CAPMT CONNECT Winter 2015–2016 • Volume 1, Number 2

Winter 2015–2016 • Volume 1, Number 2

CAPMT Connect • The Journal of the California Association of Professional Music Teachers

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Winter 2015–2016 • Volume 1, Number 2

CAPMT Connect • The Journal of the California Association of Professional Music Teachers

CAPMT CONNECT

Table of Contents

Greetings from the President .......................................................... 2

Message from the Editor ................................................................. 3

An Interview with Daniel Pollack – Part 2 ........................................ 5

How to Start a Collegiate Chapter of CAPMT/MTNA ................... 10

CAPMT State Conference Summary ............................................. 13

MTNA Competitions: Performance (California) ............................. 18

CAPMT Service: Top 5 Things I’ve Learned .................................. 18

MTNA Foundation Fellow Nominees ............................................ 21

CAPMT Outstanding Member State Recognition Award .............. 23

Coda .............................................................................................. 25

CAPMT Connect Editorial Committee ......................................... 26

www.capmt.org

www.bravurainnovations.com

Back to Table of Contents Winter 2015–2016 • Volume 1, Number 2

CAPMT Connect • Greetings from the President 2

Greetings from the President Dr. Jennifer Snow • [email protected] CAPMT President

Happy New Year! The start of a new year is a wonderful time to reflect on our teaching practice and our plans for the exciting and productive months ahead. The fall has been one of great success for CAPMT. With its new place in our recently revised annual schedule, the October State Conference was outstanding; Dr. Randall Faber was our keynote presenter. Our fall student programs were also very successful, and we congratulate all who participated and supported. It is exciting to see an increase in student program participation, and we look forward to our Competitive

programs this winter and our State Finals at UC Berkeley on April 30, 2016. The MTNA State Competitions also had increased registrations, and we congratulate all of the performers, composers, and their teachers who participated. We are pleased to announce our 2016–2017 State Conference, “Excellence in Teaching: Inspiring Creativity, Artistry, and Student Success,” which will feature Marvin Blickenstaff as our keynote presenter. It will be held at the Bob Cole Conservatory of Music at California State University, Long Beach (CSULB) on October 14–15, 2016. We encourage members to submit a proposal and register early for this enriching professional development opportunity. (http://capmt.org/state-conference.html) CAPMT membership is flourishing, and we are pleased to report an increase in numbers. We encourage each CAPMT member to invite at least one new colleague or student to join CAPMT and experience the network, collegiality, programs, and professional benefits of CAPMT and MTNA. Imagine the power of a plus one! If each person brought one new member we would immediately double the membership of CAPMT. It is especially thrilling to see the success of the Young Professional Leadership Network (YPLN), and the growth in our collegiate membership. Congratulations to the YPLN state and regional leaders as they engage younger professionals and expand activities and professional opportunities. As we launch into our active new year, please encourage colleagues to join CAPMT and to embrace the joys and rewards of service. We celebrate and honor music with a continued passion and dedication to teaching. Best wishes for a healthy, happy, and successful year of music making. Respectfully, Dr. Jennifer Snow

mailto:[email protected]

http://capmt.org/state-conference.html


CAPMT Connect • Message from the Editor 3

Message from the Editor Dr. Jyoti Hench, NCTM • [email protected] CAPMT Connect Editor

While many people are celebrating the start of a fresh new year, we as music teachers are already halfway through our year. Many of us started preparing our students for spring programs months ago and are already looking ahead to the end of the academic year. I find January to be a great time to take a mid-year professional inventory. What is going well, and what needs help, in your teaching? Are there changes that you can implement right now

that would benefit you or your students? Do you need to make adjustments to your schedule or re-evaluate your slate of responsibilities? Now is a good time to take action! This past November, I had an experience that caused me to reflect on why service to CAPMT has been an important part of my teaching career. I was at the State Competitions at UC Santa Barbara, completing my final year in an administrative position. As I monitored the door of one of the competition rooms that Saturday afternoon, a UCSB student passed by and inquired about the competitions. He looked at a program and seemed to realize that he would not be able to stay long enough to enter the competition room in between contestants in order to hear the next performance (the competitions are open to the public). So instead, he sat down on the ground to listen to the current performance through the door, just for a few minutes, before continuing on his way. Several hours later, presumably on his way back from studying, the student came back. “I just have to listen,” he said, removing his backpack and sitting down again on the ground outside the door. When the young piano student finished her performance and came out of the competition room, I quickly began making sure that she had received her music books from the judges before she left. The college student, however, was thinking about more important things. “Well done!” he said enthusiastically, clapping for the young student. The girl, and her father, smiled with genuine appreciation. In that moment, the girl had shared the joy of making music with everyone around her — and it had happened because of a CAPMT program. Before leaving, the young man asked me if I was affiliated with UCSB. When I told him that I was actually from the San Diego area and a volunteer with MTNA, he responded, “That’s quite a big sacrifice that you make to do this.” “Well,” I replied, trailing off, unsure of what to



CAPMT Connect • Message from the Editor 4

say. The position had been demanding in some ways, but the word “sacrifice” seemed too strong. Then, without even thinking about it, I heard the following words come out of my mouth. “This association is really important. It connects us as teachers. As a music teacher you sometimes feel like you’re in it all on your own. But we’re actually a community.” This issue features several members whose dedicated service has strengthened our CAPMT community throughout the years. Several individuals were honored this year with the CAPMT Outstanding Member State Recognition Award. You can see who they are on pp. 23–24. You can also read about CAPMT’s two MTNA Foundation Fellow nominees, Sue Field and Su-Shing Chiu, both of whom exemplify dedicated service to our organization. Take a moment to read Jackie Petitto’s reflection on what she has learned over more than ten years of CAPMT service in the MTNA Competitions. And, don’t miss the conclusion of Stephen Pierce’s interview with Daniel Pollack, which includes discussion of the importance of MTNA, especially for collegiate members. Interested in forming a collegiate chapter? Brandon Bascom explains how to do so on pp. 10–12. If you were unable to attend the CAPMT Conference this past October at UC Berkeley, you can read a summary on pp. 13–17. And, don’t forget that the MTNA National Conference will be held April 2–6 in San Antonio, Texas. I hope to see you there. If you already serve CAPMT through volunteer work, I would like to personally thank you. And if you do not, I encourage you to consider becoming more involved. Your service will make our CAPMT community even stronger. I wish you a rewarding spring and all the very best in 2016!


CAPMT Connect • An Interview with Daniel Pollack — Part 2 5

An Interview with Daniel Pollack – Part 2 Dr. Stephen Pierce • [email protected] CAPMT Member at Large (South) CAPMT Collegiate Chapters Chair

This is the second part of our two-part interview with internationally acclaimed pianist Daniel Pollack. Pollack has been an active member of MTNA for decades and is a recipient of the prestigious CAPMT Lifetime Achievement Award. He has served as a colleague, mentor, and friend to me, and I had the great privilege of interviewing him during the summer of 2015. The second part of our interview is focused on his teaching philosophy and the state of the arts.

Stephen Pierce: Would you describe your teaching approach as heavily influenced by the so-called Russian School of pianism? Daniel Pollack: Yes, absolutely. SP: What is unique about the Russian School? DP: The Russian schooling calls for the complete art of technique in the Greek sense of the word, which is mastery of the art of your craft in all its meanings. Not only is an enormous technical foundation required but also the means to express it. In Russian pianism, the long line is emphasized, together with an excitement in performance. The technical training at the piano there is akin to that of the training of an Olympic athlete from the very earliest age. The care of tone production, the varied hand positions, and the whole balance of the body to produce sound, are all essential in this training, and the Russians are masterful in this regard. I would also like to make a distinction between Russian schooling (an older tradition, Pre-Revolution more-or-less) that had its emphases on gorgeous sound, varied touches and nuances, musicianship, absolute virtuosic mastery, attention to style and its application, varied pedaling etc. versus the newer Soviet school, which lost this art of extreme attention to detail and placed focus on virtuosic athleticism and velocity. In general, I believe in the different schools of pianism and these include the Slavic, French, Germanic, British, and the American schools. Madame Lhévinne described the American schooling as ”The Sponge School of Piano,” meaning that we absorbed all of the best elements from the various traditions into our melting pot. SP: What do you mean by the varied hand positions exactly? DP: There is what is called “The Romantic Hand Position,” which utilizes a flatter finger but one in which the finger doesn’t break or bend. A firm knuckle serves as the bridge of the hand, and the weight of the body is utilized. The other position is “The Classical Position,”




which uses the tips of the fingers to give the sound more articulation and brilliance. A smart pianist needs to know both positions in order to traverse the repertoire successfully or otherwise all of their music is going to sound the same. When the music calls for an espressivo in the sound, whether it is Bach or Beethoven, you are not going to play on the tips of the fingers, for example. If you look at the hand positions of the great pianists, such as Horowitz or Richter, they are constantly changing. Not only will the right look different from the left hand, but within the same hand there can be differences. For example, you can have a divided hand with melody played by the fourth and fifth fingers, and accompaniment played by the first, second and third fingers. Interestingly, Horowitz was unique in that he did everything opposite to what I have just described. He bent the rules in order to achieve a specific sound that he was after. In my teaching, I try to give my students the principles for each of these but I want them to decide where and when to exploit each of these hand positions, rather than tell them exactly when to use which. The teacher is merely the guide. SP: Do you also have a love affair with Russian music and share a special connection with it like you do with Russian audiences? DP: Very much so. It is obviously an important part of my repertoire, but I have not neglected other areas. I think that a smart musician first has to be familiar with the gigantic amount of repertoire available to us as pianists. If you thumb through the fourth edition of Hinson’s Guide to the Pianist’s Repertoire,1 a fantastic resource that came out last year, you realize just how vast our repertoire is. SP: What is the most important aspect of your teaching? DP: Several years ago, there was a survey sent around to music teachers asking this very question. The answers that came back mentioned many different things like rhythm, or the metronome, accuracy, or what you charge as your lesson fee, etc., but none mentioned the importance of listening. It is very important to me that my students know what they are listening for and how to listen, as we are in the business of sound and listening. SP: Could you elaborate on your teaching philosophy a little more? DP: I want my students to be entrepreneurial and to equip themselves with a deeper knowledge about the music that they play. When I taught at Yale, I was so impressed by the entrepreneurial spirit of the students, and the way in which they would research the repertoire they were playing. I want my students to possess a lot of foundation, a deep understanding of the structure, harmony and counterpoint of their pieces, and other theoretical background.

1 Maurice Hinson and Wesley Roberts, Guide to the Pianist's Repertoire, Fourth Edition. Bloomington, IN: Indiana University Press, 2014.



You can learn from this knowledge if you are able to transfer it to your performances. This is what I learned at Juilliard in their program, Literature and Materials of Music, started by the late president William Schuman. Color is also so important in music, and how you are able to inflect a Neapolitan sixth chord, for example, and how G-flat and F-sharp might be enharmonic equivalents, but should be played with different colors. Students also need to be discerning and compare editions in order to make more intelligent decisions. We are blessed with so many wonderful analytical and scholarly editions today. Just look at Stewart Gordon’s recent edition of the Beethoven sonatas,2 for example. It is phenomenally analytical and filled with excellent resource material. I also like my students to question things and not just look to me to give them the answers. They need to know what the piece they are playing is about and what the composer is trying to say, and not just put it on the music rack and read it. I want to instill these kinds of things in my students. I also think it would be magnificent for students if we could have an “open door” policy and allow them to play for other teachers in order to learn from everyone! I also think that 10% of the time taken to learn a piece from the beginning up until the first performance should be spent on learning the notes and rhythms, and 90% of the time spent on polishing the piece. Students have their work habits backwards, and often approach this the other way around. SP: What is your philosophy with regard to teaching repertoire? DP: It is important that my students are first exposed to a broad variety of repertoire, and that they only specialize later on. I like my students to be well-rounded and insist on seeing their entire repertoire list before we choose repertoire, so that we can cover any neglected areas. Students also need to study more than one piece by a composer as every work is different, and teachers must be careful not to impose their own prejudices regarding repertoire on their students. I am also not in favor of teachers who keep teaching the same few pieces with which they feel “at home” for fifty years, as these teachers have not sufficiently explored the repertoire. Another key to the successful study of our literature is to be careful not to assign pieces that are beyond the capability of our students. Rather than having our students gobble up huge amounts of big pieces, they first need to play the smaller pieces available, like character pieces that are only a few minutes and pages long. Another example would be to first learn easier dance movements from Bach’s suites before playing an invention. You get the insight of a composer within a smaller architecture by playing smaller pieces. These then prepare students to play larger scale works more successfully. SP: You have taught a studio of world-class pianists at the USC Thornton School of Music since 1971. You even taught alongside the great Jascha Heifetz (1901–1987) and Gregor Piatigorsky (1903–1976) at USC, and collaborated in performance with both of them. What were they like as colleagues?

2 Ludwig van Beethoven, Piano sonatas. Edited by Stewart Gordon. Van Nuys, CA: Alfred, 2002.



DP: I actually played the Tchaikovsky trio with the two of them while we were all on faculty. It was one of Heifetz’s last performances. At the time, their reputations were such that we had the kings of both the violin and the cello teaching at USC. Heifetz was a nitpicker who went for the jugular and the thrill of the sound in performance à la Horowitz. You never knew what he was about to do because it was very spontaneous. I would describe Piatigorsky as the grand man of gorgeous sound and Romanticism. There was a warm fuzzy quality to Piatigorsky and this was apparent in his performances. I would compare a Heifetz to a Horowitz, and a Piatigorsky to a Rubinstein. SP: At USC, you helped revive our MTNA collegiate chapter decades ago, and currently serve as my co-faculty advisor for the chapter. Why is MTNA membership so important for collegiate members? DP: Our collegiate chapter serves as a way for me to help students find their role not only in teaching, but also in their careers in music in general. MTNA offers an opportunity that is outside of their studies but that complements them. CAPMT is also a professional organization, which is important, and since it is affiliated with MTNA, it shares its goals and aspirations. Our students are the future of music and the music teaching profession, so the sooner they get involved in MTNA and start organizing events like a lecture series, or performances, etc., the better for their careers in music. In short, our MTNA collegiate chapters provide a forum for our students to start shaping their careers in music. SP: In our conversations, I have been repeatedly impressed by your knowledge of pedagogical piano literature, and your familiarity with pedagogy textbooks, beginning teaching materials, and music teachers at all levels. You are also an advocate of the non-celebrity, or what you call the “nitty gritty” music teachers and the incredible work that they do. Why is this? DP: Yes, these teachers are not given enough credit. They give our students their foundation! We have a disaster with regard to music education in the public school system, so these teachers are providing music education to our students today. They also instill a love of music in our students, so I appreciate the work that they do very much. SP: Are you concerned about the future of Classical music and the arts? DP: Yes, I worry about the future of our art in today’s world. I believe music education is essential for all people, and the fact that music and the arts are the first things to disappear from curricula in our schools is a major concern. We have sadly seen a decline in the solo piano recital. Classical music sales are down. Students feel they can watch a video on YouTube rather than attend a live concert. We have also seen the rise of celebrity Classical



artists, who create excitement in the short term, but who are lacking. These are all major challenges. SP: What changes can we make from inside the world of Classical music and the arts to ensure its longevity? DP: I think at a grassroots level, we can make our politicians more aware of the value of the arts, and music education. We can promote the arts within our communities and reach out to local businesses and offer them a way to give back to the community by supporting the arts. I also think there is room for arts mentorship within the public school system. As music teachers collectively, it is our responsibility to be advocates for the arts. I am excited about the election of Scott McBride Smith (a USC graduate) as MTNA president, as I believe he can move MTNA forward in this regard, and effect positive change.

Dr. Stephen Pierce is assistant professor of keyboard pedagogy at the University of Southern California Thornton School of Music. He has presented at the Group Piano/Piano Pedagogy Forum and published articles in Clavier Companion and The South African Music Teacher.

Sources Bachus, Nancy. “Competitions: Pinnacles and Pitfalls – An Interview with Daniel Pollack.” In Clavier Companion, Vol. 2, No. 1. January/February 2010. Beethoven, Ludwig van. Piano sonatas. Edited by Stewart Gordon. Van Nuys, CA: Alfred, 2002. Calbi, Evan. “Daniel Pollack: The transition from student to artist.” February 4, 2015. https://music.usc.edu/the-transition-from-student-to-artist/ (accessed June 1, 2015). Ginell, Richard S. “The Tchaikovsky Competition, 50 years later,” in The Los Angeles Times. April 27, 2008. http://www.csun.edu/pubrels/clips/April08/04-28-08N.pdf. Hinson, Maurice and Wesley Roberts. Guide to the Pianist's Repertoire, Fourth Edition. Bloomington, IN: Indiana University Press, 2014. Ho, Elijah. “Interview with pianist Daniel Pollack Part 1,” in Examiner.com. January 12, 2012. http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-i.

https://music.usc.edu/the-transition-from-student-to-artist/



http://www.csun.edu/pubrels/clips/April08/04-28-08N.pdf

http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-i


CAPMT Connect • An Interview with Daniel Pollack — Part 2 • How to Start a Collegiate Chapter 10

Ho, Elijah. “Interview with pianist Daniel Pollack Part 2,” in Examiner.com. January 16, 2012. http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-ii. Ho, Elijah. “Interview with pianist Daniel Pollack Part 3,” in Examiner.com. January 20, 2012. http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-iii. Hough, Stephen. “The most exciting musical discovery of my life: Tchaikovsky’s wrong note finally corrected,” in The Telegraph. June 26, 2013. http://blogs.telegraph.co.uk/culture/stephenhough/100069784/the-most-exciting- musical-discovery-of-my-life-tchaikovskys-wrong-note-finally-corrected/. Kaliss, Jeff. “Daniel Pollack: From Russia with Love,” in San Francisco Classical Voice. December 14, 2011. https://www.sfcv.org/events-calendar/artist-spotlight/daniel-pollack-from-russia-with-love. Kuznetsoff, Sergei and Alexander Kato-Willis. “Interview with Daniel Pollack,” in Bakitone: New World of Piano Competitions. http://www.bakitone.com/about/interview/daniel_pollack. Levy, Clifford J. “Piano Man, Winning Russian Hearts and Minds,” in The New York Times. May 29, 2009. http://www.nytimes.com/2009/05/30/world/europe/30pollack.html?_r=2&.

How to Start a Collegiate Chapter of CAPMT/MTNA

Dr. Brandon Bascom, NCTM • [email protected] Fresno City College MTNA Collegiate Chapter Advisor CAPMT State Honors Competition Chair As a university student, being a member of an MTNA collegiate chapter was very beneficial to me in learning how to network, in choosing future schools and programs of study, and in establishing my career as a music teacher. I was a collegiate member for five plus years, although my activity fluctuated. As a collegiate member, I attended one state conference. I was also able to take advantage of the collegiate door-monitoring program and attended four national conferences for free. The main requirement for forming and operating a functioning collegiate chapter is time. An advisor is needed to donate his or her time to help oversee the chapter. Officers are also needed to volunteer their time to plan, and help run the chapter. I have listed some additional requirements and other things to consider below. Institutional Requirements One of the first steps needed to form a collegiate chapter is to find out about the institution’s requirements for starting an officially recognized club or organization on campus. Each school with which I have been associated has had their own system of student government with different policies for each club on campus.

http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-ii

http://www.examiner.com/article/interview-with-pianist-daniel-pollack-part-iii

http://blogs.telegraph.co.uk/culture/stephenhough/100069784/the-most-exciting-musical-discovery-of-my-life-tchaikovskys-wrong-note-finally-corrected/



https://www.sfcv.org/events-calendar/artist-spotlight/daniel-pollack-from-russia-with-love

http://www.bakitone.com/about/interview/daniel_pollack

http://www.nytimes.com/2009/05/30/world/europe/30pollack.html?_r=2&



CAPMT Connect • How to Start a Collegiate Chapter 11

The following things should be kept in mind: • Funding is sometimes given by a campus student government organization to clubs.

This funding has helped members of my chapters attend national conferences. • Some student government organizations require the chapter to complete some sort of

application. Furthermore, some require a member of the proposed club’s leadership to attend meetings. Meetings at different schools have been as few as once a semester, or as many as once a week.

• The institution may have requirements that must be reflected in the chapter bylaws in order for the organization to be approved at the institution level.

• Meeting times and places often have to be scheduled in consultation with the institution.

MTNA Requirements

• MTNA’s Collegiate Chapter web page states, “Each prospective collegiate chapter must submit an online Collegiate Chapter Application. Upon approval by the state association and national office, your collegiate chapter will receive notification and a certificate from MTNA.” See http://www.mtna.org/collegiate-chapters/starting-a-collegiate-chapter/

• It also states that “each chapter must have at least three student members, as well as a sponsor or advisor who is an active member of the state and national associations.”

• Bylaws are required of each chapter, and must be submitted with the proposed chapter’s application to MTNA’s national office. A sample of bylaws can be found in the Collegiate Chapters Handbook, which can be downloaded at http://www.mtna.org/media/100293/CollegiateHandbook.pdf

• The suggested officers to make up the Executive Committee of a collegiate chapter include president, vice-president, treasurer, and secretary. It is also helpful to have someone act as an historian to take pictures of chapter activities, as well as someone to handle publicity by letting others know about upcoming activities.

MTNA lists example past activities of successful collegiate chapters (see https://www.mtna.org/awards/collegiate-chapter-of-the-year/collegiate-chapter-activities). This is a helpful resource to new chapters. Another great template that has worked well for me is to pattern collegiate chapter meeting activities after the Nationally Certified Music Teacher project requirements (see https://www.mtna.org/process/teacher-profile-projects/). At my present institution, pedagogy courses are not currently offered. Advising a student chapter is a way for me to ensure that our students receive the same information and materials.

http://www.mtna.org/collegiate-chapters/starting-a-collegiate-chapter/



http://www.mtna.org/media/100293/CollegiateHandbook.pdf

https://www.mtna.org/awards/collegiate-chapter-of-the-year/collegiate-chapter-activities

https://www.mtna.org/process/teacher-profile-projects/


CAPMT Connect • How to Start a Collegiate Chapter 12

Other Considerations I have seen departments require all piano majors to be members of MTNA. The costs of membership fees/American Music Teacher subscriptions are justified as a textbook. I have mixed feelings about this idea. While it does help increase membership numbers in a chapter, and potentially funding for a chapter, forcing membership does not always result in participation. When I was a graduate student, the local teachers’ chapter invited all members of the collegiate chapter to attend their meetings. This gesture was valuable to me as a student getting ready to transition to the real world. It helped me see how a chapter operated, and how its members put on events, including a festival serving hundreds of students. I would encourage local chapters to extend the same invitation to collegiate chapters in our state. I would also suggest that, if possible, students attend the business meetings at a state conference or a regional meeting at a national conference to get a feel for how meetings are administered. Students will learn the language of Robert’s Rules that MTNA uses, including the process for the proposal and passing of motions (see http://rulesonline.com). While time is precious and often safeguarded, I believe that the benefits of this investment are great for the advisor and the students. Being involved as a student provides great leadership experience as well as valuable training, at a fraction of what this might normally cost. Becoming an advisor is a great way to give back to students, and to help mold the future of our organization.

Dr. Brandon Bascom, NCTM is the piano instructor at Fresno City College where he is the advisor for their MTNA collegiate chapter. He has presented at the MTNA National Conference, and at state conferences in California, Utah, and Idaho.

http://rulesonline.com


CAPMT Connect • CAPMT State Conference Summary 13

CAPMT State Conference Summary Noreen Wenjen, NCTM • [email protected] CAPMT President-Elect 2015–2016 CAPMT State Conference: Nurturing Strong Foundations Saturday, October 24, 2015 UC Berkeley Department of Music The CAPMT Conference was held on Saturday, October 24, 2015 at the University of California, Berkeley Department of Music. The full-day conference featured Keynote Speaker Dr. Randall Faber, along with seven engaging presentations focused on the conference theme, Nurturing Strong Foundations.

The Awards Luncheon and Annual General Meeting was held in the Seaborg Room at the Faculty Club. Honorees included CAPMT Lifetime Achievement Award winner, world-renowned mezzo-soprano Frederica von Stade; 2015 Outstanding CAPMT Member State Recognition Award Winners (see p. 23 for a list of recipients); and District/Chapter of the Year Award Winner, District 3. Dr. William Whipple, MTNA Foundation Fund and Endowment Fund Chair, hosted an MTNA Foundation booth, which had a silent auction as a fundraiser. All conference attendees received a complimentary DVD featuring Randall Faber and a copy of the 2015 Royal Conservatory Music Development Program Syllabus. Many thanks to Bravura Innovations for creating the conference programs and maintaining our online presence for the conference. Special thanks to our CAPMT Photographer, James Gaytan, for capturing these great images from the conference.

Dr. Randall Faber’s Age-Appropriate Teaching and ACE Teaching: Using Analysis, Creativity and Expression sessions were well attended. Teachers enjoyed his engaging slideshow and video presentations and had an opportunity to ask questions and receive advice on specific teaching situations.




Dr. Stephen Pierce Prof. Susan Bruckner “Classical Connections: Classical Style and the Sonatina” “Teach Like TED”

Yuxi Qin de Neve “Studying Parents’ Role in Students’ Music Learning and

Educating Parents to Support a Successful Learning Experience”

Dr. Ya-Liang Chang “You Are Not Alone: Nurturing Collaborative Learning through Playing Piano Duets”



Cindy Tseng, NCTM, Dr. Brandon Bascom, NCTM & Luba Kravchenko “Nurturing Strong Foundations for Young Music Professionals”

Ginny Atherton “Foundational Instruction for 21st Century Students

of Orchestral Instruments”

Noreen C. Wenjen, NCTM Dr. Deborah H. How CAPMT President-Elect “The Royal Conservatory Music Development Program “Opening Welcome” Celebration Series 2015 & New Piano Syllabus”



Lina Lee Sue Field CAPMT District 3 President CAPMT Past-President and MTNA Southwest Director accepts the District/Chapter of the Year Award accepts the CAPMT Lifetime Achievement Award on behalf of from CAPMT President-Elect Noreen Wenjen Frederica von Stade, world-renowned mezzo soprano

2015 State Conference Planning Committee Carmina Glicklich, VP Conferences (C) Elizabeth Medici, Registrar (R) • Noreen Wenjen, NCTM (L)

Deborah How and Elizabeth Medici at the Conference Registration Desk



CAPMT Executive Board Members and District Directors 2015–2017

The CAPMT Executive Board and District Directors held two meetings during the weekend of the State Conference. The Board worked collaboratively to improve CAPMT Bylaws, competitive and non-competitive student programs, membership benefits, and to keep every district and chapter active and engaged. Check www.capmt.org for updates!

http://www.capmt.org


CAPMT Connect • MTNA Competitions: Performance (California) • CAPMT Service 18

MTNA Competitions Dr. Jacqueline Petitto [email protected] MTNA Competitions State Chair (California)

MTNA Competitions: Performance (California) The California State MTNA Performance Competitions took place on Saturday, November 14, 2015 at the University of California, Santa Barbara (UCSB). Many thanks to Professor Charles Asche from the UCSB Music Department for negotiating the use of their facilities for the MTNA Competitions. I truly appreciate all of his generosity and assistance, especially with preparing the venue and coordinating UCSB student volunteers to serve as outside monitors. A big thank you also to CAPMT President Dr. Jennifer Snow for attending this year’s competitions. This event would not have been possible without the hard work and support of all of our volunteers, especially our dedicated MTNA Performance Competitions Coordinators Jyoti Hench, NCTM, Mona DeCesare, NCTM, and Deborah Lagomarsino. A million thanks to all! Congratulations to the following students and teachers: Junior Performance Piano • 10 entries Judges: Alison Edwards, Kristi Lobitz, Francoise Regnat

Winner Ethan Yuen, Piano (Hans Boepple, NCTM)

Alternate Jessica Li, Piano (Mina Hirobe-Perry/John Perry, NCTM)

Honorable Mention Dominik Yoder, Piano (Roza Yoder)

CAPMT Service Top 5 Things I’ve Learned

by Dr. Jacqueline Petitto

When I first became a CAPMT and MTNA member as a University of Southern California graduate student, I was encouraged to actively participate in our MTNA Collegiate Chapter. I held several different leadership positions and helped coordinate and organize events such as master classes and CAPMT Student Evaluations. Little did I know that this was only the beginning of a long journey to becoming a music professional. Many of the skills I have learned through more than ten years of CAPMT service have benefited me tremendously in my own professional development. Here are some of them:

1. Leadership Skills. In my years as a CAPMT member and volunteer, I have learned to lead by example and to trust people. I believe that a great leader behaves or carries herself or himself in a professional, accountable, committed, responsible, and thoughtful manner. Being in charge comes with much responsibility and requires a broad vision. In addition, the day-to-day tasks often involve putting out fires and dealing with unexpected circumstances. Some of the best leaders I know are experts in inspiring, delegating, and avoiding micromanaging.

2. Avoiding Perfectionism and Letting Go of Control. It is important to remember that it is impossible to make everyone happy. Since I am a people-pleaser, this has been extremely difficult for me. At times, teachers, parents, judges, or entrants complain. Although it is good to aspire for perfection, it is better to accept the fact that not everything will run perfectly. Learning to let go of what is not in your control, and remaining flexible and open to change, helps you to cope during challenging moments. (continued)




Junior Performance String • 5 entries Judge: Charles Tyler

Winner Jessica Lee, Cello (In Kyu Lee)

Alternate Christina Park, Cello (In Kyu Lee)

Honorable Mention Anwen Lin, Cello (Jonathan Koh)

Junior Performance Woodwind • 5 entries Judge: Joel Timm

Winner Katie Kim, Flute (Verna Balch)

Alternate Jenny Yoon, Clarinet (Yongjae Kim)

Honorable Mentions Andrew So, Oboe (Yuli Kwon) Sumin Kim, Oboe (Yuli Kwon)

Senior Performance Piano • 16 entries Judges: Charles Asche, Junko Garrett, Carl Matthes

Winner Christopher Richardson, Piano (Frederick Weldy, NCTM)

Alternate Hanxiao (Helen) Lai, Piano (Nelms McKelvain)

Honorable Mentions Vincent Liu, Piano (Hans Boepple, NCTM) Yoko Nagafuchi, Piano (Lorna Griffit Bedelian)

Senior Performance String • 10 entries Judges: Trevor Handy, Anna Suda, Charles Tyler

Winner Geneva Lewis, Violin (Aimee Kreston)

Alternate Jaime An, Cello (Jihee Kim)

Honorable Mentions Vincent Lin, Cello (Jonathan Koh) Zoe Lin, Cello (Jonathan Koh) Kristi Kim, Cello (In Kyu Lee)

3. Career Skills. Working together with other CAPMT and MTNA officials has helped me to develop skills in clear and proper communication, problem solving, critical thinking, and computer skills. It has also fostered engagement at the state and national levels. On a practical level, my experience as chair and coordinator of the MTNA competitions has involved booking competition venues, hiring judges, scheduling all of the different competition categories, supervising coordinators, setting up hospitality for the competition day, and much more. I have benefited greatly from having a behind-the-scenes look at running the first stage or state level of a national competition.

4. Building Relationships. I have found this to be one of the most important aspects of successfully navigating different work environments. Through my CAPMT work, I have learned to work effectively with different types of people and have enjoyed successful collaborations and interactions. In any job, paid or unpaid, people skills will take you far. A warm smile and demeanor, and a courteous and respectful approach will always make the job easier. The music world is small, and it is essential to get along regardless of differences of opinions. Networking or meeting new people such as adjudicators, teachers, students, parents and musicians helps us to see the big picture and enjoy close ties to our local music communities. Keeping contacts alive by working together with colleagues often leads to future opportunities.

5. Time Management. Being efficient with time and meeting deadlines is paramount. It is essential to know how to allot time for various tasks in short-term and long-term planning. Organization pays off and saves time. To stay organized, I rely on to-do lists, a chronological timeline of duties, and following a step-by-step process. Being methodical and pragmatic has yielded excellent results. (continued)



Senior Performance Voice • 1 entry Representative Elena Bronder-Chang, Soprano (Haruna Shiokawa-Mo)

Senior Performance Woodwind • 9 entries Judges: James Di Pasquale, Diana Morgan, Joel Timm

Winner Lucy Kim, Flute (Isabelle Chapuis)

Alternate Sylvie Tran, Flute (Jill Felber)

Honorable Mention Amy Choi, Flute (Christina Yoo)

Young Artist Performance Piano • 8 entries Judges: Alison Edwards, Kristi Lobitz, Francoise Regnat

Winner Yilin Liu, Piano (Yoshikazu Nagai)

Alternate Alexander Agate, Piano (Dmitry Rachmanov)

Honorable Mention Elizabeth Crecca, Piano (Yoshikazu Nagai)

Young Artist Performance Woodwind • 6 entriesJudge: Diana Morgan

Winner Catherine Marshall, Flute (Jill Felber)

Alternate Melissa Demarjian, Clarniet (Paul Bambach)

Honorable Mentions Rachel Ricard, Flute (Jill Felber) Martin Hsu, Clarinet (Paul Bambach) Joseph Spence, Saxophone (John Hallberg)

Chamber Music Wind • 2 entries Representative Hyperion Saxophone Quartet (John Hallberg)

Steven Ragsdale, Soprano Saxophone Nathan King, Alto Saxophone Joseph Spence, Tenor Saxophone Daniel Castellanos, Baritone Saxophone

Volunteering provides an opportunity to serve and to give back to our community. Being involved with something you are good at, and passionate about, enriches your life. Serving CAPMT is rewarding work for a great cause. Leaving a legacy for the next generation of volunteers includes passing on what you know, and if at all possible, improving the system. Regardless of whether you are working for pay, your work ethic should be consistent and continuous. Stay engaged and disciplined, focus on the task at hand, pay careful attention to detail, check and double-check your work before hitting send, and always proofread and spellcheck. Take pride in this amazing opportunity and give it your all!

In conclusion, I encourage all CAPMT members and teachers to donate their time to our organization to further music education and performance. To our young collegiate and YPLN members, this experience will help you build successful careers in music.

Dr. Jacqueline Petitto is an active soloist and chamber musician who has performed throughout the United States, Canada, and Latin America. She is currently Director of Keyboard Studies and Class Piano at Long Beach City College.


CAPMT Connect • MTNA Foundation Fellow Nominees 21

MTNA Foundation Fellow Nominees

Susan Lamb Cook, NCTM • [email protected] CAPMT Connect Editorial Committee Member The MTNA Foundation was established in 1989 in order to provide grants and awards to gifted students, composers, teachers, performers, and local associations. As stated on the MTNA Foundation website (https://www.mtnafoundation.org/foundation-overview/), these grants have supported and continue to support MTNA’s mission to “work for a more musical tomorrow through programs that nurture the creation, performance, study and teaching of music.” Integrated into MTNA on July 1, 2003, the MTNA Foundation is now governed by the MTNA Board of Directors and is funded through contributions from our individual members. The MTNA Foundation Fellow program (https://www.mtnafoundation.org/fellow-program/) offers a meaningful way to honor outstanding members of our organization on the national level while helping to support and maintain the health of the MTNA Foundation. MTNA Fellows are recognized at the MTNA National Conference and are listed on the Foundation Fund website. Some of our previous California MTNA Fellows include Darlene Vlasek, NCTM (2015), Kathryn B. Hull, NCTM (2014), Peter Yazbeck (2013), and E. L. Lancaster, NCTM (2008). This year, CAPMT is pleased to nominate Sue Field and Su-Shing Chiu for the 2016 MTNA Foundation Fellow Award. Both Sue and Su-Shing have contributed greatly to

our organization through their hard work and dedication throughout the years. Sue Field is CAPMT Immediate Past President and currently serves as Director-Elect for the MTNA Southwest Division. “I am deeply grateful to CAPMT President Jennifer Snow and the entire CAPMT Board for the honor of an MTNA Fellow nomination. I am also thrilled to be nominated in the company of Su-Shing Chiu, whom I have long admired for the many MTNA composition student winners she has produced at the state, division and national level. I am grateful to CAPMT President Stephen Cook who appointed me CAPMT Recording Secretary in October 2008, CAPMT President Scott McBride Smith for his faith in making me his President-Elect in 2009 and all those who served on the CAPMT Board during my Presidency from 2010-2014, especially CAPMT Parliamentarian Darlene Vlasek,” says Field. Field states that relationships built with other teachers, along with participation in quality programs, have been highlights of her experience as a CAPMT member. “I had been a member of CAPMT for a number of years before moving to the Bay Area in 2003 when I became a member of the CAPMT Santa Clara Valley Chapter. I felt welcomed by the friendly teachers and was eager to attend their excellent meetings with enlightening speakers,


https://www.mtnafoundation.org/foundation-overview/

https://www.mtnafoundation.org/foundation-overview/

https://www.mtnafoundation.org/fellow-program/

https://www.mtnafoundation.org/fellow-program/


CAPMT Connect • MTNA Foundation Fellow Nominees 22

continuing today. SCV Presidents past and present, good friends, and CAPMT Board members Arleen Pickett and Julie Poklewski enlivened the hours spent flying south for Board meetings!”

In addition to being a noted composition teacher, Su-Shing Chiu has served as CAPMT Piano and Ensemble Auditions Chair since 2011 and as Vocal Ensemble

Auditions Chair since its inception in 2013. "I am very thrilled to receive this honor,” says Chiu. “But, I think it belongs to all the CAPMT teachers! You all work very hard to teach your students and make CAPMT programs better as a whole. Without your help, we would not be able to make the Piano, Ensemble, and Vocal Ensemble Auditions successful. Thank you so much for all your help and support!"

Please consider making a donation to the MTNA Foundation Fund in honor of our 2016 nominees using this link: https://www.mtnafoundation.org/contribute/donation-form/

Sue FieldPast CAPMT President Sue Field is a pianist and mezzo-soprano. She grew up in the UK and arrived in the US in 1982 with her family. She sang with Opera Colorado and San Diego Opera. In San Diego she directed staged performances of Purcell’s Dido and Aeneas with her studio. Sue worked in various churches over many years as mezzo-soprano, pianist, organist and Music Director. She served on the San Francisco Board of NATS and holds a Diploma in Piano Performance. She attended Lady Spencer Churchill College, Oxford, and is currently MTNA Southwest Division Director-Elect.

Su-Shing ChiuA native of Taiwan, Su-Shing Chiu comes from a long line of educators and musicians. Her love of teaching can be traced to her two grandfathers, both educators. Su-Shing received both her Bachelors and Masters Degrees in Taiwan, and has completed extensive work in psychology and child development. Su-Shing has taught at the Irvine Yamaha Music School since 1986, and also teaches private piano students at her own studio. According to Chiu, "I love any kind of student. I'm not choosy about my students – I just try to understand them and help each one at his or her own level. If they can improve and grow to love music, I feel happy."

For further information about the MTNA Foundation, you may contact the State Foundation Chair, Dr. William Whipple at [email protected].

https://www.mtnafoundation.org/contribute/donation-form/



CAPMT Connect • Outstanding CAPMT Member 2015 23

Outstanding CAPMT Member State Recognition Award • 2015 Recipients Dr. Jyoti Hench, NCTM • [email protected] CAPMT Connect Editor Thirteen individuals received the Outstanding CAPMT Member State Recognition Award this year. According to CAPMT President-Elect Noreen Wenjen, NCTM, the award “honors CAPMT members who have made outstanding contributions to CAPMT in service, leadership, or professional achievement from each district and/or chapter. Members were nominated by other members or leaders within their district or chapter. Winners receive a certificate, special acknowledgement at the CAPMT Awards Banquet, and are listed in CAPMT Connect.” Congratulations to all recipients, and thank you for all that you have done to make CAPMT an even stronger organization. Thank you to conference photographer James Gaytan for the photos of the members who received their awards at the State Conference. And, thank you to the District and Chapter Presidents who responded to requests for photos of their Outstanding Members from local meetings. District 1 Lee Galloway, NCTM Betty Lea Martocchio, NCTM District 2 N/A District 3 Beth Marquardt District 4 Hemet Valley Music Teachers Chapter Virginia Pritchard Music Teachers of the Desert Chapter Marta Basham Temecula Valley MTA Chapter Eleonora Bineau Riverside-San Bernardino Counties Chapter Linda Akre

District 5 Walnut Creek Chapter Janet Kaminsky, NCTM Sacramento Chapter Mary Rose Preston District 6 Louise Frye, NCTM District 7 N/A District 8 Su-Shing Chiu District 9 Dmitry Rachmanov Santa Clarita Valley and Ventura Chapter Mona Wu DeCesare, NCTM


CAPMT Connect • Outstanding CAPMT Member 2015 24

Lee Galloway, NCTM Virginia Pritchard Eleonora Bineau District 1 Spotlight Concert District 4 • Hemet Valley District 4 • Temecula Valley

Receiving their awards from Noreen Wenjen, at the 2015 CAPMT State Conference

Linda Akre Janet Kaminsky, NCTM Mary Rose Preston District 4 • Riverside-San Bernardino District 5 • Walnut Creek District 5 • Sacramento

Louise Frye, NCTM District 6

Su-Shing Chiu receiving award

from Noreen Wenjen at District 8 meeting


CAPMT Connect • Coda 25

Coda Editor’s Note: This Coda section features collegiate members and Young Professional Leadership Network (YPLN) members. To learn more about YPLN, please visit http://www.capmt.org/ypln.html

What are three important qualities in a music teacher?

I believe that the most important quality in a music teacher is the ability to listen. A good teacher listens not only to the message of the music, but to their student's needs. Music teachers should also be active. Actively performing and seeking new experiences can only benefit the wealth of knowledge a teacher can pass to a student. Lastly, a teacher should be a friend to their students — someone they can trust to have their best interests at heart.

Valerie Boizelle UC Irvine MTNA/CAPMT Collegiate Chapter President and Co-Founder

Great teachers are adaptable to feedback from their colleagues and students; they acknowledge that everyone learns and behaves differently. Great teachers foster curiosity through a student-centered approach. (E.g., “Why do you think the composer put a slur here?” rather than “You should play this part connected because there is a slur written.”) Lastly, great teachers are very passionate about music; whether it is a discussion about pedagogy with a colleague or a spiritual renewal in nature, their minds are constantly exploring new methods to keep the lessons inspired.

Diana Chau CAPMT Concerto Competition State Chair NORTH

CAPMT Northern Festival Chair

To be a good music teacher, one has to be quick-thinking,  empathetic, and knowledgeable about  not only classical music, but also  popular music. Those who are able to improvise jokes on the spot, relate to students, and discuss music heard on the radio will surely win the hearts of both their students  and  their parents!

Regina Ngo CAPMT Young Professional Leadership Network (YPLN) District 9 Leader

http://www.capmt.org/ypln.html


CAPMT Connect • Editorial Committee 26

CAPMT Connect Editorial Committee Editor Dr. Jyoti Hench, NCTM [email protected] Editorial Committee Dr. Brandon Bascom, NCTM India D’Avignon, NCTM Susan Lamb Cook, NCTM Dr. Stephen Pierce Cindy Tseng, NCTM Webpage www.capmt.org/journal.html


http://www.capmt.org/journal.html

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Documents

CAPMT CONNECT Winter 2015–2016 • Volume 1, Number 2