[HANASHIR:6458] Certification

[Burton A. Zipser <zipmusic...>]

Dear Friends,
        Within the last week the discussion has centered on the topic 
of certification.  As I tend to wait and see what the objectives are, 
the need to summarize the main points of discussion becomes apparent. 
Therefore:

I.  Certification:  Why?
        A.  A musical equivalent to NATE or other forms of licensure.
        B.  The effect on salaries for religious music educators and 
those who perform as synagogue musicians in all of the many 
manifestations of that term.
        C.  How to obtain specific training designed to meet the 
needs of the individual to be called a "synagogue musician".
        D.  How to evaluate previous experience; also, how to provide 
practical experience for those with no previous training activities.
        E.  How to accommodate individuals who may not be located 
near centers which might be able to offer either instruction or 
experience, or both.  Is an attempt at distance learning to be the 
only method available for such individuals?
        F.  Who or whom will decide what is required or what needs to 
be determined when weighing other educational and musical training.

II.  Suggested Study and Training Requisites/Pre-requisites:
        A.  What subject matter areas need to be covered?
        B.  What repertoire needs to be studied or required?
        C.  Is the content of the training to be generally applicable 
to all of the different approaches to Jewish worship, or will there 
be tracks which will relate to the different emphases required for 
Orthodox, Conservative, Reform, Reconstructionist practice?
        D.  What resources (texts, materials, equipment) need to be 
included in order to permit the individual to function as a synagogue 
music practioner?
        E.  What specific aspects of Jewish musical knowledge 
(harmony, modes, nusach, performance practice, theoretical knowledge, 
and the history of Jewish music) shall be included in the areas of 
study and to what extent is prior musical activity and experience to 
be accepted?
        F.  What capabilities in specialized areas (such as 
accompanying--both keyboard and guitar--, conducting, songleading, 
performance on related instruments--percussion, wind, etc., and 
singing ability and pedagogy) need to be covered, and how is the 
individual to obtain practical experience in any or all of those 
areas?
        G.  To what degree is experience as a public or private 
school music educator to be counted?
        H.  Since non-Jewish musicians have been utilized as 
organists and choir directors for over 150 years in the Reform 
tradition, what areas of knowledge, philosophy, attitude, and 
understanding shall be required for certification in addition to any 
and all of the above items (A-G)?

III.  Definition of a Synagogue Musician:
        At the present time only the Guild of Temple Musicians exists 
as a non-ordained cantorial musical alternative.  Membership includes 
cantorial soloists (non-ordained), organists, composers, and 
conductors, plus some individuals who teach music or religious 
activities which include music.  The GTM, as John Planer has 
explained very clearly in an earlier communication, is an affiliate 
of the American Conference of Cantors (the organization of ordained 
Reform cantors).  Should individuals who specialize in congregational 
religious school music education also be able to be called "synagogue 
musicians"?  If the Conservative movement does not have an equivalent 
organization, should the title also include those who teach music in 
Conservative day-schools and congrega- tional schools also be 
eligible to receive certification as a synagogue musician?  Further, 
if music is an international language, should there be a special type 
of certificate created which would apply to those who teach music in 
Orthodox religious day-schools (in case they may be interested)?

IV.  Preliminary Inquiry:
        In order to determine what may need to be included in this 
area of study, should some sort of survey take place in order to 
determine what is now occurring in Jewish schools of all types in the 
United States?  Should a comparative survey consider what may be 
required in other countries, if any requirements even exist?

        Having gone this far, I would welcome any comments, 
additional items, or other observations.  At this point, you may 
direct them to me at my e-mail address <zipmusic (at) bignet(dot)net>.  In 
case there is a question, I have degrees and experience in music, 
music education, as well as experience as a teacher in Conservative 
and reform congregations in grades K through 10.  Thank you for your 
involvement in this discussion. Burton A. Zipser

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