newsletter 4 · 2020. 7. 10. · title: newsletter 4 subject: newsletter 4 created date: 7/9/2020...

In past years, as I sat and composed the summer President’s message, a glass of iced tea near to hand (unsweet, being the Northerner that I am), those quintessential activities such as parades and conference gatherings would be on my mind. I would send you all best wishes as you played pops concerts, joined festival and conference celebrations, and relaxed with friends and family. Now, however, as I reach out to you this month, my concern is for your well-being and safety.

These are challenging times. It has been frustrating to watch unrest and prejudice and sometimes feel helpless. We are fearful for the safety of our communities. We see each other only through screens, we teach and learn through online platforms, and we miss out on gatherings long planned and anticipated. It has been inspirational to watch each other adapt as we have, to laugh at the frustrations of the mute button on a video call, or our struggles to end those calls gracefully. I am proud of how we have come together to support those who have lost loved ones and how we have celebrated those lives.

Later this year, we will make our decisions about holding our next event, scheduled for next May at the University of North Texas, once we know if it is safe to do so. To be sure you get the latest information, stay connected with us by following us on Facebook, Twitter, and Instagram @IWBC_BRASS. We invite you to visit our website http://myiwbc.org for updates.

We are men and women. We are professional and amateur performers, students and teachers, from all walks of life, brass players, and beyond. Our mission is to educate, develop, support, and promote women brass musicians, and to inspire continued excellence and opportunities in the broader musical world.

Our mission hasn’t changed and recent events in our country have shown that standing up for injustice continues to be the most courageous thing we can

OFFICIAL NEWSLETTER OF THE IWBCwww.myiwbc.org Summer 2020 • Vol. 29, No. 2

From the President

In this IssueBrass In Balance ..................................... 3

IWBC’s New Emeritus Board ................... 4

In Memory, Dr. Ann Johanson ................. 6

Staying Productive During Summer Practice ..................................... 7

Yoga for the Brass Player ........................ 9

NoteWorthy News .................................. 10

IWBC Members Adjusting to the Current Times .................................. 16

Spotlight on Leelanee Sterrett ............... 17

IWBC Donors......................................... 18

Leelanee Sterrett

do. It’s okay to feel uncertain how to help, and it’s okay to be fearful. Our community, you and I together, can be an example of the way forward. I call upon us all to stand up for everyone in our community, and to speak up in those times when being silent would be easier. We understand what constitutes a safe space, and it is our obligation to work toward that goal for all.

Best wishes as we all navigate these uncertain times ahead- stay safe and well, my friends.

Dr. Joanna Ross Hersey President, International Women’s Brass Conference Professor of Tuba and Euphonium: The University of North Carolina at Pembroke [email protected] Facebook, Twitter@JoannaHersey, Instagram@JoannaRossHersey, www.joannahersey.com

http://myiwbc.org/

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International Women’s Brass Conference

Co-Editors’ CornerJennifer Marotta Raquel Rodriquez [email protected]

Articles and NoteWorthy News Submissions Please contact the editors for all potential article and NoteWorthy News submissions. The editors maintain final editorial rights over all materials. IWBC Website Address www.myiwbc.org

IWBC Online Membership Directory Membership directory is available on www.myiwbc.org. If you join online, you will be able to access this and other features when you sign in.

Membership Lauren Rudzinskas [email protected]

EditorialJennifer Marotta Raquel Rodriquez Samayoa [email protected]

Web Site ManagerLana Lee [email protected]

Dues/Subscriptions Online: Go to myiwbc.org and go to “members” on the top bar. Click on “Join IWBC”. Or email:Lauren [email protected]

OFFICIAL NEWSLETTER OF THE IWBCIWBC PresidentJoanna Hersey is a native Vermonter. Joanna studied with Dan Perantoni at Arizona State University, received a Master of Music in Tuba Performance from the New England Conservatory of Music studying with Chester Schmitz, and earned her Doctor of Musical Arts in Tuba Performance from the Hartt School. As Principal Tuba with the United States Coast Guard Band, Joanna performed throughout the country as a soloist and clinician after winning the position at the age of nineteen. Joanna has played for three U.S. Presidents, performed at numerous state functions for visiting dignitaries, and has appeared on The Today Show and Good Morning America. In her freelance career, she has performed with artists including Placido Domingo, Roberta Flack, Marilyn Horne, Arlo Guthrie, Michael Bolton, Lee Greenwood, Arturo Sandoval and Jack Nicholson. Joanna is a founding member of the Athena Brass Band, a group first created for the 2003 International Women’s Brass Con-ference, which has since performed at the 2006, 2012, and 2014 IWBCs, and has been featured twice at the Great American Brass Band Festival in Danville, Kentucky. Joanna is currently Principal Tuba with the Carolina Philharmonic and the Carolina International Orchestra.

Co-Editor Jennifer Marotta is Assistant Professor of Trumpet at the University of Southern California Thornton School of Music. An active freelance musician based in Los Angeles, she has performed with the Los Angeles Philharmonic, San Francisco Symphony, San Diego Symphony, Los Angeles Opera, Los Angeles Chamber Orchestra, L.A. Master Chorale, and the St. Louis Symphony. Marotta is currently a member of the Grand Teton Music Festival and the Music of the Baroque in Chicago. She was a member of “The President’s Own” United States Marine Band from 2001–2005. Originally from Naperville, Illinois, she earned her Bachelor of Music degree from Northwestern University and her Master of Music degree from DePaul University. Marotta was a visiting trumpet professor at UCLA in 2016, and was Assistant Professor of Trumpet at Kennesaw State University from 2006-2012. She was also a visiting professor at Illinois State University in 2006, and was Artist in Residence at Emory University from 2006–2010.

Co-Editor Raquel Rodriquez Samayoa is the Assistant Professor of Trumpet at the University of North Texas. Prior to joining the faculty at UNT, Dr. Samayoa taught at Tennessee Tech University and Northern Kentucky University. Dr. Samayoa maintains a versatile career as a performing artist, clinician, educator, and scholar. An avid chamber musician, Raquel is a member of Seraph Brass and the Lantana Trio, a brass trio comprised of UNT Brass Faculty. Raquel has served as an adjudicator at the National Trumpet Competition and International Trumpet Guild (ITG) Conference. Raquel is on the ITG Board of Directors and will serve as a co-host for the 2021 IWBC at the University of North Texas. Dr. Samayoa is a clinician for the Conn-Selmer and Denis Wick Companies.

Marquita Reef Faye-Ellen Silverman Susan Slaughter Ginger Turner Kelly WatkinsHonorary Board of DirectorsClora BryantBarbara ButlerJoAnn FallettaLangston Fitzgerald, III Fred Irby, IIIJulie LandsmanEugene PokornyGerard Schwarz

Board of DirectorsVelvet Brown Daniel Burdick Amy Cherry Jan Z Duga Amy Gilreath Theresa Hanebury Joanna Ross Hersey Nancy Joy Kana Madarame Natalie Mannix Jennifer Marotta Lynn Mostoller Laurel Ohlson Ava Ordman Gerry Pagano

Leonard SlatkinGail Williams OfficersJoanna Hersey, PresidentAmy Cherry, Vice-President Lynn Mostoller, TreasurerNatalie Mannix, SecretaryGeneral Manager Lauren Rudzinskas [email protected] Director Amy Cherry Membership Lauren Rudzinskas [email protected]

Newsletter Co-EditorsJennifer MarottaRaquel Rodriquez [email protected] Design & ProductionDebra J. QuintonItsASnapDesign.comWEB SITE: Web Site ManagerLana Lee [email protected] Site: Content ManagerSusan Rider [email protected]

Help IWBC GO GREEN! Go to myiwbc.org and sign up for the online version of the IWBC Newsletter and help to save our planet.

Brass In Balance My original intent of writing a follow up to my last article about focal dystonia was affected, like so many other things, by the COVID-19 pandemic. We have all consumed so much medical jargon related to the virus during the last few months, I found that delving further into the serious medical topic of focal dystonia at this time was too overwhelming.

Phrases I would normally use in this column like “health” and “balance” have recently taken on more severe implications. Now, I am feeling the need to reflect on our current COVID-19 situation and consider what balance might mean in this new world. Since I’ve said to my kids during our stay-at-home spell, “You should write about how you are feeling,” I figured I should heed my own words and put down some thoughts from this experience. And to that point of balance, I wanted to consider how the arts community would achieve balance moving forward.

First, some words of thanks, for the things that have sustained me during this strange time…

To “music” in general, I give thanks. As a thing of joy in my life and something to look forward to every day, music has made this whole crisis more manageable.

To “the music community,” I give thanks. What an amazing group of people we are a part of! The concern, humor, creativity, and resilience I have witnessed have been beautiful.

To my “family,” and to “the task of parenting,” I give thanks. Although we have had our moments of crazy, this period has helped us know more about who we are and who we want to become. Having to shepherd kids through this experience has kept me “quarantining with creativity” on days when doing that for myself would have been difficult. For that and many other reasons, it is a task for which I am forever grateful.

To “technology,” I give thanks. That digital link that allows me to keep teaching has provided human connection and basic income, both critical during this time. Online lessons have also brought revelations… my routine of sitting next to students during lessons has sometimes kept me from seeing the whole picture. Our new screen-to-screen alignment has had positive consequences, both pedagogical and psychological. Also, of great curiosity to me is how so many students are thriving during this time – practicing more, listening more, while, in the absence of regimented school schedules, they are able to fill their days with self-driven creative pursuits.

In regards to balance, I imagine I have been dealing with similar issues as everyone during the progression of this virus…. finding that balance between what to watch and when to look away. Between productivity and

self-care (the revelations stemming from this issue might be stuff we want to hold on to long after quarantine is over). As we prepare to move forward and consider the possibility of living with this virus for some time, I imagine I will deal with finding the balance between necessity and risk, and between physical health and mental health.

As we deal with these issues as individuals, how is the collective arts world coping? What will the post-COVID arts community look like?

A NEW NORMAL?I have been reading a lot lately, especially musings on where the arts might be headed in the near future. From an article in the New York Times entitled “The Fall of Autumn: Live Performance Producers Are Giving Up On 2020,” authors Michael Paulson, Joshua Barone, Ben Sisario and Zachary Woolfe share some presenters’ beliefs that all 2020 events will be canceled. From heads of theatre to pop stars, the authors gather a depressing list of opinions about when we might return to our stages. They include a quote from Jesse Rosen, the head of the League of American Orchestras, saying, “I sense that many are assuming the fall is not going to be the start.”

In an example of thinking outside the box, Deborah Rutter, President of the Kennedy Center, is considering inviting artists to present work in small indoor venues separated by glass from outdoor audiences. Rutter states, “It’s going to be a long time before we’re back to something that looks like the new normal.”

COVID-19 has led us to become insulated communities of one, two, or however many reside in your home. And even though the “when” of moving forward has been unknown, many of us have learned to do the “how” in new ways.

DISTANCE LISTENINGOne of the educational programs I have been following for a while is the 21st Century

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Off-Balance

By Amy Cherry

http://www.myiwbc.orghttp://www.myiwbc.org

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NoteWorthy: Summer 2020

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Musician Initiative at DePauw University, under the direction of Dr. Mark Rabideau. At the beginning of all the “staying-at-home,” Dr Rabideau was interviewed by Peter Nicieja as part of a podcast entitled “What’s Next for Music-Making?” Rabideau explains that a goal of the DePauw program is to “leverage technology in the creation and dissemination of music.” He goes on to say that he feels one positive of the COVID phase has been that musicians are more acquainted with technology innovation.

Online lessons, Acapella app recordings, virtual concerts, international Zoom master classes: take a look at the abundance of musical materials offered online during the past three months and you’ll see musicians innovating. That’s a good thing for the consumers of that music and for the creative juices of performers stuck at home, looking for new ways to step outside of their old comfort zones. But what will all this digital music mean for the future?

In an article for the San Francisco Classical Voice entitled “The Perplexing Upside of Coronavirus’s Devastation of Live Performances,” Janos Gereben makes the case that “music is engaging more people right now than many other art forms.” He points out that the multitude of consumers currently enjoying streaming performances is at odds with “what we have heard about shrinking classical audiences for years.” How can we keep this booming community of

maintain the administrative staff or the marketing budget at the expense of educational outreach and connecting to audiences?

On her blog “Jumper,” Diane Ragsdale, Assistant Professor of Arts Management and Entrepreneurship at The New School, writes:

“If arts institutions want to be relevant and responsive to the culture change, if they want a mechanism for re-shaping themselves, they would be wise to begin working in deep collaboration with artists. Art leads. And yet artists are, for the most part, cut off from institutions at this moment that is demanding experimentation, observation, negative capability, courage, and empathy.”

“If I ran a cultural institution right now, I’d be trying to hire as many artists as possible – and teaching artists and community-based artists, in particular- to help me understand how the institution might re-imagine itself and respond to the Now and re-build for the Future.”

Another viewpoint I appreciate comes from British blogger David Jubb, who asks this question: how do we create “something better than what existed before?” In his post entitled “time to change,” he argues the cultural sector is likely to experience upheaval over the coming few years and asks, “How does the cultural sector value communities? Do our communities have agency or command over the resources of our sector?” With lots of provoking ideas in this post, I was interested in his thoughts on the distribution of funds in the cultural sector:

“This is a time when the most important thing we can do is to support communities and help everyone to play their part in imagining the future. By investing more directly in artists and communities, we would be more likely to address the needs of communities during the time of COVID-19. This would include getting behind the people who are working to tackle the current crisis: tangible community projects, devising creative solutions, and providing opportunities for reflection and hope.”

Lately, we’ve seen these tangible projects presented by members of the musical community: the Memorial Day Taps Across America, a home-grown daily concert series hosted from the end of the driveway for the neighbors, Facebook posts of musicians playing from a distance for people who are shut-in, and more. These are individuals bringing relief through music – people stepping up, sharing what they love to do, and impacting their communities.

COVID has shown us that individuals have power. We have used that power to protect our communities by staying home, wearing masks, and washing hands. Moving forward, how can we leverage the power of the individual in the broader arts community? Can we learn to contribute what is needed by society, where it is needed, and when? YES. These past few months have shown us that we can. We have been able to do this because individuals are nimble, decisive, and resourceful. Can arts institutions be the same moving forward?

new subscribers engaged with classical music when distance from the concert hall is no longer required?

“COMMUNITY” IN THE POST-COVID WORLD

I’ve been thinking about “community” and how it has changed in the past three months. Gathering in a distinct place (the school, the stage, the church, or the gym) has been replaced by gathering the only way that we can - in a digital space, resigned to connections but not really connection.

As musicians, we might associate the word “community” with our employers or regional institutions. And it is those institutions I am thinking about lately. I worry about how they will respond to this current crisis, and I worry if they will close their doors to save money and cling to their predictable structures until we can re-open as usual. Will the instinct be to

WE’RE ALL IN THIS TOGETHERTo return to the 21st Century Musician website…. One of the current articles found there is by Julie Jaffe Nagel entitled “A Musician’s Guide to coping with COVID-19.” A very helpful resource for all of us during this time, her final paragraph comes under the heading “Finding Meaning in a 21st Century Music Career,” a subject many may struggle with, pandemic or not. She closes with a quote from Joseph Polisi, The Juilliard School’s President Emeritus, from his book The Artist as Citizen:

“Artists of the twenty-first century, especially in America, must re-dedicate themselves to a broader professional agenda that reaches beyond what has been expected of them in an earlier time…. These artists must be not only communicative through their art, but also knowledgeable about the intricacies of our society – politically, economically, socially – so that they can effectively work toward showing the power of the arts to a nation and its people.”

Regarding this nation and its people – there are things happening in America right now, separate from the coronavirus crisis, that we all need to address. As we end the month of May 2020, citizens in Minneapolis and dozens of other cities across our country are witnessing peaceful protests and unwelcome violence in response to the police killing of George Floyd. This tragedy is the result of a virus that has been among us for a long time. How can we use our musical voices to help heal this sickness?

Maybe balance is not what we need right now – this instability brought by the coronavirus and our society’s unrest is something we all need to sit in, stand with, and find ways to heal. So in our current state of unbalance, may we instead work together towards health. Physical. Mental. Emotional. Societal. His. Hers. Everyone’s.

BE WELL.

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The International Women’s Brass Conference is pleased to announce the founding of the IWBC Emeritus Board. Our board member emeritus status is given to those whose service and dedication have been central to the success of the organization. Emeritus board members have retired from active service to

IWBC’s New Emeritus Board

Marie Speziale Carole Dawn Reinhardt Sharon Huff

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the board, but are chosen to receive this honor in recognition of their long-standing efforts and support. Join us in thanking Marie Speziale, Carole Dawn Reinhardt, and Sharon Huff for their commitment to our mission, and for their mentoring and leadership. To learn more, please visit www.myiwbc.org.

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The 2020 spring academic term presented unprecedented challenges to us as musicians, as most of us left our school and work buildings and entered into a time of isolation. Summer festivals, concerts, workshops, and conferences have been cancelled and postponed, and the upcoming fall term is uncertain at best. While educators often encourage their students to consider the summer a “third semester” of their annual education, making productive use of summer 2020 is more daunting without the usual resources available to students. If approached in a positive and healthy way, the time free from commitments can be used to make profound improvements in one’s playing.

The first challenge we all face this year is motivation: finding the will for consistent, focused practice. First and foremost, please take care of yourself and your health. Eat healthy, exercise daily, and rest appropriately. To practice efficiently, your body and mind should also be running efficiently. Take time to get outside (safely) and do your best to find time to distance yourself from video conferences and screens. It is even appropriate and healthy to schedule time away from the horn; taking time off can allow muscles to heal and permit concepts to sink in more.

Lastly, stay connected with peers, family, and friends. Classmates from your studio can be helpful and empathetic, as we’re all in this together. Don’t be shy about reaching out to your instructors and teachers: they are just as upset to have missed out on in-person time. Social media can be a helpful tool in maintaining connections, so use social media as a positive tool to

communicate and share with your colleagues, but be careful what you post and engage with. Do share videos, practicing, or even mock performances, but always in a way that represents yourself well and can be part of your virtual footprint in 10, 20, or 30 years!

With our human needs met, it’s time to structure your practice. Create a plan for your practice, including days, time, duration, and content. Plan wisely around any other commitments, family or roommate needs, as well as respecting any nearby neighbors. Stick to this plan, though, as maintaining a routine will help to provide much needed structure and organization. On very open and free summer days, a set wake-up time and morning routine is helpful in ensuring that you can follow your plan and make the most of your practice time.

To maximize efficiency, you should begin your day knowing when you will practice, having a general idea of what you would like to practice, and having some general goals you wish to accomplish. Practicing is an art that necessitates flexibility. If you only practice what you plan to accomplish, you may miss other more important issues or end up only playing material that you can already play at a high level. The best way to practice is to create a routine with specific goals that allow room for this flexibility. It can be beneficial to use a template that includes places to check off accomplishments or reflect on set goals. This will allow you to structure your practice and reflect on how your plans may have changed throughout the session, so that you can organize the next

Staying Productive During Summer PracticeBy Jeff Dunn and Lauren Rudzinskas

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We celebrate the life and Work of a dear friend of the iWbc, Whose passing earlier

this year left a sadness in our hearts. a longtime supporter of our holiday brass

concerts in st. louis, as Well as the mission of the iWbc as a Whole, dr. ann Johanson

Was a friend to the arts.

In Memory, Dr. Ann Johanson

By Joanna Hersey

IWBC Founder Susan Slaughter remembers first meeting her. “Dr. Ann Johanson began attending the Holiday Brass Concerts (HBC) about 15 years ago,” remembers Susan. “She spoke on a regular basis with our group sales manager, Joan Fann, who kept saying ‘you have to meet this woman.’” Indeed, Dr. Johanson was a powerful and wonderful force for good in the world. A native of St. Louis, Dr. Johanson attended Washington University, beginning a highly successful career in medicine and academic research. Washington University was also the site of the very first International Women’s Brass Conference, many years later. Dr. Johanson achieved much success as a Pediatric Endocrinology Specialist, and was key to the development of knowledge of human growth hormones, which saved the lives of children fighting disease.

Dr. Johanson was a devoted philanthropist, supporting the arts as well as many other organizations. Dr. Johanson stated, “I have been so very blessed by many gifts I didn’t earn or may not have deserved, and that so many in in our society haven’t received. Therefore, I feel obligated

to share some of my good fortune with others for their benefit.” We at the IWBC were so fortunate to welcome Dr. Johanson to our concerts each holiday season, and she and Susan Slaughter became close friends. “We finally met for lunch about four years ago,” remembers Susan, “and our friendship grew from there. You all would have loved her. She was strong-willed yet incredibly humble, and faced the same career challenges many of us have faced. We had so much in common and I will miss seeing her. RIP, Ann.” Dr. Johanson will be missed by those near and far from St. Louis, but the steadfast support she gave to so many will live on undaunted. May we strive to live by her example, working to change our world for the better, in all that we do.

Rest well, Doctor Johanson, we thank you for your

vision and spirit.

Goal-Setting Worksheet Practice Schedule 1 Practice Schedule 2 Practice Schedule Blank

Goal-setting worksheet and practice logs to assist you, developed by Lauren Rudzinskas which can be downloaded at www.jeffdunntrombone.com/duplicity-practice-tools.html.

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session accordingly. Creating a schedule of manageable practice sessions with ample rest in between provides the opportunity to cover all necessary material in a structured setting. Often, in times when our schedules have more flexibility, we find it harder to practice regularly and efficiently. Creating structure helps to organize practice, prioritize what is most important, and to contribute a sense of accomplishment that is extremely important for mental well-being and to maintain the motivation to practice. To help with this step, you can find free templates of practice schedules and goal-setting sheets at: www.jeffdunntrombone.com/duplicity-practice-tools.html

When setting goals for your practice, try to create both small and large-scale goals to make the most of your practice time. A large-scale goal may be preparing a set group of material for fall auditions or addressing a major technical issue, such as cleaning up your articulation. Small scale goals might be addressing legato style in one section of a movement or focusing on intonation during a phrase. Any goal you create for yourself should be measurable, specific, reasonable, and achievable. Setting out to learn an entire concerto in a day or playing through an entire etude book in an afternoon is not reasonable, and it will only lead to frustration. Furthermore, speeding through too difficult or too much material can negate previous progress, as cutting corners can lead to bad habits. Practicing in this manner will take longer to fix and re-learn material, and is less efficient than simply taking more time to learn it right the first time. Understanding that some development can take time is an important part of goal setting as well; if a note lies outside your comfortable range, it will take a few minutes of practice each day over a longer period of time to become comfortable playing the note. To address your goals, devise a concrete plan of how to practice as well as a timeline to achieve it. With reasonable focus, determination, and organization, a lot of progress can be made in a short period of time, rather than letting that one “lick” in your solo take up your attention all summer long.

With a summer ahead comprised of individual practice, it is increasingly important to find creative ways to keep one’s practice engaging. Many of us find joy and motivation in collaboration and performance. Without these outlets, we need to find creative ways to create positive musical experiences. Don’t be afraid to take some time to play solely for fun; this is incredibly healthy to do! Record one part of a duet, and then play along with yourself, or try with a friend. This is a great time to experiment with the new technology at our fingertips. As an additional benefit,

you will find that creating quality synced files will improve your sense of pulse and intonation. Find ways to reach outside of “normal” practicing. Play your etudes along with a pop song that you love in the same key. Work on an excerpt with a funk drum beat created in GarageBand. The strong sense of beat and energetic backing track can make something that may have felt mundane feel completely new and exciting, and it can help develop your ears and sense of time.

If you do not have much experience with improvisation, there are many opportunities to play along with backing tracks to simulate a sense of communal playing. The Jamey Aebersold play-along series and the iReal Pro app both have countless backing tracks in a large array of styles. You can also find free backing tracks on Youtube or you can create your own with music software if you have access to it. Improvisation does not have to solely exist in the jazz realm. Explore early baroque improvisation, create your own counter subjects over a fugue recording, or embellish a melody or cadenza. No matter what you do, finding ways to tap into your creative musical skills will increase your overall musicianship and make practicing much more enjoyable.

It behooves us all to create new opportunities to perform and share music with our communities, as it may take time for traditional concert seasons and series to re-emerge. Plan a virtual recital with your peers or a solo recital for family and friends. A private event to share your progress, celebrate successes, and receive feedback is helpful on our journey, and can provide a concrete goal and timeline in your long-term planning. Take advantage of the virtual offerings taking place this summer, if possible, to remain as engaged as possible. Online educational programming or recorded concerts may not fully replace our usual live events, but it is far better than nothing!

Lastly, do not be shy in reaching out to the respected members in our field for guidance, help, and support. Many are finding themselves with more free time than usual and will be more than happy to engage online. If you are able, consider taking a virtual lesson or purchasing music to support artists. Not only will this give you something new and exciting to work on, but you will be supporting the artistic community during a time of unprecedented challenge. Connecting with artists, whether your peers, teachers, and the musicians who inspire you, is more important than ever. More often than not, they will welcome your email inquiry and are glad to talk. These two authors are certainly happy to hear from you as well.


The life of a musician is filled with quite a bit of tension and strain. Musicians spend hours sitting in the same position, picking up heavy instruments and equipment, and need to twist and turn their bodies in awkward positions to see a music stand or a conductor. After many years of these habits, it can take a toll on the physical body. Musicians often experience wrist injuries, neck strain, and back sensitivity.

As a musician, educator, and certified yoga instructor, I have not only experienced many of these strains and difficulties, but have seen them materialize in my students. It is important to create positive physical care habits in order to avoid injury. This article will discuss three common physical issues experienced by musicians and two yoga pose recommendations for each area. It will address wrist strain, hunched shoulders and chest, and lower back strain.

Additionally, I have included pictures of a good friend and colleague Abbie Weaver (on left) and myself (on right) demonstrating the poses to assist in guiding you through each exercise.

Wrist StrainIn spending hours holding and supporting a brass instrument, the wrists can start to experience pain and strain. It is important to physically warm up the wrists for these practice sessions as much as it is important to warm up the lips and embouchure. The yoga stretches and poses listed below are designed to create wrist strength and release muscle tension either before or after a long practice session.

Namaste Pose Namaste Pose (also known as Prayer Position, or Hands to Heart Center) is referred to in yoga as anjali mudra. Bringing the hands to the heart center will encourage you to draw attention inward, listen to the sound of your breath, and notice the rate of the heartbeat (Stephens, 2012). Sitting comfortably in Namaste Pose can also assist with starting a mindfulness practice, as this position is commonly used for seated meditation. However, when focusing on strength and support for the wrists:

1. Bring hands to heart center, aligning fingers and palms of the hands.

2. Spread out fingers as wide as comfortably possible.

3. Check your posture, ensuring you have a nice straight spine, and that head and neck are in a straight line.

4. Pull shoulder blades down the back (shoulders should not hunch up around the ears).

5. Bring your elbows out to 90-degree angles.

6. Gently push hands against each other.

7. As you push your hands against each other, try and ensure you have equal weight between each finger, the heels, and the palms of the hands. Additionally, ensure you have equal weight between your two hands (for example, if you are right-handed, make sure the right hand is not dominating over the left).

8. Hold for approximately three deep breaths. Shake out and rotate wrists and repeat as needed.

Yoga for the Brass Playerby Karen Koner

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BENTE ILLEVOLD`S first album, Klangen fra de dype skoger - Sounds from the deep forests, was released in April 2020. It is a solo recording with percussionist Anders Kregnes Hansen.

This album is Bente`s idea of expressing her life, which is rooted in tradition, identity, and artistic innovation. Five composers have been challenged to channel the natural

beauty and musical traditions of Bente`s homeplace of Rendalen, combined with the seemingly mellow and measured character traits of Østerdalen county, through new compositions for euphonium. The project contains seven works, where the two largest are preserved on this recording. The music is composed by Rune Rebne, Ludvig Elblaus, and Bjørn Kruse.

When facing folk music, it is imperative to meet the traditional concept. Tending to traditions can involve reproduction, renewal, and transformation, which establishes a playing field and a compositional and musical

playground in this context. With this as a starting point, Rune Rebne, Ludvig Elblaus, and Bjørn Kruse have been free to use and communicate traditional music in their works. The sphere of both man and music are movable rooms, which can open at any time to the expressions and possibilities that are put in or pulled out. The content of such a room lies within the composer’s and the musician’s inner self, and it constitutes MORE than an artistic frame. For where really is the distinction between artist and man?

The album is available at almost every digital streaming platform and can be bought as a physical CD from www.lawoclassics.com

LAUREN BERNOFSKY – FROM THE CORONA DIARIES As crazy a time as this has been, I am lucky enough to be able to continue doing what I do as a composer, which is largely driven by my reactions to the world around me. In this case, it has been responding to the unique and newfound needs of players, educators, and audiences during a time of isolation. Since teaching has to happen remotely now, I’ve been invited by a few educators to “visit” their Zoom classes to talk about being a composer. One of my main motivations for doing this is to show that women are composers too. That possibility had never occurred to me back when I was a high school student, since I’d never so much as heard of a woman composer,

and the only reason I got a start at trying it myself was that a music teacher put me in his composition class. Many performers have been plunged into virtual solitary confinement, and thus, I’ve seen a greater interest in my solo works. To that end, I have found myself sending out some of my solo pieces to various performers. I transcribed my solo trumpet piece, Fantasia, for oboe. Incidentally, I make this piece available for free, so if anyone wants a copy, just ask! Tubist Alan Baer asked me to adapt my trombone piece, Two Latin Dances, for tuba, and to send him a midi file of the accompaniment so that he could import it into SmartMusic, and I was surprised that the piano part actually sounded reasonable that way. I also now have another version of that piece for tuba, and Theodore Presser has agreed to publish this new version.

Alan’s suggestion about the accompaniment inspired me to look at my other pieces, with piano accompaniments, that could translate well into an electronic playback file (particularly ones without big tempo changes), and I ended up making midi-minus-one versions of the original trombone version of Two Latin Dances as well as my flute piece, Spring Song.

The big project I’m planning, which couldn’t be more impractical during this time (but I’m going to do it anyway!), is an opera. Last summer, I discovered the story of Anton Schmid, a Nazi who conducted undercover operations to save hundreds of Jews of the Vilna ghetto in Lithuania. I find his story, and the times and setting, fascinating. I believe this story needs to be told. I have my concept, a librettist, some experience writing opera, connections to that world, and the rest of the story … has yet to unfold.

NOTE- WORTHY

NEWS

NOTE- WORTHY NEWS

RAQUEL SAMAYOA recently released a duet book entitled Dueling Fundamentals for Two Trumpets, published by Mountain Peak Music. The book challenges and engages two trumpeters when practicing fundamentals in a duet format. The book includes exercises dealing with sound production, flexibility, articulation, finger dexterity, and range. The book places value on collaborative practice, which can build camaraderie and provide a basis for higher learning. www.mountainpeakmusic.com/dueling-fundamentals-for-two-trumpets/

Keeping in Touch at the IWBC Web SiteDo you have any professional news you would like to share? Would you like to list a job announcement? Please let us know, and we can put it on the website (contact Susan Rider at [email protected]). The IWBC is here to serve, educate, and support you. Thank you for your continued membership!

http://myiwbc.org/

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CONTINUED ON PAGE 14

Staff Pose

Staff Pose, referred to in yoga as Dandasana, is typically used as a foundation in yoga for seated forward folds or hip openers. As you move into Staff Pose, if you have a sensitive lower back, move a large pillow or cushion behind the lower back to slightly lean into for support. Staff Pose is designed to externally rotate the upper arm and stretch the front of the chest. This will release the muscles that can tighten when typing or playing technical passages that require quick finger movements (McCall, 2007).

1. Sit on the floor with legs extended in front of you.

2. Flex feet to activate the legs and support the knees.

3. Check your posture, to ensure you have a straight spine, and the head and neck are in a straight line.

4. Place hands on the floor next to your hips. If your hands don’t comfortably rest of the floor, place them on books or something similar to bring the “floor” up a little higher to you.

5. Rotate wrists so that the fingers are pointing backwards (making sure to only rotate to your edge, do not rotate to a point of pain).

6. Think about the same balance of weight in your hands (as described above in Namaste pose) to balance the weight throughout the hands.

Hunched Shoulders & ChestSitting for long periods of time (such as in long rehearsals or practice sessions) can result in a stiff spine and create difficulty in forward folding to pick up items (such as a mute quickly during a performance). Additionally, shoulders can start to hunch forward, which results in poor posture and strain on the shoulders and lower back. Since a majority of this sitting cannot be avoided, it is important to take the time to counter stretch the spine, shoulders, and chest.

Finger Opposition This simple pose opens up the chest, increases good posture, and will also assist with opening up space in the chest and lungs to assist with taking deeper breaths.

1. Place right hand over left, around chest height.

2. Bring elbows out to an approximate 90-degree angle.

3. In opposition, pull the right hand/fingers to the right and the left hand/fingers to the left.

4. As you pull the fingers, ensure that your shoulder blades are moving down the back and think about the heart reaching forward.

5. Hold for approximately three breaths and then switch your hands, placing the left hand on top of the right.

6. Repeat as needed.

Fish Pose

Fish Pose (or Matsyasana) has many physical benefits, including opening of the abdomen, chest, and throat, while strengthening of the muscles in the upper back, neck, and shoulders (Kirk et al, 2006). To come into Fish Pose:

1. Sit on the floor with legs stretched straight in front of you.

2. Have your legs straight together and have a gentle pointing of the toes.

3. Place hands (facedown) underneath your backside (closer to where your pockets would be if you were wearing a pair of jeans).

4. Relax back onto your elbows.

5. Lift forward with the chest and pull the shoulders down away from the ears.

6. If safe and comfortable, release the neck and have the head drop back.

7. If possible, reach up through the chest and back with the head until the top of your head touches the floor. If you’re unable to reach the floor, consider releasing the head onto a book or something that will assist with neck support.

8. Close eyes and hold for approximately 5 – 7 breaths. Shoulder Release Pose

Shoulder Release Pose releases tension in the shoulders and neck. It can be done leaning against a wall (as I am demonstrating), or laying on the floor (as Abbie is demonstrating). If you have ever experienced a shoulder injury, please proceed with caution and only attempt if safe for your body. Directions below discuss the steps for approaching on the floor.

1. Lay face down on your stomach.

2. Take the right arm and stretch it out 90-degrees.

3. Flip the right palm up to face the sky.

4. Move the left hand under the left shoulder and bend the left kne e, so the bottom of the foot faces the sky.

5. Slowly press left hand into the ground as you roll over onto the right shoulder.

6. Place the left foot behind you for support and ensure the hips are stacked on top of one another.

7. Release your head to the ground so that you are not holding the neck up. If you cannot release the head to the ground, please a book or a pillow underneath for support.

8. Hold the position for anywhere between 5 – 10 breaths.

9. Slowly roll back onto your stomach and repeat on the left side.

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CONTINUED FROM PAGE 13Lower Back Strain/PainThe life of a musician encompasses many activities that can strain the lower back with picking up heavy equipment, sitting in the same position for long periods of time, and consistently bending over to pick up mutes or an instrument off a stand. Just the act of sitting and practicing, even in a well-supported chair, can bring a lot of lower back tension, and therefore it is necessary to keep a healthy back and spine.

Cat-Cow Cat-Cow in yoga can increase spinal flexibility, open the lower back, and can increase overall circulation (Kirk et al., 2006). In the demonstration photo, I am demonstrating Cow while Abbie is demonstrating Cat Pose.

1. Take a tabletop position. Ensure that knees are directly below the hips. Place the wrists either directly below the shoulders (as I am demonstrating) or one hand print out to each side (as Abbie is demonstrating). Adjustments will depend on what feels best on your wrists.

2. Start with a flat spine.

3. As you inhale, curve the spine the opposite direction by reaching forward with the chest (cow).

4. As you exhale, arch the spine and release the head (cat).

5. Repeat as many times as needed.

6. If able, close your eyes, and this can also be used as a moving meditation.

Figure-4

Something that we often don’t think about is that tightness in our hips is linked to lower back pain. Therefore, it is helpful to do a hip opener stretch to assist with lower back sensitivity. A Figure-4 stretch can be completed as a seated position (as Abbie is demonstrating) or laying on your back (as I am demonstrating).

1. Laying on your back, point the knees up to the sky with the feet firmly planted into the ground.

2. Lift the right leg and place right ankle on the left knee.

*This might be enough of a stretch to open up the hips, however if you are needing a little more, follow the additional steps:

3. Thread the right arm between the legs and the left arm outside the left leg, and pull the left knee in the chest – this can be done with grabbing onto the left calf or behind the thigh.

4. Flex your right foot to protect the knee.

5. Hold for approximately 10 breaths.

6. Switch legs and repeat on the opposite side.

7. If getting up and down off the floor feels uncomfortable – complete the same stretch in a chair (if seated and need more of a stretch, add in a forward fold).

Final Tips and Thoughts: 1. Remember that it is a practice.

Just like practicing an instrument, some days are better than others. If a yoga stretch or pose does not feel good or feels uncomfortable one day, don’t give up, but rather slowly work into the stretch or maybe just try again the next day. We call it a yoga “practice” for a reason.

2. Don’t compare yourself to others. Some of us can easily touch our toes while for others, this may be a struggle. If you cannot achieve the same stretch or pose as a friend, do not let that discourage you. Keep working at your own level and remember to only complete a stretch as far as your “edge.” Never push to a place of pain and if at any time you experience any pain in a stretch or pose, stop immediately.

3. Modify for your body. All of our bodies are built differently and even the different sides of our bodies are built differently. Our right side may be stronger than our left and the left side may be more flexible than the right. The stretches and poses above are only a guide- always remember to listen to your body. Similar to the point above, always remember to do what is best for your body and modify to fit your needs.

4. It only takes about 10 minutes a day. There are so many benefits to implementing a yoga practice into your life and daily practice routine. Remember that it only takes 10 minutes a day to see results and to feel the positive impacts. As you warm up the embouchure for a practice routine, remember to give that same care to the rest of your body.

* Please remember, this is only a guide, and if you have any physical risks or concerns, please consult your doctor before you attempt.

References:

Kirk, M., Boon, B., & DiTuro, D. (2006). Hatha yoga illustrated. Human Kinetics.

McCall, T. (2007). Yoga as medicine: The yogic prescription for health and healing. Bantam Books.

Stephens, M. (2012). Yoga sequencing: Designing transformative yoga classes. North Atlantic Books.

Bios: Karen Koner, Assistant Professor and Coordinator of Music Education, has been a faculty member at San Diego State University since Fall 2018. As a specialist in instrumental music education, she teaches undergraduate courses focusing on K-12 teaching strategies, rehearsal techniques, lesson planning, and curriculum. Dr. Koner holds a Doctorate of Philosophy in Curriculum and Instruction in Music Education from the University of Maryland, as well as an additional degree from the University of Arizona.

Dr. Koner’s research interests encompass topics related to music teacher education, with a particular interest in current practices, trends, and needs of K-12 music educators. She has presented her research and work internationally and nationally through music education professional conferences in Glasgow, Scotland, Tel Aviv, and throughout the United States. Dr.Koner’s research can be found in journals such as the Bulletin of the Council for Research in Music Education and Research and Issues in Music Education.

Additionally, in her spare time, Dr. Koner can be found instructing yoga, with a specialty in Restorative, Yin, & Chair Yoga practices. She enjoys combining her love of yoga and music teacher training by working with musicians and educators on techniques to increase health awareness in the music classroom.

Abigayle Weaver is the Director of Bands at Ramona High School and Olive Peirce Middle School in Ramona, California, where she teaches the beginning, advanced, freshman, and jazz bands, along with the marching band and color guard. Ms. Weaver is also lecturer and director of the San Diego State University Concert Band.

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Professional Positions: Acting Associate

Principal Horn, New York Philharmonic; Horn faculties of New York University and Rutgers University

Hometown: Manton, Michigan

Education: MM Yale School of Music; BM University of Wisconsin-Madison; Interlochen Arts Academy

Biggest Influences: My first horn teacher Julie Schleif, who expected professionalism and preparation from all her students, and taught me to love hard work!

Spotlight on… Leelanee SterrettMost Memorable Musical Experiences:

Playing the soundtracks to Star Wars Episodes 4-7 live to film with the NY Philharmonic, summers at the Pacific Music Festival and Banff Centre for the Arts

Favorite Pieces of Music: Strauss Der Rosenkavalier, Bruckner Symphony No. 8, Barber Violin Concerto

Greatest Accomplishments: Running (and training for!) the New York City Marathon twice

Words of Wisdom: To quote Des Linden, 2018 Boston Marathon champ, “Keep showing up!”

IWBC Members Adjusting to the Current Times

Michelle Rakers and Mette krüger play a duet at home in Denmark.

Nancy Taylor plays Taps at home for Buglers Across America on Memorial Day.

Jennifer Marotta teaches a lesson in California to Anna Young in Korea.

Nancy Taylor teaching her new 9 year old student good habits from the beginning! They zoom daily with the student’s mother and grandmother joining in to support her!

India Anderson working on a multitrack project.

While not performing with the Hawaii Symphony this spring, Associate Principal Trumpet JoAnn Lamolino designed and taught a course in early June called Navigating Your 21st Century Career in Music. It was an intimate setting with four ladies from different parts of the US together on zoom!

Donna Parkes and the Louisville Orchestra brass section perform together, while safely distanced, for the first time in many months.

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DonorsBravo Circle $1000+

Katy Ambrose John Bland John Babcock Mark Bowling Chandra Cervantes In Memory of Adelaide Cherbonnier * Amy Cherry* Jan Duga Greg Duncan Joan Fann Dr. & Mrs. Grady Hallman International Trombone Association ** Fred Irby III Dr. Ann Johanson Carole Klein** Julie Landsman Barbara Liberman Laura Lineberger* Natalie Mannix Maurine Magliocco Memorial Fund of the St. Louis Community Foundation Allen Myers * Laurel Ohlson Ross & Donna Osiek Jessica Privler PuffinFoundationLtd. Carole Dawn Reinhart Susan Rider Richard & Mary Ann Shaw * Susan Slaughter Julia Studebaker David Takach Ms. Phyllis R. Tirmenstein, Roland Quest* Ginger Turner Urbandale Performing Arts Booster Club Anonymous

Benefactor’s Circle $200-999

Monica Althouse Terry Alvey Wes Ballenger Stephane Beaulac

Katelyn Benedict Mary Bisson Blackburn Trumpets Joel Borrelli-Boudreau Amy Bowers * Velvet Brown Mike Bravin* Daniel Burdick Stephen Chenette Dan Cherry Abbie Conant Ryan Darke Judy Duncan Steven Duncan Gabe Finck** Langston Fitzgerald III * Amy Gilreath Betty Glover Stephanie Gogerty Jean Gould Beth Graham Shawn Hagan* Theresa Hanebury Jason Harris Christine Hayes * Joanna Ross Hersey Steven & Virginia Hendrickson Rene Hernandez Thomas Hooten Maureen Horgan Joyce Johnson Hamilton * Nancy Joy Susan Kilmartin Deborah Koch Plylar Michael Kocour Elisa Koehler Jen Krupa KirstenLies-Warfield Robert Lischer * Kana Madarame * Jennifer Marotta Nancy Marti Arthur & Barbara McDonnell Malcolm McNab Dennis Mercer Joan Mercer James Miller Beth Mitchell Kristy Morrell

* Lynn Mostoller Jeffrey & Nancy Neville Laura Neville Leslie Nock* Ava Ordman Jan Owens* Gerry Pagano Deborah Koch Plylar * Marquita Reef Suzanne Rice John & Kathleen Rorris Rob Schaer Dan Sherlock* Faye-Ellen Silverman Gail Smith Jessica Sneeringer Marie Speziale Emma Stanley Todd Sturniolo Suzanne Tiedeman Lauren Veronie KirstenLiesWarfield* Kelly Watkins James Wilt Mark Wood Anonymous

Patron’s Circle $100 - $199

Sylvia Alimena Teresa Alzadon Matthew Baker Stacy Baker Charline Bambauer Cliff & Bunny Blackburn Mary Bowden Joy Bravin Randy & Stacey Briggs Karen Caffee Lertkiat Changjirajitra John Clanton Willie Clark Robert Coil Jeff Corbett Dave Fedderly Robert Feller Brian Garrison Shannon Gunn Steven Hendrickson

IWBC is grateful for the generous support of our donors. For a comprehensive list of all of our supporters, please visit our website: myiwbc.org

* IWBC Board Member ** IWBC Honorary Board Member

Donations in Memory of Dr. Ann Johanson Schwab Charitable/The family of Dr. Johanson Cindy & Gregg Lueder

Ed Hoffman Jan Holland Timothy Holtan Amy Horn Anna Jacobson Nancy Joy Jo Ann Lamolino David LaMont Nancy LeDoux John Leipprandt Jean Leonhardt Robert Lischer Erika Loke Joseph Lovinsky Cindy & Greg Lueder Amy McCabe Mack McLaughlin Morris Northcutt Ross & Donna Osiek Michelle Rakers Lydia Reinebach Gail Robertson Julia Rose Douglas Rosenthal Carmen Russo Judith Saxton Elizabeth Schultz Joseph Serber Amy Smith Gail Smith Stuart Smith Anna Spina Alyssa Spratta Jeffrey Strong Heidi Sturniolo Tom Swietlik Nancy Taylor Elizabeth Toulouse Kelly Watkins Dorothea & Lawrence Weeks Sandra Wu Chapter IF P.E.O Sisterhood Anonymous

Donor’s Circle $99 and under

Susan Bartlett David Berner Lauren Bernofsky

Philip BiggsLynn BogovichJulie BoltzJoan Briccetti Margaret Briscoe Banerdt BronwynLisa BrownMary Louise Brown (in honor of Joan Fann)George Bull Jr. Mary BurroughsJames & Diane ButlerDouglas Carlsen Elizabeth CarvellSandra ChesnutKathryn Cox Deb DaleJo Dee Davis Mary Jo DouglassDerick Driemeyer Joan Essen G E FoundationPeggy Graves Mary Jo Ann Hahn Carl & Jan Hermann CecilyHoffinsSharon HuffIn Your Face SweetsAnna Jacobson Lil KilmartinCatherine KozubSamantha LakeNancy L LeDoux Nelda Lee Jean Leonhardt Robert Lischer Sharon Logan Nancy Marti Ann McCarthyArthur & Barbara McDonnell Stephen McGrathRob McIverScott McKenzieVelva McPherson Lisa MehringerDon & Vivian Meyer Dwayne MilburnRuth Morris

Morris NorthcuttBarbara Oldin Chris Ostendorf Jessica Pearce Milton Perko Bruce Phillips Leigh PilzerCharles PragerBarbara PughDeb QuintonAustin RichardsonDoug RiggsRichard Rosenberger Mary SchepersBetty & Bruce SchermenLinda Schneider Chris SchroederSuzanne Scott Charles Shaffer Kelly SheridanGail SmithJanet Carol Smith Jessica SneeringerDonald & Helen Streett Joy Sulzer Ellen ThompsonLouise TitlowAlberto TorresLaurie WallerPatricia WellsJane WenzelDorothy Wilkes Barbara WolfertMary YoungAnonymous

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newsletter 4 · 2020. 7. 10. · title: newsletter 4 subject: newsletter 4 created date: 7/9/2020...

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