Kokopelli Choir Association

I've prepared a presentation on the Kokopelli Choir Association from Edmonton, AB, Canada. Please check it out!

http://prezi.com/vqjsxkdd2kzd/kokopelli-choirs/?utm_source=prezi-view&utm_medium=ending-screen&utm_campaign=ending-screen&utm_content=Email_Share_link

Trials and Tribulations of a Music Teacher

Good day!

As a soon-to-be music teacher, the challenges that come along with establishing and maintaining a successful school music program have been on my mind. I came across a post on a ChoralNet forum where a music teacher was asking for advice about starting a new choir at her school. 

She has no experience in running a choir, is not a music teacher, has choir experience from her school years and is the only person willing to take on the challenge. This is amazing! Considering there is no current music program at the school, this would be a great opportunity for the students to get involved and learn some music!

Personally, as a trained musician, I would find it a scary task to attempt to start a brand new choir with children age 11-16. She had posed some very good questions that shed light on some realities that must be considered when preparing.

"How do you strike a balance between strict and fun in a totally voluntary choir?"
"How do choir directors without competency in an instrument do things?"
"Should I start with a unison piece or dive straight into harmonies?"
"Do you think I'm insane?"

Questioning your sanity may not be the best place to start but I suppose the challenges and ongoing requirements may push you to do just that. Even on top of the questions she posed, the male-female ratio and the previous musical knowledge of the children would have to be a few big considerations as well.

Starting any new music ensemble with children of those ages, would certainly be tasking. I feel like a choir would be more manageable because of the simple fact the everyone already has their instrument and can make use of it quite easily. Starting a band would pose some extra demands that a choir wouldn't.

Acquiring an accompanist to play would likely give the best results for her situation. Perhaps even have one of the older children who is established on piano be the choir's accompanist. Also, it would be a great opportunity for a young musician.

It is nice to know that other people out there live through these challenges and are able to give advice and discussion to young people entering the field. Still, it doesn't make me any less nervous...

Itay Talgam: Lead like the great conductors

This is in response to a TEDTalk presentation by Ital Talgam.

An orchestra conductor faces the ultimate leadership challenge: creating perfect harmony without saying a word. In this TEDTalk, Itay Talgam demonstrates the unique styles of six great 20th-century conductors, illustrating crucial lessons for all leaders (including conductors). (Recorded at TEDGlobal, July 2009, Oxford, UK. Duration: 20:52) 

Watch the TEDTalk: Lead like the great conductors

I really enjoyed this talk by Mr. Talgam. What most stood out to me is how he spoke of how to be effective leaders in many different ways. Like leading by actually taking the lead or by standing back and letting the magic happen. Allowing those that we are directing to actively participate in creating the end result. I could relate to how he said that sometimes our direction/guidance needs to be detailed and controlled, like when really trying to get something specific from someone. And on the other hand, sometimes we need to have faith, step back and trust in those we lead. As Mr. Talgam put it, the performance of the music is comprised of the story of each the written music, the musicians and the conductor 

Because this is about conductors, it is very important to consider the aspect of the role model. What you personify, as a conductor, will convey the “image” of the music. As Mr. Talgam said, “…the music is written on his face…”. Or at least, it could be. The example of Richard Strauss was interesting because it shows a very established composer and conductor that shows little emotion and direction while successfully leading a performance. This approach is perhaps intended to have the performers adhere strictly to what is written on the music.

Introduction

Hey! I'm Mark Edwards. I'm currently studying in the Bachelor of Music Education program at Memorial University in St. John's, Newfoundland and Labrador, Canada. A little history about me, I'm originally from a small out-port town in Newfoundland. I had studied at Memorial for my Bachelor of Music (Theory and Composition - 2009) before moving on to the Masters of Music (Composition - 2011) program in London, Ontario. I was lucky to gain such an experience where I could refine my composing and music theory skills but I'm very excited to return to Memorial and put my efforts and skills toward developing as a Music Educator.