It happens more than you think.

One California high school reported that $30,000 worth of instruments have been stolen this school year alone.

The high price that some instruments fetch on the black market is just one reason cited for the rise in instrument thefts. According to a December 2011 Los Angeles Times article, an old, dented tuba can fetch as much as $2,000.

Protect your investment. One of the easiest ways to do this is to locate the serial number on your instrument and keep it with all your important documents. In the event of a theft, you can provide law enforcement personnel with the information needed to identify your instrument when thieves try to sell it.

In a random Minor Music poll of one high school band class, 0 out of 18 students knew the serial number of their instrument; only 2 out of 18 students knew where to find the serial number; and the remaining 16 students were able to find it within 10 seconds.

Not sure where to look? Here’s a peek at where to find the serial number on each of the beginning band instruments:

The beginnings of American music education rests with one man and a generally accepted truth.

In the late 1830s, an accomplished composer and music publisher, named Lowell Mason, made a compelling case to the local public school committee. It had long been established that the quality of singing in American churches was at that time (how shall we put it?) … not good. It would appear that in their quest for various freedoms, American settlers may have wandered a bit too far from the hub of European culture.

So, in an effort to improve American’s musical abilities (in particular, those participating in various places of worship), Lowell and members of the Boston School Committee, decided that children needed to be formally taught how to read and perform music. From that point on, music would be a part of the public school curriculum. Admittedly, along with that momentous decision came a swarm of controversy, logistic entanglements and legal battles that exist to this day. Nonetheless, the integration of music education in American public schools is a fascinating story.

For anyone looking for the quintessential read on the subject, we recommend
History Of Public School Music In The United States by Edward Bailey Birge.

And for anyone interested in learning more about Lowell Mason’s legacy, you should also check out this website by the non-profit Lowell Mason Foundation.

You didn’t think we’d end the year without offering our take on the quintessential New Year’s Eve Playlist, did you?!

Well, without further ado, here’s our top 12 picks for ringing in 2012!

Happy New Year!

Auld Lang Syne
Of course, Guy Lombardo’s version is a classic. But we also like the versions by Bare Naked Ladies, and Red Hot Chili Peppers.

Bringing in A Brand New Year B.B. King

Funky New Year Eagles

Happy New Year ABBA

It’s Just Another New Year’s Eve Barry Manilow

Let’s Start the New Year Right Bing Crosby

Maybe Baby (New Years Day) Sugarland

New Year Charlie Hall

New Years Day U2

Nothin New for New Year Harry Connick Jr.

The New Year Death Cab for Cutie

What are You Doing New Years Eve Ella Fitzgerald

*Those immortal words are often traced back to the 1788 writings of Scottish poet Robert Burns. They’ve come to mean, “for old time’s sake.” But further investigation taught us that the term also appears in a poem by Allen Ramsay written in 1724. In either case, a more literal (and succinct) translation is “times long past.” The lesson being, as we look to the future, we should never lose sight of what went before.

Is there a Christmas song that you just can’t seem to get out of your head? Is it driving you (and everyone around you) nuts? The holidays are prime time for ear worms, but if you’ve had enough of the jingly, jangly holiday kitsch, you’ve come to the right place.

We caught our ear worm from José Feliciano. You know… Feliz Navidad. It lasted for days. It was awful.

Now, our home-grown, three-step cure is not exactly based in science or medicine. We simply tried it and it worked. And if we can save one person from the stress and angst of an ear worm, well then… it will have all been worth it.

1. First, admit to yourself that you have a problem.

2. Look up and read through the lyrics to the offending song.

3. As soon as possible, listen to it in it’s entirety.

Repeat if necessary. And of course, we encourage you to share this post with those you love.

No one appreciates the seasonal quirkiness of Dominick the Donkey more than we do. But, if you’ve had enough of the tired Christmas themes being doled out by commercial radio, I think we can help.

Click through and add these elegant selections to your holiday playlist. Then pour yourself a glass of holiday cheer, kick back, and enjoy.

Bach Dona Nobis Pacem, from Mass in B minor

Gruber Silent Night

Handel Messiah

Mendelssohn Hark! the Herald Angels Sing

Puccini (La bohème) Christmas Eve in Paris

Tchaikovsky The Nutcracker

Vivaldi Concerto for Four Violins

Vivaldi Gloria

On Dec. 8, 1941 United States President Franklin Delano Roosevelt delivered a speech to a joint session of Congress and the nation, in response to the “sudden and deliberate” attack of the U.S. Naval Base at Pearl Harbor in Hawaii.

In this three-page, typewritten, hand-edited speech, FDR delivered the now famous declaration of war against the Japanese Empire. At the National Archives site, you can view the actual draft of his speech, listen to audio files, and download an analysis worksheet.

The only thing we would add to this must-have classroom lesson is a recording of the Navy Song, Anchors Aweigh.

Politics aside, we think Congresswoman Nancy Pelosi missed the boat in an attempt to take a seasonal jab at the lack of Republican support for a proposed millionaire tax.

In a statement to the press, Pelosi says, “Christmas is coming, the goose is getting fat… and the Republicans want to keep in doubt whether the middle class will have a tax cut.”

Huh?

She’s quoting lyrics from Christmas is Coming, a late 19th century nursery rhyme and Christmas carol :
Christmas is coming, the geese are getting fat
Please put a penny in the old man’s hat
If you haven’t got a penny, a ha’penny will do
If you haven’t got a ha’penny, then God bless you!

In these days of record-breaking federal deficits and unemployment rates, we question her choice of musical metaphor. Is comparing the middle class to an old beggar really the picture she intended to paint? We also happen to disagree with the lyrical insinuation that the federal government is in an especially robust state. The lesson here is simple. Understand the connotative meaning of a proposed musical metaphor.

Having said that, we happen to like the Chirstmas carol in question. There are several versions of Christmas is Coming available for download. And regardless of how fat the goose is getting you should add this one to your holiday playlist.

This American Folk Song has been around for a long time. It first became popular back on the 1820s, and remained so through the Civil War. Astute musicologists remember that Minnie Mouse was carrying the sheet music for “Turkey in the Straw” (along with her fiddle) in the movie Steamboat Willie. It’s been recorded by everyone from the U.S. Coast Guard Band to the Wiggles. Tho’ it’s not clear exactly who should get the credit for writing it, one thing’s for sure: Turkey in the Straw is a must have for your Thanksgiving playlist.

The flute is one of a few instruments that has been found in almost every culture since the beginning of time. For centuries, the instrument has been evolving, and manufacturers are still coming up with ways to achieve even more sophisticated qualities of sound.

Of course a serious player needs to start with a quality flute. But if you’re looking to explore the instrument’s complexities, you may want to consider adding a new headjoint. Keith Anderson is the headjoint maker for Burkart Flutes. In an article originally published on the Burkart site, he offers these tips when considering a new headjoint:

Embouchure hole size and shape
The size and shape of an embouchure hole lends itself toward certain distinctions:
A large hole has a big sound.
A small hole has a sweet sound.
An oval shape tends to be fluid and perform well in the upper octaves.
A rectangular shape tends to be strong in the mid and lower registers.

Blowing Edge
The angle of the blowing edge affects how much you have to roll the headjoint in or out to find the “sweet spot” with the best focus and tone.
The blowing edge angle also impacts how much resistance is given to the air stream and the overall quality of articulations.

Materials
The main reasons why different metals produce different sounds are density and stiffness.  Both density and stiffness are inherent properties of the material. Stiffness can be affected by how that material is alloyed and heat treated.  Higher density tends to favor the lower harmonics; lower density, the opposite. In practical terms, a denser metal would have more resistant qualities than a less dense metal but the sound also has potential to carry farther and possess more complexity.  Higher stiffness tends to favor higher harmonics; lower stiffness, the opposite.

RISERS & LIP PLATE
A gold riser on any kind of silver head will add color and nuance by using a denser metal for the most critical part of the whole flute, directly where the sound originates.  Gold is perceived by many to “darken” the sound and add a profound color palate at an economical price.
The gold embouchure is a gold lip plate in addition to a gold riser resulting in subtle additional benefits over a gold riser alone.  It supplies gold at the exact tip of the blowing edge. The weight adds substance to the sound and the aesthetic is admirable.
The platinum riser is the densest material.  The projection and color added are both striking and beneficial and can be appreciated by orchestral player, soloist, and chamber musician alike.  Platinum is widely known for its free-blowing fortes, but its subtlety of color and ability to facilitate upper octave pianissimos is also unparalleled.

TUBES
.016 Sterling silver is the standard material for professional flutes.  Containing 92.5% silver, the sound produced is one of classic brilliance.  Thin wall .014 silver tubes offer a delicate shimmer and the least amount of resistance in sound production.  The thick wall .018 tubes offer a darker more resistant sound that carries well in the concert hall.
5-95 tubes are 5% platinum and 95% silver. They have a nice mellow color while maintaining good projection.  5-95 or platinum risers are optimal combinations and give a rich, velvety tone with great resonance.
998 alloy is 99.8% silver and achieves a more complex sound than sterling silver with amazing projection capability.  A platinum riser with a 998 tube is a popular combination for soloists, though any of the embouchure enhancement choices are a clear step ahead of their sterling silver counterparts.
10K gold is not quite as resistant as 14K. It has the added color depth of gold while embodying the projection qualities of silver and, therefore, is a great middle ground for a diverse musician.
14K and 19.5K heads achieve a dark “Full-On” gold sound with significant resistance, inspiring color and a luscious heft no matter the cut style.
Platinum headjoints are made with 14K embouchures so that their sound does not become too dark.  This combination enables an unlimited palate of color and flexibility for the performer from delicate pianissimos to the most aggressive fortes.

I first learned of the history behind the Burkart company through a piece I wrote for the New Jersey Flute Society’s newsletter. Local flutists of all ages and abilities should consider joining The New Jersey Flute Society (and others like it). These organizations provide an encouraging environment for students, amateurs, and professionals. They’ll keep you informed of local concerts, masterclasses and trade events.

On Nov. 18, 1928, Walt Disney released a short, black and white animated film that experts agree, forever changed the motion picture industry. In seven minutes and 23 seconds, the animated short, Steamboat Willie introduced the world to a mouse named Mickey, his girlfriend, Minnie and a revolutionary new way to view an animated film.

This film brought animation out of the silent-film era. This was the first cartoon to match sound with action. Inspired by the film, The Jazz Singer , Walt Disney seemingly chose an unlikely hero to usher in what would become the golden age of animation.

In case you’re not familiar with the plot, Disney.wikia.com offers the following summary:

The film begins with Mickey piloting the Steamboat Willie riverboat down a river, happily whistling along to the tune of Steamboat Bill. He pulls a rope to sound the steamboat’s three whistles. The tall and medium whistle sound off in synch but the shortest one stays quiet until a good hit from the medium one. Unbeknown to Mickey, angry Captain Peg Leg Pete appears behind him and grabs Mickey’s torso, stretching it in the process and switches places with him behind the wheel. He proceeds to yell at Mickey and then and sends him back down to the deck. Mickey salutes weakly while Pete turns around. To his back, Mickey blows a raspberry. Pete turns around angrily to see Mickey weakly waving his hands, possibly indicating it was just gas…
The film then cuts to a shot of Podunk Landing with two chickens, a duck and a cow stationed on the dock…
Just then, Minnie Mouse appears on the scene running to catch up to the steamboat. Mickey jumps aboard the ship and takes off leaving Minnie yelling at the dock. She proceeds to run alongside the river after the steamboat. Calling for help, Mickey hears her and decides to lower the crane to catch her. The crane is lowered by Minnie and the hook proceeds to gently lift of her dress and grab hold of her bloomers carrying her onto the ship. As she is lowered, Minnie drops her fiddle and Turkey in the Straw sheet music which bounces over to a goat. The goat sees it and begins to eat the sheet music. Minnie is lowered to the ship and the hook pulls her dress back down. Minnie is happy to see Mickey and turns shyly away to see the goat eating her sheet music. The goat then starts on the fiddle and Mickey attempts to yank it out of his mouth. Mickey struggles but can’t pull it out and falls on the ground launching the fiddle into the goats body which proceeds to bounce around causing music notes to sound. Mickey hears this and the gets the idea to use the goat as a phonograph. He opens the goats mouth and calls Minnie over. Minnie gets the idea and begins to “crank” the goats tail and Turkey in the Straw begins to play. What follows is a lively rendition of the song where Mickey uses a barrel and garbage can as drums, bangs on pots and pans, strokes a washboard, pulls on a cats tail to make it sing and swings it around his head, uses a duck as a makeshift bagpipe, pulls on little piglets tails to make squeaks, and finally uses the cows teeth as a makeshift xylophone.
After the song, Mickey take a bow and finds Peg Leg Pete scowling at him. He attempts to walk away but Pete grabs hims and sends him below deck to peel potatoes. Mickey begins to work when the parrot flies into the window and begins to mock and laugh at him again provoking Mickey to throw and half-peeled potato at him sending the parrot splashing into the water. Triumphant, Mickey begins to laugh bring the picture to a close.

For more on the creative mind of Walt Disney, check out these titles.