CMAS and the Apple Distinguished Educator program

I was recently asked to apply to become an Apple Distinguished Educator. Basically the program, which is facilitated by Apple, is a way to connect nationally, and internationally, with like minded educators each of whom are changing the old educational paradigms for the better.  I have no idea if I will be accepted or not, but I very much love the idea behind the ADE program.  My preference for Macs and related products aside, I think the notion of getting teachers like this together - even just helping to put them into contact with each other - is very cool.

On the other hand, funny as this may sound, while I am incredibly proud of what we've created with CMAS, on so many levels getting selected for the ADE program (should that happen) feels a bit like giving credit to the guy who sold you some paper to write your novel on.  Despite all that can be said, and again, I am very proud of all we've done with CMAS - to say nothing of what I feel we can do with it in the future, at the end of the day - and please forgive the ridiculous cliche that this sounds like - it really is the students making it happen.

I've been teaching a long time.  Far longer than I probably want to admit, but in that time I really have learned many things and one of them is that all I can really do is show them that there are opportunities for them to take advantage of.  I cannot make them take advantage, I can only show them what is possible.  They have to actually do the work.  I don't say any of that lightly.  It's just a reality of the gig.    

All that in mind, I put together the required 2 minute video that Apple asks for as part of the selection process.  The end result feels a bit, as I've said in other forums, self-indulgent for my taste, but I think I covered the main points that Apple wants.  Here's a link to the final two minute submission: http://www.youtube.com/watch?v=4nxAL_79aDc

In the end, the really cool thing (beyond some really wonderful comments by some incredible supporters of the program - there were so many more than I could include in this version) is that I found I have the foundation for what I think could be a great, and I think insightful, look into CMAS. I'm hoping to get this longer and, less "me centered" version complete shortly and be able to use it when I do presentations about CMAS and as a way for future/interested students to learn more about what it is we do.

I am also really hopeful to be selected as an ADE so that  I can further my own understanding of what sort of possibilities there are to continue to expand all that CMAS has to offer.  Wish me luck!

I learned that in High School

I recently received an email from a former student who is doing very well now studying in Los Angeles, and it struck me as such a kind thought that  wanted to write a bit about it.  There was also an underlying message about the effectiveness of CMAS, and his comment made me feel very proud of what we've created.

Cory wrote: "I was in my studio guitar skills class today and my teacher wanted to teach us about compressors and all i had to say was 'I already learned it in high school.'"


Thank you, Cory.  I cannot express just how good that makes me feel.

Some CMAS history

We've been putting together a new web archive for CMAS and as that has been going on, it has grown into something more - a kind of repository for everything the program does.  There's a lot still to do, but the basics are up and over time it'll continue to grow.

As part of the new archive several people asked me to write a bit of the history of CMAS as part of things and so I thought I would include some of it here.   The entire story is on the new site, along with a lot of recordings and videos, and, if you get a chance, we'd love to know what you think.  So check it out at:
ex.susd.org/rmaxwell

A History of the Arcadia CMAS program
(as told by Richard Maxwell, CMAS creator/facilitator - October, 2010)

In the Fall of 1999 I came to Arcadia to be the school's new Band director. For years I had worked as a gigging musician/recording "studio rat," and at that time had been out of school, teaching, for about a year and a half, having completed my second Master's degree, at the University of Arizona in conducting.

I have a great love for classical music, and still write for symphony orchestra and clinic whenever I am able, and I recall many conversations with Greg Hanson at the University of Arizona about how all music can be viable, regardless of the genre. Greg's attitude was just one of several pivotal influences informing my own, personal, musical philosophy - but his was the most potent, because, as I would later come to realize, his was the farthest reaching. To be fair, there were others along the way (Heineman, Vroman, Kaizer and Sanders, etc. at Bradley; Gage at Youngstown; Metzger, Beeler, and Wagner at Sycamore) but I am not sure I was ready back then to really appreciate the true depth of either their expertise or experience at the time. I mention all this, not so much out of false modesty, but rather because, taken all together, they had a huge impact on how CMAS would ultimately be designed. In a very real sense, the true "Father of CMAS" is Greg, and all the others.

Anyway, it has always struck me odd that pursuing "current" musical trends is generally treated as counter to academic musical pursuits. The lack of legitimacy that it can be given is even further confusing, at least to me, when you consider the fact that all the great and lasting music throughout history was composed by musicians who were - every one of them, I would argue - very forward thinking.

By definition, "Bach, Beethoven, and the boys" were all writing "Pop" music. The goal for them was not just similar, but identical, to the goal of today's musicians working in the "current" scene. Somewhere along the line though, music education in schools, for the most part, seems to have lost sight of this. There are exceptions, certainly, but on the whole, the more "modern" classes (ie. Guitar, History of Rock 'n' Roll, etc.) are treated as throw-away classes. Frequently offered to a school's music teacher simply as a way to allow them a contract that keeps them at the same school for the entire day.

I know this to be true if only because in preparing for my second year at Arcadia, I benefitted from just such a scenario. Jim Lee, the principal of Arcadia at the time, came to me late in my first year and asked me, given my "outside" musical experience in studios and such, if I would be interesting in taking over the guitar class the following year. I accepted, and that is very much were CMAS began.

I took the guitar class very seriously. (Perhaps, to some, too seriously?) In any case, I wanted to make the experience more about music fundamentals rather than just a class kids could "hang out and sometimes jam" in. I had a lot of real-world experience, and I felt that it was important to relate that experience to the educational opportunity provided to the students. My idea was that if we used the students' interest in current musical styles as a way to get them to refine their skills legitimately through music theory and such, we might, eventually create something that was really viable both musically and educationally. To say nothing of being able to reach more students with music than I could as only the band teacher...

read the rest here: ex.susd.org/rmaxwell

CMAS and the Search for Ensmble

Tonight was the first ever CMAS stadium show, and it was just beyond wonderful.  I am so proud of the entire program, that I really do not know where to begin.  There is so much to cover that I think it likely that I will do a series of articles to get it all out over time in the, I hope, not too distant future.

That said, there is one element that stands out to me that I had been suspecting for a while now, but tonight showed me that my instincts were, in fact, very gratefully, correct: there is a true sense of large ensemble within the program.

ensemble (noun):

1. all the parts of a thing taken together, so that each part is considered only in relation to the whole.

2. in music: the united performance of an entire group

Over the years, as the CMAS program has evolved, we've pretty much been able to prove any educational or musical criticism of the program to be wrong. Very wrong.  The only one that I have ever felt might have had some validity was a comment that for all the benefits of CMAS, the one thing the students cannot get in program is a true sense of ensemble.  Specifically, large ensemble.  

To be fair, part of me had to agree.  After all, though we have a vast number of smaller groups (most of the bands are 3-5 members) that larger sense did seem a bit absent.  On the other hand, there was always this feeling in my gut that we just had not crossed the threshold yet on this subject and there was every bit a large ensemble aspect to CMAS as much as any music program of any kind anywhere.  It just had not been presented properly.

Well tonight, it turns out, among all the other accomplishments, was the very tangible proof that the CMAS paradigm evolves this aspect of traditional music programs too.  Significantly.  I have had the honor and pleasure of leading any number of large "traditional" music ensembles over the years, in a vast array of concerts and events.  What I can now tell you is that in CMAS that exact same feeling of large ensemble exists.  Very, very prominently.  At the end of the stadium show tonight the entire program clearly felt exactly the way a large band or orchestra feels after a great performance.  There was absolutely no difference.  The benefits from the experience, at heart were even identical.  The group has to find a way to take all of the best aspects of everyone's efforts and create a collective result that all involved can feel not only proud of, but that they were in fact a key and integral part of the performance's success.  That they as a part, allowed the sum total to be far greater than the individual.  

CMAS more than proved that to be the case tonight.  In fact, in some ways they eclipsed the "traditional" ensembles in this because it's not what you might expect from the CMAS experience.  It's not necessarily the obvious result or benefit of the CMAS experience.  But it is there, and significantly.  And now that we know it for certain, CMAS, I can promise, will be taking it farther than could every be expected from any other musical experience - just like they do everything else.

As you can tell I am beyond over the moon over this.  I am just so proud to be a part of this musical journey called CMAS.  It is such a thrill and an honor.

More soon, including some more picts and video from tonight.  Amazing stuff.  I am so proud of the entire program.  Just wonderful!