FALL EVENTS

FROM ROB: Summer Workshop Kudos

THE WOODS WERE MY RITALIN

SPECIAL BUNDLE PRICES AVAILABLE FOR GOD'S CHILDREN SING PROGRAMS

FROM LORNA, Peak Performances

FESTIVAL 8

HELPING PARENTS UNDERSTAND THE VALUE OF AN AURAL APPROACH TO MUSIC LITERACY

YOUR STUDIO PLAN FOR THE FUTURE

WELCOME NEW LICENSEES

TEACHER FEATURE

WRITING A FIRST PRESS RELEASE

PICTURES

“THE WOODS WERE MY RITALIN.”
A Book Review by Audrey Sillick

The above headline in the Toronto Globe and Mail caught my attention. The woods and animals and plants were indeed my Ritalin also. I grew up in India with the luxury of an abundant plant and animal life right outside my door. Musikgarten’s curricula are all nature-based – for just the reasons delineated by Richard Louv in his excellent book.

Last Child in the Woods:
Saving our Children from Nature-Deficit Disorder
Richard Louv, Algonquin Books, 2005, 323 pp. $24.95

Richard Louv, parent, child advocate, author and lecturer, presents an authoritative case for environment-based education to counteract the disturbing trends in children’s health and learning on the North American continent today. Utilizing an historical perspective and a substantial body of recent research, together with a wealth of interviews with educators, parents, other activists, and children across the country, Louv presents mounting evidence suggesting that a number of children’s physical and psychological disorders indicate a serious detachment in human relationship from nature – from late last century to the present.

Louv discusses many of today’s childhood problems. One of the more prevalent disorders is ADHD (attention deficit hyperactivity disorder). “Children with the syndrome are restless, have trouble paying attention, listening, following directions and focusing on tasks. They may also be aggressive, even antisocial and may suffer academic failure,” he states. Furthermore, the number of overweight children has increased about 36% in the U.S. from 1989 to 1999 due directly to physical inactivity. “Another result is that kids get depressed,” Louv writes. The acceleration in the use of prescription drugs such as Ritalin and Dexechine is deeply troubling.

Musikgarten teachers will want to compare these observations to those of Grace Nash in the Spring 2005 issue of Early Childhood Connections, where she confirms some of the more commonly occurring physical and academic deficits making children today unfit to learn. See Nash’s article “Unfit to Learn: Something Has to Be Done” (p. 27).

Louv addresses the problem of ADHD as a deeper phenomenon, engaging the reader most effectively by stating the case for “re-naturing” childhood, health, and wholeness through encouragement of first-hand experience of nature as close as in your own the back yard. Studies already underway show that green environments engage children, with significant reductions of ADHD symptoms. Nature, Louv writes, nurtures important outcomes, such as increased attention span and the ability to work through stressful issues peacefully and thoughtfully.

There is solid evidence to proceed without delay to engage the senses in learning for two most important reasons: 1) young children’s keen senses are never more receptive to knowing the world than in early development through direct engagement, and 2) the rapid disappearance of green spaces, parks, orchards, and treed areas to urban sprawl decreases accessible places for children to explore. Louv reiterates there is no substitute for knowing nature directly – to experience its healing, quieting therapy and the life-long memory of ecstatic moments of wonder.

As nature and the child are reunited, the most important work parents can do is to “spend more time with them, educate them about the human dangers, but in the context of building self-confidence, sensory awareness, and knowledge of the many people they can trust.” Louv acknowledges that his list of suggestions is incomplete; however, “encouraging more time outdoors in nature helps children to natural play rather than receiving information with no intimacy such as is the case from TV and computers.”

Louv’s son Matthew, age 12, gives his list of fishing tips; what a fascinating twist to a child’s perception of do’s and don’ts for the adult.

1. Fish with your kid.
2. Let your kids buy supplies and tackle. That’s half the fun of fishing.
3. If your kids are young, take them to a place where fish are easy to catch and are small.
4. Let kids fish as long as they want. Let them get obsessed.
5. Let kids go off and do their own thing. It can get to be incredibly annoying and/or frustrating if there’s an adult standing over them barking orders.
6. Let your kid teach you how to fish; participate in the fishing. This can be quality bonding time.
7. Remember that fishing and spending time with the family are just as (or more) important than homework.

The concluding chapters of this book speak to natural play outdoors and to its spiritual dimensions for the young. They are moving and well written. Louv’s profound and deep understanding of God is shared from his experience with his own children.

Last Child in the Woods: Saving our Children from Nature-Deficit Disorder is a must read for educators, parents, and adults alike to get our children off the couch. We must help reignite their innate sense of curiosity, awe, wonder, and engagement. I recommend this book to Musikgarten teachers for Louv’s references to the latest research and his helpful insights into our daily experiences and observations of children.

SPECIAL BUNDLE PRICES
AVAILABLE FOR GOD’S
CHILDREN SING PROGRAMS!

$150 – God, My Family and Me 10-pack
$200 – Friends in God’s World 10-pack

For your church families we introduce highly discounted bundle prices: $150 for God, My Family and Me, which includes 10 CDs and 10 parent books; and $200 for Friends in God’s World, which includes 10 CDs, 10 parent books, 10 sets of cards, and 10 pouches. The four original, regular-price family packets continue to be available at $25 each. Because the above prices are highly discounted, no other discounts apply and all sales are final.

For only $75, you may purchase a highly attractive teacher-resource packaging of God, My Family and Me which includes a 47-page lesson book detailing 15 lesson suggestions for children ages 15 months to 3-1/2 years. With this come a Focused Listening CD containing 93 listening examples with 16 full-color illustrated cards; a Tap, Dance, and Move CD containing 28 selections, a Living with Music at Home book of activities featuring notes for parents on how to make music a part of their home life; and a God, My Family and Me CD, featuring 32 songs, dances, chants, and poems from the lessons.

A similarly appealing $75 packaging of teacher resources for Friends in God’s World is currently available which includes a 54-page lesson book detailing 15 lesson suggestions for children ages 3 to 5 years. With this come the two CDs mentioned above, along with a Living with Music at Home book of activities and a Friends in God’s World CD, featuring 32 songs, dances, chants, and poems from the lessons. And for only $110 teachers may purchase both sets of teacher resources just described, which include only one set of teacher CDs. We very much hope that you will find these offers just too good to refuse!

Revisions to the remaining programs in Musikgarten’s God’s Children Sing curriculum (God’s Wonderful World and Friends of Jesus) are scheduled for completion by its co-authors before the end of the current calendar year.
God’s Children Sing reaches out to all adults whose lives intersect the lives of young children, whether in the role of teacher, parent, or caregiver. Through this publication you are invited to re-enter the faith-filled world of childhood. By revising the God’s Children Sing curriculum and offering new attractive packaging of teacher and family materials, we hope to captivate an ever-widening public with its manifold benefits!

BE SURE TO ORDER A MUSIKGARTEN BANNER – NOW ONLY $44.95!

Peak Performance has new meaning for me this summer! Peak Performance was the motto for the Canadian Federation of Music Teachers’ Association Annual Conference in Calgary, Alberta in July 2005, and I was fortunate to be invited to give two sessions for Canada’s national organization.

“Peak Performance” meant a stellar conference, a phenomenal performance by young pianists in the national competition, and the peaks of the Canadian Rockies. Added “peaks” for me were meeting with several outstanding Canadian Musikgarten teachers and a 7-day bike ride looking at and climbing those peaks in Banff and Jasper National Parks.

As an early childhood music educator I am very pleased that major piano conferences are all including sessions about the preparatory years – the years of informal education, the years of formation. In Calgary, Musikgarten teacher Glenda Evans was kind enough to arrange a demonstration class of 11 children from her Music Makers classes for the conference. There is nothing more effective than a live class of children to show what our programs are about – thank you, Glenda! Glenda’s studio, by the way, offers classes from babies to keyboard. In a further conference session, I had the opportunity to talk about group piano lessons. How happy those teachers were to sing and dance!

The Canadian National Piano Competition was another of the summer’s peaks. As one who is more used to choruses of “Listen for Bells” and “Willum,” I found it exciting and rewarding to hear the mature musicianship of high school/college performers. Especially gratifying was the judges’ vote for complete musicianship.

Musikgarten has just completed workshops in two further Canadian cities, Toronto in the East and Vancouver in the West. Welcome to our new and renewed Canadian teachers! Reports thus far are that shipping from the US is working well for our Canadian teachers, especially with the savings involved in always current exchange rates and quick service. We want to provide you with the same excellent service that we offer everywhere else in the world.

Imagine one more added “peak,” when, upon arriving home, I heard that I had won the raffle for the magnificent maple-leaf quilt you see pictured above!

FESTIVAL 8:
Friday, April 21 – Sunday, April 23, 2006
Keyboard Day:
Sunday, April 23 – Monday, April 24, 2006
Guest of Honor:
Audrey Sillick

Plan now to join us in Greensboro for Festival 8! Being together with Musikgarten teachers and trainers is the best way to keep yourself energized for our wonderful work with children, music, and families!

Audrey Sillick and Lorna Heyge started working together in 1981. Join us to celebrate Audrey’s years of service and depth of wisdom! She will share with us in various venues: opportunities for a Nature Walk on Sunday morning, as well as exchanges with Lorna about the changing face of childhood and what it means for us as teachers today. Don’t miss this opportunity to be inspired by one of the honored elders of our profession.

Musikgarten Teacher Trainers: Mary Louise Wilson offers a session of “Plan-Teach-Evaluate.” Learn how to make each and every lesson plan come alive in your studio. Karen Haughey was an invited speaker for the MTNA National Conference in 2005; she will expand her session on “Teaching Harmony in Group Piano Classes” for Keyboard Day. Jill Hannagan works diligently and effectively on educating parents for her studio. Join Jill for a small-group, interactive session, in which everyone works on “my own words” for helping parents understand the depth of our work. Martha Hallquist will offer another session on parent education, built on her experience as Founder and Director of Union Colony Children’s Music Academy, in Greeley, Colorado.

For the Sunday morning break-outs, choose among the following: “Expand Your Studio,” where Martha Hallquist offers her expertise and experience; “Marketing 101,” where Scott Whitesell provides ideas for getting your studio off the ground; “Meet the Marketing Wizard,” where Mike Ladd provides sound advice and fields your questions; “Patterns and More Patterns” – choose your level, with teacher trainers offering three different levels for building skills; and “Nature Immersion for Teachers,” where you will walk with Audrey and learn about re-invigorating our lives with nature.

Watch the Musikgarten website for more detailed information on the Festival 8 program and the opening of registration. Enrollment and housing are limited and will be available on a first come, first served basis.

Helping Parents Understand the Value of an
Aural Approach to Music Literacy
By Jill C. Hannagan

Parent education is key. Whether you teach two classes per week or twenty-two, it may be the one thing that sets your program apart from similar offerings in your area. If we teach our classes well, everyone will be involved, singing and dancing, rocking and playing instruments. There will be little, if any, evidence of the practice and preparation that went into the planning of the lesson, not to mention the research and years of experience that went into the development of Musikgarten curricula.

Parent education is a broad topic indeed, and the one aspect of it that I perhaps feel most passionate about is the value of an aural approach. As Musikgarten teachers, we embrace an aural approach, but we must communicate its value to parents in our studios if we hope to keep their children enrolled in subsequent semesters. This can be done in any number of ways, and I believe that we should take every opportunity to address this topic. In keeping with this belief, it is the main item of discussion in my parent orientation, the topic of the main article of my newsletter, and a frequent point in “off the cuff” comments made during class.

For instance, as children gallop around the room to “The Wild Horses,” I will mention that this movement helps the children to internalize the piece, which is necessary preparation for playing it on the keyboard. During the final fifteen minutes of my Music Makers: Around the World class, I might say, “I had intended to hand out a notation game today, but this aural recognition game lets me know that the children aren’t quite ready for it.” I think that by dealing with this matter proactively, it keeps us from being put in a defensive position, having to answer such questions as, “Why isn’t my daughter reading music yet?”

The challenges of convincing parents of the value of an aural approach are two: the first has to do with the fact that society tells us that earlier is better. As early-childhood music teachers, we would seemingly agree. Why, then, are we not teaching four-year-olds to read music? The answer lies in the subtle but important difference between reading, which implies comprehension, and decoding, which is often mistaken for reading. The second challenge comes in putting the value of an aural approach and its lifelong implications for reading and performing music into accessible terms that parents – many of whom have not had the benefit of a good aural foundation themselves – can understand.

These challenges can be met through disciplines familiar to all musicians: hard work and rehearsal. Work out your explanation; go through your teacher guides and your workshop notes to formulate an explanation that you can deliver with passion and clarity. Then try it out on your non-musician friends and ask for feedback. Finally, figure out when and where you can include this explanation of the value of an aural approach in your written and spoken communication with parents in your studio.

As an evaluation tool, ask your parents to tell you what they consider to be the value of an aural approach to music education. Their feedback will let you know how well you did and may give you some effective wording to use in the future. What follows are some comments that I have collected from parents. Use them as you see fit: work them into your own dialogue with parents or simply use them as a jumping-off point in your own thinking process. Whatever you do, don’t apologize for taking an aural approach to music literacy. We know it to be the most effective way to teach music. I suspect that parents know that as well; they just need to be reassured.

“When I sit down with Jessica at the piano and see how she is learning to play (with the emphasis on auditory learning) I am often jealous of the rich musical experiences she is getting. I wish I had been taught the piano and flute this way. Her ear is being trained to recognize the pitches and patterns from the very beginning, something that I had to work to develop much later when playing the flute in symphonies and other ensembles. As a math teacher, I know how important pattern recognition is in mathematics; clearly, it is of utmost importance in music, too.” – Diana

“Both of my children are in Music Makers: At the Keyboard. They are learning to improvise music. I have never had that experience even though I was taught traditional piano lessons for eight years. If you give me a piece of music I will try to play it, but my kids can do so much more than just reading the notes. The aural approach teaches them to create music, rather than just read it. All the famous composers can create music – that’s what music is all about.” – Alice

“I am amazed at Christopher’s progress and ability for finding his way around the keyboard, just by listening and finding the notes. He has developed his ear to the point where he knows what is correct and what is incorrect and can make the necessary adjustments. The combination of the Practice CD and Listening CD, the notation games, written assignments, and developing ear has empowered him to learn music with confidence. This approach differs from how I learned music. Chris seems to have learned more in less time, and, I believe, will continue to progress more rapidly than I did.” – Steven
“I think the aural approach to teaching music is absolutely amazing! I learned to read music solely through memorization (F-A-C-E and Every Good Boy Does Fine), but these kids can read music just like they are reading words in a book – with understanding. I don’t understand it, but it seems very easy and natural to the kids. They don’t learn note names until later, but they are able to play the songs.” – Ginni

“My husband and I wondered whether we would be able to break the cycle of the non-musical family. It always seemed so easy for musical parents to pass that love and gift on to their children, but as non-musical parents, we found it so much harder. I believe that music would have skipped another generation with us, if it weren’t for Jill and the aural approach that she takes in her teaching. She has our entire family – from age 4 to 40 – singing Mouse, Mousie. Our Julia, who is in Jill’s keyboard class, loves playing for us, and her singing is coming along, too. We never have to ask her to practice – she does so twice a day. She has a repertoire of ten songs that she can play in five different keys. But best of all, she has all the confidence in the world about her abilities and her future as a musician. We were listening to Tchaikovsky and she said, ‘I wonder when we will play that… probably right after Ode to Joy.’ Thanks!” – Annalisa

Your Studio Plan for the Future
By Mike Ladd

Big. Small. Modern. Traditional. Struggling. Succeeding. Which of these describe your studio? As an owner of a Musikgarten business, you have unique challenges.
To make your own plan for success, take 30 minutes to brainstorm on the following questions:

1. What are my studio’s biggest strengths?
2. What are my studio’s biggest challenges?
3. What are my studios biggest opportunities?

Try to think of five answers to each of the above questions. Then rank these in order of priority. Out of all of your answers to these three questions, what is the biggest thing that is impacting your studio? What can you do about it? Do you fully understand the situation? Can you overcome it? Can you build on it? Can you change it? If not, what one other thing can you change?
Once you decide which issue you are going to tackle for your studio, try to plan a risk/reward budget for it. Never over-spend your budget in hopes that parents and kids will magically come to you. Be conservative – but be imaginative!
Marketing is about understanding your situation and building a plan of attack. Only you can completely understand your city, parents, and your overall marketplace. Only you can set a realistic goal for growth. And remember every three months or so to refer back to your answers to the big three questions to see how your situation has changed.
Here’s a tip: You own a Musikgarten studio. You were trained by the best teachers. You teach the most developmentally appropriate music and movement curricula around. Be confident in your studio and yourself. Be friendly and helpful. Others will notice and you will succeed!

WELCOME, NEW LICENSEES!

As of the writing of this newsletter, we are in the middle of one of our busiest workshop seasons ever!
We welcome the following licensed Musikgarten teachers, new as of July 18, 2005:

Glenda Duffus’s MMK Recital for Seniors (Recital instrument not pictured)

BE SURE TO CHECK OUT THE NEW “QUESTION OF THE MONTH” AT www.musikgarten.org

TEACHER FEATURE:
Ann Benson – Fort Lauderdale, Florida

This summer I doubled my enrollment (from 15 to 33 families) by one simple means that costs nothing if you have a computer! The word is E-MAIL, E-MAIL, E-MAIL!

The most effective way to gain new clients has always been “word of mouth.” “Nowadays, it’s “word of e-mail.” I had a new class start with eight kids this summer. Only two out of the eight moms knew each other; I didn’t know (had never spoken with over the phone nor seen in person) any but one of these moms. She had a huge community of friends that she corresponded with over the e-mail. My program was recommended to her by a close friend; she then called me and we had a great chat. After that, she was inspired, turned around, and e-mailed my information and registration form to all her friends with young children (about 60). Many of them did the same, and then the new recipients did likewise. Many moms of that class represented third or fourth generation e-mails.

I registered those moms by e-mail, too – they printed out my registration form, filled it out, and sent it along with a check. How easy and cheap was that? Good luck with your own “word of e-mail” campaign!

TEACHER FEATURE:
Carol Spencer – Fort Worth, Texas

I do not do an on-line newsletter, nor do I have a web site. However, I do have a large e-mail list of perhaps 300, and I market to that list during my three registration periods.

Once during each registration period I send my complete brochure (in e-mail format, no pictures) and attach the registration forms (in printable format – a Word document). At the top of that e-mail and near the top of every e-mail related to registration, I remind people to “Please forward this e-mail to friends and others who might be interested in a music and movement class for their children.” Since many of my families return from year to year and are committed to my program, they want an easy way to tell their friends, and they forward my e-mail to friends, family, MOMs Clubs, play groups, and others. I have found this to be a great way to get all of the information into the hands of young families without having to work hard at all.

In every e-mail, I also tell people how to “unsubscribe” (as I hate spam) and how to “subscribe” (because I want the e-mail addresses of interested families). I generally send a second e-mail during my registration period, notifying families of the semester schedule (which I determine by July 15th, based on early registrations). My schedule is different from year to year, as my families’ scheduling needs change accordingly.

My e-mail list has, of course, grown through the years, and I now mail registration packets only to families who registered the previous year. Everyone else gets the e-mail and a postcard reminder (two postcards during registration, actually). So, my mailing costs and the time involved in doing a large “stuffed” mailing have decreased, but my connection with a large number of potential families has gone up.

I have several people each semester who register without ever making previous contact with me. They receive the e-mail from a friend and sign up. I love the time-saving aspect of this plan. And it uses my time and my ISP connection quite well!

WRITING A FIRST PRESS RELEASE
by Scott Whitesell

Are you adding more levels of Musikgarten this year? Hiring a teacher? Adding a location? Or, perhaps you have added new certifications to further your early childhood music career. Any of these new developments can be addressed in a press release to local newspapers. If you think adding Music Makers to your 0-5 studio is “small potatoes,” think again! This is news for your town, and even if your press release is not transformed into an article, your information may be printed in the business section, where company changes and promotions are listed – often with photos!

Writing a press release is very different from writing to promote your program to parents. A press release is simply a collection of new information about your studio. It may seem impersonal, but refrain from “warm fuzzy” comments about your program when writing a press release.

As you write your first press release, avoid the temptation to write the article itself – simply state very basic facts about your studio. For example, “Jenny Johnson announces the expansion of Little Music Makers Music Studio, which will now include classes for ages 6 – 9. Little Music Makers, located in Huntersville, offers Musikgarten for young children and private voice and piano lessons for ages 10+. For more information, call Jenny at 867-5309.”

Though the wording is single-spaced above, you will need to double-space for the press release. With this in mind, make sure your text is not so voluminous that it requires a second page. Always limit press releases to one page.

If you would like assistance with writing your own press release, or would like to have it proofread, contact Scott Whitesell, Director of Teacher Services, at info@musikgarten.org. This service is free to licensed teachers; so, be sure to take advantage of this opportunity!

‘Hands-On’ Fair for Week of the Young Child
(From left to right: Cindy Brinkman,
Roann Keen, Brenda Elliott)