Travis J. Weller

Within today’s middle school band programs around the country, there are many directors that must develop their student’s technical performance skills within the ensemble setting.  Although not an ideal situation, it is the only viable option for keeping students involved in a band program.  Add into the mix a tight music budget, and the option to purchase ensemble method books to address some of this burden may not be available either.  The pressure of the next concert, next contest, or trip forces many directors to teach executive skills through the study of ensemble literature, and for that reason choosing literature that will nurture the growth of student musicians becomes of paramount importance. Read more…

This week I began researching interpretation and feeling as part of my work at Kent State.  At first glance, they seemed unrelated. However, the more I began reading perspectives of different composers and conductors, my conclusion is that great interpretation does not just recreate the composer’s intent but rather conveys feelings that the composer intended. The sources abounded including Mark Camphouse’s series Composers on Composing for Band, and a great text edited by John Williamson Rehearsing the Band – both of which I recommend for great insight into score study, interpretation, and enhancing your podium perspective. Read more…

Ironically enough my readings this past week at Kent State, a Facebook discussion thread, and  Valentine’s Day collided at spawned this post. Pushing students to achieve levels of tonal and rhythmic accuracy is important – it is all part of getting them to a point where they have the technical proficiency they need to execute the big fundamental structure of a piece of music.  Tone quality and intonation awareness are two other dimensions that if mastered, start to create degrees of separation in the quality of the ensembles we hear.  When we can educate the individual musician (the musician inside their head) they can use the instrument as a vehicle of communication to as they display phrasing, dynamic contrast, and stylistic interpretation.  These are all worthwhile and important goals of instrumental music education – but if a trophy on the wall is more important than guiding students towards a meaningful life-long relationship with music…

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Nope sorry. No Dr. Jones here. Even a little far yet from being Dr. Weller.  But my search is beginning to intensify, and I am starting to see some light in an area of instrumental music that I am deeply concerned about.  I promise there will be no fire at the high school or the middle school, but I do expect to turn up the heat…it is January in the Northeast, after all.

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To say I have been buried and been behind – including postings on the blog – this fall is like saying “Sales for Chrysler have been a little down lately”.  There have been a lot of busy things happening, a lot of demanding things happening, and some good things happening in there too.  Parts of my studies at Kent State this fall have included a Seminar in Music Education Class that has given me plenty to think of.  It has been interesting getting to some of the writings of Randall Allsup, and revisiting a few entrenched beliefs I have thanks to Bennett Reimer.  Though he is new to me,  the following is inspired by the writing of Steven Kelly and his book “Teaching Music in an American Society”.  First of all, it is a great read – I would recommend it to any teacher educator in music programs.  Kelly really brings a great lens to examine our profession from the standpoint of political, socioeconomic, and cultural perspectives that is very revealing.  This post has been brewing for a few weeks after reading some thoughts by good friend and colleague Dr. Joseph M. Pisano over at Mustech.net.  Some food for thought for those of you on your lunch break…

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