Unanticipated Success

With Joel, our autistic 19 year old son, recently completing his high school years, it became paramount for his guardians to provide for his well-being and give him the opportunity for meaning in his life. Yet many questions remained with us, as his guardians, on our role, our goals for him, his preferences, and our community's acceptance of his differences. Should he try to get a job? If so, what kind? Should he stay at home? If so, what would he do? He watches television, he plays some games on the computer, but he doesn't read much, he doesn't get much physical activity. What would he do?

Connected to these concerns were even more basic questions. What and where would he eat? How would he get places? Would he take care of himself without our constant prompting? Could he handle people's questions or would he be assertive enough to solve his own life problems? Simple things such as bathrooms, drinking fountains, grooming, blowing his nose, all the things that we take for granted have to be taught to Joel. For us, the easiest thing would be to leave him home with lots of food in the pantry and not worry about it. But the question remains, what is best for Joel?

So we entered the rushing, turbulent river of life with great care and not just a little trepidation, looking for the calmest spot with shallow water, stepping gingerly so as not to fall or upset current flow too much. We held his hand, knowing we would need to let go when we were sure his feet and his journey would take him across. We then watched, ready to grab him if needed, ready to steady his steps, ready to find another crossing spot, but also ready to let him do this by himself.

It was all a careful and deliberate process of preparation and education for him and for us. Step one: Find out Joel's goals and make sure they are consistent with our own for him. Step Two: Find territory to match his goals. Step Three: Contact City Rides for scheduling and transportation possibilities. Step Four: Educate Joel on the process. Step Five: Monitor closely but encourage independence.

Joel's goals were to work in a library shelving and sorting books, and to work in the mail room at the local university sorting mail and delivering packages. He also did not want to wake up too early for this but did want some time to practice organ at school if possible. Thankfully, and not surprising, these goals matched our own. Finding the territory was a little difficult and involved interviewing librarians and mailroom workers. The interview also gave prospective employers an education and an opportunity to meet Joel and how to deal with him. Again, thankfully, we found employers willing to give it a try. In my mind, these are the heroes of this story. People willing to take a risk to help a disabled adult.

The transportation part of this story was complicated at first due to our living away from the city and our concern about Joel's readiness to get on a bus by himself. Yet for minimal cost, a small bus pulls up to our house and Joel gets on the bus and rides to work everyday at 12:30. It is a remarkably efficient system with drivers who care and make safety and comfort a priority.

We spent two days doing a dry run with Joel and showing him the path and the system for success. He was both malleable and excited about the opportunity. We then double-checked with the people to make sure all was in place before starting. The first few days we monitored the process, made a couple of adjustments, and then let Joel do it on his own.

While we are not so naive as to believe all is perfect, at this point, it is working much better than expected. He has risen to the challenge, responded with independence, and feels a contributing member of society. While he is not yet a paid employee, since all is voluntary, we are hoping to move him into these same positions as a part-time paid employee. Part of the reason he is not being paid at this point is the restrictive minimum wage law that does not allow employers to pay less. I have good reason to suspect the employers would be more willing to pay him something if they did not have to pay minimum wage. This is an example of how minimum wage hurts not helps the disabled. But that, once again, is for another blog someday! Meanwhile, we and Joel are excited with his success, a success that was unanticipated but much appreciated.

Protestant Church Music History. What next?

When facing philosophical or pragmatic dilemmas in either execution or content, it is usually beneficial to take a look at the past and determine how these problems were previously solved. Most issues today have in one form or another been dealt with by people before us, and it is more than a little arrogant to assume our problems are new and invented today. The ongoing battles in church music are not new to our generation and have continually eroded the strength of the church, resulting in factions, denominations, dogma, and bitter feelings between people and institutions. What is new, however, is the development of technology and the eclecticism that pervades our culture. Church music is not a simple subject matter and probably impossible to capsulize, given the expectations of many people. There is not an easy solution and time does not seem able to alleviate the ongoing concerns in this area. Normally, one could find answers from delving into history for truth; yet, as we do so, we find similar problems and once again no pat answer.

Before proceeding, it is necessary to note that as we examine churches today it is obvious that the church is well-fractured for a multitude of reasons from theological to application. With this disparity it must be mentioned that for many of our churches, history does indeed play an important role. Anglican, Roman Catholic, and liturgically based churches have the great benefit, should they choose to embrace it, of a strong historical tradition. While history does not always determine truth, it certainly is a starting point. Ironically, history also explains why history itself does not and cannot determine truth in church music for many mainline protestant denominations.

It is an oversimplification to point to one date or even time period as the beginning of the problems in church music, but there certainly is evidence linking today's complex issues back to the Reformation. Martin Luther was a musician with great respect for the arts and the role of the arts in churches. He spoke and wrote quite eloquently on the subject and remained a composer, performer throughout his career. Of great concern to Luther was the massive destruction of the arts in the Peasants War of 1524-25. This rather despicable event is unfortunately indicative of the pervading attitude found in many churches today and is manifested in the wildly divergent expectations of modern day church attenders. And while this may be one small but pointed example of the deterioration of the arts in mainline protestant churches, it is certainly prophetic and perhaps sadly realistic.

That said, all is not hopeless for mainline protestant churches. While we may not have an encompassing, nor consistently high art with beauty in the classic sense, we are not eradicating great art or music from our experience. We are simply redefining it. And in our seeking after definitions and truth in worship, we are unfortunately making some mistakes. Since history is one of if not the greatest teachers, it stands to reason that without a solid historical foundation of music, protestant churches can only keep trying to establish what works and what expresses God in the truest sense.

This is not to say there is a lack of musical wealth in Protestant history. Careful study reveals a rich tradition from the Wesleys to Isaac Watts and Lowell Mason, all music worth singing and all music deserving of its rightful place in worship. Yet, in spite of this truth, there seems to be a move away from this music, and a move toward an embracing of contemporary culture. Ironically, much of the old influences were considered wildly controversial in their day, with people questioning the new music and new texts. Similar to today, the past church music struggled to find its place, its own identity. History is kind to excellence and it will be so again.

I propose we continue to wade through the murky waters of church music today, seeking wisdom and seeking excellence. Time will demonstrate what lasts and what doesn't. Meanwhile, we trudge on, hoping to find the truth in the complexity known as worship.

Doubting my Originality

I am questioning my musical originality these days. Perhaps I am a thief of sorts or maybe all of us are thieves of one kind or another. Or, even more shocking, maybe it is okay to be a thief in the arts. After all, we study, learn, absorb, and embrace the arts on a daily, sometimes an hourly, basis. Music is all around us in one form or another and I cannot seem to get enough of it. As a writer learns from the literary masters and is frequently reading in order to hone his craft as a writer, a musician is frequently listening which in turn hones his craft and his art as a composer. This is true regardless of the selected genre.

An artist receives inspiration from many sources among which are nature, people, events, and visual imagery that surrounds us on all fronts. He benefits from other artists, as well as the events and sights encompassing his experience, including the myriad of emotions driving his greater need for visual expression. What artist has not visited an art museum only then to draw from the success of others in creating his own language? It could be as simple as a combination of paint choices, or shadows, or another way to present a theme. Even as I study today's Picasso on this blog, I realize that while unique and original to an extent, Picasso, with tremendous skill and creativity, also borrows from previously existing sources.

In music, there are 12 different notes that were established many years ago and expected rhythm patterns that can match those notes. Add expression markings, staff lines, and an infinite number of instrumental and vocal combinations not to mention text, there is plenty of material to keep a composer busy for a lifetime. But let's look at this another way: what if in fact musicians have simply been borrowing ideas for years and putting those ideas together in different ways? After all, when a composer writes a series of eighth notes, he did not invent the notes. They exist as the tools available. One cannot invent a hammer for it already exists. Perhaps a tool maker can improve on a hammer or change its shape or color or materials, but truthfully the hammer is still the hammer. Eighth notes are still eighth notes. They might be fast or slow or loud or be done by different instruments, or there might be two of them or hundreds of them, but nevertheless they are still eighth notes. I might use them in a creative way, but I have still borrowed the tool, the idea, at least to an extent.

Listening to hundreds, maybe thousands of pieces, songs, musical works each year ranging from popular music to art music to film music, including sacred, secular, folk, children's and educational music, there is no doubt in my mind that we composers are borrowing and therefore benefiting from previous invention of Western music as currently notated. Sure we add, change, alter, even create sounds, but are they really "created" from nothing, purely from the imagination? or are they drawn from the myriad sounds that encompass our world, enter our thoughts, and expressed through music on the page?

It is not possible to divorce the world around us and operate completely in a creative vacuum devoid of all external influence. Not only that, it really is not desirable to do so. All artists in all genres gain from the historical, and certainly vast, human experience developed through the expression of hundreds of thousands of years of individual creativity. On the negative side, this could mean that there is little being produced that is entirely original, but on the positive side, there seems to be room for personal expression, application of emotions, and a way to put "me" into the world.

In most ways, I am comforted to know that I can still create music and that people enjoy hearing my creation (unfortunately, there are many exceptions to this!). Yet I am also aware that my own music and the music I hear is not really entirely original but in truth is an amalgamation and manifestation of history and current culture. Perhaps I should thank the early masters, the ones who struggled with how to organize music in the way we have it now, the ones who gave me the tools I now use. Acknowledging their work does not inhibit further personal creation, instead it actually sparks in me greater possibilities for expression. Onward I go!

Educating the Outside World, Pt. II

Most people respond in communication to events around us, perceiving situations whether due to social activities or physical properties that in turn give us the message what to do or say or react. This type of behavior happens all the time unconsciously and naturally, and is actually the result of years of awareness of our surroundings. It is the process of what is referred to as contractarianism, an unwritten contract between people that allows the give and take of conversation and communication. Of course we have all committed that inevitable and often disturbing social blunder, saying the wrong thing at the wrong time, or using the wrong fork, or perhaps wearing the wrong clothes, but in general we work to retain individuality while fitting in with our environment. When we understand what is happening around us, we are able to belong while having influence at the same time.

In addition, our natural survival instincts warn us and teach us how to react to stimuli presented almost daily. Sudden or unusual sounds, motion, and feelings all dictate our immediate behavior, at least to an extent, giving us a constant awareness and perception of danger or of comfort. Last night, as I was driving home from a nearby city, going 65 miles per hour, I suddenly happened upon a large deer in my path. Logic reminded me to hit the deer (at least this is the recommendation by some due to the fear of rolling over) and face the consequences, but my survival instinct told me to swerve in avoidance. Luckily, the same instinct told me to correct my swerve a little but not too suddenly, and within seconds I was on my way, having missed the deer by a foot or two. I perceived a dangerous situation, altered my circumstances, fixed the problem, and rejoiced in relief the danger was passed.

Joel Tucker, 19, autistic since birth, does not enjoy those same survival instincts. He either does not have the reaction time to make decisions or more likely does not perceive of his environment in the same way that other people do. If he were to drive, he probably would have hit the deer. Joel's disability does not permit him to have a realistic awareness of the world around him. This includes traffic problems, complex emotions, even the passing of time can be a mystery to Joel. While he is peripherally aware of anger or tension or problems that may exist, those things are generally abstract and do not directly affect him. It makes for a rose-tinted world, a world where everyone and everything is a friend, a world of no "sorrow or dangers or toils or snares." A form of extreme sheltering that is natural and inherent rather than imposed or taught by others. While he would never say it, it is not unlike the statement, "I am sheltered and self-protected by my own inability to know reality. This makes me happy."

This is cause for two circumstances: 1) A young adult who enters the world contented and happy due to being unaware of the challenges facing him, and 2) Caregivers very concerned about his future and how to give him a degree of independence while insuring his safety. But the hard truth is that Joel is going to have to enter the world unprepared, at least to an extent, through no fault of his own or anyone's, for its harsh realities. This requires that others become sensitive, compassionate, helpful, and forthright.

Back to the purpose of these two essays. I am encouraging employers, drivers, clients, students, and all those who encounter Joel or the Joels of this world to give him a chance to be successful. To encourage him, to guide him, to guide help him, to be firm when needed, to love him, and mostly allow him to fit in. He, like everyone, deserves a chance and an opportunity to give it a try. While we are not so naive as to believe he will be successful at everything, and we are certainly aware of his limitations, we are also convinced that through cooperation, patience, and training, there is a place for Joel in this world. So I ask that we build a hedge of protection around him but within that hedge we push him to greater heights that will actually allow him to reach his potential. And as you afford him the opportunity and give him a chance to try, watch out for him along the way. It's going to take the concerted effort of many people for him to be safe and succeed.

Copyrighting the Art?

Before you read this entry, please scroll down and take a look at the Picasso on the right. Someone somewhere took a photo of that particular piece, acknowledged the artist, and posted it on the internet. In fact, take a few minutes to do an image search for other Picasso works or Rembrandt or Da Vinci. Take it another step and type in Mona Lisa image search. You will find hundreds of images ranging from photos of the original work to parodies and various analyses of the famous piece including how to instructions for exact reproduction. Da Vinci as arguably one of the most well-known artists/inventors in history is not receiving royalties from unbridled use of his art. Of course Da Vinci is gone, but his name, his art is viewed by thousands upon thousands each year. True, his works are considered public domain, yet it seems that public domain has increased the worth of the Mona Lisa, not diminished it.

Now let's contrast this with a recent sign I saw in a small hallway of a university in another city. Located in a sitting area near a water fountain and restrooms, with a pleasant balance of natural and fluorescent light, there were some small and rather nicely done oil paintings in simple, innocuous frames hanging innocently on the wall. Not being an artist nor even an expert in any sense, nevertheless, I have an unending curiosity about all things artistic, and felt compelled to move toward the art to assuage my questions as to their content and purpose. But unfortunately, as I drew closer, I was not drawn to the art as much as to the sign that stood between two small pieces. The sign stated that photography including cell phone cameras was forbidden due to copyright infringement.

Staring at the sign, thinking through it, I finally forced my eyes to study the actual art works and soon felt that familiar emotion of visual satisfaction with the craft of the artist mixed with some apathy at the subject matter--another beautiful but unoriginal naturalistic piece (please forgive my opinions on this subject. I love all art but am to the point where I prefer abstracts over realism). Wryly, I concluded that I would not have taken a photo regardless of the stated infringement. So another work of art hangs unseen except by passersby on their way to a needed stop, only to be interrupted by the reminder that it is not to be photographed. I wondered what it would be like to meet someone for the first time and have him punch me in the face rather than shake my hand! I realized the impact was not all that different.

What if the sign had said: Feel free to photograph the artworks and share with anyone. The artist would appreciate acknowledgment. How would this alter the product? What would happen? Would the mass sharing, internet postings, image copying, hurt the artist? What if someone took a picture and sold it as his own? What would be the result of such activity? Yes, maybe somebody would make some money using another person's creativity. Or perhaps somebody would use the photograph for another purpose such as a book jacket and reap the financial rewards, thus stealing from the creator. That possibility certainly does exist although seems most unlikely. How many artists have claimed Picasso as their own or musicians claimed Mozart or writers Dickens? Art is such a personal, singular expression that each work becomes as individual as a fingerprint.

Of course, there is the potential for the work to achieve notoriety regardless of its limited exposure thereby resulting in a significant purchase, giving the artist financial freedom enjoyed by very few. Maybe the hope of much trumps the likelihood of a little due to the free sharing of creative expression. Maybe the dream of wild riches is greater than the steady rewards of acknowledged excellence? Regardless of the reason, out of some misguided inflation or maybe self-protection or simply the "pot of gold," the artist or maybe the institution felt inclined to prevent the sharing of his creativity. Yet, while I would like to be wrong, it is likely that the works will enjoy a brief, artistic career on the wall in an obscure location, never to enjoy the fame and fortune that could happen if their magnificence were shared by everyone.

I propose we give attribution when deserved and allow the market to determine the value by allowing the expression of individual creativity.

Educating the Outside World, Pt. I

As our autistic son Joel enters the world at the age of 19, having recently graduated from high school, it occurs to me that we have spent a great deal of time and energy in educating him how to act, respond, behave, learn, and "fit in" to the world as a contributing adult and member of society. To an extent, at least within the confines of his disability, he is able to do just that.

Yet all is not peachy in the Joel world, for many people do not know what to do or how to help him adjust. To that end, I write this essay for business owners, employers, managers, various employees, and all those in the work place who are willing to take a chance on a disabled adult and help guide him toward success in a career or simply to know how to respond to Joel and people like Joel when you encounter them in everyday life.

One major thing to remember is to have patience and allow time for normal events. This includes ordering food, writing checks, walking, crossing the street, sorting, carrying packages, getting on buses, and responding to questions. A good rule of thumb is to double the normal time for all activities and avoid rushing the process which would lead to undue stress and a possible lack of productivity. A second problem for autistic adults is in the area of communication. While they often know the answer and may even be perceiving the situation accurately, they likely will be unable to express their own needs. This can be very frustrating for both the disabled adult as well as the employer or helper, and often becomes a guessing game as you try to discern the need or the problem. When this happens try using pictures or even a form of charades to determine the desired behavior.

Autistic adults thrive better in quiet, ordered environments. While they are very social, forget the old myth of autistics preferring solitude, they also tend to become agitated and confused in overly loud complex environments. With this environment is the need for routine, clear expectations, and one thing at a time without unnecessary interruptions. Autism lends itself to excelling in one or two disciplines thereby resulting in a type of "expert" behavior. Finding this specialization may be challenging, but once it becomes apparent, the adult can actually be considered superior in that particular area.

In Joel's case, he excels at putting things in order and finds libraries perfectly suited to his personality and his ordered universe. The quiet, but hidden creative world of books that are begging to be found and can only be found if cataloged and placed in the correct spots have a diligent and dedicated friend in Joel Tucker who remains committed to ordered perfection for their domicile. The books smile when Joel enters the library for they know he will ensure their safe passage to their rightful place. Although his pace is somewhat adagio and his music tends to be soft, his melody is pleasant and the rhythm ordered with excellent goals. His productivity may not be as extensive as other people, but it is accurate, tasteful, fastidious, and objective. In the right kind of setting, Joel can and will be successful.

Pastoring a Baptist church

Having received news of several resignations from Baptist church pastors located in different parts of the state and in various sizes of congregations, I am beginning to wonder if there is some kind of flawed system or inhuman expectation for our pastors today.

I do want to qualify this essay by reminding the reader that I am not and have never been a pastor. I have also never served a church in any kind of full-time capacity, but instead have been a part-time minister of music throughout my strange career. This further means I have not had theological training and therefore tend to respond to church situations somewhat instinctively based on experience and common sense rather than having a solid academic foundation in the discipline of ministry or pastoring.

Yet in spite of my layman's view of the business or maybe because of it, I am quite concerned about several things related to pastors and churches expectations. What are the requirements for successful pastoral ministry? Are they too stringent to meet, or simply too vast to understand, or are the clientele too diverse to find any common ground? Maybe we congregation members are looking for a man, one who is called by God into the ministry and one we believe can do all things well, to have god-like qualities and superhuman strengths. Maybe the system itself is flawed and cannot be fixed without a paradigm shift in thinking or without some kind of acknowledgment that no person can do all the things that are expected from a pastor. It is actually absurd in many ways.

Let's think about it for a minute. A pastor is expected to preach the word, but not just preach the word but to do so with theological accuracy, an entertaining style, a particular length (preferably not too long), to make the sermon both Biblical and relevant to our times. Sermons are to be corporately universal but also individually gainful including the latest well-researched psychology that parallels rather than repels scriptural proof. All these and more make for a perception of preaching excellence by the typical congregation member. Yet this is but a small drop in a large bucket of the expectations of a pastor.

Other responsibilities include all forms of counseling, ministering to the sick, the elderly, the impoverished, the downcast, the young, the lost, the saved, and, truthfully, the list never ends for those who need a minister. But what about the building itself? and the staff? and the money? Shouldn't the pastor administrate all these things, ensuring everything runs smoothly, with money left over, and all staff contented in all situations? Of course everything the pastor does is supposed to result in growth in numbers as well as baptisms. In addition he should navigate through committees, deacons, ministries, mission work, and visitors, making sure he communicates fully and openly, seeking consensus from all constituents but remaining strong when tough decisions need to be made.

The contradictions are wildly ironic and almost laughable, in a Faulknerian paradoxical way, when examined deliberately with subsequent application. He should be professional but compassionate, transparent but flawless, brilliant but approachable, sacrificial but healthy, serious with a sense of humor, popular but introspective, youthful and mature, idealistic but pragmatic, patient but firm, concrete in beliefs but open to ideas, and business-minded but a humanitarian. In other words, today's pastor should be all things to all people without sacrificing his firm religious and spiritual convictions.

Does such a person exist? Not on this earth! Yet is it possible to teach a church to recognize the difficult task and support a pastor as he leads a church in the ultimate purpose: to glorify God and enjoy him forever? I believe the answer is yes. It certainly is a challenge, however, in today's complex world and the challenge can only be met through acceptance of God's truth, recognition of man's flaws, commitment to a greater purpose, and mostly an unswerving and comprehensive adherence to loving each other. Ministers must remain true to their calling and churches must find ways to love and support their ministers. It can happen and has happened. We, the church, must find a way for it to happen again.

Mysteries and Responsibility, Pt. II

In the previous installment, it was concluded that teachers can and do make a difference in the lives of others, sometimes in the classroom and sometimes away from it. Unfortunately the rewards of teaching often do not occur for many years, making teaching both a mystery and a heavy responsibility.

But the question on the table is whether advanced degrees add to or take away from the responsibility?

Having spent much of my career as a band director, I often found myself moving music stands from one place to another, and setting up chairs, and putting music in folders. A few days after completing my Doctor of Philosophy, perhaps expecting to feel differently, maybe relieved, maybe wiser, maybe special, instead I simply felt the same. This was further confirmed when I stepped into the band hall and began moving music stands, setting up chairs, and putting music in folders. Much to my comfort and maybe a touch of chagrin masked in wry amusement, I realized that nothing had changed, I was and still am the same person as always with the same expectations as always, the same aptitude, and the same larger purpose. Or had it?

But after thinking through the issue, I realize that in fact the responsibility question was answered. To an extent my advanced degree increases my responsibility in teaching. Education, study, research, or scholarly achievement do not, in and of themselves, replace or subjugate the absolute necessity for culpability, honesty, or obligation by a teacher to uphold the highest in integrity in all things presented. This is true regardless of rank, tenure status, or age of the teacher. Too often, professors are given a license, or carte blanche, to present information without consideration of the responsibility expected, and consequently ignoring or least denying the mystery of education, which is revealed over time.

The age of the students, the discipline being taught, the circumstances surrounding the teaching, the ultimate purpose of the teacher. None of these abdicates nor excuses irresponsible teaching in any form. From the 1st grade teacher working diligently to teach her children to read, through the junior high science teacher dedicated to explaining the basics of biology, to the Ph.D. class of students seeking to understand the philosophical purpose of aesthetics and their nature in art, the teacher has a calling, an obligation, a requirement, to be absolutely committed to presenting the truth.

The influence a professor has over his college students is significant and should never be taken lightly nor irresponsibly. Much has been written on the concept of tenure, and there is no reason to add to the literature on the subject, but in my mind tenure does not provide a license for poor preparation or poorly presented facts. Tenure is also not freedom to misrepresent truth or to mold students into a teacher's personal work of pottery. Tenure carries with it a tremendous obligation to pursue academic purity in highest form, and to offer that truth in an excellent manner so as to prepare others for honesty in scholarship and cognitive development.

Meanwhile, back at the responsibility ranch, when you are invited, even called to the education profession, and you enter through those doors to reside among people who trust your calling, your aptitude, your training, your heart, then you must do so with the utmost dedication to accuracy, honesty, and purity of information. It is a dangerous profession in many ways, for to mislead a young mind with casual, unprepared conjectures that have not been presented as such is to commit a crime of academic and educational heresy.

To that end, as I study and learn, as I refuse to rest comfortably on the amazing education I received, as I dedicate myself fully to greater discoveries and greater scholarship, as I continue to teach and to enjoy the opportunity to teach, I am reminded that my responsibility for imparting truth is of the utmost and must be done with comprehensive excellence. What they are learning and how they use the information may be a mystery but it does not abdicate my responsibility as a teacher. With luck, my responsible adherence to truth will one day be revealed by an informed and contributing adult. Maybe even an adult playing in the New York Philharmonic!

Mysteries and Responsibility, Pt. I

When I saw the young lady, I recognized her but could not quite place the exact location or chronology. She was tall, confident, friendly, and exuded a warm, humble personality that could not hide a desire for excellence. As I studied her, I was almost certain that I had taught her some horn lessons many years before in some location many miles away. She smiled a friendly smile and introduced herself, reminding me that I had indeed helped her a few times when she was a young college student and I was completing my advanced degree. As we conversed and I asked her what she was doing, she humbly with a touch of awe mentioned she played 3rd Horn in the New York Philharmonic. Her awe, however, was minuscule compared to mine as I stared at this amazing horn player who had actually arrived, arrived at the ultimate goal--the New York Philharmonic Orchestra.

A position in the New York Philharmonic is likened to playing professional level sports or being chief surgeon or a partner in a large firm or any number of professional level positions. What she is now doing is the dream of thousands of young musicians across the country. As though to reiterate the truth, on New Year's Eve, I watched her in the orchestra as they performed a nationally televised special to bring in the new year. It was thrilling for me to watch someone for whom I had a very small part in her success as a musician. She later wrote me and thanked me for the time spent with her and the helpful horn playing suggestions, further solidifying my role in her career.

I do recall those couple of lessons where she asked me about high range development, embouchure usage, and some phrasing techniques. She was obviously driven to succeed and was willing to work diligently and to ask lots of questions in her quest to achieve her goals. What if I had been too busy to help her? Or what if I had misguided her in some way by making a wrong suggestion? Would it have changed anything? There is no way to know. Yet to think that I actually helped her reach her dreams reminds me of the awesome responsibility that a teacher carries with him in the classroom, the workplace, and yes, frighteningly so, in everyday life.

In teaching, it is often a mystery as to whether the student is truly learning or gaining from the offering. The mystery often remains cloudy for years with clarity shining forth when a former student walks up and says "thank you" or "you made a difference in my life" or "I remember when...." Time is kind to most teachers and time often dictates and forms the final product--a successful adult. This and this alone makes teaching a lifelong endeavor with vast, sometimes mysterious, and definitely far-ranging influence.

But is the responsibility less for a college professor or greater? I will attempt to address this next time.

Thoughts on Worship

There are many decisions to be made when planning a worship service. A leader must always consider the large picture of what is trying to be accomplished as well as the minutia of the actual worship experience. To this end, I have come up with some suggestions to make the experience positive for everyone while avoiding any kind of alienation of preferences or style. While no system is without its flaws, and the potential for problems and contentiousness is always present, and the number of variables is extensive further adding to the challenges, I believe that if this process is followed, churches will experience less division and a greater purpose for its worship practices. With that in mind, here are some ideas for worship leaders. These are not in order of value or importance and are simply suggestions.

1. Move slowly but deliberately in all that you do. This includes the teaching of new hymns or choruses, the use of drums and guitars, the use of an organ, any tempo changes, video, or new arrangements.

2. With this, whatever you do new try it three times before making a decision. The rule of three will give you enough information as to whether this is the right thing for you and your church. Three times will also allow the congregation to learn it and thus accept it.

3. Avoid any extremes in your presentation, including tempos, volume, style, repetitions, or appearance.

4. Don't be afraid of variety. 2 fast songs or hymns should be followed with something slower. Something old can be followed with something new. A loud song probably needs a time of repose.

5. Try staying connected from one song or hymn to another through the use of transitions, related keys, or rhythmic similarities. Stopping between selections and starting again with an introduction can interrupt the flow of the music. Keep the music alive!

6. Be free to start a song or hymn in the middle or at the refrain. Also don't feel locked in to singing it precisely as written. To an extent, allow the congregation to dictate how something goes in terms of rhythm or even the melody.

7. Smile and enjoy what you are doing.

8. Plan well, plan precisely, and prepare specifically including all tempos, spoken words, prayers, repeats, and transitions. BUT always feel free to be creative and spontaneous when the spirit leads. Teach other musicians to be flexible and be ready for change.

9. Approach all worship through prayer and humility by allowing the holy spirit to guide the decision-making process.

10. Recognize you have all ages, backgrounds, and personal agendas in front of you. Try reaching everyone with something while working to encourage people to avoid pre-conceptions of what worship should be.

11. Don't overreact to criticism, but also be aware that you can learn something from most criticism. Dismissing criticism is as unwise as taking it too much to heart.

12. Study, listen, learn and be open to new approaches and new ways. Ask lots of questions of other music ministers and seek suggestions from your congregation. BUT also be firm in your convictions for what God is telling you about worship.

13. Be open to using a praise team but remain assertive in your leadership.

14. Don't allow the music to be divisive. Always work toward unification and collective joy in the experience.

15. Say thank you often. It is a team effort and the team will work harder when they are appreciated.

16. Know something about sound systems and video. Work with your technicians, not against them.

17. Strive for artistry and excellence in all experiences, but don't allow those goals to interfere with the higher purpose of worshiping God.

18. Build relationships and be friendly to everyone.


If you have other suggestions or ideas or even disagree, please feel free to let me know so I may add them to the list. Obviously these are but a few of the important elements to remember, and I believe it is time to work together as we discern God's will for the future of the church. There is no question that worship is a major component of the church today, and a successful music ministry encompasses many characteristics. Above all, pray and study.

Rob's auguries for 2009

I have written predictions before and usually remove them if and when they don't come true. Such will be the case with this one. Nevertheless, I feel led to offer some of my own thoughts for the future. These are in no particular order.

Public school teachers will receive a substantial pay raise and begin to be regarded for their hard work and impact they have on our society.

We will continue having major economic problems with the closing of small businesses and some shocking corruption discovered in large companies.

Higher education will continue to alter its face through greater technological advances including video enhanced online learning.

With these changes will come new degree programs and careers that didn't exist 10 years ago.

This is a good time for commodity speculating but beware of the quick spikes downward. Commodity trading is not for the faint of heart.

Rare book collecting will experience a surge in interest with values continuing to increase.

Sports figures and entertainers will see a small decline in salaries and support.

Major publishing houses will struggle and many will fold partly due to the ridiculous and inhibiting copyright laws that prevent creative intellectual development.

Here is an easy one: the Middle East countries will have further unrest.

Churches will need to alter their plan to survive with more small group experiences and experiments in worship practices including eclecticism in music.

The arts will experience a revival of sorts as people need more culture and less reliance on materialism.

The changes in the Tucker family situation will be fairly substantial with two graduations and the youngest driving.

Exercise and remaining healthy will become a necessity for everyone due to rising health care costs and inconvenience of medical problems.

Foster care, adult services, and attention on helping the disabled will take center stage in the media.

Counseling services will hit an all-time high in all ages with the rise in mental instability and personal problems throughout the country.

DNA research will reveal several important findings which will aid in preventing birth defects.

I will remain one of the few people I know with very little interest in the weather.

Be not bitter

There have been a few times in my life where I felt anger toward certain people and circumstances, situations that seemed a blatant slam on fairness and judiciousness, a gross mistreatment of who I am, an unnecessary disregard of my emotions. It is called bitterness and it can slowly but surely erode your joy, your confidence, your energy, and yes, even your character.

Bitterness takes the form of jealousy, resentment, despair, blame, and a general sense of hopelessness at your own circumstances. Bitterness festers and burns, slowly overtaking a person's mental state until it colors all circumstances and transforms a person into an angry, suspicious, non-influential, selfish entity working hard to infect others with the same poison pervading his every thought. In fact, sometimes people who are bitter can't understand why others are not the same way and, subsequently almost resent anyone who seems satisfied and contented.

I recall having a sycamore tree that became infested with worms. I made a rather lame attempt to kill the worms, but in truth I never liked the tree all that much, due to its general appearance and size. The worms came back and got worse, making the leaves yellow, the limbs brittle, and the elements that normally make it a vibrant, growing tree completely abhorrent. Finally, I had no choice but to give up and have the tree removed. I had allowed the worms to overtake the tree to the point where it had no chance for survival, plus the tree had lost its appeal making it a liability in the neighborhood.

Somehow being bitter is also debilitating, preventing productivity, and the creative fostering of ideas. In many ways, the rancor and vitriolic manner as caused from bitterness is an idea killer not only to the embittered but also to those directly or even directly affected by the defeatist. And defeatist they are indeed, for the sense of hope begins to leave, pore by pore, only to be left with pessimism and despair, in a kind of Kafkaesque existence matched only by Camus and his philosophy of social hopelessness. Like our tree, bitterness deliberately and systematically destroys its host.

Yet it is the person who overcomes the apparent mistreatment or harsh criticism or the injustices who ends up prevailing in the game. Of course the wise person benefits from the criticism at least to an extent and tries to avoid the same pitfalls that created the problem in the first place, gaining wisdom from the challenge and from the experience. Wisdom generally does come from experience but positive action occurs as we learn from but also eradicate the bitterness from our psychological armory. Maybe for the fortunate, in a Utopian world, a world devoid of discord, there is no reason to be bitter about anything due to the consistently positive and constantly warm affirmation received for everything done. But for most of us, we occasionally have a reason for bitterness. How we handle those moments, shapes our attitudes and ultimately forms our character.

The next step, after getting over the anger and bitterness is to forgive the perpetrator for the misdeed. But that, my friends, is fodder for another blog someday!

Stamp out stubbed toes

In the night or the early morning when all the other Tuckers are asleep, I often awaken wanting to read or exercise or watch an old show or write music or write a blog or simply go out on the front porch, provided the weather permits, and watch the stars or listen to the sounds of the darkness, or get a drink of water. I then reach for my glasses, roll out of bed very carefully so as not to disturb my wife, and begin my trek through the maze, the obstacle course, toward the kitchen, hoping to reach the small light under the cabinets that will permit me an unimpeded reach toward a glass. But my hopes are usually in vain, for inevitably something is in the way.

It could be the piano which has not moved an inch in nearly 10 years, or the rug which is very low to the ground, or perhaps the coffee table, or the little rocking chair, or maybe a Yahtzee game or maybe the television remote or a piece of candy. Whatever it is, whether soft or hard, I somehow hurt my toe everytime, and it is not fun.

When I was growing and would hurt my toe on an object, my dad would always say, "Ouch, you stubbed your toe." The word stub is usually used as a noun, but can be an intransitive verb meaning "to strike accidentally against a small object" (http://dictionary.reference.com/browse/stub). So my dad's usage of the word stub was correct, and it is always nice to learn a new word, but it did not change the pain of the situation and in fact sort of exacerbated it in the way that all dads seem to frustrate their children at times with brutally honest statements. Yes, Dad, I stubbed my toe and yes it hurts and yes I feel very dumb not to mention the throbbing pain in my toe.

Now, you would think that the whole stubbing of the toe problem would disappear as a person matures. For example, I no longer have acne the way I did when a teenager, and I no longer have loose teeth (loose hair, yes, but not loose teeth). I have outgrown many negative behaviors and no longer run everywhere I go (okay, I do walk briskly). So why can I not outgrow this stubbing toe problem? Could it be I have long toes? Or could it be that I am simply clumsy? Or just not very careful? Or have I always insisted on trying to walk in the darkness?

But I have decided to solve the problem in this way: house shoes. I will not walk around in bare feet again since I have received house shoes as a Christmas gift. I now awaken, reach for my glasses, roll out of bed, put the house shoes on, and walk gracefully to kitchen without screaming in agony. Stamp out stubbed toes I say. Happy New Year to pain free toe existence.

It's all about the harmony

Please excuse the limited inclusiveness of this blog as I pontificate on harmony in music. Most musicians are drawn to some particular element of music be it rhythm, sound, melody, bass, instrument timbre, text, volume, or tempo. As musicians become more trained in these elements, they inevitably become more selective and more knowledgeable about how the elements operate congruently in a piece of music. Yet, it seems that knowledge, education, and training do not necessarily alter one's preference for music, or one's attraction to a specific element. Since preference rarely is fastidious, it is probably stretching to say one's attraction to a single element is solely responsible for one's judgment or criterion for excellence. But for the sake of clarity, I am merely explaining how I hear music.

I am always curious as to what element is most fascinating or preferred in people's attraction to music. I have a friend who tends to judge music, at least initially, based on the vocal quality of the singer. When the singer has a harsh, strained quality regardless of the style of the music, whether country, rock, Christian, art, or folk, my friend simply rejects it outright. His initial reaction is negative due to the painful vocal quality being presented. Another friend is a text guru. He seeks out quality poetry and relates the internal qualities of the text to the performance of the music, being emotionally and musically satisfied when the music matches the text, and being less sanguine when the music is not well matched with the text.

I know people who are attracted to slower music with smooth, non-percussive timbres, still others who prefer a clean presentation such as found in cultivated chamber music or solo sonatas. Melody is always an attraction and many are drawn to how a melody is shaped and what it means. Rhythm and/or the beat is yet another element that elicits strong reactions and in fact tends to govern the popular world of rock and country/western music. Of course this discussion of preference and musical responses is unending with the parameters being limited to the number of people on the planet. It is further complicated by the setting in which particular music resides. At a formal church service, some people prefer certain elements over others that may be found at an athletic event or a dance. Yes, this is a complex issue, that's for sure!

But for me, given my personality, learning style, priorities, and training, I am comfortable assessing music through its harmony. This is not to say that I reject melody, for melody is what I remember more than anything else; and this is not to say that I think rhythm is not important, for rhythm is what pushes music forward, giving it the energy, drive, and passion we seek for an emotional experience. But at the end of the day (I can't believe I just used this worn-out cliche'. I won't ever use it again, promise!), I love the harmony of the music. I am thrilled by the music that goes beyond three or four chords, music that shifts in and out of the key, music that has chromatic alterations, and music that experiments with new land, explores, examines, and teases, but then returns to the origins of the piece.

Because of my interest in harmony, I find myself fascinated with certain composers over others, and certain genres over others, and certain sounds over others. This makes my musical world of preferences a little elite at times but also fairly accepting of variety within the parameters of my harmonic world. In this world, I tend to compare the music of Vivaldi with its limited harmonic interest to the music often found in modern praise choruses. I also tend to reject the less innovative composers in favor of those who tried new and creative harmonic alterations.

So by my oddly narrow definition of excellence based on harmony and its creative application, in the area of art music, I am less interested in the music of Vivaldi, Haydn, Schubert, Mendelssohn, Dvorak, and Verdi than I am in Bach, Mozart, Beethoven, Schumann, Wagner, and Brahms. In jazz, I prefer Duke Ellington over Count Basie and Chick Corea over Dave Brubeck. I like show tunes more than rock music, but in rock music I prefer Stevie Wonder and Chicago over Paul McCartney and the Bee Gees. Using my evaluative system of examining harmony, Lead On, O King Eternal is a stronger hymn that Leaning on the Everlasting Arms. Of course, I tend to like whatever I am hearing or studying at the time, so it is difficult to remain consistent, but in general I prefer music with harmonic interest over music that is simplistic. This makes for a rocky musical existence in that I have to know something about the harmony before passing judgment, but one which is fun and different. Ah, to be different, perhaps that is the preference!

Autism and Cell Phones, Pt. II

After writing the blog on Autism and Cell Phones I discovered the same title had been used for an entirely different purpose. To that end, I am writing a follow-up addressing the same topic but for a new reason, the reason being that I do not believe that cell phones are causing a rise in autism in our culture as proposed by many. The argument in favor of such posturing is that autism increased at approximately the same rate and at the same time we saw a rise in cell phone usage http://www.internalbalance.com/CELL%20PHONE%20USE%20AND%20AUTISM%20RESEARCH.htm

I am not a scientist and have little to substantiate my beliefs other than years of study of findings plus many years of searching for causes as well as cures for autism. We have examined pollutants, allergies, enzymes, food, weather, animals, vitamins and minerals, water, medicines and homeopathy, and experimented with all known forms of cures that are within our limited budget. Obviously there are other cures outside of our resources that we are still considering. Yet with the thousands of suggestions for causes and cures, and much research, and devotion to the problem, and absolute commitment to finding a cure, much of, but not all of, autism remains a mystery.

Not that I am suggesting we give up. No, in fact, I continue to hope and pray for the magic dust that will fix all of the problems with autism and autistic students. Some of the mystery, indeed, involves the proliferation of autism or at least the identification of children with that particular disability over the last ten years, matching that of the rise of the cell phone. During the last ten years we have also seen the decline of the base stealer in baseball, an awareness of steriod use in sports, the rise of the mp3 player, an increase in Starbucks coffee houses, an increase in body piercings, the stunning success of google, and the spectacular popularity of pre-teen idol Hannah Montana. All this to say that any extended period of time usually demonstrates a marked ebb and flow of ideas, people, objects, inventions, events, and circumstances. It is possible and in some cases likely that such growth in one is related to or even causes another or that a decline leads to a rise in something else. But it is also just as likely the events are totally unrelated.

I have no irrefutable proof for what I believe and only time with careful data will determine the truth, but for now I will stand firm that cell phones are not causing autism, and to think such a thing, detracts from where the truth will be found. The truth to the causes and cure for autism will be found in the DNA, from the millions of strands being studied at this very moment, in the thousands of laboratories across the country, by the scientists and mathematicians looking for the abnormality we know as autism. Meanwhile, parents and physicians continue to try different approaches to help--and virtually every technique is beneficial.

Good nutrition, vitamins, breathing, therapy, behavior techniques, more sleep, order, quiet, organization, and deliberation, are all appropriate and productive in helping the autistic. And no doubt allergies, pollutants, stress, disease, and various other problems have contributed to the increase in Autism. Yet there is also no doubt we are identifying the disability, which has become quite broad in scope, earlier and more accurately, in an effort to help these children adapt better in an educational environment.

Back to our issue: Is it possible cell phones with their electromagnetic radiation have added to the rise of autism? I suppose it is possible. Is it likely? I think not. Meanwhile, let's continue to help the disabled and let's continue to search for a cure. Until that time occurs, however, we should avoid blaming outside sources for this problem and focus our attentions on improvement.

Autism and Homework

Now that school is over for our autistic son, I would like to give some helpful hints to parents and teachers about ideas to help the educational process.

Homework assigned to students will always be a controversial topic in education especially given the schedules that many students keep after school, but also the pressure to keep standardized test scores at a high rate causes schools to remain committed to constant improvement. While a certain degree of homework can supplement the in school process or, in the case of students unable to complete assigned work during the day, homework can keep slower students caught up, it can also be a great burden to both the student and the parents. When homework causes serious emotional duress and becomes a time-consuming project to the exclusion of family time, personal endeavors, or positive support, then the gain is actually a loss, a bear market with little hope for a rebound. This is often the case with autistic students.

Autism is a difficult disability to define partly due to its complexity and diversity, and partly due to the often accompanying disabilities such as speech problems, reading disorders, behavior problems, and various learning challenges. Since these problems may or may not attend during the day, it should come as no surprise when a teacher assigns work to be done at home, assuming the student would benefit from the supplemental learning experience or stay caught up on the work required. But, sadly, unless the instructions are very explicit, and unless the required work is prepared to accommodate the disability, most likely the homework will take several hours and be a combined effort, or combined torture, of student and parent.

Educating the autistic, as has been discussed in earlier entries, requires a thorough and precise process to include modeling, pictures, limited sequencing, and opportunities for practice. While homework can include these elements, most likely, unless the teacher has provided some of this, and unless the parent has received the proper training, the homework will be missing some these necessary ingredients for success, making it a hardship for everyone and most likely a moving target for any kind of winning benefit. This probably becomes compounded as the autistic student progresses through the grade levels, and in having several teachers and several subjects, all of which are committed to the finest in education for all students. It then becomes a difficult arena for even the most advanced student to deal with 5 or 6 different homework expectations, with the difficulty multiplied several times for the autistic and his parents.

So how do we solve this problem? We do not necessarily advocate zero homework, for there is no question that study time and supplemental work can be constructive when handled judiciously. And we certainly do not advocate lower expectations in the classroom, for many autistic students can learn at or sometimes beyond that of other students. But the system has to be different from the norm, with great preparation, and exact deliberation of presentation, allowing for time, minimal distractions, and fewer problems on each page. Mostly, it is necessary to provide a thorough education to teachers and parents that will prevent any kind of stressful home situation including excess homework time, emotional strain, and negative educational dividends.

To teachers I suggest coordinating the homework assignments with the other teachers to prevent too many subjects being dealt with at home. This may require a bit of centralization through the system but is definitely worth the challenge. I also recommend that when homework is necessary, the teacher give very specific instructions as to the expectation, including minor recommendations such as pencil or pen or time suggestions. Furthermore, make sure that no homework assignment would take more than 30 minutes. Remember a rule of thumb of doubling the time: a 30 minute assignment will probably take an autistic student 60 minutes.

To the parent, don't allow the total homework to exceed 60 minutes and 30 minutes is much preferred. Avoid any kind of emotional duress or excess tension during the process. Help your child to think critically by encouraging the responses rather than providing the answers for him. Remember that our goal is independence,with the ability to make informed, responsible decisions. Mostly, remain committed to the educational process, knowing that teachers and schools have the best interest of the student at heart, but also be firm in your convictions to develop a healthy, loving, and patient environment both at school and at home.

Autism and Cell Phones

It was with some reservation and curiosity that we finally purchased our 19 year old autistic son a cell phone this Christmas. Our reservations were primarily based on his ability to manipulate the sequence and order required to make and answer calls, to set up contacts, and to send text messages, plus the responsibility of keeping up with it. But the need to have ease of communication, knowing where he is, and giving him a sense of security, all added up to his having a cell phone. I went to the cell phone store to pick one out with the typical concerns of price, size, style, color, screen, and all those things that make each phone unique. After a confusing 30 minutes of a salesman explaining the differences, I landed on a little flip phone with a choice of red, black, or blue. Settling on the blue one and picking the contract system for the next year, I took it home and gift wrapped it (okay, my wife actually wrapped it), and placed it under the tree.

Christmas morning he opened it up and with his typical stoic reaction, said thank you and proceeded to some other gifts. After all was done, I turned to Joel and asked him if he liked his new cell phone. He of course said yes and in his customary, understated manner mentioned that he liked all his gifts equally and was glad it was Christmas. I knew I would need to show him some things about the phone but wasn't entirely sure how to go about teaching him the basics. Luckily, his younger brother who is 16 decided to take it on himself to teach Joel. Remember that virtually every behavior and action must be taught to autistics. This is due to their lack of perception of social behavior and their general lack of creative curiosity. In addition, while they enjoy new things, they usually do not have an innate desire to explore and discover, or at least the knowledge needed for such endeavors.

But Joel's brother, Jordan, jumped in and created family contacts plus a few friends, taught him how to answer the phone, and taught him how to send a text message. I then showed Joel how to place the phone in the holster and how to attach it to the belt. He now walks around with his phone on his side, wearing a tie, and a slight swagger, with a kind of pride demonstrating that he has arrived in the world! When we call him or send him a message, he is a bit slow at responding but in his cautious way, does get the job done.

I realize now that given the right instructions, the right circumstances, and mostly lots of patience, Joel can learn how to navigate through a cell phone. I also recognize how much security this gives him and mostly us as we prepare him for the working world. If he will keep it with him, we will always know where he is and how is doing. At the same time, it is also our continued goal and responsibility to help him be as independent as possible and make his own decisions. The cell phone is an ideal way for us to monitor his activities a little, yet give him room to make his own mistakes and his own successes. But we are only a call away from helping him if he is in a predicament, or lost, or frightened. Obviously, more teaching of when to use it is needed, but in general my comfort level about this new item for Joel is quite high.

In conclusion, I believe that autistic adults need and deserve a cell phone, but they also need careful teaching on appropriate usage. Mostly, autistic adults and children must have someone or many someone's who love and care about them. Sometimes loving and caring takes the form of allowing effort and encouraging independence. In our case, the cell phone just may be the right tool for this delicate yet joyful balance.

The Joys of the Beginning Band

Having taught music to all ages of students including older adults and small children, and having taught every type of music from folk songs to rock, sacred, contemporary, art, experimental, and having used a wide variety of resources including theory, history, recordings, power point, visual aid, and models of excellence, and having been personally rewarded with watching and hearing success in terms of love of music and enjoyment of the musical experience, plus being involved in choral, instrumental, academic, and popular styles, I am concluding that of all these events, the greatest and most rewarding teaching occurs when guiding and directing a beginning band. Furthermore, beginning band epitomizes the value, purpose, and process of education by being a direct and ubiquitous example of growth, development, and product.

Rarely in the educational process is there a more stunning and dramatic occurrence than the improvement of a beginning band from the first day to the last. The learning of a musical instrument in a group setting is so pronounced, individually and collectively, that teachers and students alike find themselves on an adventure of affirmation and success. Not that all moments are like Disneyland, but taken as a whole, there are few educational experiences that can claim such obvious growth. Beginning with virtually no knowledge or ability, a student in a relatively short time, can make sounds, play notes, play songs, feel a musical phrase, read music, and have a powerful emotional connection to what it means to perform.

Driving through our fair city a couple of years ago, I was shocked to see that a local Sonic restaurant had disappeared. The day before it existed, but the next day it was gone, having been destructed and everything removed in a shocking example of efficiency and decision making. Even more stunning, however, was that about 2 weeks later, there stood another newer and improved Sonic in the same location! The system in place for creating a new Sonic is remarkable and demonstrates how goals and commitment can have quick and positive results.

Obviously, people do not suddenly become educated in a matter of days or weeks, and life-long learning cannot be capsulized nor described in terms of bricks and mortar, yet in many ways, a beginner band exemplifies the same creation and the process of a new Sonic. With resources and materials, a teacher has all the elements in front of him each to render a band that while questionable on day one, can be aesthetically and musically solid by the end of the school year. Like a building, a solid foundation, thorough adherence to excellence, and dedication to the process leads to objectives and outcomes that are both desirable and measurable. But the musical result is only part of the story.

The true rewards of the beginning band do not come from the concluding musical excellence alone, but rather from the joy and satisfaction that playing in a music ensemble produces. The old adage of "teach a child to blow a horn and he'll never blow a safe" is obviously simplistic and a gross generalization, but also, when considered symbolically, contains more than a grain of truth, for playing an instrument is so psychologically and emotionally fulfilling that it can focus attention on the benefits, the rewards of discipline, the gain of group excellence, the sense of belonging that a music ensemble provides. In many and sundry ways, playing in a band is a microcosm of the independent yet synchronized lives we lead.

Each person applies musical knowledge, skill, and sensitivity to the printed page to make music. But in an ensemble, the music that is made is full, complete, and includes all members, making the rewards feel team oriented and serving the greater good. The selfish application of excellence in an ensemble, can, when handled correctly, produce selfless outcomes. This teaches and embodies the concept of acting individually but thinking globally.

But even this idea does not tell the full story, for the story is really about the joy that both students and teachers experience on a daily basis. Teaching a group of students replete with eagerness and anticipation on what they can accomplish that day is the highest in affirmation for a teacher, and the rewards for such endeavors are infinite. That is why I loved my time teaching beginning band.

The Economics of Joel in Education

The students wore ties, the faculty were moved, and there was a general out-pouring of love and support for Joel as he concluded his last day in school. What to Joel might have seemed unusual, and I have little doubt that he never understood what the tears were all about, nevertheless he was aware that he was being honored and while he may have been confused by all the attention, he also responded with hugs and sincere appreciation. Why all the fuss? Isn't Joel simply one of thousands of students who graduate from high school?

The show of warm affection mingled sweetly and nostalgically with sadness as the students and faculty gathered around Joel to demonstrate what he has meant to them through the years. Joel's disability, autism mixed with learning problems, could have resulted in rejection, loneliness, and alienation as he did his best to fit in to a public school system whose prime concern is to meet or exceed academic expectations on standardized examinations, but somehow instead resulted in unconditional acceptance. Never mentioned, but maybe foremost in an administrator's mind, has to be the cost of educating a student so far away from the model needed for institutional success. Joel, in his thirteen years, cost the district time, money, and to a small degree academic reputation. Not only that, there is the peripheral curiosity that the time Joel required may have taken away from other childrens' educational needs. His need for specialized classes, teacher's aids, almost constant attention, modified grades, meetings, individualized teaching, and unique scheduling had to have been a serious drain on the resources of the district.

But, ironically, the cost of educating Joel was much less than the gain. Economically, when I spend money on an item, I hope to gain more than I spend whether it is a car, computer, clothes, or food. If I buy something that quickly breaks, then I realize I spent more than I gained. Yet if the car I purchase helps me make a living, then it is my contention I have gained more than I lost (unless of course fuel and upkeep costs keep escalating!). Obviously people are worth the investment and should not be considered objects or commodities for consumer consumption. Yet, even from an economic standpoint, is it possible that Joel was worth more than he cost? I believe the answer is yes.

The surface explanation is that any cost that leads to the education of a child to make him a productive, contributing member of society is beneficial to the common good. And, no doubt, in spite of his disability, Joel's education has helped him to cope, to adjust, to think critically, and to make his own decisions at least to an extent. The relentless commitment to Joel's improvement, the concerted effort of teachers, other students, administration, and yes even custodians and maintenance workers, all came together in a glorious chorus of dedication to helping a disabled child.

But returning to the question, what did they gain? Why invest so much effort into one person? Were they simply doing their jobs or was there more to it? As I watched the myriad of reactions to Joel's departure from school, I realized for not the first time that it was not Joel who was being honored but rather it was Joel who had done the honoring for the last thirteen years. Joel was simply being thanked, thanked for all he had done for everyone else.

Thanked for the smiles, the handshakes, the hugs, the encouragement, the support for everyone, for everything. Thanked for the consistently good attitude, the effort, the adherence to looking his best, the absence of ugliness, or bad language, or unkind words. He was thanked for being true to himself without malice, without pretensions, and without the lies that often accompany students trying to make themselves look better. He was thanked for his unceasing and transparent honesty. He was thanked for making their world a better place. His value was and is immeasurable and in economic terms the demand for Joel is far greater than the supply. Maybe if we had more Joels, the world would be a better place.

Master composer--Jean Sibelius

The study of music history can also be a study of cultures, progress, development, and perhaps most importantly, a study of the human spirit and creativity. The life and work of Finnish composer Jean Sibelius embodies this idea of a study of music history being akin to the study of native culture, creativity, and progress or rather, in his case, refusal to progress. For Sibelius rejected, not an unusual path for composers of that era, the temptation to alter his personal approach to music making and was not tantalized in the least to jump on the serial or avant garde or experimental train that so many others joined.

That stated, and there is more to come on Sibelius, I must say that I am not a proponent against modernism in music. I have a great love for the experimentalists of the latter half of the twentieth century and attribute much of the mounting success of music to the unusual and creative spark in those who carved their own path against the pressures of traditionalism. While much of their music has been relegated to peripheral academic settings or small cultish coffee houses, there is no denying the vast influence that their music has had on today's world. The first half of the twentieth century is more difficult to label in that composers and the world in general seemed to vacillate between the old and the new, in an attempt to learn from the past but make a forward statement. As we look back on this important time in music, we find ourselves entranced by those writing in a Romantic vein and fascinated by those pushing the envelope of modernity. More on that at another time however!

Returning to Sibelius, he was born in 1865 in the country of Finland where he spent his entire career devoting much of his music to the nationalistic spirit of the country. His music is distinctly Finnish, with folk idioms, and powerful images causing the listener to visualize the stunning landscape of the country. From orchestral suites, symphonies, chamber music, concertos, and songs, Sibelius music covers the gamut of musical output, and all of it within a traditional framework yet distinctly Sibelius with rich chorale writing, vibrant, relentless string writing, long transitions, variety of tempo, and colorful orchestration without resorting to trickery and extreme excess. Although his musical canvas is tonal, his melodies romantic, and his texture complex, Sibelius' sound is a unique, personal expression of his own majestic optimism and powerful energy.

My personal favorite work, at least as of this writing (I tend to be drawn to whatever piece I happened to be studying at the time), is the Violin Concerto with its beautiful 2nd movement orchestrated with 4 horns serving as accompaniment to the soloist. The harmonic suspension of this movement gives a tension and relief that almost causes a physiological reaction in the listener. Each movement is vibrant, rich, and musically demanding on the players as well as the audience, with the last movement being a fireball of rhythm and excitement http://www.youtube.com/watch?v=wXYXUd_N2YI.

Other enjoyable works are the symphonies with the most popular being the 2nd symphony, Finlandia Suite, and the rarely heard but quite engaging Lemminkäinen Suite which includes The Swan of Tuonela. In truth, I enjoy everything Jean Sibelius wrote and expect to continue to champion his music and what he represented as one of the finest nationalistic composers of the 1st half of the 20th century. A traditionalist? Yes, but certainly one of the best of that genre.

Revisiting Thunderball

I have no intention of reviewing every James Bond movie, but after watching Goldfinger with a less than complimentary eye, I became curious about other older James Bond flicks. Are they all as poorly acted with cliched lines, superficial delivery, weak plot, and a general lack of action? Are they full of predictable puns and eye-rolling sexual innuendos? I was convinced I would not enjoy Thunderball and would hereafter reject all early Bond attempts. In fact, I had about decided to revisit the Ian Fleming books and give up on the movies.

As the show began, I was immediately drawn into the world of espionage and intrigue, enhanced by some of the most striking music I have heard from this genre. While the story itself is not necessarily new, a powerful organization called Spectre seeking money or it will blow up part of the world with nuclear bombs, it is handled realistically with a combination of investigative techniques and personal infiltration of the organization. With an excellent balance of action, repose, reflection, and determination, Thunderball delivers a solid punch both physically and emotionally.

Aside from the occasional pun, after shooting a harpoon into an advancing villain, Bond says "He got the point," and the too many young, attractive women (is there a place for women over the age of 30 in a Bond movie?), the acting is solid and the lines are delivered with realism and honest concern. Sean Connery seemed sincere in his quest for truth and to complete the mission plus having compassion for those in plight. Admittedly, the confusing and oddly stilted underwater battle scene was not really believable, and the absurd speeding of the action was silly and unnecessary, making the movie seem too long and predictable at times; yet the film moved well and the exciting fights included guns, fists, and various weapons.

For me, the best thing about Thunderball is the music. It is a wildly inventive score requiring extreme range, technical, and tone demands from all the players. The music enhances and improves the scenes, catapulting John Barry's score into one of the finest of the spy genre. There is no question that a weak score can ruin a movie, but in this case, the score is almost stronger than the film itself.

In spite of the flaws, I thoroughly enjoyed Thunderball and place it in much higher category than Goldfinger in terms of its story, acting, and cinematography. It is worth watching and Bond fans should consider it as one of the best. Mention should be made of the intense and exciting performance of Tom Jones in the main title, setting the tone for an engaging and intense movie.

Movie Review: Quantum of Solace

Being a James Bond fan, having read all the books and seen all the movies, I felt compelled, maybe even required to attend the latest fare titled Quantum of Solace. Like everyone else, I was originally cautious with the choice of Daniel Craig as the new James Bond. He was an unknown, nearing middle age, and somehow not as strikingly handsome as previous Bond actors. His ruddy, earthy look and demeanor does not seem as comfortable in the refined arena of high finance, sophisticated parties, and elite environments. Yet, in contrast, Roger Moore, whose appearance is nearly opposite to Craig's, never looked entirely at ease with the action scenes. Moore's refinement and sophistication somehow prevented him from getting his hands dirty, giving his performance a lofty disconnect from the brutal requirements needed from a spy of Bond's stature.

Daniel Craig, in contrast, performs admirably in quality social situations, yet even in the most relaxed, elite world, one gets the feeling Bond is always ready for action and absolutely committed to reaching his goals. Also, what has changed in the new Bond thrillers is the silly emphasis on sexual puns and sly, not-so-clever humor found in earlier Bond movies. A recent watching of "Goldfinger" reminded me of the strange smooth hero (who is really not so heroic) approach that we came to accept as James Bond. For example when the main female character, Miss Galore, introduces herself, he says, "I must be dreaming." In "Goldfinger" the villain doesn't seem all that bad, and the good guy, James Bond, appears to be apathetic about danger but primarily concerned with having a relationship with the lady.

Whereas in Quantum of Solace we find action from a serious James Bond, who although not perfect, accomplishes his mission in spite of the odds and the obstacles placed in his path. The filming and story are fast-paced with an energy not found in earlier Bond movies and action that borders on the impossible but never actually crosses that line. Without resorting to silly puns and inane, pointless humor, Quantum is edge of the seat viewing and bad guy versus good guy polarization. It is an escape, feel good kind of film that does not disappoint. As in other Bonds, we are treated once again to pretty ladies, villains, guns, and clever conclusions to the problems presented, plus the ongoing concern from Bond's authority figures that James is too autonomous. What is very different, however, is the general serious tone of the movie and the ubiquitous, unrelenting dedication to accomplishing the mission.

On the negative side, the story is a bit difficult to follow, perhaps requiring a viewing of Casino Royale prior to seeing Quantum, and the filming is almost dizzying in its quick alteration of setting changes particularly in the action scenes. Plus the viewer has to question how much punishment Bond can handle and keep coming back strong.

This latest Bond adventure, like many great stories in literature, can be viewed on several emotional levels. One of the most artistically stunning moments is the Tosca scene, a glorious opera by Giuseppe Verdi, where gunfire, death, and destruction are accompanied by lovely singing and melodious, tonal music that causes an unsettling sense of confusion when violence and beauty are blended together. In addition, there is the inevitable personal motivation for revenge level which includes almost extreme pain and death, the geo-political "save the world" level, and another level that is difficult to pinpoint. It is a dimension dating back to Homer's Odyssey that finds fruition in Shakespeare and onward to McMurtry's Lonesome Dove, and even Cormac McCarthy's masterpiece, The Road. It is the dimension of destiny or calling. James Bond now has a serious and relentless destiny to make the world a better place and stop the evil tyranny that lies just below the surface of existence. Bond seeks a moment of peace but is forced to use violence to create the moment.

This is a film worth seeing that can be viewed on many levels. A fine achievement in terms of acting, story, filming, and music. I look forward to many more James Bond features with Daniel Craig.

The Gift of Music

Logically and spiritually I realize that Christmas is about the birth of God's son, Jesus Christ; and yet, for me as a child growing up in a musical home, Christmas was definitely enhanced by the music. I grew up in a musical home and almost cannot imagine a home in another way. The sound of the piano was nearly as constant as hearing instruments, trombones, horns, or the stereo, and if that were not enough, you could always hear somebody whistling, humming, or singing. And the music ranged from Beethoven to Mozart to Elton John to jazz, hymns, choruses, folk songs, and the inevitable Gospel "classic." It was as though we could not get enough music and the curiosity about music was infinite, comprehensive, and infectious.

But before I get too astray in my explanation of our musical world, let me return to Christmas. There is something about the Christmas season, with its emphases on festivity, food, fun, and family that begs for more music. While today's technology allows for an inundation of sound, including every elevator, store, barber shop, and automobile, and while some may argue that it is too much, try to imagine a world at Christmas without music. The season of Christmas is manifested in glorious music for all ages and all types of people. We depend on it, and we love it, for it reminds us of the many blessings that surround us, and it reminds us to reach out and bless others.

As a child growing up, we would sing, play, listen, and love the Christmas music that surrounded our lives. Now today, my children once again sing, play, listen, and love the Christmas music. And each Christmas eve, like the generation before, we read the Christmas story, sing Joy to the World, and open some gifts. We then thank each other, and we thank the Lord for the greatest gift of all, Jesus Christ. And I always go to bed and thank the Lord for another great and glorious gift--the gift of music.

Inspiration: the key to teaching

After reading a recent comment to an entry, I feel a need to respond with yet another essay on inspiration, communication, and connectivity.

With few exceptions, we do not live and cannot live in a vacuum with a one way ticket to a psychology or to the pathology of self-understanding. If our prime directive is to serve our own inherent selfishness by expending great energy in reflection on who we are and who we choose to be, then it stands to reason we will be less inclined and certainly less successful at connecting to people. Obviously, however, as Shakespeare said, one must "know thyself" and "to thine own self be true," but it is that knowledge, unless it is entirely self-serving (apologies to the Randians, but I just cannot accept your premise in its entirety) which in turn makes a person more effective in dealing with others. This brings me back to teaching.

While I have spent my career in music and am now in college administration, I believe that successful teaching does require inspiration, at least in some form or another. Yet I also am utilitarian enough to recognize that inspiration cannot shine forth, indeed almost cannot occur, without certain elements behind it, namely knowledge, skill, and passion.

Football is an American pastime and a general favorite topic of conversation. I spend several minutes per week involved in some sort of football discussion with a friend or acquaintance. A discussion on football can take many slants including referee complaints (boring), injury descriptions (gruesome), pity for losers (shared sorrow), joy for winners (shared happiness), projections for the future (ignorance), and elation over particular plays or players (usually I just nod at these). Discussions often jump from high school through college and onward to professional level and result in some sort of bonding and shared experience by those involved (mostly men it seems). From these discussions I have learned many things about football, and while I don't have the skill (I was very bad at it), I do have quite a bit of knowledge gained primarily through osmosis. But, in truth, while a good football game is exciting and fun, and I will always remain a Cincinnati Bengals fan (they will come back strong someday), I don't really have a passion for the game. It occupies very little of my emotional attention. Therefore I have little to offer others in terms of inspiration of football, and this is actually fortunate since there is plenty of passion for the game already in the world.

Without skill but with knowledge, I might be able to impart certain principles and be a mildly effective football teacher, but my lack of passion would most likely result in uninspired teaching perhaps with negative consequences of uninspired performers, or to put it another way, a losing team. Conversely, then, it seems to me that inspired teaching must have skill in the discipline (maybe this is not essential but certainly to be valued), knowledge of the discipline, and a passionate belief in its role in education and culture at large.

When we think back on those teachers who made the most impact on our lives and taught us the most, we recognize several essential qualities or characteristics that cannot be denied. Those people knew their subject matter, they had the skills to support their knowledge, and they were passionately committed to communicating that knowledge to those willing to learn and to listen. Perhaps the truly outstanding ones had one other essential tenant that came shining forth to cause what we now called inspired teaching: those people had and have a love of people.

I was recently reminded of the need to love people when I overheard a student say to someone else, "Why don't you love people as much as you love music." The greatest teachers I know have skill, have knowledge, have passion, and they love people. For without that love, their abilities turn inward and lack the connectivity, the level of communication that is absolutely required for successful education. In fact, to take it another step, I would posture that love of people is essential for success in nearly (notice my careful disclaimer!) all disciplines that involve connectivity. Inspiration comes from passion of the discipline and great teaching becomes even better when accompanied with a love of people. So I continue to develop my skill, my knowledge, and my passion but never to substitute those things with the required ingredient for success, that is love of people.

The Simple Joys of Book Collecting

I am an avid book man with limited financial resources to support my hobby. Yet, it does not stop me from constantly seeking books of all types, genres, shapes, even condition. Having written about my father's influence and my early love for particular authors' books, I won't expend much more energy on the past. Just know that I have moved from being a reader and collector of paperbacks to being more interested in hardback books.

I find myself walking into antique stores, pawn shops, even garage sales with the hope of finding that special book treasure that I must own (a misnomer since one can never truly own a book; rather, we are more likely caretakers of the books). The greatest pleasure for me is entering a used book store, many of which are dark, a little dusty, odorous, cluttered, unorganized (to be fair, it is nearly an impossible task to make a book store ordered), and start examining titles. Each store seems to emphasize a particular genre or type of book, most likely according to the interests of the owner. I enjoy the search, the quest, the exploration, the sense of adventure that accompanies my visits to bookstores. My pulse quickens when I think I see something I must have, and I relish the getting on the floor, pulling books out of the way so I can see the books behind the books that may have been hidden for years.

I love opening a book hoping to find a 1st edition, maybe even signed by the author! Or seeing a book I have never seen and learning something about it, its history, its writing style, its organization, and mostly its personality. For, you see, each book has a kind of personal distinction: from the binding, to the title page, to the publisher's information, to the table of contents, and finally the prose or narrative. Is it 1st person or 3rd person? Does it cover a short period of time or does it change time periods frequently? Is it factual or fiction or maybe a little of both (I am beginning to believe that even the boldest fiction cannot be entirely removed from reality or fact). All these factors and more make each book, no matter how insignificant, special with its own character and qualities.

And reading remains an important part of my life in that I cannot recall a time when I was not reading several books at once usually with one in particular that captured most of my attention. Couple this devotion to reading with my tendency to get immersed in one particular author and suddenly I find myself committed to acquiring every book by certain authors. And there I was driving through a city out of state, looking for bookstores when I stopped and visited a dark, rather musty bookstore in a bad part of town. After a quick look to get the "lay of the land," I began my closer inspection of the contents. I found a few books that had to be in my collection, but nothing really substantial. Finally, out of time, but wanting to do one more quick look, I moved several books out of the way and found a treasure. It was a 1st edition, 1st printing of a book in mint condition. The owner wanted $83 for it which I was happy to give knowing the book was worth close to $500.

I left happy with my find, feeling as though I had explored, conquered, and somehow improved my lot and my territory! All rather silly emotions to a non-book person, but those who love books will understand the feeling. Onward to future books, more reading, and more dedication to the search. Ah, the simple joys of life.

Music education: teaching and performing

While it does have natural beauty, knowing more about a rose, how to fertilize it, how to treat it, and how to prune it, lifts the rose to a higher stature both for the viewer and for the owner. One can appreciate the beauty without knowing the struggle that went into it, but knowing more provides a depth of respect that has greater meaning. Such is the process of education, thorns and all!

I have enjoyed my career as a performing musician with a music education background who has a love for teaching. Some have expressed surprised that I have worked to maintain a certain performance level while being a committed music educator. In many ways, both historically and pragmatically, this is not necessarily unusual, for to teach well requires both knowledge and skill of a particular subject. But this brings to mind an ongoing dispute that requires attention, with the sad knowledge that the argument will never be solved due to the countless examples and persuasive discourses on both sides of the complex issue. Yet, sometimes it seems that powerful opinions melded with extreme emotions have yielded several generations of musicians committed to one ideal over another.

If I may be so bold as to capsulize what I am talking about, I would say this: performance v. education, which is better and which is right? The argument rages in musical circles at all levels and tends to find its loudest voices in academia. Yet, in my view, it is an argument without merit, perhaps developed by a few musicians incapable of seeing the global benefits of music and its vast influence on the world. Now, now, you say, isn't that a bit harsh? Maybe, but I am concerned that the argument, the division, has created an odd problem that has no solution. The separation of the ideals has resulted in those who do, that is those who perform, waging war against those who teach. And conversely those who teach sometimes having little regard (except perhaps a begrudging but not necessarily admitted respect) for those who perform.

Those who know me already recognize the signs of my writing, a theme I tend to posture often on many different issues: the theme of peace and solidarity, for to teach is to perform and to perform is to teach and to war over which is better is to lessen the beauty inherent in both. As I write this, I am thinking through the upcoming concert I am preparing to perform. I will be playing the Mozart Horn Quintet (called such due to the horn being the unique instrument in the group) with a visiting string quartet. I consider myself an average performer (most performers recognize their own limitations), but I am absolutely committed to communicating the beauty of Mozart to the audience. Since communication is essential to the process of education and educating is moving from the known to the unknown, from the concrete to the abstract, logic dictates that my performance is actually a form of music education, a way to reach people through music.

No, it is not music education in the classic sense (once again depending on one's definition of classic), that is standing in front of a classroom of eager students teaching them the elements of music which ultimately one day lead to an understanding or perhaps the skill to perform music. Yet, in truth, how different is it indeed to perform a Mozart chamber work from telling children about rhythm in music? Both require communication, both are music related, both invoke a higher level of thinking, both require knowledge and skills, both are events that are hinting at more to come, more lands to conquer, and more worlds just beyond the immediate grasp of the learner.

Now back to the argument. It is common in academic circles to hear the utilitarian view, "I am going to get a teaching certificate as a fall back plan in case I don't make it as a performer." Or perhaps the selfish, lofty view, "I would rather perform it than teach it." Or the contentious "I would rather be unemployed than to be a teacher." None of these interest me as a music educator/performer. Knowing that each person has a unique personality, aptitude level, work ethic, I recognize that not everyone is designed to a be a teacher. With that in mind, it seems to me that a student choosing a profession should consider his/her capacity to communicate and assess the role of that ability in a teaching or performing environment.

Furthermore, it is the rare almost impossible situation where a first-rate performer does not do any teaching, and it is the rare situation where a teacher never does any performing. As we meld the two concepts together and create a harmonious yet polyphonic musical world, I find myself urging all musicians to teach, to perform, and mostly to share the joys of music with a world of people wanting and needing music in their lives. Perhaps the problem occurs more with regard to college students and is caused inadvertently by negative music education experiences from the past. If so, it is our job as music educators to create positive experiences that have great influence.

For me, I shall continue to perform and will continue to teach and will present all that I do in music as music education in the highest sense of what education means. It is through education that we reach the children, it is through education that we reach adults, it is education and progress of ideas that moves the world forward and creates refinement. And it is through education, similar to knowing about our rose, that we acquire a greater awareness of how music works--its elements, its beauty, its challenges, and its joys. Music education: the process of teaching that can include performance at all levels.