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Sessions were basically in two categories, presentations of research on topics of music education using technology or dissemination/discussion of information from recognized experts. Most presenters were very engaging in the sessions I attended. They used well laid out slides with pertinent information that could be easily read, engaging graphics, interesting transitions, and multimedia content. There were a few where the content was excellent but the information was not presented in a very engaging manner. To be honest some sessions were difficult to sit through. It’s not that the information wasn’t interesting or useful. The presentation was plain old boring. I wondered how anyone could pay for then endure an entire semester with a professor who seemed to have the personality of a washcloth. People, drink some coffee, have some sugar. Do something!

This conference provides a valuable forum for university and college professors to present their findings. For them, this is job security or helps fulfill a requirement to attain tenure. In many instances, just getting up there was what they wanted and needed to accomplish. I would think, however, that they might be interested in getting better at it. One thing that surprised me was there were no forms available to provide feedback to the presenter or to the organizers about the presenter. I would think that a conference full of educators would consider assessment to be important. Personally, I would have brought some forms for feedback for my session had I known there were not going to be any. It was very nice of people to compliment me on my session and I do appreciate it. However, anonymous feedback can provide valuable information for a presenter and the organizers to reflect on for improvement.

Regardless of the few snoozers, most impressive were the attendees and presenters. These people are smart, really smart. They are experienced educators, industry professionals, many have taught K-12 and now teach college, they almost all have a PhD or an EdD, they are musicians and highly experienced at using technology in the music classroom & teaching technology and several were pioneers in technology integration in music education. This was a “who’s who” of music and music technology education. Did I mention they are really smart? I gained more insight and knowledge in side and hallway conversations than I have in many sessions at K-12 or industry conferences. Top it all off with how nice everyone was along with some very funny and fun people and this was a really great time. It was great to see friends & colleagues, people I haven’t seen in years and a few I have wanted to meet for years. Sprinkle on top a little business and rubbing elbows. On the people side, this conference was a cross between First Day Back From Summer Break, Girls/Boys Night Out (depending on the crowd I was with) and First Date.

The CMS/ATMI Technology Lecture/Plenary Speaker was Dr. Elaine Chew of USC (http://www-bcf.usc.edu/~echew/). Her session was entitled De-mystifying Music and Its Performance through Science and Technology. I don’t think I can describe how outstanding this presentation was in every aspect and detail. Her beautifully calm, confident manner had well placed humor. The multimedia slides and transitions to live display were outstanding and well paced. The content was so engaging and simply gorgeous to watch how she and her colleagues were able to conceive and capture a visual representation of music and human expression of music in various stages of creation and recreation. This presentation was a stunningly beautiful and a brilliant display of sheer intelligence, musicianship and grace. It left me speechless. Brava Dr. Chew.

I wish everyone who ever organizes a conference could have seen how well run this was. The brochure was a terrific lean size with a good, clear, easy to follow lay out. A large bulletin board had announcements and the sessions for each day posted clearly in large print on huge pieces of paper. The registration desk was always “manned” or “womanned” with helpful and friendly people. Every session had a person introducing the speaker. There was always AV staff at the beginning of every session making sure all went well. If there was a problem, they were right there helping fix issues even in the middle of a session. One note to consider: please have the mixing board closer to the presenter.  Psssst… we are music technology specialist. We know how to work that volume slider. It’s a lot quieter to use that the volume button on the computer. I bet a few of us could even EQ our output when needed.

All in all, I give the 2010 ATMI Conference an A+. This was one of the best conferences I have ever attended.

I look forward to returning in years to come.

I conducted a community opera chorus for three years, guest conducted a few community operas, orchestras & bands and I am the Music Director of a community band for the last six years. Community organizations can be challenging to say the least! Increasing and maintaining high attendance numbers at rehearsals can not only make or break a performance, but also is the key to the stability of the organization. There are so many factors that go into building a stable core of performers all dedicated to the same goal. Each community will have it’s own culture and concerns. Here are my top three thoughts that I believe apply to most performing organizations.

1) Schedule rehearsals around the performance, not weekly.

There is an old established culture with community organizations around weekly rehearsals.  Maybe it’s because some community groups are also college organizations or maybe it’s just a night that people think works. Personally, I don’t find this pattern effective. Even a college/community group that needs to follow the universities class schedule might examine this practice. When I first started conducting the Sound Beach Community Band, we had weekly rehearsals. Every whatever-the-day-of-the-week, we had a rehearsal that culminated in a performance every several weeks. I remember having 8 – 12 people at a rehearsal and the very next week, a new set of 8 – 12 people. That’s not a rehearsal, that’s a group lesson. For thosemembers who like weekly rehearsals because it “helps keep my chops up”, I say, practice at home for your chops! The core members and I discussed possibilities and, over time, we came up with a good solution. We have our rehearsals in a one – two week period prior to the concert. For instance, we have an outdoor concert scheduled for Sunday, August 1, 2010 at 7 PM (click here for directions our Binney Park concert in Old Greenwich, CT!). Our rehearsals for this concert are scheduled for Thursday, Tuesday, Thursday before the Sunday performance with a 5 PM sound check at the band shell on August 1, the day of the concert. Here’s is what our July schedule looks like:

I have found this to be extremely effective. We tripled overall participation and player’s attendance is more consistent. Those players who can commit to the performance can commit to the limited and concentrated rehearsals and are more inclined to attend given they are very focused. Also, the music is very fresh in people’s heads come concert time. Programming takes on new challenges with this schedule. You’ll need to consider your ensembles strengths and weaknesses. I tend to program only two to three challenging pieces (level 4 – 5). The rest are either already in our repertoire or a level 3. Keep the medleys to a minimum. Those transitions need the most rehearsal time.

2) Don’t be a jerk on the podium.

This is pretty simple. Not everyone is going to like you or agree with you but there is no need to be a hard ass or belligerent. And don’t conduct what’s in your head. Conduct the players in front of you and their abilities. Conducting tempos that are too fast for the players only shoves the music down their throats and causes a hysterical performance. Speed does not make something exciting. Excitement makes something exciting. If you are going to do these and other things and be a jerk on the podium, no one will want to be around you. That includes students. As teachers, we all have bad years or semesters. Look at your enrollment numbers. If they are down, how were you over the last year? I have seen it in my own numbers. When you’re on, they come in droves. When your not, crickets. Students vote with their feet so do community players and professionals. I stopped playing with a professional organization after fourteen years because it wasn’t worth it to me mostly due to the person on the podium. It’s very sad. Remember, the baton makes no sound. The one and only job of the conductor at the moment of conducting is to evoke sound and performance out of the players. Ask yourself, “How do I need to be, at this moment, with these people, to get the best unified interpretation and performance out of them as I can?”

3) Have cookies at the break.

Community groups are social groups. People want to spend time with one another and catch up. Provide a few cookies (the kids love it!) and it gives them a place to socialize and interact. The more they interact, the more friends they make, the more incentive they have to come to rehearsal. No one wanders far from the cookie table so you can get back to rehearsing pretty quickly & easily. Make sure they have water before they start playing!

Start stuffing extra folders and have lots more seats available! Happy conducting.

This essay goes a little further as it address the concept of music literacy.

To purchase music through iTunes, follow these 3 easy steps:
1 – Go to the iTunes Store
2 – Type Greenwich High School into the iTunes Store search engine
3 – Purchase music. Each tune is $.99 or the entire CD of 25 tunes can be purchased for $9.99. All proceeds go directly to the GHS EMusic Student Activities Account.