Steve Marcantonio visits CMAS

It is very hard to quantify this week - one that seemed to have, to say the very least, both extreme highs and lows, but I wanted to take a moment to "publicly" mention one of the very high points. In fact, one of the high points of any week: The visit of Steve Marcantonio to CMAS.

The most obvious point is easy enough for sure. To have some one of Steve's expertise willing to spend as much time as he did with me and my students is still unreal to me. He was unbelievably gracious with his time. He was kinder to me than I could ever possibly deserve. The impact he had on me and CMAS is invaluable to say the very least. I need to write more about it all at some point soon, but, for now, I wanted to just share one thought that I think sums up a lot of it....

At one point Steve was talking to the students about his start and how when he was young he got a chance, via a cousin, to meet a very significant music engineer/producer. He said that as soon as his cousin said the producer's name he (Steve) immediately got very excited. (Paraphrasing) "I've seen this guy's names on so many albums that I love! Of course I want to meet him!"

What struck me later, is how Steve is very much the same for me and my students. For many people. Steve has no ego so I cannot imagine he would have ever made the obvious parallel for us by saying it out loud, but the fact is that Steve is a monumentally important and influential MUSICIAN (he claims he is not one, and I will forever disagree - he is an Artist is the truest sense of the word, but I digress...) and getting to meet him is, for the rest of us, just as it was for him to meet one of his idols. He is that good at what he does.

I learned a lot from Steve in the brief time I got spend with him. Not just things to improve my production technique, or my teaching methods with my students; but I got to see, first hand, a true example of how to be a gifted genius while simultaneously building up others, just for the pure joy of doing so. And though I will certainly never be the former, I can certainly say that I am going to redouble my efforts on the latter.

Thank you, Steve. You are, truly, the best

You Cannot Be A Finalist For Grammy™ Educator Of The Year Without Having Had Your Own Amazing Teachers

I am not going to pretend that this list is comprehensive, but the events of Friday, for which I am truly honored and humbled, make me feel more than just a little bit compelled to share this list of my own teachers who impacted me and my practice.  Each one deserves a detailed recounting of their specific influence on me (I will try to add that over time) and I know I will leave off many who deserve to be here. Please forgive me, and I will update this as time goes on to remedy that.


Sycamore Schools (Cincinnati, OH):
Mr. Metzger
Mr. Beeler
Mr. Wagner
Mr. Ronfeldt

Bradley University:
Dr. Heinemann
Dr. Vroman
Dr. Kaizer
Prof. Kaizer
Dr. Sanders
Dr. Jost
Prof. Slotter

Youngstown State University:
Dr. Gage
Dr. Rollin
Dr. Largent

The University Of Arizona:
Prof.  Hanson
Dr. Billups
Dr. Fergison


My sincere apologies for any errors in spelling or omissions.  There are others too who should be on the list.  Like Mr. Fricke - my first private drum teacher.  Or my very first piano teacher who sadly I cannot remember her name but recall vividly my Mom telling me how this teacher, when I was just maybe 6, was so impressed not that I had written a "song" but that I had actually played the notes exactly as I had put them down on the manuscript paper.  Or my elementary school general music teacher, whose name I also, regrettably cannot recall, but still carry with me the true Joy of music that she very much instilled in me at so young an age.   And I cannot forget about Dr. Anne Marie Woolsey, Arcadia's then principal, and Dr. Mitch Simmons, SUSD's director CTE, without either of their support for my original concept for CMAS it would all still just be an idea in my head.  And there are others.  So many others.  So very many musicians and colleagues and students and friends and family from who I have learned so much and who have influenced all I do.

My point is exactly as the title of this post implies.  Nothing happens in a vacuum.  No matter the result of the Grammy™ selection, from the bottom of my heart, thank you all!

There Are Only Two Kinds Of Music...and "Good and Bad" Are Not Them...

So, a few days ago I asked for comments on this notion and promised to share my own thoughts on the subject.  I should start by saying the rather obvious - that this is just my sense of this, NOT any kind of claim to being "right." Anyway....

This subject was actually brought up by one of my ASU Music Education Interns, as we were talking about the creative process of my students and how I go about evaluating their overall progress towards creating effective music.  (Note that the term "effective" is in itself a troubling term, but I digress...)  Anyway, my intern mentioned that an ASU professor - key here is one who, at least on the surface, might seem like an ultra-traditionalist (a very incorrect label I personally feel, and my intern wholeheartedly agreed) - made the comment that the two types of music are "honest and dishonest."  The reference was in terms of a musician's interpretation of a piece in performance, but I feel it applies far more universally, and having nothing do to with genre, instrumentation, technology usage or anything else that in may ways is all just superficial to me.  (Another commentary for another time..)

In any case, this was one of those "aha!" moments for me.  One of those times we all have on occasion where we think, "wow!  I wish I had thought of that!  That is brilliant!"  And so this idea of "honest and dishonest" music really got me thinking about the whole process of music and creativity and what constitutes an honest process and what makes up one that is false.

The flaw, if I can use that word for it, in the "good and bad" line of thinking is that it ultimately is 100% subjective.  That's not to say that it is not an important distinction, it very much is important, but as I thought about it, I realized that "good and bad" can never be perfectly aligned for anyone other than the individual experiencing the music.  It's just too circumstantial.  Too wrapped up in variables that can only apply to one person perfectly and to all others imperfectly.  Too subject to the moment, moods and other countless elements.  Too inconsistent.

But "honest and dishonest," have none of those issues.  Honest and Dishonest is all about the creative process.  Really, they have nothing to do with the listener.  As a listener we are still free to interpret, still free to like or dislike something based on whatever personal experiences and preferences we have have.  But that is not he same as the creative process.

The process is not good or bad.  It simply is.  And if that is true then the question is really about  whether or not the process is genuine. Honest or dishonest.  This has nothing to do with the actual result.  Nothing to do with the resulting sound.  Just the intent of whomever created the sound.

Sure, we want the result to "work." To reach and impact and effect the listener in a way that matches our intent, but if for any reason it does not, that does not mean we were dishonest with the process, just ineffective.  "Effective" is the "good v bad" concept.  It is rooted in result, and is 100%, as I said open to interpretation.  How often does one person have a different taste or preference with regard to music?  Or movies? Or books? Or art? Or food? Or fashion? Or on and on and on and on?  All. The. Time.

But the intent is what really matters.  How people interpret is on them.  Certainly in today's world there are countless ways people can be influenced towards a particular interpretation, but that is still on them to react to those influences.  It does not change the intent -the honesty (or not, I suppose) of that intent.  That's what matters.  In fact, as I continue to explore this concept, I suspect that the honest process more often yields the interpretation of "good" anyway.

And for those still struggling to "make it" - to break through - keep your process honest.  In the end I am certain that is all that really matters.

Certainly, there is far more to this, and I am just starting to get me head around it, but I can already tell it is have a significantly positive impact on my own process and that makes it all the more fascinating, interesting, and worth it.

One more stadium show....

So last night CMAS played what was certainly the best stadium show we have ever done.  We had the benefit of a great sense of team work with technical crew, a considerable amount of additional time to perform that normally is not available, but mostly an overall positive work ethic that I had not seen in along time - maybe not ever before.

That is not to take away anything from anyone or any past shows, but this one had a very different vibe.  The entire CMAS crew - every single one of them - wanted this show.  In a kind of visceral, "we will not let anything get in our way," kind of manner.  It was really quite something.

We've had that before, but not across the entire group.  Not like this.

The process to make last night happen was a bit brutal.  Aside from the normal gig preparations of writing and rehearsing all the music, we made some specific production choices on this show that meant a considerable amount of additional logistical prep time.  Most of it in the heat of AZ at 105+ degrees.  It was somewhat unforgiving in the unavoidable hot afternoon hours, and yet, though clearly tired and running low on energy, no one just stopped.  No one just sat back and said, "someone else will take care of it."  It was pretty remarkable.  And somewhat uncharacteristic, as in the past when it can get like that and people start to lose the ability or willingness to keep their egos in check.

Sure, there are moments that we'd like back - no show is perfect - but when you witness so many young people pulling together for a common goal - so many of then very new to what is a very complex and exceptionally demanding project (remember this is all student executed) - it's hard not to be inspired. Watching the more experienced students mentor the new ones, in a way that had no ego, nothing but positive support, and you start to feel like things are moving forward in a way that can only be summed up as great.

I've been asked, and talked about here and in other places, about the idea of "ensemble" as it relates to CMAS.  On the surface there are those who say that for all CMAS may (or may not - critics still seem to like to go that route for some reason; seems like a waste of energy, but that's just the way some folks are; obviously it still bothers me even though I don't want it to and try not to let it get to me; it's a process...anyway...) that there is no real sense of ensemble like there is in a band, orchestra or choir.  Well, last night proved once again that is simply not the case.  By any definition CMAS was very much working as a musical ensemble last night. No question about it - it's as strong an ensemble as any.

What does tomorrow hold?  Who knows.  But for now - despite my lack of ability to really express it properly here - last night was a great moment in time.  Made possible not just by those there but by all the students who came before and who really did help to make CMAS move forward on each step we've taken.  I hope to have some student produced video up soon to share.

From here we plan on modifying our approach a bit.  CMAS will still do one of these Stadium shows every year - it's a good experience obviously - but the time it takes to put together, versus the amount of performance time itself, has become a bit of a drain on the students.  Plus, while it is quite the spectacle, the fact is that we now have so many other "big" show venue options that allow us full shows - not just 6 minutes - that it would be kinda of foolish not to evolve to the next step with all this.  On the other hand, if you've been paying attention over the years, you just never know what we might do....

Listen Deeper: Digging A Bit More Into The Creative Process

This is another of the "Maxwellisms" that are part of the CMAS experience, though once again I cannot really take credit for it.  This one is from David Maslanka, a musician I have long admired and was able to work with just a tiny bit a number of years ago. (see earlier posts...)

Recently I was able to reconnect a bit with him and within a conversation regarding how technology applies to music, he told me how he always does his best not to force his students, but rather to"listen as deeply as I can" to help them move their creative process forward.

I am, of course, paraphrasing his words, but the key here is that his words really stuck with me.  David Maslanka is one of those people who you can tell right away has such a great perspective on so many things.  I used to find that intimidating, and something that I felt I had to somehow prove I had as well.  That never works out by the way, but that was my mindset.  In any case...

"Listen deeper" in a lot of ways relates to "nothing forced endures" which I talked about recently as well.  In my case, "Listen deeper" currently is about not getting too caught up in the educational world of music and focusing more on the pure creative element.

If a student presents me with something they have created and it does not work for me, one approach is to essentially say, "you need more training, more advanced skills, more practice, etc."  And that may well be true but it misses the bigger creative point, which is, "what is the student trying to say with their creative efforts?"

Maybe they do need more training and skills, and practice; but maybe not.  Maybe they just need to reframe the sound to better fit their end goal.  So focus on articulating the end goal.  The process of getting there.  Not forcing a particular path to a particular end, that is not derived from the student's pure intent.   Easier said than done, I'm afraid, which is why I don't see it as often as I'd like, even within myself; but that does not in any way diminish its truth or importance.

In my quest to establish CMAS as a legitimate music education tract, I find that I on occasion (more frequently than I might like to admit) I am essentially way too judgmental. This is not intentional, and it is something that I honestly am ashamed to have to admit to, but none the less, there it is.

Self-depricating comments aside, the even more important point is this notion of "it doesn't work for me."  That really says far more about me than the quality of the work.  Who am I to judge?  Seriously.  The arrogance of the very assumption is enough to make me ill.  And don't fall into the trap of thinking that the very role of a teacher is to do just that: evaluate and assign value. It is not.  Certainly not for me.

My job is not to teach creativity.  That is not possible.   My job is to foster creativity.  There is a huge difference and it's an important one, and even if I could teach it, I wouldn't.  Then it would only be my creativity, not my students, and that is not doing justice to them or the creative process in general. Besides, the absurdity of me being an expert in all the styles my students work with every day...you must be kidding.  I go with my gut, sure.  I am honest - some might say to a fault; but you can keep your "expert" label.  I am just hoping I can be musical for them.

And so for me I have no option but to listen deeper.  Actually, it is a choice.  One I am truly happy to have made.

Nothing Forced Endures: Another Thought For CMAS

Continuing on with my notion of explaining a bit about each of the "Maxwellism" signs on the walls of the main room in CMAS.  To be truthful, most, if not all, are not mine, but rather ideas from others that, over time, I have found to have particular, let's call it...resonance (pun intended) for not just the work done in CMAS, but for my overall sense of music just generally.  At any rate, all that said, I think it's good to share these with CMAS.  Not to preach to or "convert" anyone - though I am sure it can come across that way to some - but rather to try, at least in some small way, to open up the creative process just a bit more.  Maybe it helps some in CMAS, maybe not; but they have all helped me, so I feel a certain obligation to at least share.  Anyway...

"Nothing forced endures."  This one has meant a lot to me since I first heard it at the University of Arizona more than 15 years ago.  The credit goes to a brilliant poet, Richard Beale.

I was lucky enough to be very tacitly involved with the premier of David Maslanka's "Mass" a the time.  Truth is that I had no real appreciation for the project.  Not the religious elements, but just the real...music, of it all.  Gregg Hanson the conductor, Maslanka the composer, Beale the lyricist, all of them and all those involved - I just did not quite see it.  Perhaps that is why "Nothing forced endures" has stuck with me.  Even now it still breaks through pretty much all else, no matter what my state of mind (musical or otherwise) in might be in.

So.  What does it mean?  Well, I suppose you'd have to talk to Richard Beale to be certain (unless he's similar to Freddy Mercury, and similar artists, who prefer to refrain from any specific details about their art in order to allow the audience the opportunity to develop their own, hopefully more meaningful connection than one forced on them, even if by the artist themselves.  I fully agree with this approach by the way, as much as I do my best to follow it...but I digress....) but to me it has always meant that truly lasting art, in any form, needs to be organic.  Natural.

Actually, I find it amusing that I still have a hard time even after all these years finding a way to fully articulate this one.  Probably means that I don't have it down myself, but that's part of the journey too, no?  I always find it funny how people (audiences perhaps more so for that matter) generally think that just because you are lucky enough to be considered by some an "expert" or to have had some success as an artist, that you don't still learn (I like the work explore better, but...) more about your art.  It's like it gets forgotten.  "We don't wanna hear the new stuff.  Just play the 'classics."  It's all symptomatic, but again, big surprise, I digress...

Ok.  So let me try to give an example of how I view "nothing forced endures."  I spend a good deal of time working with students on how to explore their creative process.  How to open themselves up to the honesty of their own art.  A lofty goal to be sure, and one I am not at certain I am qualified to attempt, but none the less let's assume for a moment that I require, as just one example, them to write in a particular style.

Now, sure, there is a tremendous value in learning the details of particular style in order to better understand it and how it works and how to better reach an audience through that style and so on.  But what if that style does not appeal to the student?  What if that student is simply not open to the possibilities the style offers.  What if the student just cannot see the opportunity in front of them.  S much so that they get so caught up in the style not working form them that it shuts them down pretty much entirely creatively.  Seems extreme, but think about it.  It happens all the time.  Not just in art, but life in general.

So now that student is lost.  Maybe we get them back maybe we don't, but in the meantime, time has been lost.  Lost for them.  Lost for their creative process to move forward.  Sure we can make everyone do the same thing, and after a while it'll be the norm, and everyone will be ok with it, but in the long run, overall, it lacks truth.  It lacks real artistic integrity.  In the end, and it may be years, or decades, or lifetimes, I believe that art of that nature (not really sure it should be called art - another digression, for another time...) does not last.

Let me be clear.  This is not able the style.  Not at all.  The creative process is not simple.  And for some it is even scary. Coming round to it by any means other than self determined is just not going to be true.  At best its artificial, worse its really just a surrogate for someone else's process.  Think about that.  What a truly horrible disservice.  To make someone else create in a manner that is not their own.

Yes, show then the way.  Yes, open them up to all the possibilities.  But at some point you have to let them be their true selves.  One way or another it has to happen.  But if it does, well, wow!  Imagine the art.  Just imagine.

Nothing forced endures.  Not in music.  Not in life.  And, apparently, not even in blogs.

The Writing's On The Wall. A New Year For CMAS

As the countdown inevitably starts for the upcoming school year, and I turn my attention in a more focused manner towards CMAS, I have been considering how to continue not just the evolution of the program into an even more effective recording and production label, but also my role in that evolution.

One of the things that I am doing for next year is to try to play the role of producer more than just teacher.  It's fairly easy to say that, but the educational system sometimes makes that tougher than I would prefer.  More on that another time...

Another change that I want to initiate is to try to reenforce more directly several of the key tenants or philosophies that have guiding me as I created, advance (I hope) and facilitate the program just generally.

This is a bit tricky in some ways as I don't want to overstep my role, but at the same time I would like to also give the CMAS students more opportunities to be open to greater creative possibilities.  So, for now, while not then end-all-be-all solution, I have decided to post a number of key, let's call them "Maxwellisms" in the room to help reenforce the concepts.

I also thought I might comment here on them as well.  I have no idea of any of my students read this blog, but figure it's worth getting the information out, even only for my own sense of what it means.  Anyway....

"Arrogance is the enemy."  This has actually been posted in the main CMAS room for some years.  In fact as you walk in it is positioned on the wall in such a way that despite all the other posters and things up it should be one of the first, if not the first, things a person sees when entering.

This one can be tough.  While helping to give students guidance on their own creative process it is very necessary to let their egos take hold a bit.  Ego matters.  It's important to the process.  Otherwise no one would ever get on stage, or present a recording, or even explore an idea they came up with.

But arrogance is something different.  Something musically dangerous.  It blinds one to advancing musical ideas.  It can cheapen the impact of those ideas.  And, perhaps, worse of all, it limits the opportunities to explore even greater musical possibilities with others, be they through collaboration or just in reaching an audience.

For a student in CMAS, it might be their unwillingness to follow the creative process honestly - taking short cuts rather than doing the heavy lifting.  Or it might mean refusing to really be part of the behind the scenes work for their own show - making the excuse that someone else can do it (even if better than they) when the truth is they really just don't want to take the responsibility.  There are countless others examples, but you get the idea.

The point is that while we all need ego to do our jobs, when it turns to arrogance things never work out.  If you are difficult to work with on any level - even if you are well intentioned - there will come a point where no matter how talented you are, people will stop coming to you.

Arrogance is not just the enemy of those around you.  It's the enemy of yourself.  It's the enemy of all things creative.

Covers Aren't What They Used To Be

As usual I'm late in posting this, but that said, I wanted to share a recent educational revelation.  Well, perhaps "revelation" is not quite right.  At least it was not a revelation of mine, but rather that of my students.

CMAS has a long standing policy of no cover material.  If you wanna perform you are going to have to create all the material for that performance.  Again, no covers.  There are any number of reasons for this.  One is the more obvious issue of copyright.  While it technically falls to the venue to provide the proof a licensing, there is a greater principal of respecting other artists and their work that I feel cannot be over emphasized.  After all, how can you possibly expect any to take your art seriously if you don't respects the art of others.

Now some have argued that it is actually a complement to cover another artist, and to a great degree  I would say that is true.  Others have claimed that learning the proven material of other artists is the best way to develop your own. This is also true to a point, but it is also a very slippery slope.

Here's the thing:  Covering an artist is fine when you make the song truly your own.  The response of an audience though that is along the lines of "wow! you sound exactly like..." well, that's actually not a good thing.  If your motivation is that kind of reaction then that's fine, but that means it's more about your ego than anything else.  Follow the logic through and the best you can possibly get is living vicariously through someone else's talent.  There is nothing wrong with covering someone else, but if you don't actually yearn to truly speak with your own voice, well then, I'm not certain you are not missing the bigger musical picture.

And there is something else.  Something far more significant.  The reaction you get from an audience for a cover will never exceed the reaction you will get for a well written and well performed original.  Never.  Walk the logic through, it's just not possible.  No matter how well you cover another artist - even if you make the song truly your own - it will never exceed the connection you can make by creating something totally new.  Something that your audience can only experience from you.

Ok, so that whole bit would be long series of blogs in and of itself, but going back to the very start of this one, the revelation, was from several of my current CMAS students.  We just did a show at  the Phoenix Hard Rock with another band from the east side of town - not a CMAS group.  They are a phenomenal  cover band.  I mean just amazing - particularly for their ages, all being teenagers.  Very similar in that regard to CMAS.

It was very interesting to talk with several CMAS students at the show.  I need to be clear here that their comments, and mine for that matter, have nothing to do with the band from Gilbert.  This article is about CMAS, not anyone or anything else.

As the show progressed several of my students commented that they saw no point in playing covers.  Not given the response they got from their own material.  It was very particular, their view.  Each kept commenting how impressive the cover band was but that it was kind of disappointing that they were not speaking musically with their own voice.  Proof of their view was when the cover band did a couple of originals in their set.  There was a kind of "ah ha, there it is" feeling.

Now, look, there is nothing wring with covers.  CMAS has very different goals than most high school bands.  Maybe all.  Point is the students themselves, in growing numbers appears to be starting to really understand this.  Speaking with your own musical voice is slowly starting to take real hold.  To become a real priority.  It's something I want to further foster.  Further write about.  Further explore.  The best part is knowing that it appears CMAS students want to do the same.

Ok, off soapbox.  For now...

Moving Music Education Forward One Small Step At A Time

Over the recent years I have to admit that I have gotten used to the notion of the Contemporary Music And Sound (CMAS) program (www.ArcadiaCMAS.com), I am fortunate to have created and get to facilitate, push the boundaries of Music Education.  I know that statement can come across as a bit arrogant, and I apologize for that, but it is not at all how I mean it, and more importantly, it is true.

This past weekend we partnered once again with our friends in the Technical Theater program at Arcadia and produced a complete, full scale musical called "The Arcadia Project." (see the plot synopsis below) And when I say "produced" I mean they students wrote it.  The script, the music, all of it.  Designed and built the sets, executed the technical production, made the program, etc.  EVERYTHING.  It was stunning.  I need to get some pictures up.  In any case...


From the press release: 

“The Arcadia Project” musical’s plot was written by Arcadia’s theater students, and is an epic story of discovery, love, and loss through the eyes of a group of high school students, their teachers, and community, as they come to terms with the fact that their original school, now remodeled, was actually designed to safely house a previously covered up alien invasion force from a distant planet. Part suspense thriller, part comedy, as the story unfolds, we learn that the new school’s design inadvertently freed the outer-space menace, now bent on revenge. As the plot progresses, through moments of deep emotion, humor and intrigue, the students learn that sometimes life is what you make of it, and that every moment counts.

The music for this all original, student production was written entirely by students in Arcadia’s acclaimed CMAS program. Not just a sound track, but a complete live musical experience, this show, with a cast that even boasts a few local Arcadia celebrities, promises to be a great evening’s entertainment for all ages.

Part of the Career and Technical Education department of the Scottsdale Unified School District, the Arcadia High School CMAS and Technical Theater programs have a long and proven history of successfully pushing the boundaries of arts educational opportunities for students, and this musical is certainly no exception. At a time when all the arts are in jeopardy across the entire state of Arizona, the students at Arcadia are hoping to show that the Technical Theater/CMAS/CTE methods they are using to create this amazing event can transform Performing Arts education into something that goes well beyond just performances, but can actually lead to real jobs in the fields they love, all while keeping the programs’ overhead costs below those of the standard Performing Arts approach. It’s a lofty goal, but one they are keen to achieve; so join us at Arcadia on April 18th, 19th, and 20th, and see for yourself just what the arts can be.



I'm going to include the program notes, and other commentary below just to give you an idea of what they did.  And I could certainly go on for quite a while about the entire project, but what matters most to me right now is the notion that we can change education for the better.  Waiting on the politicians to do it is a fools errand, so we gave the kids the ball as it were and just told them to run with it.  This show cost practically nothing to produce in comparison to a standard school musical, but the educational benefits were vastly superior. Vastly.  And the show worked.  It was legitimately a great show.  I should also mention here that as much as I am proud of CMAS, it was my friend, Richard Fairchild (Tech Theater and Drama) who really deserves the credit for coordinating the entire event.  Yes, this was a partnership, but someone has to be in charge overall, and thank goodness it was him and not me.  Also, we did bring in Michele as a bit of a ringer to help with vocal coaching the cast, so that was also a huge advantage we had.  Anyway...

If you missed it the good news is that we are just getting started.  There will be more.  Lots more.


Here's how one school board member described it:

"I had the pleasure last night of seeing The Arcadia Project, and wanted to let you know how much I thoroughly enjoyed it.  It was great fun, and the songs were just terrific.  I’m so impressed that everything was written and composed by these incredibly talented students - you could see that that their hearts and souls were in this production."  

- Barbara Perleberg, Governing Board Member, Scottsdale Unified School District



Here are the program notes and commentary:

Program Notes

One behalf of the entire cast, crew, writers, composers, musicians, and everyone involved, thank you for joining us for this performance.  It’s a lot to produce a school musical – any school musical.  This one has proven to be not just a fantastic challenge, but also incredibly rewarding.  We are immeasurable proud of all the students who have taken part in this process.

School musicals are fraught with countless issues.  Which show can we afford the rights to?  Which show do we even have the students to effectively cast for?  Which show can we afford the production costs of?  Which show will be interesting to the students?  To the audience?  Which show will give the most opportunities for real learning? And so very many others that it got us thinking: Why can’t the students write their own musical?

The truth is, they can.  In fact, as we are now on the other side, we can tell you, it’s not just that they can, the fact is they should.  Just on the practical side, so many issues go away instantly. 

This project is really something new.  Not just a new show, but a new approach to the Arts as a whole.   In truth it’s an approach we’ve been fostering in the Technical Theater, CMAS, and the Career and Technical Education (CTE) department in general for quite some time.

So thank you again, to everyone involved in this process that has lead up to this performance.  We are so very proud of every single student; humbled to have been able to play a small part in their success here; and truly glad you could join us for this event.  And now, on with the show!

Why CTE?

Career and Technical Education is designed to help prepare students for careers straight out of high school.  The CTE courses at Arcadia require that students meet not only a rigorous curriculum based on academic and practical competencies, but also that they demonstrate their skills in projects like the one you will see tonight.

Right now there is a push, nationwide for something called “Common Core.” In its simplest terms Common Core is the idea that underneath all the educational opportunities and experiences a student gets, there are a set of fundamental skills and concepts that are essential to their success, no matter what field they ultimately go into.  Right now, those fundamentals are focused nationally on English, Math, and, to a large extent, technology.  From those stem all kinds of things. Science.  The Arts.  And more.

But the Arts integration can get tricky, and the world of education is changing.   This is a fact.  So why can’t the Arts change too?  The truth is that at the heart of pretty much everything CMAS and Theater do at Arcadia lies that simple truth.  We approach everything we do with the mindset of “Just how far can we push the limits of Arts education?  How ‘real world’ can we make this? 10 years from now, can this experience directly impact and help a student be gainfully employed in a field they love?”

Essentially, to us, it means that while you must maintain a strong appreciation for the past, the real goal is to create something new.  Something of your own.  In pretty much every educational theory model the idea of “creation” is always – always – the highest level of learning, and we always aim to give our students every opportunity to do just that: create something of their own.  Hence, we now have a student written musical.

The Process

How does a show like this happen?

Arcadia CMAS incorporates real world musicianship with songwriting, live audio production and recording studio skills. As an aspect of that process, each song you will here tonight was solely written by students, and many were released on the first two CDs available free through the CMAS website, www.ArcadiaCMAS.com.

Part of the curriculum for the Arcadia Theater program involves scriptwriting, and so in early January a group of writers sat down with an outline, access to songwriters, and began to tell a story.  At the core of this musical, beyond the spectacle and larger plot, is a story about very real teenagers.

In the process of creating this show the students used a number of current and advanced technologies – a hallmark of CTE - and many of those technologies are present in their application this evening.  From the recording studios in CMAS to the scriptwriting collaborations of the Theater students via online script writing and communication tools, to the set design, and a host of others, this show happened not just because the students wanted to do it, but because they received the training to actually make it happen.   The entire show had to be completely written in under 3 weeks in order to ensure there would be enough time to cast, build the set, execute the technical elements, and rehearse. 

Everything in this show came from the students. Everything. The music, the script, the design of the show tonight - costumes, props, even the fliers on the doors – all of it was created by students working together using professional equipment and industry standard practices, built using online technology and modern media, meeting cross curriculum goals and thinking at the creative level.

The notion that these students have worked hard simply does not even come close to describing what they have all put in to this production.


So now that this show is over, what's next?  Well, for starters we have several more CMAS shows coming up.   Then there is the vol. 4 CD  of our "Works in Progress" series to be released in May.  And there will be more shows like the one we did this weekend.  Even as this one was in production we were mapping out a way to do this as an annual event.  A totally original show every year.  beyond it being cool, the fact is that the clear educational opportunities this provided the students, honestly mandate we do it again.  More soon...