August/September 2018 Ala Breve

ala breve

Come Study with World Class Faculty

In the Department of Music at Auburn University

We are pleased to announce that one of our Faculty has been recognized as one of nineteen highly Dr. Rosephanye Powell was highlighted in the .

We are proud of Dr. Powell for reaching this milestone, the only living Vocal Professor

to learn more about our world class faculty visit www.auburn.edu/music

Florida’s only festival that’s really on the BEACH!

For High School and Middle School Choral Groups, Symphonic Band, Orchestras, Concert Band, Jazz Band, Marching Band, and Color Guard.

April 26-27 & May 10-11 2019

Groups are returning year after year to the most fun festival in Florida.

www.panamacitybeachmusicfestival

Hello AMEA!

I trust that you all had a great summer, and that you are ready to get back to the work of educating our young people. It has been exciting to follow all of the professional development activities that so many of you have been involved in through the summer months, and I consider myself very fortunate to be amongst such consummate professionals in our most excellent profession. I want to thank you for allowing me the opportunity to represent and work for you as your President for the next two years. I will endeavor to do my best in that capacity and I look forward to the work we will do together.

Summer Board Meeting

The Governing Board had a very productive meeting in June with a very full agenda. All the represented divisions gave excellent reports concerning the depth and breadth of their respective activities and programs. There are truly some exciting things happening throughout our state. All the divisions are both healthy and vibrant, and rest assured that each

division is very well represented. I am happy to report that our organization is moving forward toward our 75th Anniversary in a strong financial position and membership numbers are solid. While active membership decreased a little last year, overall membership grew by 145 due to the growth of Tri-M. Way to go Tri-M! Membership numbers in fact remain in line with recent trends and history, but let’s do our best to grow the organization. Please talk to your fellow music education colleagues and encourage them to renew their membership in AMEA, or join us if they are not already a member.

Advocacy in Our Nation’s Capitol

The 68th NAfME National Leadership Conference, Collegiate Advocacy Summit, and 2018 Hill Day was June 26th-30th. Representing Alabama besides myself were AMEA Executive Director and Editor Garry Taylor, AMEA PastPresident Susan Smith, AMEA President-Elect David Raney, NAfME Chair of the Council for General Music Education Dr. Rob Lyda, and AMEA Collegiate Division President-Elect DeLee Benton. While in Washington, DC

we were able to meet with representatives from the offices of Senator Doug Jones, Senator Richard Shelby, Congresswoman Terri Sewell, and Congressman Bradley Byrne for Hill Day. Our message was well received in all offices as we shared the importance of music education in a wellrounded education. We made several requests as part of the goals for the day, both legislative and fiscal. This House and Senate have done a very good job of funding the “Every Student Succeeds Act” through the appropriations process, and all parts of the law are being funded for 2019 at significantly higher levels than during Fiscal Year 2018. For specifics on Federal appropriations, authorized spending, and all things “ESSA,” please see the NAfME website. During the National Assembly many valuable sessions were presented and information was shared amongst state leaders concerning subjects such as: Position and Mission Statements, Crisis Management, Finding and Nurturing Leaders, Coalitions at the National and State Level, Budgeting, Legal Issues, Technology, Diversity, Governance, Federal Funding, and Ethics.

2019 Professional Development Conference

Let’s talk about the elephant in the room and immediately get it out of the way. Registration was a major concern at our 2018 Conference. The root cause of this problem was an issue with the NAfME Customer Relationship Management (CRM) software, and our Registrar Pat

Greg Gumina, AMEA President

...our organization is moving forward toward our 75th Anniversary in a strong financial position and membership numbers are solid.

Stegall, along with our AMEA Governing Board is determined to solve this for our members. In fact, we will not be using that CRM this year in order to expedite the registration process. However, the best way to mitigate this risk is to pre-register for the conference online and avoid the issue completely.

I am excited to announce that our Keynote Speaker will be Dr. Tim Lautzenheiser, who will also be conducting a clinic session on beginning band. This year is also an Intercollegiate Band year, and we are excited to have Dr. Lowell Graham from UTEP as the conductor. We had a record number of performance applications this year and I am also proud to announce that we will be featuring more of our own students’ and teachers’ efforts at this year’s conference through some adjustments in the schedule and planning. As you know, we are returning to Birmingham for the conference this year. We will be using the BJCC Theater as our meeting space and large concert venue which will fit our events perfectly. Please make plans to attend the conference now, and plan on staying on site. The interstate highway system in Birmingham will still be significantly under construction at the time of our conference and you won’t want that impeding on your enjoyment of the conference. In addition to all the performances of our colleagues and their ensembles, there are going to be some fantastic clinics and sessions. I’m looking forward to seeing you there!

Agenda and Goals

My agenda over the next two years will be driven by the goals of Advocacy, Action, Technology, Collegiality, Standards, Knowledge, and Pride. I would like everybody to feel included, important, and crucial to the success of the AMEA. There is no stronger advocacy group than one which is united. We all play a part in

the musical education and social development of our young people in Alabama, and I wish for us all to identify as one unified association. One of the main ways we will accomplish this is through advocacy efforts. I want us to become more visual in our communities, in our State Capitol, and be more culturally relevant to our populous. We will accomplish this in many ways. In addition to the standing committees spelled out in the by-laws, I am forming ad hoc committees as part of the the President’s Cabinet. The committees will be tasked with studying issues and sharing their findings with the organization. Additionally, we will be helping our state celebrate its bicentennial. There will soon be downloadable PDF arrangements of our state song on the AMEA website which I hope you will program on your various concerts and events. We will also continue with our performances in the State Capitol Rotunda during the spring legislative session. And finally, we will be a very vital component of the celebration and parade on December 14th, 2019.

Thanks and Moving Forward

Please join me in thanking Susan Smith for her leadership as President of the AMEA over the past two years. Susan is a tireless advocate for our profession and our students. Thank you so much Susan for your dedicated service to our organization. As we move forward into the 2018-19 school year, let’s all commit to finding that first year teacher, that new person to our state, and our fellow music educators not currently involved in AMEA and invite them to participate. My sincere wish is that you all have a great school year. Now let’s get busy educating our young people throughout our beloved State.

Have a Great Year!

Gregory L. Gumina

Some of AMEA’s leadership visits the office of Senator Richard Shelby during NAfME’s Hill Day (L to R) Immediate Past-President Susan Smith, President-Elect David Raney, NAfME General Music Chair and AMEA Advocay Chair Dr. Rob Lyda, Senator Shelby’s Legislative Assistant Hamilton Bloom, Executive Director Garry Taylor, Collegiate President-Elect DeLee Benton, and AMEA President Greg Gumina

AMEA Governing Board 2018-2019

President Greg Gumina Shades Valley High School 6100 Old Leeds Road Irondale, AL 35210 (205) 956-4638

ggumina85@gmail.com

Immediate Past President

Susan Smith

104 Smith Hall Troy, AL 36082 (334) 670-3322 ssmith26024@troy.edu

President, AOA

Guy Harrison 218 Goodwin Music Building Auburn University, AL 36849 (334) 844-8192 gfh0002@auburn.edu

President, AMEA Collegiate

Jordan Hare jhare1@forum.montevallo.edu

Industry Representative

Becky Lightfoot Arts Music Shop 3030 East Blvd Montgomery, AL 36116 334/271-2787

beckyl@artsmusicshop.com

Executive Director

Editor, Ala Breve

Garry Taylor 1600 Manor Dr NE Cullman, AL 35055 (256) 636-2754 amea@bellsouth.net

President-Elect

David Raney Sparkman High School 2616 Jeff Road Harvest, AL 35749 256-837-0331 draney@madison.k12.al.us

Recording Secretary

Carla Gallahan

113 Long Hall Troy University Troy, AL 36082 (334) 670-3502 recording_secretary@myamea.org

President, AVA

Megan Jones Decatur High School 1011 Prospect Drive Decatur, AL 35601 (256) 552- 3011 presidentofava@gmail.com

AMEA Collegiate Advisor

Edward (Ted) Hoffman University of Montevallo Station 6670 Davis Music Building 308 Montevallo, AL 35115 (205) 665-6668 ehoffman@montevallo edu

Assistant Executive Director

Rusty Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702 rlogan9853@gmail.com

Treasurer/Registrar

Pat Stegall

AMEA Registration PO Box 3385

Muscle Shoals, AL 35661 treasurer_registrar@myamea.org

President, ABA

Doug Farris Brewer High School 59 Eva Road Somerville, AL 35670 (256) 621-0540

djfarris@morgank12.org

President, Elem/Gen

Phil Wilson Ogletree Elementary School 737 Ogletree Road Auburn, AL 36830 prwilson@auburnschools.org

President, Higher Education

Mildred Lanier Jefferson State Community College (205) 983-5309

mlanier@jeffersonstate.edu

Alabama Department of Education Arts Education Specialist Andy Meadows 50 North Ripley Street Montgomery, Alabama 36104 (334) 353-1191

ameadows@ALSDE.edu

Garry Taylor, Editor & Advertising Manager 1600 Manor Dr NE Cullman, AL 35055 (256) 636-2754 executive_director@bellsouth net

ADVERTISING & COPY DEADLINES

Fall - August/September (Back to School) issue: July 15

Winter - October/November (Conference) issue: September 15

Spring - May/June (All-State) issue: January 15

Summer - May/June (Digital Only)

Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.

On the cover - AMEA leadership advocates for music education during NAfME’s Hill Day June 28.

Pictured left to right: Immediate Past President Susan Smith, President-elect David Raney, NAfME General Music Chair and AMEA Advocacy Chair Rob Lyda, Collegiate President-elect DeLee Benton, Executive Director Garry Taylor, and President Greg Gumina

Mildred Lanier - President, Higher Education Division

Another semester full of students, private lessons, performing ensembles, and teaching schedules; it’s a new fall term and time to educate more aspiring music educators and performers. Best of all, the 2019 AMEA Professional Development Conference will be fast approaching. I can’t wait and I hope you’re looking forward to it too.

Once again, we will gather together in Birmingham and enjoy conference sessions, performances, and collegiate fellowship. The HED is excited about the variety of sessions including operetta, performance and intelligence, percussion and woodwind collaboration, EdTPA, addressing “isms” in the classrooms, and much more.

The poster session is also on our conference schedule and I am confident we will not be disappointed with the depth of scholarly research presented. For more information, visit http://amea-research.org.

Not to be missed is the HED recital that is always a high point during the conference because of the wonderful student and faculty vocal and instrumental performances. We hope many new and returning ensembles from across the state will grace the stage. Please contact me if you have a student ensemble that you would like to present or if you and fellow faculty would like to be included on the program.

Until we meet in Birmingham, may each of you have a successful semester as you teach and inspire your students. Please don’t hesitate to contact me with any questions or comments at (mlanier@jeffersonstate.edu).

AMEA Presidents - Past to Present

1946 Yale H . Ellis

1948 Walter A . Mason

1950 Vernon Skoog

1952 John J. Hoover 1954 Lamar Triplett 1956 Carleton K . Butler 1958 Mort Glosser 1960 Wilbur Hinton 1962 Lacey Powell , Jr .

1964 G. Truman Welch 1966 Jerry Countryman

1968 Floyd C . McClure

1970 Jerry Bobo

1972 Frances P. Moss

1974 George Hammett

1975 Frances P. Moss

1976 S . J. Allen

1978 W. Frank McArthur

1980 Paul Hall

1982 Lacey Powell , Jr .

1984 Johnny Jacobs

1986 Merilyn Jones

1988 Ronald D. Hooten

1990 Ken Williams

1992 Dianne Johnson

1994 James K . Simpson

1996 Johnnie Vinson

1998 Michael Meeks

2000 John McAphee , Jr .

2002 Tony Pike

2004 Becky Rodgers

2006 John Baker

2008 Pat Stegall

2010 Steve McLendon

2012 Sara Womack

2014 Carl Hancock

2016 Susan Smith

2018 Greg Gumina

Phil Wilson -  President, Elementary/General Division

PASSION

A few years ago, a teacher friend gifted me with a rustic sign for my home. At the top of the sign in all capital letters was painted the word PASSION. The rest of the sign reads, “There are some people who live in a dream world, and there are some who face reality; and then there are those who turn one into the other.” The friend wrote in an accompanying card that these words exemplify who she saw me to be. I was very moved by her gesture and the words on the card and sign. This sign hangs in a prominent place in my home to remind me of what I should consistently seek after when working with children; taking their dream worlds and introducing them to reality.

I was recently a member of a commission that examines professional learning in our state with the purpose of improving what is offered to educators. As is customary, we went around the room introducing ourselves. The facilitator asked us to name something fun we’ve done for the summer. Member after member stated professional learning opportunities they engaged in during the summer to improve their practice, while only a handful spoke of actual vacations. The sense that I got from the room could be described with one word; PASSION.

As we are in the preparation phases of returning to school, our PASSION goes out ahead of us and starts the engine that will soon become a charging choo choo on track to making dreams realities. Not because of the money, recognition or pride do we do anything that we do. (Well….maybe a little money). Instead, it’s the smiles on the faces of students who are exercising their PASSION through music making. It’s the feeling that we are sharing our dreams with students who will share with others and the circle continues. It’s the knowing that when melodies leave our lips or our instruments, they become tangible reality dipped dreams. PASSION!

During the summer months, your elementary division board has been hard at work planning professional development opportunities for you over the course of this next school year to assist you in educating the children of Alabama. It has been my honor to serve you as President of the Elementary Division along with Betty Wilson, President-Elect, Dr. Rob Lyda, Secretary, Lori Zachary, Treasurer and Cliff Huckabee, Past-President and Choral Festival Director.

This year, several professional development opportunities are available for you to attend beginning August 25. The East Alabama Music Workshop will be held in Auburn, AL at Grace United Methodist Church from 9 a.m. to 1 p.m. (8:30 – 9:00 registration and refreshments). The guest presenter will be David Row. We will explore fresh new ways to use folksongs. There is no cost for the workshop. Four hours of professional development will be offered.

Contact Dr. Rob Lyda for more details at lydarob@me.com. The 13th Annual Elementary Music Festival will take place at Samford University’s Wright Center on Friday, October 12th Students will learn from two outstanding Alabama music educators as we celebrate the Alabama Bicentennial. Dr. Damian Womack, choral, and Rhonda Tucker, Orff, will be the clinicians. This music festival is a great opportunity for our students. Thank you for your continued support of this festival.

Saturday, October 13th from 9 a.m. to 3 p.m. we will have our joint Fall Workshop sponsored by AMEA Elementary/General Division and AOSA. This year our clinician will be Orff specialist Rhonda Tucker. Stay tuned to the myamea.org webpage for further details as they become available.

The 2019 AMEA Professional Development Conference will be at the BJCC in Birmingham. This year we are honored to have Beth Ann Hepburn as our featured clinician. She will be presenting four sessions for all grade levels spanning multiple subjects. We will also have member guided sessions ranging from bucket drumming to dancing to folk songs. Be sure to renew your NAfME membership, so that you can take advantage of these rich learning opportunities.

We want to stay in touch with you and reach out to those who are not members of AMEA. Please email us at elementaryamea@gmail.com to update your information and please share this address with those who you know are not members. Also, join us on Facebook AMEA Elementary page.

Congrats to those who attended and earned Kodaly and Orff certification. Also, congrats to those who submitted your National Board Components. BRAVO!!

PASSION! A word that you exemplify each day of each month of each year. You share it, your students see it and feel safe to share their own passions with the world. I challenge you this year to be fearless in your choices, knowing that they are good for your students. I challenge you to step outside of your comfort zone and explore new avenues of music learning. I challenge you to renew your PASSION!

See you in October,

Phil R. Wilson, President Elementary/General Division

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YX-230 Xylophone

HUNTINGDON COLLEGE MUSIC

MAJORS Music

P–12 Music Education (Choral)

P–12 Music Education (Instrumental)

CHORAL ENSEMBLES

Concert Choir

Chamber Choir

GENEROUS

SCHOLARSHIPS

COLLEGE HIGH SCHOOL CHORAL FESTIVAL September 23–24, 2018 Dr. Kevin Fenton, Clinician Teacher Break-Out Sessions 12 students per school

The cost is $40 per student

www.huntingdon.edu/ choral-festival

Huntingdon College is committed to a policy against legally impermissible, arbitrary, or unreasonable discriminatory practices. For more information, see www.huntingdon.edu/misconduct.

Dear Educators,

Welcome back to what I hope will be an exciting and successful year! The Alabama Orchestra Association is looking forward to serving the needs of our division’s teachers and students throughout the 2018-2019 school year. I would like to start by thanking Dr. Samuel Nordlund for his leadership and vision during his recent tenure as President of AOA. Since my arrival in Alabama only five short years ago I have observed first-hand the continued rise in talent, performance level and growth of traditional programs such as the Orchestra All-State Festival and the implementation of new ventures such as a dedicated Orchestra Music Performance Assessment event. It is because of the leadership of dedicated professionals such as Sam that the Alabama Orchestra Association is able to provide quality opportunities not only for string players in Alabama but for any instrumentalist that wants to experience the excitement and musical satisfaction that comes from performing in a symphonic setting.

must seek out and join one of the various community ensembles in order to participate in their desired musical ensemble as they are not able to participate in a school-based string/orchestra program at their local school. Many of these community-based ensembles meet once or twice a week during evenings or on weekends which can have a considerable impact on student’s schedules. As such, it is always with great excitement that we celebrate the news of a newly established school-based string or orchestra program, recognizing those school systems that are committed to providing their students with a comprehensive, well-rounded music program.

On a different note, as we begin a new school year I would love to hear from those of you currently teaching in a school-based or community-based string and/or orchestra program here in Alabama. We would like to publish a series of feature articles throughout the year on current teachers and programs via our social media pages and other available outlets. Stay tuned for more information! The fall is an especially busy time for the

(TX) conducting our Sinfonia Orchestra, and Dr. Gail Barnes (USC) conducting our Consort String ensemble. Music being performed includes Manuel de Falla’s Three Cornered Hat Suite No. 2, Prelude & Mazurka from Coppelia by Delibes, Tchaikovsky’s Marche Slave, Op. 31, Carmen Suite No. 1 by Bizet, and of course the winning entry from the AOA’s Annual Composition Contest.

The Alabama Orchestra Association always strives to find quality clinicians for the AMEA Professional Development Conference. We look for clinicians who will inform, educate, and inspire not only our state’s string teachers but music educators across all the divisions. The 2019 AMEA Conference (Jan. 17-19) will be no exception with a lineup of distinguished clinicians headlined by Bob Phillips who will present three sessions including a general session titled The Art & Science of Motivation. Bob, who currently serves as the Director of String Publications for Alfred Publishing, is renowned as an innovator in string education and brings a wealth of knowledge to his clinics drawn from his 27 years as a public-school educator.

I would like to take this opportunity to introduce to you the members of the AOA’s new executive board - President-elect Dr. Daniel Stevens (UNA), Secretary Rachel Christmas (George W. Carver HS), and Treasurer Jacob Frank (Decatur Youth Symphony). Along with myself (Auburn University) and past-President Dr. Samuel Nordlund (Samford), the new AOA board consists of a diverse group of educators and music professionals covering orchestral and string education from elementary through higher education and from school-based to community-based programs. Our mission continues to be to support and strengthen existing string and orchestra programs within the state as well as working to help establish new programs throughout Alabama to help meet the needs of underserved students.

Research shows us that Alabama, as well as some of our bordering states, continues to lag behind other regions of the country with regards to school-based string and/or orchestra programs. Currently, many of the students who participate in our programs

AOA. The beginning of August will see excerpts posted for the upcoming Orchestra All-State Festival auditions. More information about audition dates, times and locations can be found on our website –www.alabamaorchestraassociation.org. As in previous years, students can take advantage of being able to audition in any district to help avoid scheduling conflicts brought about by football games or marching competitions. If you are a band director, we sincerely hope that you will encourage your students to audition for our All-State Festival. For wind, brass, and percussion students, the experience of performing with strings as well as the challenge of playing one to a part is second to none.

I am excited to announce that we have a stellar line up of conductors for our 2019 Orchestra All-State Festival which will be held from Feb 7-10, 2019 at the University of Alabama. Our Festival Orchestra will be under the leadership of Dr. Raphael Jimenez (Oberlin College), with Mr. Bryan Buffaloe from Clear Lake HS

We also expect to have several string vendors at the 2019 AMEA conference. As we finalize our vendors we will let you know who they are via our Facebook page so you can contact them with any specific needs you might have while you are attending the conference. Hopefully we won’t have any of the weather issues that forced several of our string-specific vendors to abandon their travel plans last year.

The 2018-2019 school year will also feature the 4th annual Orchestra Music Performance Assessment event to be held at Gadsden High School in the Spring of 2019. We are working on dates in April and should have those finalized and available to teachers soon. Please check our Facebook page and/or the AOA website for updates. We encourage all string teachers including those that teach guitar and non-traditional string ensembles from both school-based and community-based programs to plan on participating.

Lastly, the AOA is here to serve you. If we can be of any assistance to you or your program please reach out to us. We hope you have a successful and rewarding school year and look forward to seeing you at one of our upcoming events.

Our mission continues to be to support and strengthen existing string and orchestra programs within the state as well as working to help establish new programs throughout Alabama to help meet the needs of underserved students.

At first glance, 150 Rounds for Singing and Teaching seems like a simple collection of children’s rounds. But deep inside it is so much more. The real value of this collection comes from its excellent indexing and organization.

Although the songs are presented in alphabetical order by title, multiple indexes break down the songs by subject matter (like animals or Christmas), number of parts, meter, melodic elements, rhythmic elements and more. This collection also includes a section where many of the rounds are reprinted in a score format that is easier for educators to use when leading a large group.

The selection of songs is excellent. Teachers could easily create multiple lesson plans or even concert programs just using songs from this book. I hope that others will enjoy this book as much as I have! Best wishes for an amazing school year!

AMEA Industry/Institutional Membership 2018-19

AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators!

Deanna Bell teaches music at Vestavia Hills Elementary East

Deanna Bell

it's time TO START A Tri-M MUSIC

SOCIETY CHAPTER honor

Strengthen your school’s Music. Honor. And Society. Starting a Tri-M ® Music Honor Society chapter will help show the value of your music program to the scoo.isonoursunsoin them to:

•Build an impressive record for college

•Grow as leaders in music

•Serve their community

Ready to start a chapter? Visit MusicHonors.com

Registration for the January 2019 AMEA Conference in Birmingham will begin soon. Go ahead and make your plans to pre-register as soon as the website is ready to receive your information. Pre-registration is very easy and you can even pay online for a discounted price. Encourage your colleagues to join; include the new music teachers; invite the inactive music teachers and be involved as a mentor to the young music teachers.

A pre-requisite for registering for the conference is that you must renew your membership now at www.nafme.org . When you pre-register for the conference, you will be directed to the NAfME website to verify or renew your membership. Membership in NAfME is required for

Pat Stegall, AMEA Registrar

participation in state MEA sponsored events like the AMEA Conference, the Elementary Division Fall Conference, All-state and Musical Performance Assessments. Joining NAfME secures your membership in AMEA and in your division.

You can pre-register in August for the 2019 AMEA conference online at www.myamea.org. You may also choose to pre-register by mail using the form in the Ala Breve. You will find it is easy and will save you time and money. Do it NOW!!! Reunite with friends and colleagues from all over the state in January. Rejuvenate your energy and renew your enthusiasm for the rest of the school year!

Pat Stegall

Noteworthy... NAfME All-National Honor Ensembles

The NAfME All-National Honor Ensembles (ANHE) represent the top performing high school musicians in the United States. So much more than a musical ensemble; it is a comprehensive, musical and educational experience.

AMEA congratulates the following students on their selection to the All-National Honor Ensembles:

Michael Coby

Rebecca Keith

Charlene Zhao

Symphony Orchestra

Oak Mountain High School, Kevin Ownby, Director

Concert Band Thompson High School, Jon Bubbett, Director

Concert Band Oak Mountain High School, Kevin Ownby, Director

The 2018 ensembles will meet at the Disney’s Coronado Springs Resort in Orlando, Florida under the baton of leaders in the field of music education. The NAfME All-National Honor Ensembles are represented in the following components: Jazz Ensemble, Mixed Choir, Symphony Orchestra, Concert Band, and Guitar.

Funnel Vision: My Challenge to You ...the re professio

Greetings!

I would like to open with a special memory from this past summer and a challenge for us all for this year. This summer, I had the great privilege of having lunch with Dr. Frances Moss; Dr. Moss’ church accompanist and former student at Calhoun College, Michelle West; and Shelli Rimes, director at Madison Academy and of the Huntsville Community Chorus Youth Chorale. Dr. Moss has been a music educator since 1962 and has served as pastpresident of both AVA and AMEA. She currently serves as Minister of Music and Laity at Austinville United Methodist Church in Decatur. I first met Dr. Moss at Carl Davis’ final concert as director of Decatur High School. Carl had invited her as a special guest, and he shared during the concert about how she had greatly influenced him to become a choral director. Prior to this, I only knew Dr. Moss by

name, as I had watched for years as highly respected choral directors in our state were granted the Frances P. Moss Award in her honor during the All-State Choir concert.

During our lunch, I attempted to get Dr. Moss to tell me her background, at which point I was quickly told by Michelle that I would be hard-pressed to get Dr. Moss to talk about herself, as “Doc,” as she loving referred to her, is far too humble for that. I quickly understood what she meant. Dr. Moss spent the entire meal instead asking about my and Shelli’s choral programs and pouring encouragement into us. She was genuinely interested in our backgrounds and our futures. There was never a laundry list of items given about her accomplishments, though her accomplishments are many. Instead, we heard stories about past times in AVA and even listened as she still had ideas on how to serve the organization. We heard how

Dr. Moss had completely changed Michelle’s life while she was in college by investing in her. Dr. Moss’ heart for her singers in her Chancel Choir, her congregation, her former students, and her friends is so very apparent. I left our lunch having been reminded that the relationships we build and the lives we change through our profession is the most important part – not our résumés, our titles, or our awards. Music is the medium through which we get to reach people and to bring beauty into the lives of others. What an amazing privilege and opportunity we have as choral directors!

My predecessor and mentor, Carl Davis, shared with me a quote that he’d once heard from Eph Ely. This quote hung in his office for years to serve as a reminder of what kind of director and person he strived to be. “Funnel vision – be interested in everyone and everything. Each day, make someone’s day better. Become someone to be reckoned with.” My challenge to myself and to you for this year is to have funnel vision! Let us not get so bogged down with deadlines and the pressures of receiving top scores that we forget to take time to know and love the human beings behind the voices we direct.

I also left my lunch with Dr. Moss with a newfound appreciation of how far our organization has come since her tenure as president. I encourage you all to go read about her on the AMEA website and to take time to reflect on where we’ve been and to be excited about where we are going as an organization. I am so thankful for all of the past-presidents like Dr. Moss that

(L to R) Michelle West, Shelli Rimes, Meg Jones, and Dr. Frances Moss

have come before me who have strived to better this organization through their service.

As you prepare for this year, please review the updates and reminders below.

SUMMER BOARD REPORT

I am honored to be serving with so many hard-working and forward-minded directors on the AVA Board. We had a very productive meeting this summer, and I would like to share a few of the decisions that were made. The AVA Board:

l Revised the AVA General Membership Handbook to reflect current policies and procedures.

l Reviewed the research conducted by the sight-reading committee and created revised guidelines to be implemented this year.

l Voted to use Acceptd for All-State Show Choir auditions this year in order to encourage more participation by alleviating travel and financial issues that are caused by having to travel for auditions.

l Decided to have two students from each school submit “Alabama” through Acceptd for All-State Choir auditions in order to test the program throughout the state.

l Revised the All-State audition form to

a rubric-style format in order to clarify the process of scoring the students for the adjudicators and allow for more consistency in scores.

NAfME MEMBERSHIP and AVA DATABASE

Please be sure to renew your NAfME membership as soon as possible if you have not already done so. AVA members must also register annually in the AVA Database, which can be found by clicking on the “AVA Membership Enrollment” tab under the AVA Menu at www.myamea.org/ava. Your NAfME membership and AVA Database enrollment must be current to attend and/or participate in any AVA events, so renew and enroll today!

FALL WORKSHOP

Fall Workshop will be held on September 7th at Huntingdon College in Montgomery. Our guest clinician, Dr. Lesley Mann, Asst. Professor of Choral Music at Belmont University, will present two interest sessions and a reading session. Dr. William Powell, Paul Edmonson, Margaret Heron, and Jim Schaeffer will also present mini “how-to” sessions on gospel music, dealing with your administration, theory, and sight-reading, respectively. In addition, we will be sharing the revised sight-reading guidelines, demonstrating the process for submitting online auditions through Acceptd, and reviewing the All-State music packets.

AVA EVENTS

The 2018-2019 AVA Calendar of Events is posted on the AVA website and on page 39

of this issue of the Ala Breve. Visit the AVA website to also find a printable list of dates. With registration deadlines being as many as six weeks in advance of events, it is so easy for a deadline to sneak up on you. We all know how difficult it can be to obtain purchase orders and payments through school system bookkeeping departments quickly, so I encourage you to plan ahead for these deadlines now!Please send any questions, concerns, and/or ideas to presidentofava@gmail.com. I am hoping for a great year for you all!

An educational festival for elementary, middle, and high school students in band, choir, and orchestra

2019 dates:

April 12

April 26

May 3

2020 dates:

April 3

April 7

April 24

relationships we build and the lives we change through our sion is the most important part – not our résumés, our titles, awards. Music is the medium through which we get to reach people and to bring beauty into the lives of others.

New Beginnings, New Opportunities

As we begin a new school year here in the scorching south, let’s remember the advice of Mike Holmes; SUNSCREEN!!! This heat makes me wish for an indoor practice facility. While we were on break, the summer conference was a great success. Your ABA Board is working diligently to improve the association and to strive to evaluate and make decisions that will begin to move us forward.

First, I would like to thank President-elect Terry Ownby and the members of the Music Selection Committee for their continued hard work on the All-State etudes. The middle school etudes will now be found in the Rubank Advanced Vol. 1 for this school year. The high school etudes will remain on their current cycle but will be reviewed by university instructors for the different instruments to recommend changes.

Second, the ABA evaluated the data from all ABA events gathered this past year and the findings will be shared with the membership in the near future. The board also approved the printing of the bylaws and policy handbook. ABA will be selling advertisement space in the books to offset the cost of printing and mailing. They will go out in September once the directory has been updated. Many of our directors are new, have new jobs, or are in newly created jobs. Please update your profile on abafest.com and also on myamea.org. It is very important to update both profiles.

There are two items of legislation to be voted on at AMEA. 2018-1 is legislation to include home school students in public school bands. It follows along with the AHSAA policy on home school students. 2018-2 is dealing with Solo and Ensemble and just corrects a mistake in the bylaws. The board also participated in training for the different events they host in order to standardize procedures across the state. So, to say the first day of summer conference was busy is an understatement but very productive. The clinics this summer were outstanding; Jennifer Farris with eye opening copyright law, David Gregory with two informative clinics, Andy Nevala on

ABA Legislation 2018-2

Submitted by: Regina Raney

Rationale: To correct a discrepancy in the By-Laws Section 7.

State Solo and Ensemble Festival

A student may perform in four events (Stage Band not included). The entrance fee will be $5.00 per event, based on a five-minute (not per student-per time block), no matter how many students are in the event. No student may play more than one solo on the same instrument.

Doug Farris - President, Alabama Bandmasters Association

ABA Summer Conference Shrimp Boil Entertainment

Latin jazz with our own directors as a reading band, and David Waters with Harmony Director. We would like to thank Kim Bain for putting together the entertainment for the Shrimp Boil and Pat Stegall for his words as the Old Fogey. The conference shrimp boil could not be possible without our sponsors: AWB Apparel (Wayne Broom), Southern Performances (David Brannon), Group Travel Network (Justin Shuler), Mouchette Enterprises (Roland Mouchette), Custom Fundraising Solutions (Charlie Colwell), Demoulin (Jeff Therber and Frank Godfrey), Arts Music Shop (Mike Mason and Paul Freehling). Also, Scott Thompson Band Supply for the donuts and coffee.

AMEA is right around the corner and will be a great in-service opportunity. Thirtyfive groups submitted to play at AMEA. All the groups submitted were outstanding and there will be some great performances. Once bands are selected, please consider playing music from all levels to showcase music ideal for any size band. Remember

to book your rooms early. This year the performances will be in the BJCC Theater instead of the concert hall. As I said earlier, many directors have new jobs. Please reach out to your new neighbors. Especially reach out to our first year directors to offer help, advise, and support so they have a great first year experience. As we continue to move forward, let’s continue to evaluate and make our programs better. If there is anything we can do as a board, please do not hesitate to ask. Once you receive your handbook, READ IT! My high school director, Becky Rodgers Warren, gave me the best advice as a new director. Read the handbook as the year progresses. Before each event READ THE HANDBOOK! Then as you evaluate your year go back and READ THE HANDBOOK. That was one of the best pieces of advice I received and has served me well through the years.

Good luck on a great year and rememberdon’t forget the SUNSCREEN!

ABA President Doug Farris

Campus Connections

Samford University School of the Arts

Samford University’s School of the Arts

announces the addition to two new faculty members in the Division of Music.

Alabama Intercollegiate Band

The 2019 Alabama Intercollegiate Band will perform in January at the Alabama Music Educators Association

Filipino-American pianist Jovanni-Rey

V. de Pedro was named Assistant Professor of Piano and Piano Pedagogy. de Pedro has developed an international reputation as a soloist, collaborator, pedagogue, speaker, entrepreneur, and philanthropist.

Professional Development Conference in Birmingham. The Alabama Intercollegiate Band was designed by Alabama college/university band directors to be a collaborative, educational experience. Col. Lowell Graham, Director of Orchestral Activities and Professor of Conducting at the University of Texas El Paso, will serve as the conductor. Dr. Graham is the former Commander and Conductor of the United States Air Force’s premier musical organization in Washington, D.C.

graduated with Honors in Musicology, a Bachelor of Arts in Vocal/Piano Performance, and three concentrations in Anthropology, French, and Conducting. Dr. Richardson obtained her Doctor of Musical Arts and Master of Music degrees at The University of Southern Mississippi.

Annual Events:

Troy Choral Festival – Nov. 9-11, 2018

Contact Dr. James Brown

Southeastern United States Middle School Band Clinic – Dec. 6-8, 2018

Contact Dr. Mark Walker

Southeastern United States HS Honor Band Clinic – Jan. 31- Feb. 2, 2019

Contact Dr. Carla Gallahan

Guitar Festival – Feb. 15, 2019

The John M. Long School of Music –Troy University

We are grateful to AMEA for providing this opportunity to share information with our music colleagues and music students across the state.

New School of Music Faculty

Contact Dr. Robert Gibson

Vocal Jazz Festival – Mar. 20-21, 2019

Contact Dr. Diane Orlofsky

Clarinet Day – Mar. 30, 2019

Contact Dr. Tim Phillips

M.I.C. Check – Apr. 3-5, 2019

Contact Professor Robert W. Smith

Troy Jazz Festival – April 6, 2019

Contact Dr. Dave Camwell

Captain Brian Walden will also be joining the faculty this fall.  Captain Walden comes to Samford from Marshall University where he was the Director of Bands and Coordinator of Music Education and the Area Coordinator.  He is a former commanding officer and conductor of the United States Navy Band, Washington, D.C.

Dr. Gabrielle Richardson is Assistant Professor of Voice/Opera. She received her undergraduate training at Millsaps College in Jackson, MS, where she

Additional information about the John M. Long School of Music may be found at music.troy.edu. We invite you to visit us online or in person soon.

Alabama colleges and universities are encouraged to submit newsworthy material for publication in Ala Breve

The University of Alabama Bands

bands.ua.edu

1ST ANNUAL CRIMSON FESTIVAL OF WINDS

April 30 - May 1, 2019

Guest Clinicians & Evaluators

Dr. Cody Birdwell, Director of Bands, University of Kentucky, Lexington, Kentucky

Dr. David Gregory, Retired Director of Bands, Reinhardt University & Georgia Wind Symphony

Ms. Diane Koutsulis, Retired Director of Bands, Green Valley High School, Las Vegas, NV

Dr. Kevin Sedatole, Director of Bands, Michigan State University, East Lansing, Michigan

Ensemble Invitations Emailed - August 6, 2018 - bands.ua.edu/programs/cfowinds

MUSIC AT UAH...

FROM HANDS-ON TO HIGH-TECH

B.A. IN MUSIC

8 EMPHASES

Music Performance

Music Technology

Music Education

Music Business

Piano Pedagogy

Church Music

Liberal Arts

Jazz

Band Music Reviews

I still don’t know how this works…but the older you get, the faster the summers fly by! It’s hard to believe that the calendar is already inching toward “fall” and we will all be preparing holiday concerts before we know it. For those of you who teach high school, I’m certain you are “knee deep” in marching band, as am I, but I hope you aren’t neglecting to continue to reinforce quality sounds at every turn. During my 25 years as a high school director, I always worked toward producing a fall concert each year. I tried to schedule the concert sometime during the middle of October, which allowed plenty of time to prepare a holiday concert in December. Having our students make warm, characteristic sounds should be a goal we strive for no matter if we’re playing indoors or outdoors, and working on concert literature seemed to always reinforce that concept for me. For our middle school colleagues, working to produce a concert in the fall with our 2nd or 3rd year students works well and gives those students another goal to work toward.

Over the summer, the ABA board has updated our ABA Cumulative Music List with several new (and new to the list) compositions. Keeping any graded music list current and updated is a daunting task, especially with the amount of new music that is available to us today. I have provided a quick overview of several of the pieces that have been included in the most recent update of the ABA list below. I hope you find the information helpful and encourage you to check out these pieces as you are building your curriculum for the upcoming year.

Fivefold by Michael Oare is a new addition to the ABA Class C list. Michael Oare is a middle school band director in Virginia and an incredible veteran music educator. His works are always excellent teaching pieces and work well to introduce new concepts and solidify previously taught ideas. In Fivefold, Michael has several references to the number “5”, including the meter, which is 5/4 for almost the entire piece. While the use of 5/4 meter is an obvious connection to the title, upon closer examination, you detect that he uses the interval of a fifth throughout the composition. He also uses only five different pitches for most the work and the tempo remains constant from beginning to end. This piece is sure to be a hit with your students who will find the rhythmic groove very appealing. The clarinets really get a workout and there are multiple opportunities to reinforce proper articulation in all sections of the work for every section of the ensemble. Fivefold is an outstanding addition to our repertoire and to the Class C list. You and your students should enjoy this piece very much.

We are so fortunate in our state to claim so many outstanding composers as “our own”. Tyler Arcari has enjoyed recent success as a composer, and his new piece All the While was added to the ABA Class D list this summer. All the While is an excellent new young band piece that exposes your students to performing different styles and to playing in a minor mode. Opening with a lovely flute and alto saxophone solo, the piece features lyrical and articulate styles with an engaging primary melody that is played by several of the voices throughout the piece. All the While will challenge your young musicians to play with characteristic sounds and play with mature intonation as the primary melody centers around concert “C” and concert “G”…two notes that provide many young instrumentalists plenty of “listening challenges”. All the While is a welcome addition to the repertoire at the Grade 2 level and provides an outstanding new work for the Class D list.

One of the most unique new pieces on the list was Brian Balmages

new piece for Grade 1, Radiance. This piece is perfect for the Spring Concert with your beginners. Written especially for those groups who are blessed with an over-abundance of percussionists, Radiance can keep at least a dozen beginning percussionists very busy! Alternatively, the piece works well with as few as 3 percussionists. Radiance is built around a motif of only two notes, and it relies very heavily on the texture that is created with mallet percussion instruments. Radiance is also an excellent introduction to mixed-meter with the piece being “felt” in 7/4, but written as 4/4 +3/4. Written for three bell parts, Radiance allows your percussionist to focus attention on note-reading and strengthening their skills as mallet players. Since most beginning band percussionist “kits” include a set of bells, this piece fits the bill if you are looking for a well written work to “keep everyone busy”. I think you will like Radiance…I know your beginning percussionists will! Radiance is a new addition for the ABA Class D list and the publisher places it as a Grade 1.

One of the most performed composers in our genre is Robert Sheldon. Robert has long been one of the leaders in writing quality music for our ensembles. His music is always educationally sound, challenging and musical. I have always found that my student love playing his music and his contributions to the wind band literature are monumental. One of Robert’s new additions is Oracles of the Sirocco, which has recently been added to the Class BB list. A beautiful, energetic piece, Oracles of the Sirocco provides ample opportunity for growth in your ensemble in all areas of ensemble playing. It also features solos written for oboe, bassoon (both cued in other instruments), trumpet and horn. Moving between major and minor tonalities and utilizing numerous sections with mixedmeters, your students will be challenged with shifting pitch centers and establishing and maintaining a steady internal pulse. As with all of Robert Sheldon’s work, Oracles of the Sirocco is full of teaching opportunities that will be both educational for your students and entertaining for your audience. The publisher lists the grade level as a 3.5…I would have to shift it more toward a solid grade 4 and a wonderful addition to the ABA Class BB list. Enjoy!

Best wishes for an incredible year. I look forward to hearing your ensembles throughout the year. As always, do not hesitate to contact me if I can be of assistance to you or your students.

Randall Coleman Associate Director of Bands The University of Alabama rocoleman@ua.edu

Randall Coleman

10 Ways to Improve Your Collegiate NAfME Chapter

This past June I had the opportunity to attend the National Collegiate Advocacy Summit and Hill Day.

The attending collegiate members and pre-professionals were provided with hospitality, opportunity, and all the information we could handle in three days. Amidst the opportunities for sight-seeing and the Hill Day festivities and meetings was a day just for the cNAfME members to chat, network, and learn from each other different ways to improve the big (and little) things we do.

Here are the Top 10 things I brought back with me to share with you on how to improve your collegiate NAfME chapter.

1. Recruiting is not just for the fall.

Oftentimes after the initial recruitment phase at the beginning of the fall semester, our efforts to gain members taper off as classes pick up

steam. Recruitment is YEARROUND. Attract members- and keep them. Engage new members in conversation in and outside of the classroom. Host events year round that appeal to your membership and encourage them to get involved.

2. Fundraising can be big or small. Fundraising is the daunting task many chapters blame for low membership. “No one participates” and “It’s always the same few people volunteering” were common phrases spoken at National Summit. The fact that people are consistently participating in fundraising is a wonderful thing- those people most likely will continue their leadership and involvement as they advance in their careers. The trick is getting “everyone else” involved.

Broaden your outlook. If you first realize not every fundraiser needs

to be bake sales or asking for donations, then you can create events that interest your whole chapter. For example - commission a mural, organize a dance party, or have a video game day, etc.

3. Professional development helps the whole community.

Professional development is somethings everyone in the profession of music education needs. Invite teachers and students in your area to hear a panel discussion about music education on your campus. Ask a local teacher to speak to your chapter about teaching in your county. You can even host an “Exam Prep Day” for your classmates getting ready to take the PRAXIS Exams.

4. Networking is key.

Networking is the one of the most important things you can give your chapter the chance to do. Bring your chapter to the AMEA Collegiate Summit in the fall. Attend the Collegiate Luncheon at the AMEA conference in January. Become a part of the collegiate “Buddy Program” to communicate with your colleagues from across Alabama. Attend the National Collegiate Advocacy Summit in the summer and participate in NAfME’s Hill Day. Don’t do your chapter the disservice of not providing them with opportunities to network and create friendships with possible mentors and colleagues. Those connections could be the reason you receive your first job, your dream job, or the reason you are able to attend the graduate school of your choice.

5. Create a calendar.

Calendars are the key to keeping your chapter organized and on its feet. Put your fundraisers, events, conferences, everything on the chapter calendar- even birthdays! Keeping up with your calendar will help you keep your organization informed about due dates, deadlines, and everything in between. Make this calendar sharable with your whole chapter. Maybe use a google calendar or have a calendar of events on your bulletin board for all to read.

6. Create a budget.

Keeping a budget seems like it should be a given, but budgets often end up a mess after a few years or even months after creating them. Be sure your treasurers sit down and talks through the budget together whenever you are transitioning from one board to the next. If you do your budget electronically, it is not enough for the previous treasurer to send the old files to the next treasurer - they should explain how to edit the document to keep things organized.

7. Structure your chapter’s board efficiently.

Your board is the life force of the chapter’s wellbeing. If the board is not doing their job, the chapter will most likely fall apart. After talking with collegiate members from other states, the majority agree that the most efficient set up for a collegiate chapter board is as follows:

l Treasurer- 1-year term. Elected at the beginning of the fall semester.

l Secretary- 1-year term. Elected at the beginning of the fall semester.

l Vice President/President elect- 2-year term. Elected at the beginning of the fall semester, the following fall, the Vice President becomes the President and a new Vice President is elected.

8. Analyze your Chapter’s Spending.

If your chapter is blessed with funds to spend, analyze how you spend them. Are they going towards professional development, community outreach, chapter dues? Keep track of spending within your budget and have your chapter’s board reevaluate the most important things you’re spending resources on.

9. Create an exciting environment.

If the environment you create for your chapter is a boring meeting after boring meeting, your members will not wish to participate in or attend events. Break up your schedule with gettogethers and board games or maybe a snack and an icebreaker at each meeting. The more enticing you make your organization’s space and the more opportunities you provide them, the more involved your membership will be in the chapter.

10. Be prepared to be professional and say “Yes!”

The biggest piece of advice I received while at National Collegiate Advocacy Summit was to always say “Yes!”. The people who have gone farthest in our field and who have worked their entire careers to advocate for music have all had one thing in common- they said “Yes”. They said yes to the one position on the board no one else wanted, they said yes when someone asked them to host an event, they said yes when someone approached them about running for a state office, and the list goes on. One “Yes” can open the door to more career choices and opportunities than a thousand “No’s”.

So, when you are looking at your chapter and all the opportunities awaiting you and your colleagues, be the best professional you can be, keep your head high, and say “Yes!”.

What’s Your Story?

“This little light of mine, I’m gonna let it shine…let it shine, let it shine, let it shine!” Every day we spread a little light by teaching music. How do we make sure the light of music education shines outside of our classrooms? What means do we use to make sure others see music education’s light? In reality, the responsibility of spreading the “good news” about music education does not squarely rest on the shoulders of music teachers. Advocacy is the responsibility of every parent, community member, student, and administrator. I am honored that President Greg Gumina asked me to serve as AMEA’s Advocacy Chair for 2018-2020. Advocacy is something I am passionate about because like all of you, I have experienced the transformative power of music education. I am also committed to advocacy because I believe every child in our state should be provided with a comprehensive and well-rounded education. I am certain we all share the same zeal for children and for our profession.

My advocacy journey started as a fifth grader. The K-6 elementary school I attended in Panama City Beach, FL was overcrowded. The solution was to build a new middle school to house grades 4-8. The only problem was that the new middle school would not have

music for fourth and fifth graders. We were told not to worry because we could pick up music again in sixth grade when we joined band or choir. Coming from a long line of music educators, I knew and understood the importance of a comprehensive music education. A nonexistent fourth and fifth grade music education was not acceptable. We were accustomed to weekly music instruction and an honor choir at our old elementary school. I was going to make sure we had, at least, the same music education as we did in our old school.

I did what any advocate would have done in the late 1980s – I organized the troops. I took a group of students to speak with the principal and plead our case for providing elementary students with music instruction. I encouraged students to write letters. I met with the choir director and band director to beg them to find time in the schedule for elementary music. My most desperate act, and the one I got in trouble for, was sneaking into the teacher’s lounge. I placed advocacy flyers my dad received at the FMEA conference and letters from students in the teachers’ mailboxes. The teachers did not appreciate receiving my advocacy materials. After my fifth grade teacher punished me, she said, “You shouldn’t have gone into the teacher’s

by Rob Lyda

private space, but you showed that you have real gumption. Not the smartest move, but I’ll give you gumption.” I guess my gumption made the difference. Either I made an impression or pestered the principal and middle school choir director enough that they finally relented. The school schedule changed at the start of the second nine weeks to allow time to teach elementary music and offer honor choir. Not only do I view this as a win for my personal music education, but also as a turning point that ignited a flame to use my voice for the rest of my life. I share this personal story because often the most powerful advocacy efforts are propelled by personal experiences. I’m sure you too have a touchstone moment that ignited your passion for music education. We need to be willing to share those moments with others.

As an organization, we need to examine our current advocacy efforts to develop an effective process and plan moving forward to advocate for music education. This can be accomplished with four goals. Our first goal is to establish the Music Education Advocacy Council. We need representatives from K-12, higher education, industry, community arts partnerships, and non-traditional voices to be on the council. I have contacted each division president soliciting

members to serve. The council will meet several times throughout the year and disseminate information for coordinated advocacy efforts.

Our second goal will be to establish a Hill Day in Montgomery during the legislative session. The 2019 legislative session is scheduled to begin March 5 and run through June 17. The advocacy council will examine each division’s calendar to pick a date that does not conflict with All-State and Music Performance Assessment times. The hope is that Hill Day will include student performances, a rally for music education, and visits to individual representatives. Hill Day will be an opportunity to show that support for music education is wide reaching and strong in Alabama. Our primary goal for this event is to highlight a well-rounded education is essential for Alabama’s growth and future success.

A third goal of the Advocacy Council will be to train others to use their voice. Advocacy is a double-edged sword for music educators because often our efforts are viewed as serving only our personal interests. It is important that all of our advocacy efforts remain student and community focused. We need to enable all involved with music education – students, parents, community members, administrators, and lawmakers to tell their stories and use their voice. Helping others make personal and impassioned appeals about the importance of music education will be vital to our success.

A fourth goal of the Advocacy Council will be to evaluate our partnerships with other Arts Education organizations and the Alabama State Department of Education. When there are discussions about Arts Education in Alabama, we must have an active voice at the table. We can never waiver from our commitment to provide a comprehensive music education for all

students taught by certified music educators. The idea that some Arts Education is better than no Arts Education is a noble call, but in reality, this thinking only provides students with a small taste of music education. Alabama students deserve to feast on the richness of a comprehensive music education. Moving forward, we must ensure our partnerships provide more than mere lip service to vague goals about Arts Education.

In order to reach our advocacy goals, we must develop a comprehensive and well-articulated advocacy plan. A paramount component of our plan will be communication. We must project our voices using various means including social media. Please use social media to highlight your success, students, community, and advocacy stories using the hashtag #Ala4MusicEd. Your stories will serve as the backbone of our advocacy work and will highlight the importance of music education more effectively than any other indicator.

I look forward to hearing all of your stories and sharing good news about music education in Alabama. In the coming months, the Music

Education Advocacy Council will be working to gather resources and formulate our advocacy plan. We will share our efforts in the Ala Breve and at the Professional Development Conference. If I can answer any questions, please do not hesitate to contact me at lydarob@me.com. I hope you all have a productive start to your school year. Remember not to hide the light of music education in your classrooms or even a bushel. Let your light of your stories dispel the darkness and shine for all to see!

Dr. Rob Lyda is the music teacher at Cary Woods Elementary School in Auburn. He earned degrees in music education from Troy and Auburn University. Dr. Lyda is a frequent presenter at music conferences and workshops throughout the country. He is the Advocacy Chair and Secretary of the Elementary Division of AMEA. Currently, Dr. Lyda is serving as the national Chair of NAfME’s Council for General Music Education.

FAME

(Future Alabama Music Educators) Scholarship Essay

by Adrianna Gramalspacher

Editor’s Note: AMEA recently awarded the FAME scholarship to Adrianna Gramalspacher, a 2018 graduate of Thomasville High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Adrianna plans to major in music education at Troy University beginning this fall.

Why I Want to be a Music Teacher

In elementary school, we are all asked the question, “What do you want to be when you grow up?” Usually, children want to be whatever profession they perceive as being important, compassionate, or helpful. My classmates were future doctors, veterinarians, fire fighters, policemen, and the like. However, when I was asked the question, I thought in my head, “I want to be a pianist.” Even as an elementary school student, the idea did not seem realistic but a few years later, I asked myself that same question, “What do I want to be?” and there was no doubt or hesitation. I wanted to be a band director. People questioned my decision, yet I never allowed their doubts to discourage me, because music has been, is, and will continue to be the source of my greatest joy and fulfillment.

Throughout my life, music has been present. As an infant, my parents constantly played Little Mozart CD’s around the house and in the car. At a young age, my mom signed me up for dance, theatre, and singing lessons at a local studio theater, along with my older sister. My sister excelled in these classes, enjoying the spotlight. However, I would often find myself staring at the piano player. Her hands would bounce from one end of the piano to the other. I was absolutely hypnotized. My keen interest was obvious, and I quickly convinced my mom to allow me take piano lessons. From the very first lesson, I was hooked on music.

At the beginning of my sixth-grade year, my closest friends joined the schools’ beginner band. Convinced I wanted to be a professional piano player, the band seemed like a distraction. After a bit of good-natured nagging and encouragement from my friends, I followed them to the band room to see for myself. Weeks went by and some of us received instruments and began learning note names, how to read music, and fingerings on our horns. I noticed that the kids who had not bought an instrument yet were falling behind. They were motivated and eager to learn but their parents could not afford to buy an instrument, or the school did not have enough loaners to go around. Eventually, these

students became bored and dropped out of band. The thought of those students still makes me sad. Despite their obstacles, they were there for the same purpose as I was - to play music. Watching this happen first hand has helped me realize that every student willing to learn should be allowed the opportunity to do so whether in music or other academic areas. For this reason, I established the Thomasville Reusable Instrument Program to collect, refurbish, or repair band instruments from the community. These donated instruments ensure that more students will have the opportunity to learn music and grow to love it as well.

My teaching experiences began at the beginning of my sophomore year. Appointed the clarinet section leader in the spring of my freshman year, I had four rookie clarinets moving up to marching band. The rookies had not learned essential, basic music theory or how to adequately play their instruments. This was a huge struggle for my section. The clarinet section had the most rookies and I had to work very hard to supplement their instruction from my four years of experience as a clarinetist. I did this by conducting a sectional every Wednesday after school. After a few months, the musicians in my section were becoming more engaged with the music. I slowly raised the bar and expected a higher standard of performance. I saw their potential and that they were capable of being amazing musicians. I felt a deep sense of responsibility for what kind of musicians these girls would become. Although all my section members were progressing, some of them required more targeted instruction than the others. I decided to offer private lessons. Many of the clarinetists took advantage of my lessons and their musical growth increased rapidly.

I believe that music shapes a person and a teacher is the one who helps mold that shape. A music teacher can change a student’s life, for better or for worse. Even though I was not excelling under my director’s teaching, I did not resign myself to settling for the minimum that was expected. I focused on

turning my situation on its head. In normal circumstances the lack of encouragement and direction could have snuffed out my fire for progressing in music. Instead, I used this to my advantage as motivation to be a better section leader and to make my section the best in the band. Sometimes this commitment meant staying longer after school with them and holding even more private lessons. I even began offering summer lessons. It was then that I knew that this was what I wanted to do for the rest of my life; not only share music but be the one who plants that seed in a young person. Through my years as section leader, I have seen my fellow clarinet students grow as musicians and I have seen them achieve skills and milestones that they did not think were possible. Every time their eyes light up after I’ve taught them something or every time I see it “click” for them when I am giving a lesson, it makes me feel content. I not only love the musical side of teaching, but also when I teach them a life lesson. There have been many times when there was a dispute in the section and I would have to settle it. I can now say that I trust every single one of my section members to continue to expect a high level of cooperation and performance from the clarinet section. They have shown me that they respect the art and discipline of being in band and they know how to create heartfelt music. I want to mentor many more students like this, and I want to be the reason they flourish and grow.

Music has made me who I am today and will continue to shape my future. I hope to be a band director who inspires her students by setting the bar high and to lead them by example. I am thankful to all the band directors in my life who have inspired and lead me and have taught me what it truly means to be a musician with heart and soul. Shinichi Suzuki once said, “Music exists for the purpose of growing an admirable heart.” By being a band director, I not only get to teach music, but I am able to create good people who will be willing to share the gift of music with others.

AMPLIFY: 2018

NOVEMBER 11-14, 2018

Come join us once again in Dallas as we dive deeply into what we do as music educators to support our students each and every day. Presenters of the following topic areas, or “Opuses,” will help you share your own practice, collaborate with colleagues from across the nation, and expand upon your toolkit of supports, ideas, models, and activities.

AMPLIFY: LEARNING - Teaching Music as a Well-Rounded Subject

How do we move beyond the podium and include our students as active music-makers and leaders in our ensembles as promised in our 2014 Music Standards?

AMPLIFY: INNOVATION - Cultivating Innovative Music Making

How do we successfully embrace a variety of musical experiences with this generation of students?

AMPLIFY: INVOLVEMENT - Engaging Diversity in Music Making and Teaching

How do we create a fully inclusive classroom for all learners and all students, regardless of background, learning style, or level of musical experience?

AMPLIFY: INSPIRATION - Inspiring Students through Music Creativity

How do we provide for the creation and improvisation of music throughout the curriculum – whether an ensemble, general music, or music appreciation class?

AMPLIFY: TECHNOLOGY - Teaching the Tech-Savvy Generation

How do we integrate technology in a meaningful way that engages students and provides new opportunities that were never before possible? Presented by TI-ME, Technology for Music Educators.

To arrange a visit, email music@uab.edu or call 205 934-7376

Choral Music Reviews

Gloria in Excelsis Deo

SATB and piano

by Jeff Trenchard

The William Powell Choral Series

Gentry Publications

JG2487 – Also available in e-print

12 pages - $2.35

Performance duration: Approx. 3:05

Text

Gloria in excelsis Deo, glory to God in the highest Et in terra pax hominibus, bonae voluntatis Peace and good will to all His people o’er the earth Laudamus te, benedicimus te, adoramus te, glorificamus te Deo gratias! We thank you and we praise you for your glory!

Gloria in Excelsis Deo is written in dedication to the Bel Canto Singers of West Seneca West Senior High School. It is a jubilant setting of this very familiar Latin text, and it seamlessly incorporates the English translation of that text in an alternating fashion throughout the piece.

After a rhythmic piano introduction, the treble voices enter in unison on the melodic theme “Gloria in excelsis Deo; Glory to God in the highest.” The tenor and bass voices enter on a counter theme starting in unison, while the sopranos and altos restart the melodic theme. As the song progresses, the harmonies unfold, and the texture shifts to homophony, as cleverly crafted by the composer. It continues through other sections of the text, each of which is realized with its own distinct melody a metric scheme.

Composer Jeff Trenchard uses the steady eighth-note drive from the piano, and the consistency of pulse within the changing meters, to keep the piece cohesive and strong. He clearly uses the changing meters and syncopated rhythms to serve the natural stresses in the text, and he places each voice in appropriate tessituras that complement the dynamics.

From my assessment of this piece, it would serve as an excellent and spirited opener, whether at the beginning of a concert or as a start to a different section of a concert. The piano accompaniment requires a skillful and energetic player who can handle syncopated rhythms and changing meters with accuracy and steadiness. As stated previously, the text alternates between Latin and English which provides a convenient translation for the listener.

I’m Building Me a Home

Traditional Spiritual for SATB divisi, unaccompanied arr. by Anthony Trecek-King

Cameron LaBarr Choral Series

Walton Music Corporation

WW1666 - Also available in large print

8 pages - $2.60

Performance duration: Approx. 4:20

Text

I’m building me a home

This earthly house is gonna soon decay, an’ my soul gotta have somewhere to stay.

When you hear me moanin’, I’m building me a home. When you hear me prayin’, I’m building me a home. When you hear me shoutin’, I’m building me a home.

As a long-time enthusiast of the spiritual, I concur with arranger Anthony Trecek-King that this is not a well-known title. A few decades ago, Dr. Uzee Brown, Jr. created a TTBB setting of this spiritual for the Morehouse Glee Club, published by Alfred Music. Since Brown’s arrangement is regrettably discontinued, I was pleased to see the Trecek-King’s newly-released SATB setting. He serves as the President and Artistic Director of the Boston Children’s Chorus, which, without disappointment, leads the reader to naturally expect a work of superior quality in this arrangement.

The piece begins in C# minor with the tenor and bass voices in unison, and in a low tessitura, particularly for the tenor voice. A footnote in the score indicates that tenors who are unable to sing the melody with the basses can opt out. Directors can also choose to have the piece sung a half step higher, if preferred. As soprano and alto voices get added, and the melodic contour rises, so does the third scale degree, thus, shifting between C# major and C# minor. This fluid interchange of tonality is very stylistic and characteristic of “raw” spirituals and blues, and rural church songs of AfricanAmerican communities.

In his notes about this nicely crafted, mostly homophonic piece, Trecek-King states that his goal was “to produce something raw, and not to overly arrange or modernize it….” The eighth-note rhythm is intended to be swung, although not required, which works in conjunction with its duple meter, tempo indication, syllabic stress, articulations, and written-in dialect. Choral directors should also employ other standard rules of dialect for African-American spirituals (such as softening the “t” sound to a “d” sound on words like “gotta”).

The dynamics and key change serve as built-in intensifiers. The harmonies are stable and consonant throughout, which also adds to the intensity if the dynamics are observed as instructed. The voices are in unison in the final measure, which provides for a poignant and dramatic ending when the fermata is fully observed.

In my assessment, this piece is quite versatile, and can fit in most any portion of a choral concert. In other words, it can serve as an opener, closer, or “filler,” depending upon the other pieces in a given program. As well, the text is suitable in both sacred and secular settings. The performance emphasis should be to achieve a level of expression that goes beyond what is written on the page. In his own words about the arrangement, Trecek-King states: “The reason I wrote it was to find a simple yet effective arrangement so that the singers can focus on expression. There is not much there on paper, but there is a lot that one can do with it. It allows for individual expression.”

Bring Me Little Water, Sylvie

Attributed to Huddie Ledbetter (a.k.a.“Lead Belly”)

arr. by Robert Jones

*For SSA Choir, two soloists, and string bass

William Powell

The Sharon Gratto Global Music Series

Pavane Publishing

P1604 - Also available in large print

11 pages - $2.45

Performance duration: Approx. 3:39

*Some listings might show the publication as SSAA, but there are actually only 3 choral parts in the score.

Text

Bring me little water, Sylvie. Bring me little water now. Bring me little water, Sylvie,Ev’ry little once in a while.

Sylvie come a runnin’, bucket in my hand. I need a little water, fast as I can.

Can’t you see me comin’? Can’t you see me now?

I need a little water ev’ry little once in a while.

Bring it in a bucket, Sylvie. Bring it in a bucket now. Bring it in a bucket, Sylvie, ev’ry little one in a while.

Can’t you hear me callin’? Can’t you hurry now?

I need a little water ev’ry little once in a while.

The title of this piece first caught my attention in the early 1990s when I heard it recorded by Sweet Honey in the Rock. I have since heard choral arrangements of this piece in live performance, and I am especially fond of this 2018 publication from the Sharon Gratto Global Music Series of Pavane Publishing. Sylvie is classified as an African-American field holler, and it is attributed to Huddie Ledbetter (c1885-1949)—also known as Lead Belly—a song writer, folk singer, and guitarist of international acclaim.

As one would expect from anything associated with Dr. Sharon Gratto, arranger Dr. Robert Jones offers some distinctive characteristics that will establish this piece as a concert favorite: a wonderful string bass part included in the choral score (and available

separately for free download from the publisher), hand claps, and two solos intended to be sung with improvisation. Also given in the score are excellent performance notes and background information about the piece, including instructions about appropriate diction, biographical information about Ledbetter and about the arranger, and other helpful information.

Another strength in this arrangement and publication is the fact that many other arrangements of the same song include little or no information, or even inaccurate information. The goal of this new series is to include as much information as possible that will be helpful to the choral director.

Jones arranged the song in D major, and he assigned the melody to the soprano 2. The alto part requires voices that can sing low A’s and G’s with ease. The unmistakable folk quality of the song and of this arrangement is supported by the soprano 1 which does not sing above D5 (the note higher than one octave above middle C), creating classic “girl group” harmony above the soprano 2 melody. The choral parts are homophonic throughout, with overlapping rhythms provided by the solo parts which span over 12 measures.

In my assessment, I hear this arrangement as a wonderful “cushion” for any part of the interior of a program, or depending upon the performance, as a “soft” but compelling opener. I can also hear this piece as one that precedes the last song of a concert, or even as an encore piece. It is, without question, equally fitting for an SSA show choir program. Also worthy of note, Dr. Jones is in the process of creating an SAB arrangement in response to a request from the publisher.

William C. Powell serves as Professor of Music and director of choral activities at Auburn University. He conducts the Chamber Choir, Men’s Chorus, Concert Choir, and Gospel Choir, and he teaches choral-related courses.

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Supporting Diverse Secondary Music Learners

Using Music Technology as a First Step

Abstract

American high schools have been using the same model as a basis for music curriculum for about a century (Williams, 2011). However, as our student population is becoming more diverse, it is time that music educators seriously consider other educational options including music technology courses that are more relevant to their current students.

The phrase “the other 80%” refers to the 80% of students who do not take part in high school music programs throughout the United States (Williams, 2007). These students are more commonly being referred to as “non-traditional music students” (p. 2). Music technology can be a great way to begin adjusting program curriculum in order to successfully reach these non-traditional music students. However, music educators need to begin to recognize the needs and cultures of their entire school population and be willing to branch out and learn new pedagogical skills. School administrators also need to begin to recognize the importance of music technology to the school curriculum and be willing to bear a part of the fiscal responsibility.

Introduction and Background

There are many students in the United States who grew up performing in a large ensemble in high school. However, secondary music programs are now serving only 20-30% of the high school student population in the United States (Dammers, 2012). Traditional large ensembles can be aesthetically pleasing and help create strong ties to the community through performances, but what about the “other 80%” (Williams & Dammers, n.d.) of students?

Students not involved with large performing ensembles are often referred to as “non-traditional music students (NTM)” (Williams, 2007, p. 2). Music education scholars are responding to the increasing interest in meeting the needs of the non-traditional students within the school music curriculum through studies and websites such as musiccreativity.org (Williams & Dammers, n.d.).

Unfortunately, non-traditional music students’ perception of ensembles can lead them to have negative feelings toward school music programs. Bledsoe (2015) discussed the effects of school music programs on the non-traditional music student and said that students are “becoming musicians with and without the help of music educators” (p. 21). Shuler stated (2011), “[m]usic ensemble programs are widely perceived as existing for the elite few, the musically talented, rather than as a core subject area for all students” (p. 9). This is a worrisome statement for music educators as we try to bring music

Brittny Kempfer

education into the twenty-first century. What can we, as music educators do?

Recently I attended two different state Music Educators Association conferences. One state is actively striving to offer workshops and sessions on diverse musical options to give in-service teachers more tools to utilize in their programs. However, in the other state, there was very little mention of diversity and limited options for workshops and sessions. Is one state behind the other? Can both states be sufficiently serving their music student population as it stands currently? I do not believe it is my place to say, nor do I believe the answer is a simple one.

As educators, our primary purpose is, and will always be student success. Considering this, I ask that music educators think about the following questions when making curriculum decisions for their programs:

Are the current course options offering relevant music opportunities for my school population?

Do I have adequate training in areas outside of traditional ensemble music?

How can I gain support for potential curriculum changes?

It is important to note that meeting the needs of diverse music students does not suggest dropping the large performing ensemble (Kelly-McHale, 2016). Rather, it is important to sustain the students already active in the music program, and “provide additional paths that attract and sustain musical involvement for ‘the other 80 percent’” (Shuler, 2011, p. 11). Although there are many ways to begin including the non-traditional music student, I will focus upon teaching through music technology in this paper.

Issues of Relevancy

Students today are finding less enjoyment in the music performed by traditional ensembles. “Little of this music has relevance to the lives of students outside of school” (Williams, 2011, p. 55) as the population of students is becoming increasingly diverse. According to Elpus and Abril (2011) in a study of demographics from 2004, 65.7% of high school music students are white. However, the overall enrollment of minorities in the public-school system has been increasing. Minorities (50.3%) outnumbered whites (49.7%) in public schools for the first time in our history in 2014 (Hussar & Bailey, 2014). These numbers show that minorities are still under-represented in music courses which suggest the need to offer diverse music

opportunities to meet the needs of these music learners.

Music educators should consider the needs and cultures of the student population when designing new courses. Wlodkowski and Ginsberg (1995) define culture as: “…the deeply learned confluence of language, beliefs, values, and behaviors that pervades every aspect of our lives.” (p. 17). When teachers consider students’ culture, as well as musical culture, it allows them to develop different and unique musical experiences for their students.

Music technology should be a focus for educators if the goal is to give a variety of relevant musical opportunities to our students. Technology based courses are prime examples of what Williams (2011) called a “new model of music education” (p. 53). Student-centered classrooms with lower numbers are not only conducive to musical creativity and expression but are also more educationally sound (Williams, 2007; Williams, 2011). Other key opportunities include smaller class sizes, various musical styles with the consideration of students’ interests, focus on aural development instead of traditional notation, and decrease in or avoidance of public performances (Williams, 2011).

As music educators, it is our jobs to take whatever approach is most appropriate for our current student population. We all know that there are many ways to teach the same musical concept, so why not make the approach relevant to your current student body? We should not simply focus on what our music programs are building, but how and why we are making curriculum decisions.

Issues of Training

Although researchers have put forth information on music technology courses and strategies, many music educators still feel inadequately prepared to take on new courses outside of their primary field of band, orchestra, and choir. Many collegiate programs continue to practice “Western Music” traditions exclusively (Williams, 2011), admitting students into the program based primarily on “Western” auditions. This leaves many music educators without the necessary range of skills to address the growing needs of their students.

The first step is for educators to be confident and open to change. It is important to “build on the familiar” (Cain, Lindbloom, & Walden, 2013, p. 87) when considering other options, like music technology. This will allow teachers to learn with their students (Cain, et.al, 2013). Music technology does not have to be an entirely new course to begin with. Kelly-McHale (2016) suggests that teachers “reimagine and reconfigure” (n.p.). This could be as simple as developing technology projects within a performing ensemble or general music class.

Dammers (2012) stressed the importance of pre-service educators receiving training in the pedagogy of technology-based music classrooms. Proper training of pre-service educators as well as workshops for in-service teachers helps avoid the lack of knowledge. It is important for music educators to take responsibility for in-service support. Many state music associations have been helping to promote change by offering professional development and workshops. However, these changes require an open mind and a willingness for change.

Music educators should start small. You cannot learn everything there is to learn about music technology in one session at your state music convention. Just as learning your primary instrument took patience and many years of commitment to learn, so does technology. However, as music educators we must always remember that we teach music, NOT music technology. Technology is simply the tool in which we use to teach the musical concept, so you should not get caught up in all the “bells and whistles”.

Below is a visual representation of the TPCK (Technological Pedagogical Content Knowledge) model, as set forth by Mishra and Koehler (2006). According to Mishra and Koehler, “Part of the problem, we argue, has been a tendency to only look at the technology and not how it is used. Merely introducing technology to the educational process is not enough” (p. 1018). The TPCK framework illustrates how content, pedagogy, and technology should work together in the classroom. One should not simply concentrate on a single area. The model is based on the idea that “teaching is a highly complex activity that draws on many kinds of knowledge” (p. 1020).

Issues of Support

Another growing concern for adding music technology courses is cost. Music technology labs involve a substantial amount of equipment, including computers, keyboards, MIDI (musical instrument digital interface) keyboard controllers, sound mixers, and large sound systems (Felder, 2015). There is also the need for music software, such as music composition software, music recording software, and music editing software. Not to mention, schools often must pay for training for their teachers to learn how to use all the equipment necessary. All of this takes a considerable amount of money that many districts and schools may not be willing to pay.

Although the monetary responsibility can seem insurmountable, Felder (2012) suggests beginning small and simple. Building a music technology lab may take some time. In Felder’s study, many teachers suggested using existing computer labs or acquiring computers that are going to be replaced. Many teachers will write a grant request for technology equipment or use fundraising events.

Some districts may already have an infrastructure in place as a beginning point. Dammers (2012) surveyed 1,830 high school principals around the United States to determine how many schools offer technology-based music classes. His survey found that 14% of high schools are already offering music technology courses in which the majority (89%) of teachers indicated these courses were primarily developed to attract non-traditional music students.

As music educators, we are aware of the need to continuously justify our music programs to school administration. If you are fortunate, you will already have an understanding administrator that can see the value in music education for all students. However, many are not so lucky. Music programs are expensive. Buying and maintaining equipment is a large expense that can be easy for school districts to restrict or even eliminate all together. One way to justify the expense is to find ways for your music technology classes to give back to the school and community. You could offer to have your students operate the sound equipment for pep rallies or sporting events. Perhaps you could open up your classroom for a community outreach program that teaches adults music and technology skills under your supervision. Not only do these activities give back, they are also valuable teaching opportunities.

No matter how you go about attaining funds for equipment, always remember that the students’ needs should come first and that patience is important. Music technology is an ever-evolving area, as your technology lab will be as well.

Conclusion

Music technology can be the first step to meeting the needs of an increasing diverse music student population. These types of courses offer opportunities for students that either do not want to perform or do not enjoy traditional music. Music educators must begin valuing the needs and music of their students as relevant if they want to involve all students in music making and creating. There will always be concerns about implementing new programs or curriculum. However, none of these concerns are insurmountable. With the right attitude, willingness, and patience, we can reach the “other 80%” of our students and give them the music education they deserve. Change does not happen overnight but it also does not happen without the first step. Educators must always remember that the needs of the student should be our first priority.

References

Bledsoe, R. N. (2015). Music education for all? General Music Today, 28(2), 18-22. doi: 10.1177/1048371314549888

Cain, M., Lindblom, S., & Walden, J. (2013). Initiate, create, activate: Practical solutions for making culturally diverse music education a reality. Australian Journal of Music Education, 2, 79-97.

Dammers, R. J. (2012). Technology-based music classes in high schools in the United States. Bulletin of the Council for Research in Music Education, 194, 73-90. Retrieved from http://www.jstor.org/stable/10.5406/bulcouresmusedu.19

4.0073

Elpus, K. & Abril. C.R. (2011). High school music ensemble students in the United States: A Demographic Profile. Journal of Research in Music Education, 59(2), 128-145. doi: 10.1177/0022429411405207

Felder, B. (2015). Non-traditional music class offerings: Integration of music technology (Unpublished master’s thesis). University of Maryland, College Park, MD.

Hussar, W.J., and Bailey, T.M. (2013). Projections of education statistics to 2022 (NCES 2014-051). U.S. Department of Education, National Center for Education Statistics. Washington, DC: U.S. Government Printing Office. Retrieved from http://www.pewresearch.org/fact-tank/2014/08/18/u-spublic-schools-expected-to-be-majority-minority-starting-th is-fall/

Kelly-McHale, J. (2016, April 25). Why music education needs to incorporate more diversity [Online Article]. Retrieved from https://nafme.org/music-education-needs-incorporatediversity/

Mishra, P. & Koehler, M.J. (2006). Technological pedagogical content knowledge: A framework for teacher knowledge. Teachers College Record, 108(6), 1017-1054. Retrieved from http://www.tpack.org/

Shuler, S.C. (2011). Building inclusive, effective twenty-first-century music programs. Music Educators Journal, 98(1), 8-13. doi: 10.1177/0027432111418748

Williams, D.A. (2011). The elephant in the room. Music Educators Journal, 98(1), 51-57. doi: 10.1177/0027432111415538

Williams, D.B. & Dammers, R.J. (n.d.). The other 80% music home [Online Article]. Retrieved from https://musiccreativity.org/

Williams, D.B. (2007, April). Reaching the “other 80%”: Using technology to engage “non-traditional music students” in Creative Activities. Paper prepared for the proceedings of the Tanglewood II “Technology and Music Education” Symposium, University of Minnesota, MN.

Wlodkowski, R.J. & Ginsberg, M.B. (1995). A framework for culturally responsive teaching. Educational Leadership, 53(1), 17-21. Retrieved from http://www.eric.ed.gov

Brittny Kempfer recently finished her first year as a Ph.D. candidate at Auburn University. She holds a Master's Degree in Choral Music Education from the University of Wisconsin-Milwaukee, and a Bachelor's instumental/General Music Education from the University of Wisconsin-Platteville. Her current research and writing focuses on diverse musical styles and non-traditional courses within the secondary music curriculum.

AMEA Division Events 2018 - 2019

Alabama Bandmasters Association

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AMEA In-Service Conference

January 17-19, 2019

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