Only Minor Rule Changes for Music in 2012
By Richard Floyd, Music Director | Thursday, September 15, 2011 2:14 PM
The UIL Music Programs continue to operate in a stable climate with minimal changes from year to year. Virtually all UIL music rules remain unchanged with the exception of some minor procedural issues pertaining to Sight-reading Contest. The following rule changes will be in effect for the 2012 Sight-reading Contests in band, choir and orchestra.
Section 1111(a)(7) - RECORDING DEVICES IN THE SIGHT-READING ROOM. With the advent of smart phones and other portable recording devices it has become more prevalent for individuals to record the sight-reading music during the competition for later review. This practice is inconsistent with the expectations for the sight-reading contest. Consequently the UIL Legislative Council has adopted a regulation that prohibits the use of recording devices in the sight-reading room.
Section 1111(e)(1) & (f)(1) - BAND AND ORCHESTRA DIRECTOR’S STUDY PERIOD PRIOR TO THE SIGHT-READING CONTEST. Between the time when a band or orchestra director leaves the concert stage and begins the explanation period in the sight-reading room the director will be provided with a three-minute study period to review the score and formulate a strategy for introducing the music to his/her students.
Section 1111 (g)(4), (e)(5) & (f)(4) - CLOSING THE SIGHT-MUSIC DURING WARM-UP. While the following has been an expectation in many regions in the past it now will be a requirement for all sight-reading contests. During the warm-up that follows the explanation period and the reading of the music, band and orchestra students will be asked to turn their music over on the stand and vocalist will be asked to close their music. At the conclusion of the warm-up, the music will be turned face up or opened and the organization will proceed with the reading of the sight-reading selection.
RECOMMENDED READING.
How would you like to read a great success story about a high school band that followed its own path and was recognized nationally for its artistic and educational achievements while sustaining a volunteer marching band that grew from 79 to 158 students? Over a 12-year period this band program commissioned 18 works by composers such as Warren Benson, Vincent Persichetti, Armand Russell, Leslie Bassett and Alec Wilder. Guest conductors and soloist included Frederick Fennell, William Revelli, Richard Franco Goldman, Norman Dello Joio, Don Sinta, Harvey Phillips, Benny Goodman and “Doc” Severinsen. Students left this program with a lifelong passion for music and creativity. At the same time the volunteer marching band supported school athletic activities, made countless community appearances, toured the Midwest and over the years performed at six professional football games.
The band was the Ithaca High School Band from 1955 to 1967, and its director was Frank Battisti. Throughout his tenure this icon of our profession held true to his vision that all IHS Band experiences would be directed towards helping every student find “joy and excitement in music making and creative endeavor.” The history of this remarkable band experience and the community it served in the Finger Lake region of New York is now documented in a 2010 publication entitled “The Best We Can Be” by Frank Battisti and Bruce Musgrave.
This enjoyable and thought-provoking read is published by Meredith Music Publications, distributed by Hal Leonard, Inc. and can be purchased on amazon.com.