A Tender Bridge

Composer Aaron Robinson

In August I was excited to read in the Maine Sunday Telegram about the work Maine composer Aaron Robinson was doing with artist Ashley Bryan. Aaron happens to be a former student of mine so I reached out to Aaron to learn more.

Ashley Bryan

Aaron Robinson collaborated with Ashley on an African-American requiem for chamber orchestra, choir and spoken voice.

“He’s calling it “A Tender Bridge: An African American Requiem,” based on a Bryan quote: “I always confuse the past and the future, the way I mix up death and life – they are connected only by a tender bridge. This is why stories are at the heart of civilization.”

Thank you to Aaron for taking on this amazing work and for sharing the story. Truly a gift to the Maine Arts Education blog readers!

AARON’S OWN WORDS

Back to 1993 – starting out

Aaron Robinson

In 1993, when I was 22 years old, I began composing what most composers write in later life: a Requiem. My initial want was to incorporate the styles and idioms of the music I had become synonymous with: gospel, early jazz, spirituals, etc. I even took serious thought in writing the very first “Ragtime Requiem”. It seems foolish to say those two words together today because I was far too inexperienced to take on such an endeavor. So I opted to focus on incorporating the music of America; and by 1997 I had completed what is known today as “An American Requiem”. However, as my career in African-American music grew over the decades, the thought never left me to create a musical work that utilized these elements.

Sara Bloom’s vision

In February 2017, I was approached by Sara Bloom, with an idea she had been culminating for many years to “create a musical work for the great poet-painter-reteller of African tales, Ashley Bryan.” In early stages of discussion, the idea was first presented as a large work that involved Ashley Bryan with orchestra, adult and children choruses and soloists. What would evolve over the next few months from that initial seed of invitation was a monumental 90-minute work for full symphony orchestra, chorus, soloists, jazz ensemble (drum set, upright bass, B3-Hammond organ and jazz piano), children’s choir and narrators based on the Requiem mass in the African-American tradition drawing upon the writings of Ashley Bryan with biblical scriptures chosen by the author himself; along with specially selected poetry by African-American poets such as Nikki Giovanni and Langston Hughes.

Aaron, Ashley, Sara

Sara Bloom has served as consortium builder and coordinator; tirelessly assembling orchestras across the country to join the Bryan/Robinson Consortium. This allows special musical organizations that have joined the consortium the exclusive right to perform A TENDER BRIDGE between now and 2021 and call it a “premiere” within their cities. All praise and credit goes to Sara for her inspired idea for this incredible work featuring Ashley Bryan. Without her, none of this would have happened. Furthermore, she has given me the opportunity to fulfill a dream that has stayed with me for nearly 25 years.

Creative Portland is serving as fiscal sponsor for the consortium. They are absolutely fantastic and a tremendous asset to the state of Maine, sponsoring unique and specialized projects through the Arts.

Aaron in the world of Ashley Bryan

For months on end I did nothing but emerge myself into the world of Ashley Bryan while writing the Requiem: his writings, his art, his image (video and audio), and of course – in person. I had collected several passages from his poetry and prose that would serve as either narration or spoken accompaniment; but I still needed that unique Ashley Bryan touch.

The work is entitled A TENDER BRIDGE, taken from one of Ashley Bryan’s favorite quotes by Senegalese poet Leopold Sedar Senghor: “Je confonds présent et passé Comme je mêle la Mort et la Vie – un pont de douceurs les relie.” (I always confuse the present and the past. I mix Life and Death. A tender bridge relinks them.) But Ashley puts a special touch all his own in re-quoting: “I always confuse the past and the future, the way I mix up death and life – they are connected only by a tender bridge. This is why stories are at the heart of civilization.”

This is how Ashley and I worked together on this piece: I had gathered the 13 movements of the Requiem mass text, translated the Latin into English, and brought them to Ashley at his home on Little Cranberry Island. Although, I had already chosen text from his writing through the numerous books he has published, including his autobiography, “Words to My Life Song,” I wanted to have his personal touch within the work.

When I first sat down with Ashley at his table to review the movements of the mass with him, surrounded by endless toys from around the world hanging overhead, on the walls, shelves … everything, I explained the latin text and its translation and then asked what piece of writing might be appropriate to accompany each section. To watch him think, remember, create, formulate and muse into being a particular poem, scripture or piece of prose was absolutely astounding. At times he would silently get up from his chair and go to one of the many bookcases in his home and search for a book in a seas of books, bring it back to the table, thumb through its pages, and find just the right poem by an African-American poet that perfectly encompassed the message of the mass text. He is as fluent in French as he is English and at times would recite Rilke, and then in the next breath recall lengthy passages of biblical verse. Childhood recitations from 85 years ago were recalled as easily as that morning’s breakfast items. It was incredible.

Two components in the music

The music itself has two key components that are crucial to its composition. The first being that it draws heavily upon the African-American heritage. The idioms and genres found within A TENDER BRIDGE incorporate the entire musical history of the African-American: African chant, Negro and Gospel spirituals, southern church hymns, ragtime and early jazz, contemporary jazz and Gospel, interpolated with classical symphonic and choral music.

In the movement “Sanctus,” which is usually a joyful movement celebrating the text: “Holy, Holy, Holy, Lord God of Hosts! Heaven and Earth are full of thy Glory! Hosanna in the highest!”, I set the text as a spirited ragtime Two-Step. Also, most Requiems end with an angelic “In Paradisum” (May the angels lead you into paradise, may you have eternal rest), symbolizing a peaceful, quiet transition from life to death into Paradise. However, what many people do not realize is that: “In Paradisum” served as the inspiration for “When the Saints Go Marching In,” which share the same first four notes, is similar in textual meaning, and is used during the funeral procession from the church to the cemetery.

In the African-American culture, death is not an ending but a bridge to the afterlife; which should be celebrated here on earth for the departed: not mourned. So I used James Quinn, S.J.’s translation: “May Flights of Angels Lead You On Your Way” and wrote a foot-stomping, hand-clapping Gospel Spiritual that will have everyone who is singing, performing and listening on their feet in celebration.

The second key component is that it mirrors the life and works of Ashley Bryan through music. For instance, the musical interlude that precedes the “Kyrie” depicts Ashley combing the beach on Little Cranberry Island for shells, glass and various objects for his puppets and stain glass windows. The “Dies Irae” (Day of Wrath) draws upon Ashley’s days as a stevedore in the battle of Normandy; while the “Libera Me” (Deliver Me) evokes the jazz sounds and rhythms of his birth place: Harlem.

Storyteller

But I did not want this requiem to simply be a musical composition. I also wanted to integrate the storytelling aspect into the work since Ashley Bryan is a storyteller; and what is life – but a story?

One of the first lines we hear Ashley say in A TENDER BRIDGE is his own: “BEAT THE STORY DRUM! PUM! PUM! TELL US A BIG STORY!” – that is how the narrative element of the work begins.

What first appealed to me with Ashley Bryan’s writing was the same message that I kept finding throughout my journey in music over the past 3 decades: universality – bridging the gap; celebrating one’s culture by inviting all to partake equally.

Growing up in the backwoods of Maine, ignorant to the vast diversities of race, creed and color, the only education I experienced came from the music I listened to as a self-taught musician. When I grew older, I realized the barriers that were placed around most of this music were man-made; yet the message behind the music was universal – it had no barriers.

There is nothing more universal than life, death and love: which is what A TENDER BRIDGE is all about. The story tells the journey of a single man – the narrator / caller – who, when we first meet him, represents humankind: each of us. As the story unfolds, we realize the narrator is actually Christ, as we are all Children of God. There is a moment following the celebratory movement “Sanctus” when life is joyful and jubilant, the “valley” occurs, and the narrator feels he is abandoned by God. He says, “And so it begins … Father, if you are willing, take this cup from me.” We all have these “cups” in life; and ask God to take it from us.

The work then continues with a famous Langston Hughes poem: “At the Feet o’ Jesus” that the narrator sings A Cappella, before breaking off with emotion and saying: “Lord? … Lord?” but does not receive an answer. The choir then sings “Communion” while the voice of Ashley Bryan reads the familiar scripture, “The Lord took bread, and when he had given thanks, broke it …”

Another character in A TENDER BRIDGE is a single child. The child is first seen as being frightened by a storm. She portrays innocence – what we are born with, what we lose, and what is found again – and in the end: takes us to paradise. It is the child that calms and leads the narrator into Paradise, with the words spoken by Ashley: “And a child shall lead them.”

The work itself is similar to the format of Leonard Bernstein’s MASS – in that there are characters that take the form and role of storytellers, participants and soloists. They are representational of us all as we travel through life to the other side via the movements found within the liturgical mass. Ashley’s voice – which we hear but we never see him – represents the answers to our questions, gives us comfort, shows us guidance, and unconditional love – but more importantly, he is the voice of God.

Ashley’s voice

I went to Ashley’s home and recorded him speaking the lines for A TENDER BRIDGE. These audio recordings will be used in each premiere and performance of the work. There are several familiar Ashley Bryan lines that are incorporated into the work: “Let us walk together, Children!” and the final line of the Requiem: “There’s a great camp meeting in the promised land!”

I visited Ashley in July 2018 to play the finished work for him on his piano at his home. While I played, he read his own words. It was incredibly moving for me; and one of the most rewarding performances in music that I have ever taken part in. After performing the movement “What then shall I say? Poor child that I am?,” Ashley said, “That’s so beautiful, I could cry.” There were many tears, I can tell you.

Interesting Story: I wrote the music for the section “Communion” as an A Cappella choral setting; but wasn’t entirely happy with it. I thought it “lacked something”. Later I chose to place the well known African American spiritual “Let Us Break Bread Together” as a soprano descant above the choir. Several months later, long after A Tender Bridge was complete, while watching the film “I Know A Man … Ashley Bryan” by Richard Kane at Mayo Street Arts Center – there was a scene where Ashley Bryan was playing the piano in his home several years prior … and what hymn was he playing? “Let Us Break Bread Together”. That is the magic of Ashley Bryan.

History

There has never been an African-American Requiem. Duke Ellington wrote 3 sacred concerts for The Grace Cathedral in San Francisco (but he specifically made sure not to write a liturgical mass) and Quincy Jones wrote a Black Requiem but it was actually an oratorio written for Ray Charles depicting the life and the African American from the slave ships to the Watts Riots. Jazz has been incorporated into the requiem mass: Vince Guaraldi at Grace Cathedral was the first, Karl Jenkins, Andrew Lloyd Webber, etc.

A moment in time made clear

In working with Ashley and having the privilege of collaborating with him on a creative level, I have come to realize that I have been witness to someone who has come close to what is called: “Nirvana.” Perfect peace and happiness here on earth, like Heaven. There is an endless flow of people, an exodus of admirers, followers, who travel to Little Cranberry just to have a moment with Ashley, to see his artwork, to hear his voice, to take something away with them – a small piece of Ashley – that they will cherish and never forget.

He is one of the few people that I have met in this lifetime that when you are with him, you feel as though you are the only one who exists. Nothing is fake, nothing is forced; everything is genuine, real and unconditional. The outside world ends at the dock by the water and you are transported for a brief moment into a realm of absolute purity, understanding, honesty, generosity, caring, acceptance and love. He is still very much a child at heart; and has remained child-like with the purest of qualities. You feel as though he believes in you without ever having said a word to that effect. Like the birds in his stories, you feel as though you could fly home across the water … who needs a boat?

There is a musical called “Once On This Island” based on the story “The Peasant Girl” by Rosa Guy. It is one of my favorite musicals of all time. The last lines sung within the play are: “Life is why: We tell the story. Pain is why: We tell the story. Love is why: We tell the story. Grief is why: We tell the story. Hope is why: We tell the story. Faith is why: We tell the story. YOU are why …”

Life, pain, love, grief, hope and faith can all be found within A TENDER BRIDGE; and Ashley Bryan is why I tell the story.

The future for A TENDER BRIDGE

From the beginning, Sara Bloom has envisioned a premiere in Maine – with Maine soloists and performers. Since Ashley Bryan has called Maine his home since retiring to Islesford in the 1980s, and Sara has been friends with Ashley for as many years, she thought it only appropriate that a premiere should take place here.

As someone who can trace his lineage back 12-generations, born in Camden, and recognized as an American composer from Maine, it is my hope – and the hope of all those who are involved with this project – that this will take place here, as well.

Recognizing Ashley Bryant’s Work

Portland

It’s all come together around Ashley Bryan. Art exhibit, theatre performance, film, a visit to Ashley’s home, and a requiem.

This blog post (and more to follow) will provide information about what is presently underway to recognize the work of Ashley Bryan. Ashley is 95 years old and has lived on Islesford – Little Cranberry Island – year-round since he retired from Dartmouth College 31 years ago. He first came to Maine to attend the Skowhegan School of Painting and Sculpture in 1946. Ashley is a poet, storyteller, painter, puppet maker, illustrator, printmaker, and musician. He has written or illustrated over 50 children’s books. He is alive with imagination and creativity!

Ashley with his puppets Babatu and Osaze

I’ve blogged about the exhibit of Ashley Bryan’s at the Portland Museum of Art that opened in early August and will be remain until November 25. Contact the museum to arrange a trip for your students to visit. And, plan to go with your family and friends. I’ve shared information about the film (and the shortened version) created for schools by Maine film maker Richard Kane called I Know a Man… Ashley Bryan. The film is available for public libraries and K-12 schools on DVD.

This weekend and tomorrow at the University of Southern Maine one of Ashley’s books, Beautiful Blackbird, which was created into a play, will be performed. Below is information from three people representing the three organizations who have collaborated to make the exhibit and the performance possible.

• Catherine M. Anderson, Director of Ovations Offstage
• Marcie P. Griswold, Director of Visitor Experience and Special Programs
• René  Goddess Johnson, Coordinator of Multicultural Affairs, Education and Events, Executive & Artistic Director of the Theater Ensemble of Color

Beautiful Blackbird, words and illustrations by Ashley Bryan

Inspired by a traditional story from the Ila-speaking people of Zambia, Blackbird tells the uplifting tale of the only bird in the forest to have black feathers, and his lessons for the other birds, who are envious of his beauty. The moral is that of tolerance, understanding, and self-love, and this limited-run production promises to empower and entertain theater-goers of all ages.

René Goddess has been working with children for 17 years as a nanny, an improv movement teacher and actor at event’s like Portland Stages Play Me story events. She chose not to communicate with the theater group who performed Beautiful Blackbird at the High Museum in Atlanta so she would not be influenced. Instead she has envisioned this completely with the local artists of color as inspiration.

In René’s own words: “Ashley’s work is somehow complex and simple and always stunning. His love for children and their ability to imagine the best in humans is what excites me the most about bringing this to a live stage. His art is complex because all humans, regardless of age, understand depth. The lack of intricate detail on the beautiful creatures, with this particular story, allows for young people to conjure the story around the character. The self love of blackness in all his art has always drawn me to him. Growing up in a place like Maine, where white teachers made me generally feel shame for my blackness, his work gave me options that were positive and affirming. Bring messages of growth in humanity is what theatre does best.”

From Marcie Griswold

At the PMA, collaboration is key. We’re always looking for new access points to visual art; music, dance, and theater provide a magical connection to works of art. Atlanta’s Alliance Theatre had staged two plays based on Ashley Bryan’s works, Dancing Granny and Beautiful Blackbird, which complemented the run of the Bryan’s exhibition at the city’s High Museum. After our Learning & Interpretation colleagues witnessed the magic of that show, we felt the programming would be a fabulous component to our own iteration of the show and to Maine audiences generally.

We needed a collaborative partner to whom we could give this project with the knowledge that the PMA is not in the business of theatre arts. It is only through a creative collaboration that we could bring this work to life. As an institution, the PMA seeks to amplify artists — and this was a great opportunity to continue that practice. The original production and musical accompaniment, written by Theroun Patterson and Eugene H. Russell III, calls for creative movement and vibrant voices; TEoC and Portland Ovations fit the bill for an exciting collaboration.

A quote delivered to PMA from Theroun Patterson and Eugene H. Russell III:

“All of the dynamic elements of theatre are in the Ashley Bryan’s story of Beautiful Blackbird: a great story, positive and affirming messages for young and old alike, and of course, it’s musicality. Having the show travel north exemplifies what is great about the Theatre Arts and Artists: we are a massive hive of shared work! We are each probably no more than three or four degrees separated from someone that has had at least something to do with almost any play out there. It’s what we do. We create. We pass on. We learn. It’s a beautiful ecosystem.”

From Catherine Anderson

When we had the opportunity at Portland Ovations to collaborate with University of Southern Maine to produce the first staged reading of the opera “The Summer King” about the Life of Negro League Ballplayer Josh Gibson in 2014 we had a similar long range goal that was realized. The full length opera The Summer King has been presented at the Pittsburg Opera in 2017, and the Detroit Opera earlier this year.

From the first moment I was contacted by the Jen Deprizzio/The Portland Museum of Art in early 2017 to explore Ovations interest and capacity for supporting this project, Ovations Offstage was in a full-on YES mode. It is a rare and miraculous thing when an offer to work with a trusted and respected partner comes to you with a collaboration offer on a project that you fully believe in before you have even arrived at the table. It was humbling to be at the table with the PMA, and the leadership of the Theatre Ensemble of Color during the various incarnations of this project.  Marcie and the PMA were instrumental in making sure that Ovations and the PMA came this concept of “amplifying” Theatre Ensemble of Color every step of the way. What that meant to Ovations Offstage was always looking for opportunities to make the realization of bringing these performance(s) to fruition as easy as possible, and with as many opportunities for shared learning, and celebration. From lighting design plans, to marketing materials our collective mission was to see this project to where it has arrived; four sold out performances and a wait list with 500 people on it!

Carol Trimble Award

Kate Smith – CONGRATULATIONS!

During the pre-MICA Arts Education conference at USM two weeks ago the Carol Trimble Award was presented to Kate Smith. The award is presented to an educator who contributes exemplary service to the Maine Arts Assessment Initiative/Maine Arts Leadership Initiative (MALI) for their commitment, collaborative spirit and contributions. Carol Trimble was an amazing advocate for arts education. She retired as Executive Director from the Maine Alliance for Arts Education. The award was established in 2013 to honor Carol and her work.

Kate with one of her third grade classes with her Carol Trimble award.

Kate is an energetic music teacher currently teaching music to 430 preK-third grade students at Central Elementary School in South Berwick, Maine where she has been since 2003. Kate earned her music education degree from USM and a Master’s degree in Technology in Education from Lesley University. Kate was honored as 2014 York County Teacher of the Year for her passion for innovation and creativity. Kate serves as a teacher leader and design team member for the Maine Arts Leadership Initiative, the Parade Coordinator for South Berwick’s annual Lanternfest and a coordinator for Central School’s farm-to-table program. Kate lives in southern Maine with her amazing husband and three children.

Music Educator Kris Bisson, Kate Smith, teaching artist Brian Evans-Jones at the MALI Mega 2018

Kate is well respected in the education world, not only for music but for her work continuing work with the outdoor classroom at Central School. Kate is a remarkable grant writer and many learners of all ages have benefited in her school and community. She has presented many workshops on a variety of topics for conferences at the local, regional and state level. Her most recent was for the Pre-Maine International Conference on the Arts (MICA) leading the music/dance session and at the MICA facilitating a panel discussion with teaching artists and PK-12 arts teachers.

Kate presenting at the MALI summer institute 2017

In 2014 Kate became a MALI Teacher Leader and willingly shared her enthusiasm for learning. In 2015 she was part of a MALI team who traveled to  Washington, D.C. for the Teach to Lead Summit. Kate enthusiastically embraced the Logic Model the team was introduced to and ever since has guided the MALI work. Kate is so engaged in how the model can impact each of us she often stays up late writing logic models. She is the
“Logic Model Guru”. Her excitement of having the then US Secretary of Education Arne Duncan sit at our table at the summit was contagious. In 2015 Kate became a member of the team who guides the MALI work where she continually gives 100% with every task and responsibility. Kate has co-led the work with the MALI Teaching Artist Leaders introducing them to the many facets of teaching and learning. Her experience working with teaching artists in her school/community has enhanced learning opportunities for many. Kate is dependable, collaborative, honest, a life-long learner, has high expectations, fun to be around, and totally committed to whatever she takes on.

I had the pleasure of traveling to Islesford with Kate at the end of the summer to meet and visit with Ashley Bryan. It was a remarkable and very special gift. Kate was so inspired that on her return she incorporated what she learned to pass on to her students and colleagues. Kate has the ability to process quickly and put ideas into action without hesitation.

With Arne Duncan, Teach to Lead Summit, summer 2015

Catherine Ring, co-founder of MALI, Executive Director of the New England Institute for Teacher Education and Visual Art Educator, has worked closely with Kate and said the following about her: Kate is an inspirational leader for arts education. She is an intelligent and passionate advocate for the arts and it’s been a pleasure to work with her for the past 6 years at the Maine Arts Leadership Initiative.

Kate took a moment out of her busy schedule to answer a couple of questions for the Maine Arts Education blog readers.

On Islesford visiting Ashley Bryan

What’s your favorite part about teaching? How do I narrow it down!?!  When you see students not only master what you’ve taught them but then own their learning. Hearing students hum, sing, or whistle the songs I’ve taught them. The joy on my students’ faces when they are creating, performing, listening and responding to music. Hearing parents say how much they love hearing their children sing in the car, at the table, in the bathroom, or in bed when they are supposed to be asleep. Knowing the children are making precious memories by sharing their singing, playing and dancing with their parents (and grandparents!) makes my heart sing!

Kate Smith, 2018 Maine Teacher of the Year and MALI music educator Kaitlin Young, Argy Nestor, Pre-MICA 2018

What are you most proud of from your career as an educator? The relationships I have made. Someone once said, in order to raise yourself up you must surround yourself with people you aspire to follow. I have been able to learn from incredible educators from across the state and region through the Maine Arts Leadership Initiative, the Maine Teacher of the Year Association, USM, Lesley University, the Marshwood School District and countless other networks. There have been people who challenge me, inspire me, stretch me, believe in me. They’ve saved me a place at the table, encouraged me to use my voice, to amplify my students’ voices and have taught me to expect more from our legislators and policy makers.

CONGRATULATIONS KATE SMITH – this years awardee for the Carol Trimble Award!

Previous recipients include:

• Catherine Ring and Rob Westerberg
• Bronwyn Sale
• Jeffrey Beaudry
• Charlie Johnson

 

Criterion Theatre

Thornton Academy Symphony Orchestra

The Thornton Academy Symphony Orchestra from Saco, Maine will be appearing at the Criterion Theatre in Bar Harbor for a 10:00 a.m. performance on November 2, 2018 for local school children. The Conners Emerson School will be host to this fifty-piece full orchestra. The orchestra will be performing a lively mix of music, including Russian Sailors’ Dance, Music from Harry Potter and the Deathly Hallows, Pirates of the Caribbean as well as some classical favorites.  The orchestra is directed by Anne Wilkinson, and the winds and percussion are prepared by Thornton Academy Band Director Jennifer Witherell-Stebbins.

The Thornton Academy Symphony Orchestra will provide afternoon workshops for the string students, under the direction of Rebecca Edmondson, at the Conners Emerson School.

Thornton Academy is an Independent school in Saco, Maine. All Saco and Dayton students attend Thornton, and their tuition is paid by their respective cities. The Saco and Dayton String program numbers over 250 students, and many can be found participating in District Festivals, All-State Music Festival, as well as acceptance into the All-Eastern and All-National Orchestras.

10th Annual Northern New England Collegiate Symposium

Music Education at USM, Gorham

All are welcome at the 10th Annual Northern New England Collegiate Symposium on Music Education taking place on Saturday, October 20th, from 8:30am to 4pm at the University of Southern Maine School of Music in Gorham, Maine.

The featured presenter will be Dr. Peter Webster. Dr. Webster has an impressive career as teacher, researcher, author and scholar in the field of creativity and music creativity (bio below). Bonus round – Peter is from Maine!

He will present three sessions:

• Creativity and Creativity in Music
• Teacher Creativity
• Using Teacher Creativity to Help Students Discover Their Own Creativity

In between these session will be several others focusing on creative practices across K-12 settings (Escape Rooms, Wii Tech Improvisation, Composing for K-2, and so on). Lunch will be provided and 0.6 CEUs are available.

REGISTRATION

 

Peter R. Webster is currently Scholar-in-Residence at the Thornton School of Music at the University of Southern California in Los Angeles and is a Professor Emeritus of Music Education at the Bienen School of Music, Northwestern University, Evanston, Illinois. He holds degrees in music education from the University of Southern Maine (BS) and the Eastman School of Music, University of Rochester (MM, PhD). He has taught in the public schools of Maine, Massachusetts, and New York. Following 14 years of teaching at Case Western Reserve University in Cleveland, Ohio, he moved to Northwestern in 1988 and was there for 25 years prior to his retirement in 2012 from that school. His current position at USC includes half-time teaching in the Department of Music Teaching and Learning and assists the School as a Vice Dean for the Division of Scholarly and Professional Studies. He offers online courses for the graduate programs at the University of Florida at Gainesville. He assists with the music education doctoral program at Boston University.

Webster was the 2014 recipient of the Senior Researcher Award from the Society of Research in Music Education of the National Association for Music Education. He is co-author of Experiencing Music Technology, 3rd edition Updated (Cengage, 2008), a standard textbook used in introductory college courses in music technology. He is the author of Measures of Creative Thinking in Music, an exploratory tool for assessing music thinking using quasi-improvisational tasks. It is distributed for free from his website. A retrospective of his work, together with comment from scholars in the field of music education, is also distributed for free in iBook format from Apple’s iBook Store under the title Coming About and can also be found as a PDF download from his website.He has presented at many state, national, and international meetings and is a frequent keynote speaker. His published work includes over 90 articles, bools, and book chapters on creative thinking in music, music technology, and music teaching and learning. He is an editorial board member for several prestigious journals and has severed as an editor for several projects, including the MENC Handbook of Research on Music Learning (2012) and The Musical Experience: Rethinking Music Teaching and Learning (2014), both published by Oxford University Press. He is a music editor for the International Journal of Education and the Art and the College Music Society Symposium: Instructional Technologies And Methodologies.

Webster has held various administrative positions in his career, including a term as Associate Dean at the Bienen School. He served as Chair of the Department of Music Studies which included the programs of music education, musicology/ethnomusicology, music theory/cognition, and composition/technology. He has taught courses in the philosophy of music education, graduate research, music technology, measurement and assessment, and creative thinking in music. He has supervised many doctoral dissertations in music education and has been the recipient of many grants, including a landmark award from the National Association of Music Merchants to study the influence of music experiences on adult creativity in non-music fields.

If you have any questions please contact Michele Kaschub at mkaschub@maine.edu.

 

MICA – Day 2

A day filled with GREATNESS

Kaitlin Young in the Idea Lab

The Maine International Conference on the Arts (MICA) wrapped up yesterday with a very full and high spirited, exciting day. The day started with a lively performance by the Maine Taiko Drummers. The Maine Artists Idea Lab stories followed in Hannaford Hall reaching across the many “arts” lines and inspiring folks bringing many to tears.

One of the Idea Lab presenters was Sedomocha School Music Educator Kaitlin Young (Maine 2018 Teacher of the Year) who shared her “teacher” story and reminded me of the importance of “life-long learning”! All of us who call ourselves “educators” can be proud that Kaitlin represents Maine educators who are continuously striving to provide an excellent education for all learners!

The day was filled with breakout sessions on a variety of topics relating to the Maine Arts Commission (MAC) Cultural Plan – Leveraging Investment, Building Capacity, Visibility of Arts & Cultural Sector, Arts Education & Lifelong Learning, and Promoting Cultural Tourism.

Teaching, learning, and assessment panel

Just before lunch Arts EngageME presented their Inaugural Maine Arts Awards to the surprised recipients. Throughout the day there were pop-up performers including Sara Juli, Oratorio Chorale, Portland Piano Trio, Celebration Barn, Golden Oak, and MAMM students.

The PK-12 arts education sessions were informative, enlightening, and inspirational. Thank you to the following who contributed their expertise to the sessions designed especially for educators.

How do teaching, learning and assessment work together in a positive, productive standards-based Visual and Performing Arts classroom? 

Jeff Beaudry, Jen Etter, Kelly Hrenko, Michelle Kaschub, Holly Leighton, and John Morris!

Teaching artists and PK-12 arts teachers session

When Teaching Artists and Arts Teachers Connect, Students Win

Kate Smith, Brian Evans-Jones, Kris Bisson, Tim Christensen, Lori Spruce, John Morris, Carmel Collins

Empowering Your Voice for Arts Education 

Catherine Ring

MAC provides MICA biennially so if you missed it this year mark your calendar for the next one being held in 2020. It will be a great way to celebrate the Bicentennial of our state.

Catherine Ring presenting

Some of the MALI folks in attendance

Conferences Underway

Super day at MICA

Kate Smith, Kara Plank from the South Berwick Lantern Fest, Argy Nestor

Yesterday was full of excitement at USM. Three opportunities were under way as part of the Pre Maine International Conference on the Arts.

The 2018 Maine State Teacher of the Year, Kaitlin Young, provided an engaging keynote at the Arts Education Pre-Conference: At the HEART of Arts Education and seeds of inspiration. Participants created action steps for their work at the school and/or community level. The day started with art, dance, and music making. Lindsay Pinchbeck took the lead on creating lanterns used in ceremony’s around the world. Kate Smith led Jambo Rafiki, an African song with dance created by Nancy Salmon.

Kate Smith, Central School Music Educator (South Berwick), received the Carol Trimble Award for her contribution to the Maine Arts Leadership Initiative! Congratulations Kate!

Others participated in the Rural Arts Development Pre-Conference. This Pre-Conference provided hands-on advice, models to emulate and a space to have conversations to address the unique needs of living in the most rural state in the nation.

The day culminated with amazing performances and a Keynote Speaker Maryo Gard Ewell on Rural Community Development in and Through the Arts.

This is the third MICA – the first was held at the University of Maine, Orono, the second in Lewiston, 2016. We’re happy to be on the USM campus.

MICA continues TODAY at USM, Portland campus, Abromson Center! If you have not registered it’s not too late, arrive at the Portland campus at 7:30 to register!

 

John Morris and Nancy Salmon dancing in the processional.