun, the musicianship is excellent and the tempo is very upbeat. Following the one hour concert, students are invited to participate in our open jam session. There are typically 4 or 5 separate groups jamming at various skill levels and playing different types of bluegrass, old-time, gospel, and an occasional old-time country tune.

Fiddling has excellent value for developing ear training, creativity, a strong sense of fhythm, not to mention, it's just plain fun! Teachrs, please encourage your students and their parents to attend this concert. You may want to come join in the fun yourselves!

Feel free to check us our on the web for more information.

http://www.gpbotma.homestead.org

Mindy Hunke, GPBOTMA Webmaster

A LETTER FROM A FRIEND!

Hello to all Nebraska High School Orchestra Directors!

I hope this finds your first month and a half of school to be an exciting time, and that your students are moving eagerly through their orchestral experiences.

A couple of quick notes: Hastings college now has 12 collegiate string players on campus, many of whom are majoring in music, and all of them playing in the Hastings Symphony Orchestra. when I came here in 2003, there were only 3 collegiate string players in the HSO, so I hope you can appreciate this growth as much as I do. I obviously have many of you to thank for encourageing your string students to consider Hastings College, and I hope you will continue to do so whether or not they are majoring in music. Secondly, I hope you will check out the Hastings Symphony website at http://www.hastingssymphony.com to see our new season of music, Soundscapes: A Montage of Musical Life. The HSO is currently into its 81st season, and is one of the oldest uninterrupted orchestra traditions in the country. If at anytime you would like to join the HSO for a concert as a player, please let me know;I can help defer travel costs and pay you a stipend for your involvement. Also let me know if you'd like to attend a concert (possibly with students), and I'll arrange to have complimentary tickets available for you.

This year the HSO is sponsoring its biennial YOung Artists Competition featuring high school students form Nebraska with junior or senior status. Application deadline is set for December 18, 2006 and of course, this competition is open to vocalists, pianists, and all instrumentalists. Winner(s) of the YOung Artists Competition will perform with the HSO on March 4, 2007 and if they so choose to attend Hastings College, they can partake of some very generous scholarship offers from the Department of Music. (Winners and other participants of the Young Artists competition are not required to attend Hastings College.) Of course, the primary objective of this competition is to be an educational experience and as such, each musician will be provided a few minutes after his or her performance to listen to judges' comments and suggestions. In the past, we have found this to be an invaluable experience for the students.

Alain, please let me know if you have any questions and as noted abouve, please encourage your studetns who are ready for orchesral competitions to fill out an application form and send it to me. Thank you for your time. I look forward to seeing you at NMEA if not before.

Also, look for information coming soon about Hasings College's Honor Chamber Orchestra with guest conductor/clinician Michael Griffith form the University of Wyoming.

Sincerely,

Byron W. Jensen, Ph D
Associate Professor of Music
Department of Music-Hastings College
Conductor/Artistis Diorector-Hastings Symphony Orchestra
710 N Turner Ave
Hastings, NE 68901-7696
402.461.7361

Officers & Membership

Private String Teachers

Forms/Applications

Fall 2006
Volume 20, Number 3

FREE BROCHURES FOR RECRUITING NEXT FALL!

Why Strings? Brochures-Sponsored by Connolly and Co./Thomastik-Infeld Vienna, this advocacy brochure is available free to ASTA members (no more than 300 per person, please).

MORE GREAT RECRUITING MATERIALS!

Visit the Advocacy section of the ASTA website. The association cna also provide letters of support for schools that are trying to start new programs or save existing programs. To obtain a letter, write to tami@astaweb.com

ALL ON BOARD? IS YOUR NAME ON OUR LIST?

If you are a NEASTA member and want your name on the "Current Members List", or if you need to have information updated, please contact Erin Cosby. Erin will contact you and make the additions for the roster and website.

IT'S NEVER BEEN EASIER! A POWERFUL WAY TO PROMOTE THE ARTS! CAPWIZ WEBSITE: STRINGS ADVOCACY

In a message form our State Chapter and Membership Liason in Washington D.C,, Christina Champs writes....In a recent membership survey, advocacy was identified as a top priority by ASTA members. You can become an example of your commitment to string advocacy with the use of ASTA's program-CapWiz

CapWiz provides users with a wealth of information about their elected officials, important legislation that affect Strings advocates, and most of all the abiltiy to take action and have their voices heard in Washington and State Capitols across the country.

The Home page includes the following categories:

Action Alerts and Updates

Elected Officials-Includes: Search by your home zip code; bios; voting records; Links to their home pages

Issues and Legislations-Includes: Legislative Alerts and Updates; Current Legistlation; Key Votes; and Tips to help advocates communicate effectively.

Elections and Candidates-Includes information needed to register to vote: candidate and election searches.

Media Guide: Identifies various media outlets and contact information.

Stirng Advocacy Features-Action List Sign up; Mega vote; Tell-a Friend; Web Stickers; Congress Today

Write to your Senators and Representatives-it has never been easier! In your note, direct them our website www.astaweb.com

CapWiz is easy to use! Go to the ASTA website (www.astaweb.com) and under Advocacy, the CapWiz link is available (http://capwiz.com/astaweb/home/)

LET ASTA KEEP THE RECORDS! GET PROFESSIONAL DEVELOPMENT CREDIT FOR ATTENDING CONFERENCES!

ROSIN PROJECT UPDATE-GET READY FOR ORCHESTRAS AND STRINGS IN NEBRASKA

Through the 2005-2006 ASTA Special Projects Grant, NEASTA is actively educating and advocating for new string programs. A core committee includes Debby Greenblatt, clark Potter, Alice Johnson, and Patty Ritchie.

The enthusiasm and practical support we give each other and interested"Wanna be's!" makes the difference between surviving and thriving in Nebraska!

There are dreams which need to become realities! We are all sources fo encouragement and huidance-whether the new program is a private studio, a fiddle club, or a public string group. if you would like some ROSIN brochures, please contact Patty Ritchie, at pritchie@tconl.com

GRAB YOUR CALENDARS! NEASTA AND ASTA EVENTS

NMEA All-State Auditions---October 14, 2006

National High School solo competition---December 1, 2006 (See Article)

ASTA Convention, Detroit---March 7-10, 2007

NEASTA Festival for Young Orchestras---May 5, 2007 at UNL

ASTA Convention, Albuquerque---Febr 27-Mar 1, 2008