Interest Sessions
Interest Sessions take place at Studio Bell and the Calgary Central Library. Please refer to the schedule for session location and time.
12 Steps to Music Literacy Using Conversational Solfege | David Rankine
Conversational Solfege is a pedagogical method developed by Dr. John Feierabend that develops music literacy using an ear-before-eye approach. Designed for children who have already developed their tuneful, beatful, and artful skills, it is based on models used to teach conversational foreign languages. Conversational Solfege develops an understanding of through the use of rhythm syllables and solfege syllables at a conversational level, then gradually evolves into traditional notation. Through carefully sequenced activities, Conversational Solfegeenables students to joyfully assimilate the skills and content necessary to be musically literate. Patterns, folk songs, poetry, rhymes and classical music are the primary source materials that are used to develop those musical skills. Through various games and techniques, Conversational Solfege allows the acquisition of musical reading and writing, ear training, improvisation, sight reading, dictation, and composition in an intuitive manner.
Conversational Solfege is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; Gordon Music Learning Theory; high school and college sight singing and ear training; class piano; Suzuki; as well as recorder, band, and orchestral instrumental instruction.
Conversational Solfege is a pedagogical method developed by Dr. John Feierabend that develops music literacy using an ear-before-eye approach. Designed for children who have already developed their tuneful, beatful, and artful skills, it is based on models used to teach conversational foreign languages. Conversational Solfege develops an understanding of through the use of rhythm syllables and solfege syllables at a conversational level, then gradually evolves into traditional notation. Through carefully sequenced activities, Conversational Solfegeenables students to joyfully assimilate the skills and content necessary to be musically literate. Patterns, folk songs, poetry, rhymes and classical music are the primary source materials that are used to develop those musical skills. Through various games and techniques, Conversational Solfege allows the acquisition of musical reading and writing, ear training, improvisation, sight reading, dictation, and composition in an intuitive manner.
Conversational Solfege is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; Gordon Music Learning Theory; high school and college sight singing and ear training; class piano; Suzuki; as well as recorder, band, and orchestral instrumental instruction.
“A-B-C/1-2-3, it’s F-U-N you See!”: Explore Literacy and Numeracy through Music | Heather Nail and Sue Harvie
Music IS Literacy and Numeracy. Make your music program indispensable! Music is a powerful way to engage all learners to make deeper connections to any discipline. Through the Orff process, participants will explore mathematical operations, linguistic prosody & childrens’ literature while experiencing the elements and media of music, with a focus on Division I & II. Come prepared to create, move, sing & play!
Music IS Literacy and Numeracy. Make your music program indispensable! Music is a powerful way to engage all learners to make deeper connections to any discipline. Through the Orff process, participants will explore mathematical operations, linguistic prosody & childrens’ literature while experiencing the elements and media of music, with a focus on Division I & II. Come prepared to create, move, sing & play!
A Singing Tone: The Vocal Works of Fryderyk Chopin | Dr. Rachel Goldenberg and Edwin Gnandt
Few would argue that Chopin was one of the greatest and prolific composers of piano music to have ever lived. Although many of his contemporaries found success among multiple musical genres, Chopin wrote almost exclusively for the piano. Despite this, Chopin’s style is often characterized as “singing” or at least inspired by the bel canto style of Bellini and Rossini. In this lecture-style recital, we will explore eighteen of the surviving songs for voice and piano that demonstrate a simplicity and naiveté reminiscent of Polish folksong. Importantly, these rarely performed songs provide an insight for pianists into the musical mind of Chopin, revealing a very different aesthetic when he wrote for the voice. Voice teachers will appreciate the accessibility of these songs, which have appeared in the RCM syllabus, particularly for students who speak Polish, or those who could benefit from the challenges of singing in a consonant heavy language.
Few would argue that Chopin was one of the greatest and prolific composers of piano music to have ever lived. Although many of his contemporaries found success among multiple musical genres, Chopin wrote almost exclusively for the piano. Despite this, Chopin’s style is often characterized as “singing” or at least inspired by the bel canto style of Bellini and Rossini. In this lecture-style recital, we will explore eighteen of the surviving songs for voice and piano that demonstrate a simplicity and naiveté reminiscent of Polish folksong. Importantly, these rarely performed songs provide an insight for pianists into the musical mind of Chopin, revealing a very different aesthetic when he wrote for the voice. Voice teachers will appreciate the accessibility of these songs, which have appeared in the RCM syllabus, particularly for students who speak Polish, or those who could benefit from the challenges of singing in a consonant heavy language.
Adulting 201: Stuff Young Educators Need to Know | Thomas Bough
Young educators have been crammed full of pedagogy in college, but often would benefit from guidance to develop practical, professional skills. Suggestions to help both connect and compromise with fellow teachers and administration, remaining humble enough to learn while leading, developing both annual and long-term budgets, as well as negotiating contracts with vendors and supplemental staff will be addressed in an approachable manner, supported by real-world examples and a good dose of humor.
Young educators have been crammed full of pedagogy in college, but often would benefit from guidance to develop practical, professional skills. Suggestions to help both connect and compromise with fellow teachers and administration, remaining humble enough to learn while leading, developing both annual and long-term budgets, as well as negotiating contracts with vendors and supplemental staff will be addressed in an approachable manner, supported by real-world examples and a good dose of humor.
Band Camp 101 | Tess O'Shaughnessy and Brenda Sych
So you want to try Band camp? Come and find out what it is all about. We have done camp together for 18 years and have tried everything; multiple grades, Jazz camps, multiple schools and various sizes. We have been sharing our experiences with teachers in Edmonton over the last 2 years. Come and find out the great experiences (and pitfalls) camp can provide. Band camp not accessible to you due to finances? We have some ideas of other great activities to do with the kids that gives them great musical experiences.
So you want to try Band camp? Come and find out what it is all about. We have done camp together for 18 years and have tried everything; multiple grades, Jazz camps, multiple schools and various sizes. We have been sharing our experiences with teachers in Edmonton over the last 2 years. Come and find out the great experiences (and pitfalls) camp can provide. Band camp not accessible to you due to finances? We have some ideas of other great activities to do with the kids that gives them great musical experiences.
The Bartók Approach: Exploring the universality of musical expression in performance and teaching | Dr. Jacques Després
When asked to characterize his working method and theoretical approach, the architect I. M. Pei cited four impromptu maxims:
Those points align to the aesthetic of another figure of the 20th century: Béla Bartók. Bartók did not believe that a composer should create from a body of theories. He could build musical structures through the and variations of simple musical material. Bartók’s musical works relate to life and signature consequently emerges: there is a Bartók sound, a Bartók spirit.
This lecture demonstration looks at this “spirit” using two of his masterpieces: Bagatelles op. 6 and the sixth volume of Mikrokosmos.
When asked to characterize his working method and theoretical approach, the architect I. M. Pei cited four impromptu maxims:
- First, he stated that his achievements do not Illustrate a body of theories;
- Second, he viewed his work as constant variations of a single theme, “like Bach’s music”;
- Third, since architecture is functional, it relates directly to life;
- Finally, if you are true to yourself, a signature will emerge.
Those points align to the aesthetic of another figure of the 20th century: Béla Bartók. Bartók did not believe that a composer should create from a body of theories. He could build musical structures through the and variations of simple musical material. Bartók’s musical works relate to life and signature consequently emerges: there is a Bartók sound, a Bartók spirit.
This lecture demonstration looks at this “spirit” using two of his masterpieces: Bagatelles op. 6 and the sixth volume of Mikrokosmos.
Breathing Matters for Musicians | Breathe Well Physio with Dr. Rachel Goldenberg
Session One: Breathing Matters: The Basics
In this presentation, we will highlight the normal biomechanics and physiology of breathing to enrich participants' understanding of breath. Participants will learn to identify sub-optimal breathing patterns and develop strategies for correcting them. We will also address issues related to lung disease, smoking, vaping and vocal health.
Session Two: Breathing Matters: Practical Tools
This interactive workshop will highlight the tenets of the “Breathe, Sing, Move!” program, which combines singing classes with physiotherapy to improve the breathing patterns and voices of people living with lung disease. Tools that can be used to improve breathing patterns such as inspiratory muscle trainers, Flowballs and resistance bands will be demonstrated. A hand-out will be given featuring the exercises and information presented.
Session One: Breathing Matters: The Basics
In this presentation, we will highlight the normal biomechanics and physiology of breathing to enrich participants' understanding of breath. Participants will learn to identify sub-optimal breathing patterns and develop strategies for correcting them. We will also address issues related to lung disease, smoking, vaping and vocal health.
Session Two: Breathing Matters: Practical Tools
This interactive workshop will highlight the tenets of the “Breathe, Sing, Move!” program, which combines singing classes with physiotherapy to improve the breathing patterns and voices of people living with lung disease. Tools that can be used to improve breathing patterns such as inspiratory muscle trainers, Flowballs and resistance bands will be demonstrated. A hand-out will be given featuring the exercises and information presented.
Celebrating Theory | Dale Wheeler
Our primary goal as music teachers is to provide our students with the inspiration and skills to support a lifetime of joyful music making. This workshop will explore the many ways in which The Royal Conservatory Certificate Program theory curriculum and resources support the development of well-rounded musicianship, ensure student progress, and celebrate achievement!
Our primary goal as music teachers is to provide our students with the inspiration and skills to support a lifetime of joyful music making. This workshop will explore the many ways in which The Royal Conservatory Certificate Program theory curriculum and resources support the development of well-rounded musicianship, ensure student progress, and celebrate achievement!
Children's Choir Rehearsal Lab | Elaine Quilichini
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically “pause” the rehearsal to explain to delegates which of their tools are in use, and why they’ve chosen that particular approach.
Rehearsal labs are scheduled in extended blocks so as to allow a period for Q&A at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically “pause” the rehearsal to explain to delegates which of their tools are in use, and why they’ve chosen that particular approach.
Rehearsal labs are scheduled in extended blocks so as to allow a period for Q&A at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
Choir Meets Challenging Composition | Morna Edmundson
There is only one “first date” between a choir and a new piece of music. If it goes badly, it’s almost impossible to erase a sense of stress in the singers as we go on to master the score’s details. We need to be armchair psychologists, understanding what our singers need in order to feel confident about the piece from the very first rehearsal. “Challenging” describes different music from choir to choir, but the issues are the same. Armed with a plan, we arrive at the first rehearsal having mapped out exactly how to give our singers a sense of ownership and excitement from that important first meeting.
There is only one “first date” between a choir and a new piece of music. If it goes badly, it’s almost impossible to erase a sense of stress in the singers as we go on to master the score’s details. We need to be armchair psychologists, understanding what our singers need in order to feel confident about the piece from the very first rehearsal. “Challenging” describes different music from choir to choir, but the issues are the same. Armed with a plan, we arrive at the first rehearsal having mapped out exactly how to give our singers a sense of ownership and excitement from that important first meeting.
Choral Conducting: Honing the Craft and Freeing the Singing Body through Gesture | Michael Zaugg
The craft of conducting requires consistent and effective practise, incorporating exercises from a simple warm-up of the body’s extremities to complex rhythmical patterns and left-right independence exercises. In this session, we’ll move through a process that addresses body awareness, hand and arm placement, rhythmical pulsation and tempo variations, flexibility of articulation and aspects of cueing that relate directly to how gesture must support the singing body. Each segment will provide a baseline for the novice, but will also demonstrate options for advanced conductors to branch out. The exercises are conceived and instructed in a way that provides the possibility for further self-directed practise.
The craft of conducting requires consistent and effective practise, incorporating exercises from a simple warm-up of the body’s extremities to complex rhythmical patterns and left-right independence exercises. In this session, we’ll move through a process that addresses body awareness, hand and arm placement, rhythmical pulsation and tempo variations, flexibility of articulation and aspects of cueing that relate directly to how gesture must support the singing body. Each segment will provide a baseline for the novice, but will also demonstrate options for advanced conductors to branch out. The exercises are conceived and instructed in a way that provides the possibility for further self-directed practise.
Choral Reading Session: Repertoire for High School and Adult Treble Choirs | Morna Edmundson
Morna Edmundson, Artistic Director of Vancouver’s Elektra Women’s Choir, leads delegates in singing through a packet of recent favourite Elektra repertoire. At the core of her programming are two priorities: potential for the audience to connect with the music on a personal level and true sing-ability of the score. While some of the repertoire will be for advanced choirs, Elektra’s choice of some simpler, highly-effective pieces will be represented as well.
Morna Edmundson, Artistic Director of Vancouver’s Elektra Women’s Choir, leads delegates in singing through a packet of recent favourite Elektra repertoire. At the core of her programming are two priorities: potential for the audience to connect with the music on a personal level and true sing-ability of the score. While some of the repertoire will be for advanced choirs, Elektra’s choice of some simpler, highly-effective pieces will be represented as well.
Choral Reading Session: Self-Published Music by Canadian Composers | Laura Hawley
Canada is full of fantastic choral composers writing exciting new works every week that they are eager to share! This reading session showcases some fantastic self-published choral works by Canadian composers including Marie-Claire Saindon (Québec), Katerina Gimon (BC), Kristopher Fulton (BC), Stephen Smith (BC), Stuart Beatch (Alberta), Laura Hawley (Alberta), Ben Sellick (Manitoba), Stephanie Martin (Ontario), John Armstrong (Ontario), Cy Giacomin (Ontario), Jason Noble (Newfoundland), Carmen Braden (Yellowknife), and others. The session will incorporate some singing alongside audio and video examples, and will explore a range of ensemble types (i.e. SA, SATB, a cappella, accompanied) and difficulty levels.
Canada is full of fantastic choral composers writing exciting new works every week that they are eager to share! This reading session showcases some fantastic self-published choral works by Canadian composers including Marie-Claire Saindon (Québec), Katerina Gimon (BC), Kristopher Fulton (BC), Stephen Smith (BC), Stuart Beatch (Alberta), Laura Hawley (Alberta), Ben Sellick (Manitoba), Stephanie Martin (Ontario), John Armstrong (Ontario), Cy Giacomin (Ontario), Jason Noble (Newfoundland), Carmen Braden (Yellowknife), and others. The session will incorporate some singing alongside audio and video examples, and will explore a range of ensemble types (i.e. SA, SATB, a cappella, accompanied) and difficulty levels.
Clarinet Section Success | Sean Perrin
Learn simple tips and tricks that will help improve the tone, intonation, and musicality of your Junior High clarinet section in an informal atmosphere. Come prepared to ask questions, have fun, and make some noise! Clarinet Section Success is hosted by Sean Perrin who has performed throughout Alberta, taught over 1000 workshops for young students, is host of the internationally-renown Clarineat Podcast (listen free at Clarineat dot com), is on faculty at the Mount Royal Conservatory, and is the online Sales and Marketing Coordinator for Backun Musical Services.
Learn simple tips and tricks that will help improve the tone, intonation, and musicality of your Junior High clarinet section in an informal atmosphere. Come prepared to ask questions, have fun, and make some noise! Clarinet Section Success is hosted by Sean Perrin who has performed throughout Alberta, taught over 1000 workshops for young students, is host of the internationally-renown Clarineat Podcast (listen free at Clarineat dot com), is on faculty at the Mount Royal Conservatory, and is the online Sales and Marketing Coordinator for Backun Musical Services.
Dancing on the piano: Dances for four hands on one keyboard (Lecture-recital) | Drs. Jacques Després and Viktoria Reiswich-Dapp
No genre captures the physical proximity and choreography of dances better than piano for four hands. It distills the ballroom floor to a physical poem bursting with energy and passion: rich sonorities evoke an orchestra and spatial movement is condensed to four hands sharing a keyboard – a constriction the rhythm constantly wants to break down. In embodying the tension between exuberant human passion and Victorian etiquette the genre was immensely popular, and both cherished and notorious for its latent eroticism. Drs. Jacques Després and Viktoria Reiswich-Dapp highlight the importance of dance as a way to connect to music beyond aural or analytical experience for performers and teachers. A performance of works by Brahms and Dvorak meets reflections on the dances present in them, including their historical context and role in instrumental music, and their relevance in teaching and performance.
No genre captures the physical proximity and choreography of dances better than piano for four hands. It distills the ballroom floor to a physical poem bursting with energy and passion: rich sonorities evoke an orchestra and spatial movement is condensed to four hands sharing a keyboard – a constriction the rhythm constantly wants to break down. In embodying the tension between exuberant human passion and Victorian etiquette the genre was immensely popular, and both cherished and notorious for its latent eroticism. Drs. Jacques Després and Viktoria Reiswich-Dapp highlight the importance of dance as a way to connect to music beyond aural or analytical experience for performers and teachers. A performance of works by Brahms and Dvorak meets reflections on the dances present in them, including their historical context and role in instrumental music, and their relevance in teaching and performance.
Don’t Be Scared, It’s Just A Violin! | Katrina Archer
Stringed instruments can appear as strange and alien creatures in your band room. But
having string instruments as part of your music program can be an exciting opportunity
for both you and your students! Join local strings teacher Katrina Archer in exploring
some hands-on string instrument basics, some similarities and differences between
strings and band instruments, and how to incorporate strings into your music program.
Stringed instruments can appear as strange and alien creatures in your band room. But
having string instruments as part of your music program can be an exciting opportunity
for both you and your students! Join local strings teacher Katrina Archer in exploring
some hands-on string instrument basics, some similarities and differences between
strings and band instruments, and how to incorporate strings into your music program.
First Steps in Music: Movement Development | David Rankine
Have you ever enjoyed reacting to music by “dancing around the living room”? If you have, you know what a wonderful experience it is to “be one with the music, communicating through movement with the expressive artistry of the composer.” The depth of ability to express oneself through movement, however, depends upon the development of our personal movement vocabulary. Embodying Dr. John Feierabend’s theories of music and movement development, participants will get to experience how children develop their gross motor skills and enhance their creative movement ideas.
The activities explored in this session are based on an extensive survey of research related to the development of singing and movement skills in children, as well as many years of practical experience sharing musical activities with Kindergarten through Middle Elementary. Children can enjoy these activities silently or with accompanying music, building an appreciation for moving with music as well as being moved by music. This session is full of delightful experiences that will help children discover their movement potential. What better way to discover how music can move you than to move with music!
First Steps in Music – Movement Development is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; Gordon Music Learning Theory.
Have you ever enjoyed reacting to music by “dancing around the living room”? If you have, you know what a wonderful experience it is to “be one with the music, communicating through movement with the expressive artistry of the composer.” The depth of ability to express oneself through movement, however, depends upon the development of our personal movement vocabulary. Embodying Dr. John Feierabend’s theories of music and movement development, participants will get to experience how children develop their gross motor skills and enhance their creative movement ideas.
The activities explored in this session are based on an extensive survey of research related to the development of singing and movement skills in children, as well as many years of practical experience sharing musical activities with Kindergarten through Middle Elementary. Children can enjoy these activities silently or with accompanying music, building an appreciation for moving with music as well as being moved by music. This session is full of delightful experiences that will help children discover their movement potential. What better way to discover how music can move you than to move with music!
First Steps in Music – Movement Development is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; Gordon Music Learning Theory.
First Steps in Music: Vocal Development | David Rankine
The First Steps in Music curriculum is designed to prepare children to become musical in by being Tuneful, Beatful, and Artful. This session will provide countless activities for children as young as three but appropriate for any aged child that needs to further develop their tuneful, beatful, and artful abilities. Folk songs and rhymes as well as classical music are the primary source materials that are used to develop their musical minds and abilities. Created by Dr. John Feierabend, this pedagogical approach contains everything you need to lead a music class for preschool and early elementary students, including: Echo Songs, Call-and-Response Songs, Simple Songs, SongTales, Action Songs, Circle Games, Beat Motion Activities, and more.
First Steps in Music – Vocal Development is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; and Gordon Music Learning Theory.
The First Steps in Music curriculum is designed to prepare children to become musical in by being Tuneful, Beatful, and Artful. This session will provide countless activities for children as young as three but appropriate for any aged child that needs to further develop their tuneful, beatful, and artful abilities. Folk songs and rhymes as well as classical music are the primary source materials that are used to develop their musical minds and abilities. Created by Dr. John Feierabend, this pedagogical approach contains everything you need to lead a music class for preschool and early elementary students, including: Echo Songs, Call-and-Response Songs, Simple Songs, SongTales, Action Songs, Circle Games, Beat Motion Activities, and more.
First Steps in Music – Vocal Development is ideally suited to elementary general music curricula; choral organizations at all levels; Orff Schulwerk; Kodály; Dalcroze; and Gordon Music Learning Theory.
Fryderyk Chopin: A Retrospective Summation & Demonstration of the Man and his Pianistic Legacy | Edwin Gnandt
The piano music of Fryderyk Chopin continues to captivate listeners worldwide. For many, he is the world’s most beloved piano composer. This session aims to give teachers a clearer understanding of Chopin’s compositional legacy and the complex mind that motivated him. Attendees will leave with an understanding of Chopin’s style for the intermediate piano student in RCM grades 6-10.
The piano music of Fryderyk Chopin continues to captivate listeners worldwide. For many, he is the world’s most beloved piano composer. This session aims to give teachers a clearer understanding of Chopin’s compositional legacy and the complex mind that motivated him. Attendees will leave with an understanding of Chopin’s style for the intermediate piano student in RCM grades 6-10.
FUNdamentals of Coloured Handbells | Damien Lim
This hands-on session will allow participants to learn the skill of ringing the coloured bells and experience the creativity required to manage lesson content changes “in the moment”. Rainbow coloured handbells / deskbells are useful for music lessons in early-childhood years or lower primary school setting as well as in Special Education Schools (for children with Autism or Mild-Intellectual Disability or Physical Disability) and in the community for music making with members of the public/families, and also for ringing in elderly homes.
This program engages the senses of sight, hearing, touch, speech, movements and joints. It encourages team-work, turn-taking, bonding and playing together, while training the sense of tempo, rhythm, pitch and analyzing & reaction skills. It is a multi-generational instrument suitable for learning by people of all ages and abilities. This program is a collaborative effort between the clinician & the ALGEHR (Alberta Guild of English Handbell Ringers).
This hands-on session will allow participants to learn the skill of ringing the coloured bells and experience the creativity required to manage lesson content changes “in the moment”. Rainbow coloured handbells / deskbells are useful for music lessons in early-childhood years or lower primary school setting as well as in Special Education Schools (for children with Autism or Mild-Intellectual Disability or Physical Disability) and in the community for music making with members of the public/families, and also for ringing in elderly homes.
This program engages the senses of sight, hearing, touch, speech, movements and joints. It encourages team-work, turn-taking, bonding and playing together, while training the sense of tempo, rhythm, pitch and analyzing & reaction skills. It is a multi-generational instrument suitable for learning by people of all ages and abilities. This program is a collaborative effort between the clinician & the ALGEHR (Alberta Guild of English Handbell Ringers).
Hearing the Trees Through the Forest | Michael Zaugg
In my work with choirs and as mentor for conductors (private and in masterclasses), I often have to challenge the performers to listen in more detail, to follow the score more faithfully and, in the case of conductors, to instruct more efficiently. In this workshop, I will showcase various approaches of working with ensembles: how to tune chords and chord-progressions, how to balance the ensemble in simple and in complex structures, how to demystify the score and how to listen for the subtle details. I will demonstrate - and show variations of – these elements, i.e. balance a chord in different ways, use a variety of musical articulations on the same phrase, or demonstrate the range of dynamic possibilities. With the help of a demonstration choir, I will work on 20th and 21st century repertoire and give ideas on how to interpret contemporary idioms.
In my work with choirs and as mentor for conductors (private and in masterclasses), I often have to challenge the performers to listen in more detail, to follow the score more faithfully and, in the case of conductors, to instruct more efficiently. In this workshop, I will showcase various approaches of working with ensembles: how to tune chords and chord-progressions, how to balance the ensemble in simple and in complex structures, how to demystify the score and how to listen for the subtle details. I will demonstrate - and show variations of – these elements, i.e. balance a chord in different ways, use a variety of musical articulations on the same phrase, or demonstrate the range of dynamic possibilities. With the help of a demonstration choir, I will work on 20th and 21st century repertoire and give ideas on how to interpret contemporary idioms.
Hone your Tone | Paul Grindlay
A workshop on vocal production for studio teachers and choral conductors. Beginning with the importance of breath and legato, then expanding to principles of resonance, registration, expressive diction, dynamic destination phrasing and choral blend, these ideas will equip attendees with tools designed to help their students and singers improve their tone.
A workshop on vocal production for studio teachers and choral conductors. Beginning with the importance of breath and legato, then expanding to principles of resonance, registration, expressive diction, dynamic destination phrasing and choral blend, these ideas will equip attendees with tools designed to help their students and singers improve their tone.
Icing the Cake With Your Jazz Ensemble! | Neil Yorke-Slader
How do you put the "icing on the cake" with your jazz ensemble? How do you take them that final 20%? Neil will demonstrate a few key fundamentals that will ensure your jazz ensemble plays with consistency of style and musicality. Contemporary rehearsal techniques should develop student curiosity, experimentation, and decision-making in their journey towards musical excellence. These techniques are equally applicable in a concert band or choral setting. Teaching in the 21st century is about collaboration with students, learning together, and recognizing elements such as student engagement, the personalization of student learning, and creative thinking as tools to optimize student success. No longer can an ensemble director simply utilize students as artisans to create musical performances based on his/her own artistry.
How do you put the "icing on the cake" with your jazz ensemble? How do you take them that final 20%? Neil will demonstrate a few key fundamentals that will ensure your jazz ensemble plays with consistency of style and musicality. Contemporary rehearsal techniques should develop student curiosity, experimentation, and decision-making in their journey towards musical excellence. These techniques are equally applicable in a concert band or choral setting. Teaching in the 21st century is about collaboration with students, learning together, and recognizing elements such as student engagement, the personalization of student learning, and creative thinking as tools to optimize student success. No longer can an ensemble director simply utilize students as artisans to create musical performances based on his/her own artistry.
Indigenous Music in the Classroom | Samantha Whelan Kotkas & Walter MacDonald White Bear
Walter MacDonald White Bear, a Cree singer/songwriter/facilitator and Samantha Whelan Kotkas, a classical trumpet player/storyteller/facilitator have worked together as a cross-cultural team for the National Arts Centre of Canada since 2015. When they walk into schools together to present they embody the process of reconciliation started by the ‘Truth and Reconciliation Commission’ founded in 2008. Their session will focus on ways to bring cross-cultural music respectfully into the classroom as a tool to enrich the curriculum. They will explore the concept of reconciliation as they model hands on music tools for you to use in your own teaching. They will also introduce you to three Indigenous Teacher Guides created for the National Arts Centre which you can start using immediately: ‘All My Relations: Celebrating Canada’s Indigenous Peoples’, ‘Nitohta: Listen to Earthsounds’ and ‘Celebrating Canada's Indigenous Peoples through Song and Dance’.
Walter MacDonald White Bear, a Cree singer/songwriter/facilitator and Samantha Whelan Kotkas, a classical trumpet player/storyteller/facilitator have worked together as a cross-cultural team for the National Arts Centre of Canada since 2015. When they walk into schools together to present they embody the process of reconciliation started by the ‘Truth and Reconciliation Commission’ founded in 2008. Their session will focus on ways to bring cross-cultural music respectfully into the classroom as a tool to enrich the curriculum. They will explore the concept of reconciliation as they model hands on music tools for you to use in your own teaching. They will also introduce you to three Indigenous Teacher Guides created for the National Arts Centre which you can start using immediately: ‘All My Relations: Celebrating Canada’s Indigenous Peoples’, ‘Nitohta: Listen to Earthsounds’ and ‘Celebrating Canada's Indigenous Peoples through Song and Dance’.
Introducing The Royal Conservatory Voice Syllabus, 2019 Edition | Winston Noren
Celebrate the launch of the Voice Syllabus, 2019 Edition and get to know the new requirements and resources. This session will provide an overview of the new repertoire list categories, revised marking scheme, and updates to technical tests and musicianship, along with highlights from the Voice Series, 2019 Edition.
Celebrate the launch of the Voice Syllabus, 2019 Edition and get to know the new requirements and resources. This session will provide an overview of the new repertoire list categories, revised marking scheme, and updates to technical tests and musicianship, along with highlights from the Voice Series, 2019 Edition.
Introduction to Handbells and Handchimes | Damien Lim
This hands-on session will introduce participants to the fundamentals of handbells & handchimes ringing: ready-ring-circle-damp technique, get to ring 1-2 songs, how to assign the instruments, ring as an ensemble and also take home a sample work for use. The session will be conducted in a sample classroom format, where participants get to stand at the table with 1 conductor, and hold the instruments like a ringer, and ring a Level 1, and possibly a Level 2 song. This program engages the senses of sight, hearing, touch, speech, movements and joints. It encourages team-work, turn-taking, peer support, bonding and playing together, while training the individual’s sense of tempo, notation reading, hearing, rhythm, pitch and analyzing/reaction skills.
This program is a collaborative effort between the clinician & the ALGEHR (Alberta Guild of English Handbell Ringers).
This hands-on session will introduce participants to the fundamentals of handbells & handchimes ringing: ready-ring-circle-damp technique, get to ring 1-2 songs, how to assign the instruments, ring as an ensemble and also take home a sample work for use. The session will be conducted in a sample classroom format, where participants get to stand at the table with 1 conductor, and hold the instruments like a ringer, and ring a Level 1, and possibly a Level 2 song. This program engages the senses of sight, hearing, touch, speech, movements and joints. It encourages team-work, turn-taking, peer support, bonding and playing together, while training the individual’s sense of tempo, notation reading, hearing, rhythm, pitch and analyzing/reaction skills.
This program is a collaborative effort between the clinician & the ALGEHR (Alberta Guild of English Handbell Ringers).
Jazz Drumming 101 | Jon McCaslin
This session will address fundamental drum set skills and concepts for elementary and high school jazz bands. Many teachers have not had the opportunity to study formal drum set techniques and therefore basic problems among their students often exist and remain unresolved. This session offers educators the basic skills necessary to teach a young jazz band drummer. Overall topics to be considered will include:
This session will address fundamental drum set skills and concepts for elementary and high school jazz bands. Many teachers have not had the opportunity to study formal drum set techniques and therefore basic problems among their students often exist and remain unresolved. This session offers educators the basic skills necessary to teach a young jazz band drummer. Overall topics to be considered will include:
- Basic drum set patterns for beginners (basic rock and swing patterns) and basic coordination strategies for each
- Equipment considerations: drums, sizes, cymbals, sticks, brushes and drum heads
- Developing a musical foundation: time feel, sound production, proper use of dynamics and attention to stylistic detail
- Navigating a drum chart and drum set “notation,” big band sight-reading/ensemble skills and basic “set-ups” and “fill” patterns
- Demonstration of basic and practical Latin/Brazilian/Afro-Cuban drum set rhythms
- Explanation of basic 4/4 swing brush pattern and basic ballad pattern
- Recommended resources: drummers and big bands to listen to and instructional methods (books, web resources and DVDs)
Low Brass Workshop | David Reid
Join David for an educational tour of everything low brass! David will cover a brief history of brass instruments and significant developments of the past century with topics including by not limited to:
Participants are urged to bring their own instruments, but it is not necessary to have an instrument to learn from this session!!
Join David for an educational tour of everything low brass! David will cover a brief history of brass instruments and significant developments of the past century with topics including by not limited to:
- Principals of sound production and musical applications throughout known music history from ancient mountain communication and ceremonial / battle / hunting calls etc. to orchestral use, to current uses in pop and art music.
- Survey of standard brass ensembles (brass quintet, quartet, trio, brass choir, British brass band, Drum & Bugle Corps, etc.)
- Current types of common brass instruments with demos of a few.
- Effective approaches to brass pedagogy and troubleshooting challenges with sound production, range, technical facility etc.
- Q & A on any of the above topics
Participants are urged to bring their own instruments, but it is not necessary to have an instrument to learn from this session!!
Mixed Choir Rehearsal Lab | Sheryl Reinhardt and Western Canada High School Concert Choir
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically “pause” the rehearsal to explain to delegates which of their tools are in use, and why they’ve chosen that particular approach. Rehearsal labs are scheduled in extended blocks so as to allow a period for Q&A at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically “pause” the rehearsal to explain to delegates which of their tools are in use, and why they’ve chosen that particular approach. Rehearsal labs are scheduled in extended blocks so as to allow a period for Q&A at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
Music, Assessment, and Technology | Brady Sherard
This session is geared towards educators questioning the best ways to assess their music students. First we will focus on the “why” of assessment, drawing on concepts from the emerging field of cognitive educational psychology, or “Mind, Brain, and Education.” The presentation will provide strategies to most successfully target the way our brains learn and store information in order to improve assessment. The second part of the presentation highlights some of my own practical, “take‐away” assessment ideas informed by science and experience. I will present and discuss several items such as: performance evaluation rubrics, contextual listening responses, and online music theory practice tools. Attendees will be provided with access to all documents and resources discussed, available in an electronic format for immediate use. Throughout the session I will point out technology‐related practice and evaluation tools to make life easier on teachers who wish to try out some of these ideas.
This session is geared towards educators questioning the best ways to assess their music students. First we will focus on the “why” of assessment, drawing on concepts from the emerging field of cognitive educational psychology, or “Mind, Brain, and Education.” The presentation will provide strategies to most successfully target the way our brains learn and store information in order to improve assessment. The second part of the presentation highlights some of my own practical, “take‐away” assessment ideas informed by science and experience. I will present and discuss several items such as: performance evaluation rubrics, contextual listening responses, and online music theory practice tools. Attendees will be provided with access to all documents and resources discussed, available in an electronic format for immediate use. Throughout the session I will point out technology‐related practice and evaluation tools to make life easier on teachers who wish to try out some of these ideas.
Music for All: A Music Making Experience for Students with Complex Needs | Mary Fearon
“Music for All” is a program for students with complex needs developed by Mary Fearon for the
National Arts Centre’s Music Alive program. The program is based on the principles of the
Music for Life program, piloted by Wigmore Hall (London, England) and the Hanen Language
program for emerging communicators. It is a participatory music making program, including
students, teachers, staff, and two professional musicians to act as mentors.The initial residency for “Music for All” took place at Elves School, Edmonton, in June 2018. Elves is a placement for students with complex needs, whose educational needs are not best served in their local schools. The program has continued during the 2018-19 school year, in three different formats, to chart the student’s reactions and success. In this session Mary will introduce participants to the program outline, expectations and outcomes. She will share photos, stories, and give the participants an opportunity to participate in a mini session of “Music for All”.
“Music for All” is a program for students with complex needs developed by Mary Fearon for the
National Arts Centre’s Music Alive program. The program is based on the principles of the
Music for Life program, piloted by Wigmore Hall (London, England) and the Hanen Language
program for emerging communicators. It is a participatory music making program, including
students, teachers, staff, and two professional musicians to act as mentors.The initial residency for “Music for All” took place at Elves School, Edmonton, in June 2018. Elves is a placement for students with complex needs, whose educational needs are not best served in their local schools. The program has continued during the 2018-19 school year, in three different formats, to chart the student’s reactions and success. In this session Mary will introduce participants to the program outline, expectations and outcomes. She will share photos, stories, and give the participants an opportunity to participate in a mini session of “Music for All”.
Musician Wellness and Leadership | Gwen Klassen
Know yourself, your role, the team.
Build mental skills, expand emotional literacy and listen to your creative intuition, with
compassion and personal excellence.
This introductory workshop will focus on the elements of peak practice & performance,
creativity and leadership.
Topics may include the following;
• How to perform and practice in the zone (Flow) more often. What it is, how to recognize it
and how to create the environment for it to visit.
• Develop cognitive mental skills; plan, execute, evaluate repeat.
• Discern what is in the way - be curious, find the humour.
• Increase awareness of body language and the connection between physiology, psychology
and peak performance.
• Explore the character in music. Through imagination, intuition, prosody (spoken language),
movement, images and colours, the musician learns to hear and tell the story more creatively.
Know yourself, your role, the team.
Build mental skills, expand emotional literacy and listen to your creative intuition, with
compassion and personal excellence.
This introductory workshop will focus on the elements of peak practice & performance,
creativity and leadership.
Topics may include the following;
• How to perform and practice in the zone (Flow) more often. What it is, how to recognize it
and how to create the environment for it to visit.
• Develop cognitive mental skills; plan, execute, evaluate repeat.
• Discern what is in the way - be curious, find the humour.
• Increase awareness of body language and the connection between physiology, psychology
and peak performance.
• Explore the character in music. Through imagination, intuition, prosody (spoken language),
movement, images and colours, the musician learns to hear and tell the story more creatively.
Navigating a Jazz Chord Progression: It’s About Relationships | Pat Belliveau
This session is designed primarily with the “non jazz-oriented” band director in mind and will discuss ways a director can assist a jazz student in negotiating their way through an improvised solo section of a jazz band or jazz combo chart. Theoretical concepts will include: tonal centers, guide tone lines (the importance of 3rds and 7ths), chord/scale relationships, and “second level relationships” within a chord progression structure. Examples will be shown using standard jazz repertoire, to demonstrate how to simplify the student’s improvising experience. This session is not structured as an advanced theory session so anyone with an interest in this subject matter is welcome to attend.
This session is designed primarily with the “non jazz-oriented” band director in mind and will discuss ways a director can assist a jazz student in negotiating their way through an improvised solo section of a jazz band or jazz combo chart. Theoretical concepts will include: tonal centers, guide tone lines (the importance of 3rds and 7ths), chord/scale relationships, and “second level relationships” within a chord progression structure. Examples will be shown using standard jazz repertoire, to demonstrate how to simplify the student’s improvising experience. This session is not structured as an advanced theory session so anyone with an interest in this subject matter is welcome to attend.
Opera in the Classroom | Calgary Opera and Kimberley-Ann Bartczak
Singing, music, drama. One art form has it all: Opera! Calgary Opera is a leading Canadian Opera company in promoting the art form not only through main stage performances but also through education and community engagements. We offer Let’s Create an Opera, a one-year residency in-school program bringing professionals and students together to create an opera; Opera School Tour exposes nearly 10,000 Albertan children yearly to fully staged opera; Students-Only Dress Rehearsal give students the opportunity to see live Opera and our free Masterclasses run by visiting artists are open to all.
Opera is accessible and can be enjoyed by everyone once introduced to it and taught what to listen for. Voice types, musical styles, opera vocabulary will be discussed through musical excerpts from members of the Emerging Artists, Canada’s next generation of opera singers. Find out easy ways to introduce opera to your students and how to further that by engaging with Calgary Opera.
Singing, music, drama. One art form has it all: Opera! Calgary Opera is a leading Canadian Opera company in promoting the art form not only through main stage performances but also through education and community engagements. We offer Let’s Create an Opera, a one-year residency in-school program bringing professionals and students together to create an opera; Opera School Tour exposes nearly 10,000 Albertan children yearly to fully staged opera; Students-Only Dress Rehearsal give students the opportunity to see live Opera and our free Masterclasses run by visiting artists are open to all.
Opera is accessible and can be enjoyed by everyone once introduced to it and taught what to listen for. Voice types, musical styles, opera vocabulary will be discussed through musical excerpts from members of the Emerging Artists, Canada’s next generation of opera singers. Find out easy ways to introduce opera to your students and how to further that by engaging with Calgary Opera.
Pathways to Funding Your Music Program | Michael Kamphuis
Michael has presented a session entitled “Financial Planning for the Music Educator” across the United States and Canada over the last four years. This session offers a business perspective on how to manage an instrumental music program. Topics include recruitment and retention, asset management, budget creation and advocacy/justification.
Michael has presented a session entitled “Financial Planning for the Music Educator” across the United States and Canada over the last four years. This session offers a business perspective on how to manage an instrumental music program. Topics include recruitment and retention, asset management, budget creation and advocacy/justification.
Performing with a Smaller Wind Band | Chee Meng Low
Not every music program is fortunate enough to have the complete and balanced instrumentation, or enough instruments and players to perform works that called for full instrumentation. Very often band directors must go through the time consuming and painfully process of re-arrange the music to make it fit their group. Smaller ensembles are a unique genre which requires a customized approach to instrumentation, sound development and balance that will favorably distinguish them from others. Come explore the concept of the “Music for Small Bands/Flexible Instrumentation/Flex-Band series” and discuss how to manage the score practically and more musically for the smaller ensemble.
Not every music program is fortunate enough to have the complete and balanced instrumentation, or enough instruments and players to perform works that called for full instrumentation. Very often band directors must go through the time consuming and painfully process of re-arrange the music to make it fit their group. Smaller ensembles are a unique genre which requires a customized approach to instrumentation, sound development and balance that will favorably distinguish them from others. Come explore the concept of the “Music for Small Bands/Flexible Instrumentation/Flex-Band series” and discuss how to manage the score practically and more musically for the smaller ensemble.
Piano Masterclass with Dr. Jacques C. Després | Dr. Jacques Després
The Alberta Registered Music Teacher Association (ARMTA) is proud to host acclaimed pianist Dr. Jacques C. Després for a masterclass for all levels students of piano. Participants will experience the artistic depth of this prolific world-class pianist whose artistry critics cite as ‘crystal-clear pianism,” and praise his abilities “to bring humanity, integrity and an enormous expressive range to the pieces.”
Students will benefit from the skills and insights gained in a career that includes four decades of concertizing on three continents through his recordings, performances with leading orchestras, solo and collaborative work and lectures. The masterclass is intended for all levels of piano students.
The Alberta Registered Music Teacher Association (ARMTA) is proud to host acclaimed pianist Dr. Jacques C. Després for a masterclass for all levels students of piano. Participants will experience the artistic depth of this prolific world-class pianist whose artistry critics cite as ‘crystal-clear pianism,” and praise his abilities “to bring humanity, integrity and an enormous expressive range to the pieces.”
Students will benefit from the skills and insights gained in a career that includes four decades of concertizing on three continents through his recordings, performances with leading orchestras, solo and collaborative work and lectures. The masterclass is intended for all levels of piano students.
Practical Choral Rehearsal Techniques | Morna Edmundson
Let’s sing! At this session, Morna Edmundson will lead participants as a choir through four pieces of mixed choir repertoire suitable for high school choirs. After a few warmups, she’ll provide a running commentary throughout the rehearsal of why she chose these pieces, how she is structuring the time, how much she prepares in advance versus responding to what is going on in the room, how she addresses issues of tone, vocal production, tuning, and phrasing as a rehearsal unfolds. When to nitpick and when to move on, and how to create shared awareness that can be carried forward to the next phrase and the next piece. Bring your voice, your singing posture, your pencil, and your curiosity and let’s make some music together.
Let’s sing! At this session, Morna Edmundson will lead participants as a choir through four pieces of mixed choir repertoire suitable for high school choirs. After a few warmups, she’ll provide a running commentary throughout the rehearsal of why she chose these pieces, how she is structuring the time, how much she prepares in advance versus responding to what is going on in the room, how she addresses issues of tone, vocal production, tuning, and phrasing as a rehearsal unfolds. When to nitpick and when to move on, and how to create shared awareness that can be carried forward to the next phrase and the next piece. Bring your voice, your singing posture, your pencil, and your curiosity and let’s make some music together.
Resonance—Consonance and Dissonance in Music (and why it matters) | Tim Janz
Looking at how sounds create different colours together, and why we have such strong emotional responses to music. A brief discussion of the physics of resonant sound will lead into why we have the diatonic system of tones and semitones—and why they matter. A new intuitive approach to naming intervals will be discovered, which can be directly applied to understanding the interactions of sounds all around us. "Music of the Spheres" is not just about Pythagorus and Galileo, we experience it every moment we make music together.
Looking at how sounds create different colours together, and why we have such strong emotional responses to music. A brief discussion of the physics of resonant sound will lead into why we have the diatonic system of tones and semitones—and why they matter. A new intuitive approach to naming intervals will be discovered, which can be directly applied to understanding the interactions of sounds all around us. "Music of the Spheres" is not just about Pythagorus and Galileo, we experience it every moment we make music together.
So You’re Teaching Junior High Band… Now What? | Brady Sherard and Roberta Baril
This session is based on the work that Roberta and Brady have done with student teachers completing their practicum placements. It provides new band teachers with information and advice about a typical “year in the life” of a music classroom, with valuable suggestions for those who have been in the trenches for longer. Highly practical, with the flexibility to focus on areas of interest and concern from attendees, some topics to be discussed include:
This session is based on the work that Roberta and Brady have done with student teachers completing their practicum placements. It provides new band teachers with information and advice about a typical “year in the life” of a music classroom, with valuable suggestions for those who have been in the trenches for longer. Highly practical, with the flexibility to focus on areas of interest and concern from attendees, some topics to be discussed include:
- before the year begins
- getting a year plan and handbook ready
- what are you going to play? who is going to play what?
- building a classroom community
- a special note on teaching grade 7s
- assessment ideas for junior high band
- concerts, festivals, and other performances
- a special note on percussionists
The Subtle Art of Choral Accompanying: Ideas for Conductors | Laura Hawley
This session is for choral leaders interested in maximizing the collaborative relationship between choral conductor and pianist and helping new accompanists develop their craft and. I’ll outline some practical steps for maximizing the synergistic relationship between pianist and conductor with a list of tips and practices gathered from my own experience and from some of Canada’s top conductor-pianist teams. Drawing from my work coaching collaborative pianists, I’ll demonstrate some ways conductors can guide student accompanists or pianists newly developing the skill of choral accompanying, including tips for supporting warm-ups and suggestions for supporting repertoire in it’s learning stages and in performance.
This session is for choral leaders interested in maximizing the collaborative relationship between choral conductor and pianist and helping new accompanists develop their craft and. I’ll outline some practical steps for maximizing the synergistic relationship between pianist and conductor with a list of tips and practices gathered from my own experience and from some of Canada’s top conductor-pianist teams. Drawing from my work coaching collaborative pianists, I’ll demonstrate some ways conductors can guide student accompanists or pianists newly developing the skill of choral accompanying, including tips for supporting warm-ups and suggestions for supporting repertoire in it’s learning stages and in performance.
*Success in Supporting your beginner Oboists | David Sussman
This practical session will give present some common issues and solutions regarding reeds, fingerings, air stream, embouchure and instrument maintenance. Bring instruments and reeds if you have them so you can try some of the things covered! Build more comfort with supporting the oboes in your ensemble.
*NOTE: If you plan to attend this session, please ensure that you bring your oboe double reed
This practical session will give present some common issues and solutions regarding reeds, fingerings, air stream, embouchure and instrument maintenance. Bring instruments and reeds if you have them so you can try some of the things covered! Build more comfort with supporting the oboes in your ensemble.
*NOTE: If you plan to attend this session, please ensure that you bring your oboe double reed
Tips and Techniques on the Horn: Starting and Keeping Horn Players in Your Band | Mary Fearon
Join Mary Fearon for an informative, and humorous session designed to help you, and your students, achieve success on the horn. Mary runs a large, successful horn studio in Edmonton, and is the conductor of Horns a’Plenty, a horn choir made up of members from the Edmonton area. Topics to be addressed include:
Join Mary Fearon for an informative, and humorous session designed to help you, and your students, achieve success on the horn. Mary runs a large, successful horn studio in Edmonton, and is the conductor of Horns a’Plenty, a horn choir made up of members from the Edmonton area. Topics to be addressed include:
- Selecting and starting horn players
- Transposition and finding the right note
- Posture and adapting it for success
- Hand position in the bell
- Horn maintenance including:
- Where the valve oil really goes….
- Can you restring a valve yourself?
- Mouthpiece brushes and snakes
Teens Vs Music Lessons – Does it Have to Be a Battle? | Derek Zhi Guang Chiu
Ask anybody who regrets abandoning their piano lessons and they'll tell you: they gave up when they hit their teens. This session will provide teachers with strategies to keep their teenage music student focused, motivated and excited to study music. Discover how engaging in performances, community music engagement, experiences abroad and ways to empower your teen will light a fire in their music education.
Ask anybody who regrets abandoning their piano lessons and they'll tell you: they gave up when they hit their teens. This session will provide teachers with strategies to keep their teenage music student focused, motivated and excited to study music. Discover how engaging in performances, community music engagement, experiences abroad and ways to empower your teen will light a fire in their music education.
Teaching in the Digital Age: Engaging your students with Online Resources | Derek Zhi Guang Chiu
Discover how online resources can transform your teaching. Explore the RCM’s theory apps, digital ear training resources, online history courses and more, and enjoy demonstrations of the innovative and engaging approaches to learning that will bring music to life for your students.
Discover how online resources can transform your teaching. Explore the RCM’s theory apps, digital ear training resources, online history courses and more, and enjoy demonstrations of the innovative and engaging approaches to learning that will bring music to life for your students.
Top Ten Rules for Jazz Instruction | Jeff Graham
This session is designed for teachers who don’t know where to start or need a boast to get things rolling! Jazz can be a strange beast to many of us! However, we can use skills we already have to teach students the joy of Jazz! This session will hit some of the primary instruction tools Teachers need to successfully put a jazz program together. Jeff will touch on:
This session is designed for teachers who don’t know where to start or need a boast to get things rolling! Jazz can be a strange beast to many of us! However, we can use skills we already have to teach students the joy of Jazz! This session will hit some of the primary instruction tools Teachers need to successfully put a jazz program together. Jeff will touch on:
- Jazz is an aural tradition and the music of democracy
- The recordings have all the answers
- Picking quality literature
- Jazz is/was dance music!
- If your drummer is good, the band is good! What to do!
- Set up & Rhythm Section
- Jazz sub division
- How you play it – articulation – stop tonguing everything!!
- The Blues and improv and warm ups
- Combo’s
Turtleneck Conducting: Laban Movement Gestures in Any Ensemble | Thomas Bough
Conducting gestures will elicit a more genuine response from any ensemble if they are connected to movement in real life. Bring your baton to enjoy a session of guided practice as we apply real-world movement to classic band literature.
Conducting gestures will elicit a more genuine response from any ensemble if they are connected to movement in real life. Bring your baton to enjoy a session of guided practice as we apply real-world movement to classic band literature.
Ukulele All Year Long | Kyle Swenson & Gary Glewinski
With a large number of established and newly growing ukulele programs in the Alberta Classroom, many teachers are finding, sharing and developing ukulele resources. This session will range from tips & tricks to performance ideas that can be implemented year round. Bring your ukulele and join us as we play through shared resources and offer new and old strategies for your ukulele class or club at the elementary to junior-high level. This session will offer music educators a chance to develop their own skills on the ukulele while learning new repertoire and concert/festival performance ideas as they grow their own unique ukulele class curriculum or ukulele clubs at their school. Bring your own ukulele, or arrive early to borrow one of the limited ukuleles provided.
With a large number of established and newly growing ukulele programs in the Alberta Classroom, many teachers are finding, sharing and developing ukulele resources. This session will range from tips & tricks to performance ideas that can be implemented year round. Bring your ukulele and join us as we play through shared resources and offer new and old strategies for your ukulele class or club at the elementary to junior-high level. This session will offer music educators a chance to develop their own skills on the ukulele while learning new repertoire and concert/festival performance ideas as they grow their own unique ukulele class curriculum or ukulele clubs at their school. Bring your own ukulele, or arrive early to borrow one of the limited ukuleles provided.
Yamaha Harmony Director: Advancing the Art and Science of Listening | Chee Meng Low
Yamaha Harmony Director: Come experience first-hand on how the Yamaha Harmony Director brings harmony and rhythm training together. Not only that it helps to clearly demonstrate the differences between equal and pure temperaments tuning, it also helps musician understand how their parts fit into the complete harmony of the ensemble through active listening.
Yamaha Harmony Director: Come experience first-hand on how the Yamaha Harmony Director brings harmony and rhythm training together. Not only that it helps to clearly demonstrate the differences between equal and pure temperaments tuning, it also helps musician understand how their parts fit into the complete harmony of the ensemble through active listening.
