<strong>Music</strong> Camps @ Wallowa LakeSummer <strong>Music</strong> Campsfor Brass and Woodwind PlayersNowhere will you find a better Brass or Woodwind camp for your middle and highschool students! These camps offer a unique experience and intense instructionfrom members of the Northwest’s professional orchestras. Camp includes studentperformances and FUN in the heart of the Wallowa Mountains.Brass@ Wallowa LakeJune 16 - 22, <strong>2013</strong>$425 per camperA day at Camp includes:Master Classes<strong>Music</strong> Theory<strong>Music</strong> HistoryMixed EnsembleSupervised individual practiceRhythm through movementRecreation & ActivitiesGreat food!Woodwinds@ Wallowa LakeJuly 28 - August 3, <strong>2013</strong>$450 per camperFrench HornTwo-Camp Specialattend BOTH camps for $750.This offer is good for French horns only!Visit our <strong>web</strong>site:musiccampsatwallowalake.comScholarships available<strong>Music</strong> Camps @ Wallowa LakeP.O. Box 636 La Grande, OR 97850Woodwind Camp Phone: 541-663-0326Email: birnbaum@oregonwireless.netBrass Camp Phone: 541-805-8683Email: jimhowell2@frontier.com
Are You Teaching Singers,Christopher W. PetersonFullerton UniversityOr Creating Choral <strong>Music</strong>ians?Reprinted from California CMEA MagazineAfew years ago while attending a publicschool band and choir concert, I noticeda sentence wedged in between severalothers in the acknowledgements on the backpage of the program. It said “...and many thanksto the singers and musicians in tonight’s concert.”While I understand that the well meaningauthor had the best of intentions in mind, ithit a nerve in me. Why can’t we refer to thesestudents as choral musicians and instrumentalmusicians, or just call them all musicians?Incidentally, I know a choral music educatorwho had hundreds of programs reprinted torectify this kind of colleague-added misnomeron her concert program. Does it really matterwhat we call singers and instrumentalists? Isn’tthis really just a semantic argument anyway?While I agree that what you call student musiciandoesn’t change what they are, I also believethat what they are should affect what you callthem. The reality behind this discussion is thatinstrumentalists are usually taught to read andinterpret a musical score, while singers are all toooften taught primarily by rote; instrumentalistsare expected to develop musical independence,while singers are often allowed to be completelydependent on a teacher, learning tape, orrecording of a performance. At what point doesa student become a musician, regardless ofthe instrument they express their art through?Perhaps what students should be called is tiedmost closely to how they are taught, and whatthey are expected to be able to do.When I was teaching in the public schools ofMaine, I started off by teaching my singers byrote. “Who has the time to teach sight reading?”I thought. With concerts and festivals looming,there seemed to be no time to train choralmusicians. What I came to understand over timewas that I didn’t have enough time not to teachmy singers how to be choral musicians. Whatseemed like a lot of time for little payoff at firstbecame the biggest time saver I could haveasked for. Once I had choral musicians in mychoirs, and not teacher-dependent singers, I hadto start programming more difficult literature asthe musicians began to devour the contentsof their folders. <strong>Music</strong>al and note-learningheadaches that were my problem before werenow being solved by the musicians, oftenbefore I even knew there was a problem. Whenmusical issues did arise in rehearsal, we nowhad a frame work to identify the problem, put itinto context, andsolve it once andfor all. We alsohad more time toexamine the text,go into detailabout musicaland historical aspects of the piece, and playwith choices of interpretation.In the end, each choral music educator mustdecide what kinds of students they are creating:singers or choral musicians. Singers can developfine ears, great voices, and be very goodperformers. Choral musicians can also be fineperformers with excellent voices and ears, butwith the added qualities of musical knowledge,insight, and independence. If you don’t teachsight reading and musicianship, you can starttoday. Fixed or movable solfege, numbers ornote names... it doesn’t matter how you teachit. Choose a system, create your units, connectthem to your literature, and start leadingyour singers to the independence of a choralmusician. And then when you hear anyone referto your choral musicians merely as singers, youwill have the right to correct them and be proudof your results.A Conservatory ExperienceWithin a Renowned College of Liberal Arts<strong>Music</strong> Scholarships awarded annually to majors and non-majorsSCHOLARSHIP AUDITION DATESAuditions are held in November <strong>2013</strong>,January 2014 and February 2014.Check the <strong>web</strong>site for specific dates.SCHEDULE AN AUDITION503-370-6687DEGREE PROGRAMSBA in <strong>Music</strong>BM in PerformanceBM in CompositionBM in <strong>Music</strong> <strong>Education</strong>BM in Improvisation in Contemporary PracticeMinor in <strong>Music</strong>Minor in Arts, Technology and MultimediaS P R I N G ∙ 2 0 1 3<strong>Spring</strong>Office of Admission • willamette.edu/admission • 503-370-6303 • willamette.edu/go/music17
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