- ArtistshouseMusic -

Gig Memories: Viral Marketing with Flickr!

tessa — Tue, 16 Sep 2008 15:45:16 -0700

Gig Memories: Viral Marketing with Flickr!

You outta be in pictures! In fact, as a performing musician in today’s self-promoting, DIY world, every one of your shows should be photographed and everyone who is there supporting your music should be included. Take pictures of your fans having a great time at your show. You should also have pictures taken of the band performing, the crowd interacting, the soundman, the club manager, the show poster on the door, the waitresses… everyone! (Of course, if you do children’s music, it’s important to secure the proper permissions before taking pictures of your audience.) Then, immediately after each show, follow up with everyone who was there using the pictures from the gig for viral marketing!

There are several web-based applications, such as flickr, that will provide storage for your images online, and easy-to-use tools that enable you to share your memories with fans through your email newsletters, and Web sites such as MySpace, Facebook, Reverbnation, and your band’s own Web site.

Before you know it, your fans will link to the images from within their own personal blogs and social networking sites, and your gig pictures will quickly become viral marketing vehicles, making more and more people aware of your music!

With flickr, you can upload pictures, add descriptions, links, and keyword tags, and then organize them into “Sets.” Here’s a link to my gig Sets on flickr. A screen capture of my gig Sets page is presented below. Notice, each Set is focused on a particular show.

Each thumbnail image above leads to a flickr Set page. Here is a link to a Set of pictures from a recent Debbie and Friends gig at the DeCordova Museum in Lincoln, MA. The Set contains 26 pictures. Interesting to note that even though I only sent the link to a handful of people, the gig Set has been viewed 130 times on flickr as of this article’s writing. The hits came from link-sharing and viral marketing efforts by a few fans. Nice!

You can add descriptions and thank you messages to the fans as a way to personalize your gig picture Sets, along with a link to drive traffic to your band’s site, after the images have been enjoyed. See an example of this below.

Here’s a quick, step-by-step list on how to get started using flickr for your band’s gig memories.

Create a flickr account. There are free- and fee-based versions available, depending on your needs. You will also need a Yahoo email account to create a flickr account.
Log into your account.
Upload pictures.
Edit your pictures with comments and tags.
Organize your pictures into sets.
Spread the word: embed the set page link into your email newsletter and on your Web site(s).

There are many more features to explore on flickr. To learn more, take the tour at http://www.flickr.com/tour

Sharing pictures after a gig is a great way to help build community with your fans and provide tools that enable them to share their excitement about your music with others.

You really outta be in pictures!

Debbie Cavalier is the Dean of Continuing Education at Berklee College of Music. A prolific author, she has penned more than 100 music method books and arrangements. Debbie is also an award-winning children's musician with "Debbie and Friends" including a 2008 Parents' Choice Approved Award. For more information, please visit http://www.debbieandfriends.net

Basecamp: Gig Management Software that Rocks!

tessa — Sun, 14 Sep 2008 06:53:28 -0700

Basecamp: Gig Management Software that Rocks!

You landed the gig! In order for your show to be a huge success, there is a lot of work to do be done. Whether you play in a steady band or have a roster of musicians you call upon for different types of shows, the logistics and communication needed to pull it all together can be immense. The band leader in charge of making it all happen has to communicate with the players, the sound/light people, the booking agent, the club manager, the promoter, media contacts, fans, street team, etc.

If you are in charge of organizing your band’s gigs, Basecamp is about to make your job a lot easier. I call it “gig management software” because it works so well in that capacity. But really, Basecamp is a web-based project management application useful for all kinds of projects from shopping lists and vacation planning, to Web development, and the planning of a new business. Personally, I have found Basecamp to be the perfect solution for managing the logistics and communication for my growing list of Debbie and Friends gigs. Basecamp has made my gig management responsibilities so efficient that I wanted to share my experience with other musicians.

Basecamp provides a platform for communication. You can share everything anyone needs to know about an upcoming gig within the program including rehearsals, set up and sound check, directions, parking, load-in, stage plot, set list, dress, promotion, email campaigns, travel arrangements, guest lists, CD and merch sales, and more. Before discovering Basecamp, I used to manage these elements via email and phone. I found myself sending and resending the same information to the various parties involved in the gig right up to the day of the show. It was an unwieldy amount of information that inevitably led to miscommunication and a lot of extra work for everyone involved. As my gig calendar began to grow, and the logistics became more intense, it became clear that I needed a Web-based solution. Basecamp does all that I hoped for and more. Here is a rundown of the basic features:

Basecamp Dashboard

The Dashboard is where you enter upon logging into your Basecamp account. As the site Administrator, you can manage current gigs/projects, archive the old ones for future reference, and add more as your subscription level allows. The interface allows for customizable color schemes and you can brand your account with your logo, as shown below. The Dashboard is also where you can create a new project/gig or toggle from one project/gig to the next.

Figure 1. Basecamp Dashboard

People & Permissions

Password protected and an easy permissions functionality allows you, the site administrator, to specify who can see which project/gig. Here is a screen shot of the band-member lineup for one particular gig in my Basecamp account.

Figure 2. People & Permissions

Sharing Files

For sharing files such as set lists, stage plots, and other-related documents with members of the band, the file attachment functionality in Basecamp is a helpful feature. Below is a screen shot of the Files tab where I posted the stage plot and set list files for the band to download.

Figure 3. File Sharing

Messages

Messages are the lifeline of communication in Basecamp. Here’s an example of a gig-related Message I posted for my band. It shows the lineup for the show, the address of the gig with a link to driving directions, information about what to wear, the load-in time, sound check, start time, and other related information. As soon as I posted this Message, everyone assigned on this project/gig received the information in an email with a link back to the project page in Basecamp. Comments and questions can be posted by anyone in the band. Basecamp saves it all as an accessible reference, keeping the lines of communication flowing.

Figure 4. Basecamp Messages

Overview

The following image shows the “Overview” page for the World Café LIVE! project/gig. At a glance you can see there are Messages, Comments, and Files posted. You can also see who is writing the comments in the right hand column of the Overview tab.

Figure 5. Overview

Basecamp Project/Gig: Step by Step

Now that you know the basic tools and features available in Basecamp, let’s go through the steps in setting up a new project/gig in Basecamp.

Once the date is confirmed and the players are on board, I start a new gig/project in Basecamp. I typically name the project after the venue and location. For example, The World Café LIVE!, Philadelphia.
Then, I assign the players to the project with the email alert function enabled so that they each receive a message every time a message is added, annotated, or changed in any way.
Next, I post a new “Message” with all of the particulars about the show, as shown in Figure 4 above.
Later, I might post another message with potential rehearsal times. We’ll go around a few with messages to determine the best time for everyone. Once confirmed, I enter the rehearsal date in the To-Do calendar function.
And finally, I post various files for the band to download and print as needed: set list, lead sheets for new songs, audio files, stage plot, etc., as shown in Figure 3 above.
The band members post questions, links to press hits they find, ideas, etc. up until the time the gig. See Figure 5 above for an example of this. As band members assigned to the project/gig, we all receive email alerts for these posts, and can go into Basecamp to review everything at any time.
When the gig is over, I usually post a message thanking the band with a link to show pictures on Flicker for them to enjoy.
And finally, several days after the show, I set the project/gig to “archive” so that it’s in my Basecamp account for my own future reference, leaving only current gigs viewable by the members in the band.

There is a lot more to the program including project milestones, assignable to-do list functionality, and more. The best way to see all that Basecamp can do is to view their audio/video tour at http://www.basecamphq.com/tour

While it’s true that you can do the same kind of project management with Wikis, Google Apps shared documents, and other web-based applications, I personally like the turn-key, templated approach in Basecamp. And, my band members are very happy with the adoption of this program. It truly makes gig management, communication, and planning much easier for everyone.

In a word, Basecamp completely rocks!

Not on the Test!

tessa — Sun, 16 Mar 2008 18:45:52 -0700

Not on the Test!

Article:

For students and parents who may be stressed out over testing, here’s a lullaby for the times. Grammy Award-winning children’s artist Tom Chapin offers the “Not on the Test” song and video to raise awareness about the importance of music education in all classrooms and to express concern about what is missing from American public education. “Not on the Test,” with music and lyrics by Chapin and his long-time collaborator John Forster, and produced by PST Records, can be downloaded at www.notonthetest.com.

Additional information and advocacy links can be found here.

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Attending My First Concert!

tessa — Mon, 25 Feb 2008 19:17:19 -0800

Attending My First Concert!

Three “M”s to maximize your child’s experience!

Do you remember the very first concert you attended as a child? Whether it was a symphony orchestra, a rock band, or a sing-along with your favorite children’s artist, your first-time concert experience was probably a memorable one. There is nothing like the sound of a live musical performance, the excitement of the crowd, and the connection felt between the performers and the audience. If you are getting ready for your child’s first concert, here are some fun things you can do—before and after the concert—to help make it an even more meaningful experience.

Prelude

Three “M”s, to focus on before the concert: Music, Milieu, and Manners.

1. Music: Getting to Know You!

The best way to maximize the concert experience is to listen to the music several weeks before the show. Buy the artist’s most recent CD and actively listen to it together. Familiarity is bliss! Although the saying isn’t an elegant one, it’s true (can anyone say “oldies” collections?). Take some time to help your child get to know the music she will be hearing at the concert. Dance to it, sing with it, and discover your favorite pieces together. Read stories or articles about the band or composer. Draw pictures of what the band might look like on stage performing. Your child will feel more connected to the overall concert experience if she’s gotten to know the music ahead of time. That’s one of the reasons overtures are so effective. The audience is presented with all of the main musical themes before the show begins. Then, when those musical themes are played within the context of the show, the audience is already familiar and comfortable with the music. Remember, familiarity is bliss! Immerse yourself and your child in the music you will experience live, several weeks before the show.

Talk about the band, the musicians, and their instruments. What kind of group will it be? Is it a concert band, orchestra, jazz band, folk group? What are the names of the instruments will you be hearing? What instrument families do they belong to? (string, brass, woodwind, percussion) What styles of music will the band be playing? Do you have other recordings in those styles? Listen to them together and compare.

2. Milieu: Here at last!

What is this place going to be like? Talk about the concert/theater setting. It is a very different place for first-time concertgoers. Explain that there will be musicians on stage. They will be playing and singing through microphones that are connected to a sound system with big speakers. Explain that the sound system enables vocalists to use their regular singing voices and still be heard by everyone in the audience; even the ones seated way back in the last row.

In addition to the sound system, there will be a lighting system. The lights will project different colors on stage to support the songs. Speaking of lights, be sure to share that they will probably flicker on and off when it’s time to be in your seats, and they will dim as the show begins.

Talk about who you will see on stage. (conductor, instrumentalists, singers) Who will you interact with before the show? (ticket-taker, the usher, the snack vendor) Explain that there will be other people there to see the show sitting in front of you, behind you, and on either side of you. Being aware of the surroundings ahead of time will help your child to relax and enjoy the show.

3. Manners: Excuse me, Pardon me, Excuse me…

Concert etiquette varies by concert type. Of course, good manners always apply, especially in a concert setting. However, this is a good time to talk to your child about concert-specific manners known as “concert etiquette.” The time to clap, for example, varies by the style of music being performed. Some of us have learned the hard way that you don’t clap in between movements of a classical piece, but in a jazz concert, you clap in the middle of the song each time an instrumentalist finishes a solo (this can happen three or four times in one jazz performance). Talk about what’s appropriate for the concert you’ll be attending. There are other concert etiquette considerations such as when it is ok to talk and move about. Will there be an intermission break? What is a standing ovation? Why does the band come out and play another song after they’ve already said goodbye? (encore) The more your child knows about the rules of the concert game, the more comfortable she’ll be, and the better the overall experience will be.

Postlude: The Reviews Are In!

Once the show is over, it’s time to put on your critics hats and review the performance together! Lookout Ebert and Roeper, it’s “Mommy and Me!” (or Daddy, Auntie, Grandpa, etc.) Talk about your favorite part of the show. Was there a least-favorite part? Were there any surprises in the show? Would you recommend the concert to your friends? Why or why not? Compare/contrast the concert to the recordings you listened to at home weeks before the show. How was the live performance different from the recorded version? Which did you like better? Why?

I hope these tips help you to maximize your child’s first concert experience. Studies show that experiences in music are important to developing the whole child. Attending musical performances are an important part of those experiences, and so much fun to share together.

Enjoy the show!

Debbie Cavalier is the Dean of Continuing Education at Berklee College of Music. A prolific author, she has penned more than 100 music method books and arrangements. Debbie is also an award-winning children’s musician with “Debbie and Friends.” For more information, please visit http://www.debbieandfriends.net/

Yet another "reason"

tessa — Sun, 17 Feb 2008 07:03:11 -0800

Yet another "reason"

Article:

A new Harris Interactive executive omnibus poll of senior business leaders shows a positive association between music education with career advancement. Overall, nearly three-quarters of executives (73 percent) were involved in some type of music program while in school.

The October 2007 Harris Poll that I referenced in my previous post showed music education at an early age greatly increases the likelihood that a child will grow up to seek higher education and ultimately earn a higher salary. This new poll, looking specifically at executives in top companies across the nation, confirms the October poll findings demonstrating music education provides skills and attributes that can lead to success in careers later in life.

Seventy-two percent of executives with music education feel music education equips people to be better team players in their careers and 71 percent feel music education provides you with a disciplined approach to problem solving.

Dr. Elliot W. Eisner of Stanford University reports the arts have cognitive effects, aiding in the preparation for entry into the workforce of the 21st century. Specifically, he cites the following key competencies as being developed through arts education: perception of relationships, skills in finding multiple solutions to problems; attention to nuance; adaptability; decision making skills; and visualization of goals and outcomes.

As stated in my "Do We Really Need a Reason" post, I celebrate music making for very different reasons than the information stated in these Harris Polls. However, in this era of arts program budget cuts, it's good to have more advocacy tools, such these studies, to fight for what we know is important to educating the whole child.... arts education. If we need it, thanks to this most recent study, we have "yet another reason."

For a wealth of additional advocacy resources on ArtistsHouseMusic, click here

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Synesthesia

tessa — Mon, 21 Jan 2008 09:17:39 -0800

Synesthesia

Article:

The following is not a hot new breaking story. In fact, it's more than 18 months old. But, it is something I uncovered this past weekend and wanted to share it with our community.

Twenty-three-year old classical pianist Mary Bichner can see music in colors. A phenomenon known as synesthesia. "I associate specific notes with specific colors. So every time I hear an F, I see purple," Mary said.

As few as one in every 2,000 people have the gift and far fewer have the musical training to use it.

As Mary looks at the piano keys, every note is associated with a color. "When I write my own songs as a short hand, I'll just kind of scribble in crayon so I know what cord it is for later on," Bichner said.

Her talents are funded in part by Arts In Motion, a non-profit organization working to support the evolution of classical music. She and her Mentor, Eric Haeker, are working on technology to project exactly what she sees. They hope to introduce this technology to those who are deaf.

Visit this link for more information and to see a video interview of Mary.

To learn more about Mary and her work current work, click here.

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Do We Really Need a Reason?

tessa — Mon, 07 Jan 2008 15:08:55 -0800

Do We Really Need a Reason?

Article:

John J. Mahlmann, executive director of the National Association for Music Education, was recently quoted in the Washington Post as saying he is tired of having to defend the importance of music education. He often finds it necessary to rattle off statistics about how music improves the lives of people who study it. The sheer joy of playing and understanding music isn't enough, he said.

So he has an unorthodox response to educators: "Why is math so high on the priority list?"

His answer: "Because we can test for it."

The thing people forget, he said, is that musicians are assessed every time they play an instrument. "If you went to a concert and they only played 80 percent of the notes correctly, you wouldn't like it," he said. "Musicians strive for perfection. Lots of people don't mind 80 percent on a math quiz."

Here are some more "reasons" why music education matters, as collected and presented by Valerie Strauss of the Washington Post.

1. Schools with music programs have graduation rates of 90.2 percent, as compared with a 72.9 percent rate for schools without music education, according to a 2006 Harris Interactive poll of high school principals funded by the National Association for Music Education and International Music Products Association (NAMM). The poll also found that schools with music programs have attendance rates of 93.3 percent, compared with 84.9 percent for those that don't.

2. In 2006, SAT takers with course work or experience in music performance scored 57 points higher on the verbal portion of the college entrance exam and 43 points higher on the math portion than did students with no such experience in the arts. Scores of those with course work in music appreciation were 62 points higher on the verbal and 41 points higher on the math, according to the College Board's 2006 Profile of College-Bound Seniors National Report.

3. A November 2007 Harris poll found that 86 percent of college graduates had some music education when they were in school, compared with 65 percent for those who had not completed or completed only high school. Eighty-three percent of people earning $150,000 or more had a music education, the poll found.

For more "reasons," there are many helpful resources such as musicforall.org, amc-music.com/ and schoolmusicmatters.com.

To me, the sheer joy of music making is reason enough. The rest is gravy!

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Performing Music for Children: It’s Not Kid’s Stuff!

tessa — Wed, 02 Jan 2008 17:33:49 -0800

Performing Music for Children: It’s Not Kid’s Stuff!

Rewards, Challenges, and Opportunities

Throughout the course of my 25-year career in music and music education, I’ve been a music educator, choral director, arranger, author, publisher, and college administrator. I recently entered the world of children’s music and have added children’s recording and performing artist to the roster with Debbie and Friends. The rewards, challenges, and opportunities are among the greatest I’ve encountered in my entire musical career.

A Rewarding Experience!

The rewards of a children’s music artist are incredible. The feedback from your audience is real; children have not learned the fine art of being “polite” when they don’t like something. So, if they don’t like your music, you will know right away. But, if they are into your music, it’s real and they will relish and participate in the musical experience with reckless abandon!

The other reward is fostering an environment where parents, grandparents, caregivers, and children engage in musical experiences together. I’m often told stories of how my songs are an integral part of a family’s routine and they enjoy singing the songs together.

The Challenges!

Performing music for children and their families has some inherent challenges. Here are some practical tips to ensure a successful program.

1. Know Your Audience!

Don't ask a group of two year olds what the opposite of "hot" is, or the opposite of anything. It's beyond their skill level. I learned this the hard way and it was a great learning experience. As a result, I now have set lists specific for toddlers, others for preschoolers, and more still for kindergarten and elementary-age children. For audiences with a mixture of age ranges, I have something for everyone and tend to dedicate a song to a given age group and invite the others to join in and help the younger ones, for example. This seems to work very well.

2. Attention Span

No matter how well your show is going, there will come a point where the “natives get restless” and the meltdown begins. You can postpone the inevitable for a while by keeping everyone actively involved and participating. Be sure to have a great deal of variety in your set…mix it up. Some songs standing and moving, some songs sitting, all songs should contain active participation. Any combination of movement, dance, call-and-response, and lots and lots of singing will do! Young children love the variety and they need to be free to move!

If it’s manageable, pass out egg shakers or a variety of handheld percussion instruments so that the children become part of the band. If you can keep a group of toddlers engaged for 15 minutes, or a group of preschoolers for 30 minutes, you should be proud!

3. Boundaries for Safety (The Baby Mosh Pit)

If you lay the ground rules from the beginning, kids and parents will follow them. During set up, I place a line of colored masking tape on the floor in front of me, parallel to my keyboard and my percussionist’s set up. I usually start the program by saying, "We have just one rule. Please don’t cross the “safety line” (pointing to the tape) because there is a lot of equipment back here and things could topple over. We sure don’t want anyone to get hurt! Parents, thanks for helping to make sure everyone stays safe. Now let’s have some fun!” Setting this one rule enables you to remain focused on the music and interaction with the children, and puts responsibility on the parents to help. Before I had a safety line my shows were often filled with me having to redirect kids throughout the performance.

4. Logistical Considerations

Movement activities can be a challenge in a tightly packed room full of kids and adults. Provide verbal cues that help to keep things safe. For example, when you need everyone to stand up or sit down, try saying: “Stand up right where your feet are.” Or, “Sit down right where your feet are.” For songs with gross motor cues, ask them to run in place, walk in place, carefully do the “hokey pokey” and turn themselves around without bumping into anyone. Also, give fun verbal cues: “When you hear me clap three times, “freeze like a statue.” Another device that works is to describe what’s coming up with a very soft voice. This makes everyone work hard at listening. The key to logistic considerations is anticipating what effect your activity may cause, and create strategies that provide a safe environment.

Opportunities: Show “Business” Tips

Performing is your best opportunity to establish a relationship and make long-lasting connections with the parents/caregivers in your audience. In addition to putting on a great program, you should tend to two very important aspects of your business: 1. Promoting your CD(s), and 2. Adding families to your email/mailing list.

1. Sell Your CD(s)

Mention your CD throughout the program. Point out that song you all just had so much fun singing together is on your latest release. Tell a quick anecdote about the recording project. Did neighborhood kids sing on some of the recordings? Are there lots of different styles or instruments represented? Did something funny happen on the way to the recording studio?

Have a table set up with copies of your CD prominently displayed. Mention you will be selling the CDs after the show, price and the form of payment you’ll take. Cite quotes and endorsements from parents and kids. You have a captive audience and if they are loving the program, they’ll want to recreate that experience for their family at home.

Be sure to have some sharpie pens handy for autographs!

2. Build Your Mailing List

Your fans are your lifeline. It’s important to grow and maintain your email/mailing list. Pass around a sign-up sheet at your program and mention it a few times. Be sure to tell parents that you will not share their email address with anyone, and that you will only be sending out email updates once a month regarding shows, CD releases, and related news. Send an email later that very day, thanking them for being at the show, and for signing up. If you have anything special you can give them, do it! Examples include: a PDF coloring page based on one of your songs, an mp3 of a new song in progress, music activity page, etc.), and a reminder of where they can buy your CD.

Of course, everyone has to find their own way and some of the suggestions contained within may not suit your personal style. Please take what works for you. Performing music for children and their families is one of the most rewarding musical experiences I’ve ever had. I encourage anyone interested in exploring this wonderful genre to give it a try!

Practice, Practice, Practice!

tessa — Wed, 02 Jan 2008 17:05:01 -0800

Practice, Practice, Practice!

Practice! We spend so much time doing it, but how can we be sure we’re optimizing our practice time to further our skills, nail the audition or land that gig? The following is a collection of thoughts on practicing from some of the many experts represented on Artists House Music including Nicolas Wright from the London Symphony Orchestra, Matt Marvuglio and Larry Baione from Berklee College of Music, and Ellen Fronmayer from Loyola University.

Nicolas Wright, a first violinist with the London Symphony, shares his thoughts on how much practice is enough, and how musicians should structure their practice time to get the most out of it without creating physical or mental exhaustion.

In his article entitled, “On Practicing”, Berklee College of Music's Dean of the Professional Performance Division, Matt Marvuglio says we practice for two reasons, 1. Performance: a specific engagement, audition, or a recording session; 2. Mastery: to keep improving on your instrument because you love playing it and you want to learn the literature and master it. Marvuglio goes on to explain that sometimes the two meet and practicing satisfies both reasons.

“On Practicing” also defines three levels of thinking that is going on when we play music or practice: automatic, veiled, and controlled. The purpose of practicing is to process musical information into those three categories of thinking. This article, complete with sample practice routine charts, will help you to approach your practicing in a more thoughtful and practical way.

In the following clip, after a wonderful jam session with Matt Marvuglio, Larry Baione, Chair of the Guitar Department at Berklee College of Music shares his own personal practice tips, which are designed to increase a guitarist’s versatility, ‘hand intelligence’ and dedication to improving their technique.

Ellen Frohnmayer, Assistant Professor of Voice at Loyola University New Orleans, talks about her experiences teaching students how to practice.

For more Artists House Music resources on practicing, search with the keyword “practicing” on the site. You’ll find clips from jazz piano great, Kenny Werner, NYU professor Brian Lynch, and many others.

Now, go practice! ; )

School of Rock, Little-Steven Style

tessa — Thu, 06 Dec 2007 11:53:56 -0800

School of Rock, Little-Steven Style

Article:

Steven Van Zandt says rock 'n' roll saved his life. Now he wants to return the favor. The E Street Band guitarist and Sopranos star created the non-profit Rock and Roll Forever Foundation last year, as a vehicle to preserve the music that so shaped his life.

On December 2, 2007, he unveiled the foundation's first project: a middle- and high-school curriculum designed to introduce a new generation of teens to the music. The project, being created in partnership with education publisher Scholastic's InSchool division, is endorsed by the National Association for Music Education. Scholastic will work to ensure course materials meet national education standards, so it could be used not only in music classes but also for humanities or social studies courses.

The plan is to distribute a 40-chapter curriculum, including teachers' guide, lesson plans, DVDs, CDs and Web-based resources, free, beginning with the 2008-09 academic year, to the nation's 30,000 or so middle and high schools. The curriculum will explore the cultural and historic impact of rock, beginning with pioneers such as Little Richard and Elvis Presley, through soul music, early girl groups, the British invasion, the psychedelic period and ending with today's newer groups.

Van Zandt "is committed to not only making this something that kids will be excited about but also making it something that teachers and administrators can get behind," says Ann Amstutz Hayes, a Scholastic vice president.
"We're trying to reach everybody, whether a musician, a rock 'n' roll fan or not." Van Zandt said. "We're going to make a case that this art form is so interesting that you will be absolutely compelled to listen to it, and maybe even learn how to play it."

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- ArtistshouseMusic -

Gig Memories: Viral Marketing with Flickr!

Basecamp: Gig Management Software that Rocks!

Not on the Test!

Article:

Related Links

Attending My First Concert!

Yet another "reason"

Article:

Related Links

Synesthesia

Article:

Related Links

Do We Really Need a Reason?

Article:

Related Links

Performing Music for Children: It’s Not Kid’s Stuff!

Practice, Practice, Practice!

School of Rock, Little-Steven Style

Article:

Related Links