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October/November 2018
ala breve The Official Publication of the Alabama Music Educators Association
Conference Issue AMEA Professional Development Conference January 17-19, 2019 Birmingham-Jefferson Convention Complex Sheraton Birmingham Hotel www.myamea.org
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DEGREES BM with Concentratiion in Music Education (Instrum mental or Vocal) BM with Concentratiion in Performance (Instrumen ntal or Vocal) BM with Concentratiion in Elective Studies (Businesss) ! MM in Music Educattion (General, Instrumental, orr Vocal) MM in Performance (Brass, Percussion, Piano, Voice or Woodwind) MM in Collaborative Keyboard Music Minor
ENSEMBLES INSTRUMENTAL Wind Ensemble Symphony Band University Band String Ensemble Jaguar Marching Band Jaguar Pep Band Jazz Ensemble VOCAL University Chorale USA Concert Choir
CHAMBER Clarinet Ensemble Chamber Brass Ensembles Chamber Woodwind Ensembles Percussion Ensemble USA Steel Band USA World Music Ensembles Piano Ensemble Guitar Ensemble
AUDITION DA AT TES January y 12,, 2019 February F ebruary y9 9, 2019 March 2, 2019 (vocal on nly)
March 9, 2019 (instrument (instrum mental only) April 6, 2019
F r more Inffo Fo For ormation aboutt AUDIITION D DA ATES, call 251-460-6136
CON NTACT INFORMATION T University of South Alabama, Departtment of Music | Laidlaw Performing Arts Center, Room 1072 5751 USA Drive South, Mobile, AL 36688 | (251) 460-6136 | E-mail: usamusic@southa alabama.edu www.southalabama.edu/music | Facebook: facebook.com/southalabamamusic
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ala breve the official publication of the Alabama Music Educators Association
October/November 2018
Features...
8 11 15 16 19 20 21
24 27 28 37 38 40 41 53 58 60 62 64
AMEA Governing Board Directory General Music Reviews by Deanna Bell Call for Research Posters Industry/Institutional Members Band Music Reviews by Randall Coleman FAME Sound Advice by Richard Mark Heidel Featured Conference Speakers/Intercollegiate Band Clinician All-State Jazz Band Clinicians Conference Performing Groups All-State Jazz Band Information by Kim Bain Motivation Strategies for Musicians...by Brittney Patterson Jazz Band Music Reviews by Matt Leder Conference Clinicians Conference Schedule NAfME’s Professional Development eKit Developing Student Leaders by Kevin Ford Schedule of Events 2019 AMEA Conference Preregistration Form
Departments... 6 .....................President 10 ..................Elem/Gen 12 .............................AVA 14 ...........................ABA 15 ..........Past Presidents 16...........................AOA 37...........................Jazz ala breve
Advertisers Index American College of Musicians ...............11 Arts Music Shop, Inc ..................back cover AU Bands HS Honor Bands .....................25 AU Bands MS Honor Bands ....................26 AU Music Department .............................43 AU Music Department Audition Dates ....44 Gadsden Music Company.........................18 Huntingdon College Music.......................61 John M. Long School of Music (Troy).....34 Jacksonville State University ...................13 Samford University ....................................2
Smoky Mountain Music Festival................6 UA Bands ................................................63 UA Bands Summer Camps.......................31 UAB Bands...............................................33 UAB Music...............................................49 UAH Music ..............................................32 UNA Department of Music ........................4 University of Montevallo .........................47 University of South Alabama Bands ........62 University of South Alabama Music ..........3 Yamaha.....................................................17 5
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Greg Gumina, AMEA President for many other state publications. Leaders from around the country constantly and consistently praise the work that Mr. Taylor does for us. Thank you so much Garry! Southern Division Meeting
Hello AMEA! Back to Work I hope that this issue of the Ala Breve finds you experiencing well-planned, effective, sequential, and standards-based lessons in which your students are learning a life-long love and appreciation of music. Whatever Division you belong to and whoever makes up your classroom, my wish is that you feel empowered and excited to have a positive effect on our next generation of music lovers, music consumers, musicians, and citizens. And while we are at it, let’s all acknowledge what a fantastic job our Editor does with our publication. I can tell you from many conversations I have had over the past two and a half years with leaders from other states that the Ala Breve provides a model
The Southern Division of NAfME held its Fall Board Meeting in Nashville, Tennessee on September 9-10. Representing you at the meeting besides myself were PresidentElect David Raney and Executive Director/Editor Garry Taylor. Some of the topics discussed were state by-laws and policies, navigating the NAfME website, State Chair Positions, collegiate voting, budgeting, resources, technology, Societies and Councils, Tri-M, and the organizational split with the Give a Note foundation. National Conference
Conference Registration
2020 dates: April 3 April 7 April 24
The NAfME National Conference will take place November 11-14 in Dallas, Texas. You may feel free to consider this an advertisement, and I’m proud to do so. Our national leaders have conducted extensive research and I’m happy to report that they have listened to the respondents and associated generated data. The new model for the National Conference looks to be a very effective one and includes several tracks of learning for the Professional Music Educator. There will be three two-day forums including Emerging Leaders, Collegiate, and Music Program Leaders. There are also several topic areas or “Opuses,” which can be followed including Learning, Innovation, Involvement, Inspiration, and Technology. You can receive 20 hours of professional development for attending an Opus and/or 10 hours of professional development for attending one of the three two-day Forums. Learn more about the newly revised National Conference offerings at nationalconference.nafme.org and I’ll see you there.
www.SMMFestival.com
August Meeting and 2019 Conference
An educational festival for elementary, middle, and high school students in band, choir, and orchestra 2019 dates: April 12 April 26 May 3
or call:1-855-766-3008
The AMEA Governing Board met in 6
August with a full agenda of 21 business items to accomplish. I am proud to report that the Board worked diligently and completed all items on the agenda. Most importantly, the Board completed planning our January 2019 Conference. I won’t belabor the point by giving a substantive analysis of the conference here, but I will say this: Get there, and get your colleagues there as well! We have all heard the phrase to the effect that “There’s nothing there for me.” Just peruse the schedule and you will see that not only is there something for everyone, but there is a lot there for everybody. There are more clinic sessions, interest sessions, meetings, and of course more concerts. We will also have a general session, keynote address, and awards. You do not want to miss this, so get your preregistration complete and join your 1,200 Alabama Professional Music Educator Colleagues for a fantastic conference!
As I mentioned in my last article and through no fault of anyone in the AMEA, we experienced major issues with registration at our 2018 Conference. I am super excited to announce that those problems have been dealt with and solved. We all owe a huge debt of gratitude to Dr. Carl Hancock for engineering a new registration program and process, which is currently up and running perfectly. The best way to alleviate any delays in the registration process is still to pre-register and get right to the conference activities. You won’t want to miss a minute. Thank you, Dr. Hancock! Bicentennial Performances Bicentennial Performance Applications for the 2019 Spring Legislative Session are due November 1. These performances will occur in the Rotunda of the State Capitol building and were very well received last year. There are some very specific rules and logistical concerns for these performances, so please read the performance application very carefully. You can find all the information you need on the myamea.org website. I hope to see October/November 2018
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you and your group in Montgomery this coming spring! Appointments I mentioned in my previous article that I was going to make some appointments to the Presidential Cabinet, and I am pleased to report to you that some of these appointees and their associated committees are already doing great work. You will begin to see the fruits of their labors in this and coming issues of the Ala Breve, at our Conference, and through other special reports. The Presidential Cabinet will also meet during our conference in Birmingham to discuss, strategize, and plan for the future. Here are some highlights of recent appointments: Carlton Wright-Diversity in Music Education, Stephanie Ezell-Health and Wellness, Keith Anderson-Technology, Dr. Rob Lyda-Advocacy, David Raney-Mission and Vision, Deanna Bell-Sexual Harassment and Safety in the Workplace, Margaret Herron-AP Music Theory, David Allinder-Harmonizing Instruments, Susan Smith-AMEA Emerging Leaders, Craig Cagle-Grant Writing, and Franklin BellCopyright Compliance. Others are still being formed. Thanks to everybody involved and I look forward to seeing the results of your research. You will also notice that I have added Elementary/General, Jazz, and Orchestral Music Reviews to our publication to generate more useful information for all our members. Thanks also to our newest Music Reviewers! Visible and Vigilant In closing, may I ask each of you to be both Visible and Vigilant? Be visible in your towns, cities and counties. Be visible to your local residents and school populations. Be visible in our state. Be visible to your elected officials at all levels of government. Invite people to come see your performing groups and classrooms. Let our fellow citizens and elected officials see what you are doing, what you are accomplishing, and even what you might be struggling with. Let them see what a ala breve
difference Music Education makes for our students, our communities, and our culture. Also, be vigilant. Keep a watchful eye on legislative happenings at the local, state, and national levels. Many decisions are made for us and about us, often without us even knowing there was a decision being made. Be vigilant and stay informed about music education policy in your local school, school system, city, county, state, and nation. Contact elected
officials at all levels, communicate your thoughts, ask them to visit you and your students, and stay vigilant about their decisions and policy making. Our art form, our students, and our noble profession deserve both our visibility and vigilance. Looking forward to seeing all of you at the Conference! Greg
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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
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 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) issue: April 15
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. Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama. Subscription for members is $4.00 per year as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, Alabama.
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Alabama Bicentennial Performance Opportunity Perform in the Rotunda of the Alabama State Capitol Building during the 2019 Legislative Session A collaborative project of the Alabama State Department of Education, the Alabama Music Educators Association, and the Alabama Institute for Education in the Arts, in support of the Alabama Bicentennial Celebration Information This performance opportunity is for public schools only. Performances will be in the Alabama State Capitol Rotunda. Space is limited. Ensembles should be no larger than 20-25 students. Recommended performance groups include small brass, woodwind, string, vocal, or guitar groups, such as trios, quartets, quintets, or small choirs. Each ensemble should plan for a 20 minute performance, with at least one selection related to the state of Alabama. Electricity or amplification may not be used. Chairs or music stands will not be provided. Groups may bring their own stands and chairs if necessary. A piano will not be provided. Performances will take place on Thursdays of February and March during the 2019 Legislative Session. Groups will arrive by 11:00 AM at the Gordon Persons Building, warm-up, then proceed one block to the Capitol and perform at 12:00 PM. Performing schools will be reimbursed for a substitute teacher, bus driver, and mileage. The deadline to apply is November 1, 2018. Notification of acceptance/rejection will go out November 15, 2018.
Name of Ensemble __________________________________________________________________________ Number of Musicians ____________ Type of Ensemble ____________________________________________ Name of School (public schools only) ___________________________________________________________ School Address______________________________ City ____________________State ____Zip ___________ Director/Faculty Member Name _______________________________________________________________ Director/Faculty Member Phone (Cell preferred) __________________________________________________ Director/Faculty Member Email________________________________________________________________ State School Board District or State School Board Member: __________________________ Preferred Performance Dates (check your top 3 choices) _____ February 7
_____ February 14
_____ February 21
_____ February 28
_____ March 7
_____ March 14
_____ March 21
_____ March 28
Mail the completed form to: AMEA, 1600 Manor Dr. NE, Cullman, AL 35055 Email: amea@bellsouth.net Complete the online form at www.myamea.org Deadline: November 1, 2018 ala breve
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Phil Wilson - President, Elementary/General Division
It Takes a Community In the book, What Teachers Should Know and Be Able to Do, published by the National Board for Professional Teaching Standards, the five core propositions which govern the process of certification are explored and explained. The core propositions are: 1. Teachers are committed to students and their learning. 2. Teachers know the subjects they teach and how to teach those subjects to students. 3. Teachers are responsible for managing and monitoring student learning. 4. Teachers think systematically about their practice and learn from experience. 5. Teachers are members of learning communities. These propositions serve as the anchor of what National Boards consider accomplished teaching. Though many of you may not be board certified, you still may exhibit many, if not all, of these propositions. I could use my space here examining how you measure up against each of these propositions, but instead I’ll focus on proposition five, teachers are members of learning communities. In a study about professional development, Darling-Hammond and McLaughlin (1995), found that teachers need opportunities to “share what they know, discuss what they want to learn, and connect new concepts and strategies to their own unique contexts” (p. 1). These are perfect descriptors of what professional learning communities should be. This year, your elementary board wants to ensure your voice, your experiences and your musical wants are represented in every workshop and session we plan. It is our goal that your professional learning through AMEA continues to be positive and meaningful. Our professional learning communities begin in just a few days at the 13th Annual Elementary Music Festival at Samford University’s Wright Center on Friday, October 12th. Approximately 400 elementary students representing over 40 schools across the state have registered. The clinicians for this event will be Dr. Damian Womack and Dr. Sara Womack. This music festival is a great opportunity for our students to learn and grow. Although registration for this year’s festival has passed, please consider including your students for next year’s festival. The following day, Saturday, October 13th from 9 a.m. to 1 p.m. we will have our joint Fall Workshop sponsored by the AMEA Elementary/General Division, AOSA and SHAKE. This year our clinician will be Orff specialist Sara Womack. The workshop will be held at Vestavia Hills Elementary Central 1289 Montgomery Highway, Vestavia Hills, AL 35216. The 2019 AMEA Professional Development Conference will convene at the BJCC in Birmingham. Many rich professional learning 10
opportunities await you. This year we are honored to have Beth Ann Hepburn as our featured clinician. She will be presenting four sessions for us ranging from developing part-singing to using body percussion with songs and rhymes. We will also have several member guided sessions including bucket drumming with Viktoria Truesdail and learning new ways to put on a show by Kristi Howze. Kodaly specialist Jeremy Howard will clinic on musical make-believe while Rob Lyda will help us celebrate Alabama’s Bicentennial. Jennifer Canfield will show us how to create music for the elementary classroom, Art Williams will present on the Fred Rogers approach to teaching elementary music, and Stephanie Porter will demonstrate reading in music and recording on a budget. Our friends from Quaver and Chord Buddy will be there and other clinics and vendors you will not want to miss. Please be sure to reserve Friday night for an evening of fellowship and music sharing fun. We look forward to seeing you in Birmingham on January 17th -19th. Be sure to check the AMEA website (www.myamea.org) for details about preregistration and hotel information. We hope to see you all at the Fall Music Workshop on October 13th, and at the 2019 AMEA Professional Development Conference in Birmingham in January. Please contact us at (elementaryamea@gmail.com) for questions or concerns. Phil R. Wilson, President, AMEA Elementary/General Division Darling-Hammond, L., & McLaughlin, M. W. (1995). Policies that support professional development in an era of reform. Phi delta kappan, 76(8), 597-604. Upcoming Dates: 13th Annual Elementary Music Festival, Friday, October 12th, Samford University’s Wright Center Joint Fall Workshop sponsored by Elementary/General Division of AMEA, AOSA, and SHAKE, Saturday, October 13, 9 a.m. to 1 a.m. NAfME In-Service Conference, Nov 10-14, 2018, Dallas, Texas 2019 AMEA Professional Development Conference, BJCC, Birmingham, AL, January 17-19. American Orff-Schulwerk Association, National Professional Development Conference, November 7-10, 2018, Cincinnati, Ohio SHAKE Spring Workshop, April 6, 2019, with Dr. Michele Paynter Paise.
October/November 2018
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General Music Reviews
Rhythm Pies by Lenna R. Harris, Macie Publishing Company Which rhythm mnemonic do you use? Kodaly? Gordon? Numbers? Word Chant? If you like word chant, this is the book for you! But…it might make you hungry! By age five, children are able to tap in time to a regular pulse and clap the rhythm of words. By age six, children can perform quarter, eighth, and half-note rhythms on instruments. Rhythm Pies is an excellent book to use in the K-4 music setting because it offers a range of opportunities for students to experience rhythm reading in different ways.
Deanna Bell
charts” for students. This is one of my students’ favorite books! And I hope it will be yours too! I am looking forward to seeing everyone at this year’s AMEA conference! Have a great semester!
Deanna Bell is the music teacher at Vestavia Hills Elementary East.
The book has 48 colorful pages and a CD Rom for projection. It also includes reproduction rights and suggestions for games and assessments. The progressions are easy to follow and my students love it! The book begins using pictures of food to represent various note values: “Pie, Pie, Cherry, Pie.” As the book progresses the pies and cherries turn into quarter and eighth notes. By the end of the book students are playing quarter, eighth, half, and sixteenth notes. I use this book every year with my second and third graders for a rhythm review. My students play tubanos along with the word chants. You can easily finish the book in one 40-minute music class. It also provides “create your own ala breve
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Megan Jones - President, Alabama Vocal Association
AVA UPDATES AND UPCOMING EVENTS Thank you to everyone who came to this year’s Fall Workshop, and thank you to Dr. Damion Womack and Huntingdon College for hosting us. I hope that you all were able to leave with some new strategies and ideas to use with your choirs and that you were able to enjoy some time visiting with your colleagues. BYLAW CHANGE At Fall Workshop, the membership voted to change the eligibility requirements for the Pat Blackwell Music Education Award to make them align with the Outstanding Choral Student requirements. Article XV, Section 15.2 of the AVA Bylaws now states: In addition to the general eligibility requirements for AVA events listed in Article IV, each nominee for the Pat Blackwell Music Education Award must: A. Have been a performing member of an All-State choir (SATB, TTBB, SSAA) the preceding year. B. Have been selected for the current year’s All-State choir. C. Be a senior with an overall C average or above D. Be in good standing with his/her school and choral department E. Intend to major in choral music education in college. NEW SIGHT-READING GUIDELINES AVA Vice-President Ginny Coleman proposed in 2016 that we reevaluate our sight-reading requirements to allow for varying levels of choirs. She appointed me to work with a committee to research other states’ guidelines and to involve the membership in creating new guidelines for us. The AVA board felt this was necessary because other disciplines are tested on various levels based on student experience. The sight-reading committee chose to adopt the guidelines for levels Ginny had created, and with the help of the sightreading committee, we created a chart that shows what will be expected of each level. In addition, we chose to allow beginning groups to read one voice-split less than their stage voicings. For example, a beginning SAB choir may choose to read a 2-pt example or a beginning TTB group may read a TB example. We just ask that each director write a rationale for the need on the judge’s sheet so that the judge will understand the necessity. For example, a 20-person beginning SAB group with only a few baritones might choose to read 2-pt. and would write on the form that they are reading 2-pt. due to the size of the choir, small number of baritones, and their level of experience. As to what is expected of each level, we created our chart using the old AVA guidelines, so for most of our choirs, the level of difficulty will seem about the same. However, we believe these new guidelines will allow more beginning high school choirs and 1-2 grade junior high and high schools to participate. We also felt there was a need for an advanced level. Until now, we have had 9th-grade schools, 9th12th-grade schools with no feeder programs, and 9th-12th-grade 12
schools with 6th-8th-grade feeder programs reading at the same level of difficulty. Lastly, we updated our sight-reading procedures to allow for tonality to be established once during the 5-minute study period and again before each singing of the example. We know that many directors have their students audiate during the study time and would prefer them to audiate in the correct key. The new standing rules state that “Tonality may be established by playing the tonic or chord once at any point during the study period.” The new sight-reading guidelines may be found in the revised General Membership Handbook on the AVA website. ALL-STATE AUDITIONS All-State auditions are fast approaching. Please be sure to read the All-State Audition Standing Rules before your audition date. Make certain that each of your students has the All-State Adjudication Form F2.2 complete with parent signature and song titles listed in audition order. The lists of song titles in audition order may be found on the AVA website. Also, every student will sing an excerpt from Ed Robertson’s arrangement of “Alabama” as part of the audition. This piece is not included in All-State music packets, so make sure your students each have an original copy of this piece and have learned it. This year, we are also having all directors submit two of their All-State auditionees singing “Alabama” through Acceptd.com. This will allow each school to interact with the service and to discover any concerns we may have in regards to using them in the future. After All-State auditions, please email me any questions or concerns while they are fresh on your mind so that we can discuss them at AMEA. ASSC AUDITIONS For this year’s auditions, each student will submit four vocal videos and two dance videos through Acceptd. For the vocal videos, students will sing along with the Matthew Curtis accompaniment tracks. For the dance portion, the choreography video will be online on YouTube one week prior to the submission deadline. Each student must submit a front-view and a back-view video so that the judges can make sure the students have the dance memorized. Students will need to sing their parts while dancing. AMEA CONFERENCE The 2019 AMEA Conference will be held January 17-19 at the Birmingham-Jefferson Convention Complex in Birmingham. Our guest clinician will be Dr. Lori Hetzel from the University of Kentucky. She will be presenting sessions entitled “Unleashing the Power and Beauty of the Female Voice in a Choral Ensemble” and “Empowering the Treble Chorus with Quality Repertoire.” J.W. Pepper will also be sponsoring a reading session of repertoire chosen by Dr. Hetzel. In addition, we will have some wonderful concerts and sessions by choral directors and choirs in our state. I hope to see you all there! October/November 2018
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AUDITION DATES
Friday, February February 8,2, 2019 Friday, 2018 Saturday, February 9, 2019 Saturday, February 3, 2018 Friday, February 15, 2019 Friday, February 9, 2018 Saturday, February 2019 Saturday, February16,10, 2018 Monday, February 18, 2019
WWW.JSU.EDU/MUSIC David L. Walters Department of Music 201 Mason Hall Music 700 Pelham Road North Jacksonville, AL 36265 Phone: 256.782.5559 /JacksonvilleStateUniversity /JSUnews #JacksonvilleState /JSUpix
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Doug Farris - President, Alabama Bandmasters Association
Take Care of Business Register for AMEA As the school year has begun with 12+ hour days, working with beginners on their new instruments and preparing for all the next events of the year, don’t forget to register for the AMEA Conference in Birmingham, January 17-19 2019. The conference is a great way to re-energize at the beginning of the second semester. With the number of applicants, Garry and I discussed different scheduling possibilities, and that includes an amazing program by The Alabama Winds. Let me encourage you to make plans now to attend their concert, set for 10 pm Thursday night. You do not want to miss it! In addition to this treat, we’ve planned many clinics covering a wide range of topics that we hope will inspire you to ‘learn and return’ by taking some new ideas and energy back to your own programs. The board received thirty-five applications to perform. Choosing from all the applicants was a great problem to have and shows our bands are continuing to improve and are wanting to share their outstanding students with the music educators of Alabama. The groups that have been selected are truly outstanding, and include Liberty Park 7&8 MS Band, Oak Mountain HS Symphonic Band, Music Shoals HS Wind Ensemble, Thompson HS Wind Ensemble, UAB Wind Symphony, Alabama Winds, Bob Jones HS Percussion Ensemble, Auburn University Jazz Band, Fairhope MS Symphonic Band, and the Intercollegiate Band. Please remember that the middle school etudes are selections from the Rubank
Advanced Volume I. These students must present a copy of the book at the registration table at the district level. String bass and percussion will continue with the current cycle of etudes. The scales for the middle school must be performed at the range listed on the website. There is also a four minute time limit on the middle school scales. As a professional organization, we must strive to adhere to the rules and regulations that are in place for the benefit and fairness of our students’ success. The music performance classifications have changed for this year. Your district chairmen should have discussed these changes in detail at your district meetings or through email. The current bylaws are online at www.myamea.org. Please read the bylaws first before calling and asking a question whose answer can be easily found. Your ABA board works very hard for you while maintaining their own band programs, and we ask that you please be patient with them at the busy times of the year. Read their emails, get registrations done on time, and participate and help during your district events. Band directors demand so much of our students on a daily basis, but we often do not live up to what is expected of us as members of ABA. I am speaking to myself as well when I say this: let us strive to do our jobs for our students and for their success at ABA events. When judging all-state auditions, they are all your students and need professionalism and fairness. When you don’t meet deadlines, judge at district AllState auditions, or follow the bylaws and
guidelines, it is your students that potentially suffer. If you have not already updated your directory on abafest and myamea, please do so immediately. We are still finding mistakes in member’s information. This helps the organization keep you informed and to make sure your registrations are processed correctly. The ABA has asked that when you are registering for events, you complete the process yourself by mailing the payment and registration to the appropriate person at ABA. We constantly receive checks and registrations sent to the wrong places, causing delays in processing. Thanks for your attention to this detail. All-State 2019 will be in Huntsville. Please use the hotel links on the website to book rooms. It is easier for you and benefits the organization! Finally, the AMEA conference is more than great concerts, inspirational and educational clinics, and meetings. It is a time to listen to veteran directors on how they have conquered the problems the younger directors face. And for veteran directors, it’s a great time to hear new ideas, innovative techniques, and to be inspired about a fresh look at a career to which they have devoted their professional lives. Find a way to join us at the AMEA conference and let’s continue to make our organization stronger for the benefit of our students.
Visit AMEA’s website, www.myamea.org - preregister for the conference - reserve a room at the Sheraton - apply to bring a lobby group to the conference - register a student for the FAME program 14
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CALL FOR RESEARCH POSTER PARTICIPATION The Alabama Music Educators Association, Higher Education Division invites research poster submissions from all levels of music scholars and practitioners. Submissions may include completed and in-progress research studies involving any aspect of music (education, therapy, history, psychology, performance, music in higher education, alternative music, etc.). Research based on issues facing music educators, musicians, and music students in the Southeastern United States are especially welcome, though this is not a requirement. All submissions should meet the Code of Ethics found in the Journal of Research in Music Education. Research presented at other conferences will be considered. However, previously published work will not be accepted. SUBMIT YOUR PROSOSAL: http://amea-research.org Conference Days and Location - The 2019 AMEA conference will be January 17-19, 2019 in Birmingham, Alabama at the Birmingham–Jefferson Convention Complex (BJCC). See https://www.myamea.org/ for more information. Poster Session Day and Time - The poster session will be held Friday, January 18, 2019, 1:00 p.m. – 3:00 p.m. in the Birmingham Ballroom (exhibit hall) lobby.
Proposal Submission - Interested researchers should submit a detailed abstract of the research project (up to 1000 words) as a Word or PDF document through our online submission website: http://amea-research.org. Deadline - Submissions must be received by 11:59 p.m. CST on Monday, November 5, 2018 for full consideration. Process for Review & Notification - All submissions will be peer reviewed and authors will be notified of acceptance by email during the week beginning Monday, December 3, 2018. If accepted, authors must register and attend the AMEA conference to present the poster. In the case of multiple-author works, at least one author must register and attend the AMEA Conference to present the poster. Poster Dimensions - Posters should be professional in appearance and have poster dimensions of dimensions no larger than 36 inches by 48 inches. Presenters are expected to bring 15-20 copies of their research abstract to the session. More Information - Contact Dr. Jane Kuehne at Auburn University by phone at (334) 844-6852 or by email at kuehnjm@auburn.edu.
AMEA Presidents - Past to Present 1946 Yale H. Ellis
1972 Frances P. Moss
1996 Johnnie Vinson
1948 Walter A. Mason
1974 George Hammett
1998 Michael Meeks
1950 Vernon Skoog
1975 Frances P. Moss
2000 John McAphee, Jr.
1952 John J. Hoover
1976 S. J. Allen
2002 Tony Pike
1954 Lamar Triplett
1978 W. Frank McArthur
2004 Becky Rodgers
1956 Carleton K. Butler
1980 Paul Hall
2006 John Baker
1958 Mort Glosser
1982 Lacey Powell, Jr.
2008 Pat Stegall
1960 Wilbur Hinton
1984 Johnny Jacobs
2010 Steve McLendon
1962 Lacey Powell, Jr.
1986 Merilyn Jones
2012 Sara Womack
1964 G. Truman Welch
1988 Ronald D. Hooten
2014 Carl Hancock
1966 Jerry Countryman
1990 Ken Williams
2016 Susan Smith
1968 Floyd C. McClure
1992 Dianne Johnson
2018 Greg Gumina
1970 Jerry Bobo
1994 James K. Simpson
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Guy Harrison - President, Alabama Orchestra Association Thank you for taking the time to read this message from your Alabama Orchestra Association. If the start to your fall has been anything like mine you are already in need of some time to rest and rejuvenate from the hectic start of the new school year. While the start to the school year is always a busy time, it doesn’t slow down for those of us involved in the orchestral world here in Alabama. For us, October is audition month with students from all over the state preparing and auditioning for a spot at the 2019 Alabama All-State Orchestra Festival being held February 7-10, 2019 at the University of Alabama. With a great lineup of conductors and some fantastic repertoire, students will have an experience like no other right here in their own state.
Auditions for our All-State Festival will take place during the first two weekends in October, with results posted to our website by November 18. Students that have a successful audition and are selected for All-State will need to accept their spot by December 1. Financial Aid forms are also due at that time.
playing in Alabama. They will be holding their annual Honor Strings Festival at the University of Alabama from October 26-28, 2018. For more information about the festival and the other work being done by the Alabama chapter of ASTA, please visit their new-look website at: http://astabama.org
The AMEA conference in January 2019 is the perfect pick-me-up as we transition into our spring semester. Your AOA has been fortunate to select several great clinicians, headlined by Bob Phillips, who will offer something for everyone – both for our division as well as the general membership as a whole. More information about these sessions can be found elsewhere in this edition of Ala Breve. If you have not yet done so, this would be a great time to renew your membership and register for the conference.
Finally, your AOA wants to hear from you. We would love to feature you, your program, your upcoming events, and anything else you feel should be shared on our social media platforms. We need to better highlight all the orchestral activity occurring in our state and we can assist to make that happen. Please take advantage of this opportunity. I look forward to hearing from you and seeing you all soon. Regards,
I would also like to bring to your attention the work Chip Gulbro and the new ASTAAlabama board is doing to advance string
Guy Harrison
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!
Arts Music Shop, 3030 East Blvd., Montgomery, AL 36116 Bailey Brothers Music Company, 4673 Highway 280 Suite 7, Birmingham, AL 35242 John M. Long School of Music, School of Music, Troy, AL 36082 JW Pepper, 9053 Riverside Pkwy, Lithia Springs, GA 30122 Kaleidoscope Adventures, 7081 Grand National Drive Ste. 110, Orlando, FL 32819 Landmark Tour and Travel, 704 37th Street South, Birmingham, AL 35222 Marchmaster Inc., P.O. Box 73379, Newnan, GA 30271 QuaverMusic.com, 1706 Grand Ave., Nashville, TN 37212 Thomas Tours, Inc., 2405 12th Ave. South, Nashville, TN 37204 University of South Alabama, LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 16
October/November 2018
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Band Music Reviews The task of selecting music for your ensemble is a daunting one indeed. As we remind ourselves that what we choose as the literature for our programs become the curriculum that we use as a vehicle to teach multiple concepts to our students. I believe that this tenet should be the primary guiding light as we select music…. what can we TEACH our students if we program this piece? Of course, we want to teach or reinforce those musical qualities that allow our students to experience success as student musicians. We want our students to play with characteristic tone, to be aware of intonation issues and be able to correct them, to play with rhythmic integrity, to work with their colleagues to produce a characteristic ensemble sonority. Moving beyond the “nitty gritty” …does a piece of music allow our students to grow in other ways? If so, I think the piece is a worthwhile part of our curriculum. The compositions that I have included for your review below all offer the students the opportunity to become better musicians and have unlimited potential to reach our students on multiple levels. David Biedenbender is currently on the faculty at Michigan State University, and earned his DMA in Composition from the University of Michigan. David has written several pieces for wind band that have received much success. Among those are Melodius Thunk, Stomp and Luminescence. One of his most recent works is Unquiet Hours, which was commissioned by the Midwest Band and Orchestra Clinic and premiered at the 2017 Midwest Clinic by the Riverwatch Middle School Band. Although listed as a Grade 4, this piece provides numerous technical challenges and could easily be considered a Grade 5. Unquiet Hours provides a strong challenge for your percussion section and requires a total of 7 players at minimum to cover the parts. Modern percussion writing including a prominent part for crystal glasses adds to the various tone colors produced by the piece. Biedenbender writes that the piece is “about the unquiet hours-the times when sadness, doubt, anxiety, loneliness and frustration overwhelm and become a deluge of unceasing noise.” So many of our students are dealing with these personal social issues and our students will be able to relate easily to the composition. The piece, at its conclusion, is about finding peace “inside the noise”, which will speak volumes to many of our students. The wind parts are written for a typical wind band and includes optional parts for Eb Contralto Clarinet, Bb Contrabass Clarinet and Double Bass. There is a printed Bass Trombone part, but it is also listed as optional and the part may be taken up an octave to accommodate younger players. The composer also includes alternate pitches for the timpanist for young players and where pedal changes are difficult. This is a highly-recommended piece for those upper Grade 4 and Grade 5 ensembles. You and your students will enjoy preparing and performing Unquiet Hours. If your younger ensemble needs to strengthen their ability to play lyrical, flowing and expressive lines, our good friend and colleague ala breve
Coleman us with incredible music Robert W. Smith has onceRandall again provided for those specific teaching moments. Robert’s setting of the traditional English ballad Scarborough Fair, is, quite simply, breathtaking. In this arrangement, published as a Grade 3, the conductor should be careful to balance the melody and counter melody appropriately throughout the piece. The shaping of the conversation between these two lines is crucial to the clarity and intent of the arrangement. Scarborough Fair also provides young students the opportunity to explore and work from a theoretical standpoint in minor tonalities. From the opening statement in soli flute to the subdued ending, this setting is a wonderful taste of lyrical playing in a minor mode for your students. This is yet another of Robert W. Smith’s incredible contributions to our repertoire. We are indeed fortunate to have him as one of our “Alabama colleagues” and proud to share him with music educators around the globe.
If you are searching for a challenging piece that is incredibly fun for your students to play, then look at Shine On! by Nathan Daughtrey. Written to celebrate the 100th anniversary of the band program at East Aurora High School, Shine On! is published at the Grade 4.5 level and provides you an opportunity to showcase your talented musicians. Aurora, Illinois is officially known as the “City of Lights” because it was one of the first cities in the United States to implement an all-electric street lighting system in 1881. The city also shares its name with Aurora, the Goddess of the Dawn. She was the bringer of light and was often described as bringing hope and rejuvenation to all living beings as they woke up each morning. Her two horses that pulled her chariot across the sky are named in the Odyssey as Firebright and Daybright. Much of these characters provides inspiration for the piece. Technically demanding for percussion, woodwinds and brass, the piece requires an outstanding control of internalized pulse and technical clarity. The full ensemble will be required to have a firm grasp of jazz style and the members of your percussion section will enjoy providing the “groove” for this piece. Engaging and catchy melodies are spread throughout the ensemble, including a xylophone solo, and a driving “tour de force” ending make this selection a delight for the performer and audience alike. I know your students will thoroughly enjoy Shine On!.
Randall Coleman Associate Director of Bands The University of Alabama Conductor and Music Director The Alabama Winds
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F
FAME uture
A
labama
M E usic
ducators
Open to High School Juniors and Seniors Thursday, January 17, 2019 9:00 A.M. - 4:00 P.M. Birmingham-Jefferson Convention Complex Application and $20 registration fee are due postmarked no later than January 10, 2019 Student_____________________________________________________________
Grade ____________________
Nominating Teacher ____________________________________________ NAfME # _________________________ School Name ____________________________________________________________________________________ School Address __________________________________________________________________________________ Teacher Phone ________________________________ Teacher Email ______________________________________ This student participates in (circle all that apply): Band
Chorus
Orchestra
Other ____________________
Publicity Waiver I give AMEA permission to take photos of FAME attendees and use the photos for publicity purposes. By this authorization, I understand and agree that no participant shall receive remuneration and that all rights, title and interest to the photos and use of them belongs to AMEA.
_________________________________________ Signature of Student
Enclose $20 Registration Fee Make checks payable to AMEA
________________________________________________ Signature of Parent if Student is under 18
The FAME program includes many important topics for students considering a career as a music educator. AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in music education at an Alabama college or university. Visit www.alabamamea.org for details. Lunch will be provided by AMEA Mail this application, along with the $20 registration fee, to:
Susan Smith AMEA Past President 303 Old Cabin Road Troy Alabama 36081 Postmark Deadline: January 10, 2019
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Sound A d v i c e
by Richard Mark Heidel
Originally printed in the Winter 2010 issue of the Iowa Bandmaster. Reprinted here with permission of the author. The foundation of any fine ensemble, whether it is an orchestra, jazz ensemble, marching band, chamber ensemble or wind band, is the quality of its sound. Therefore, it is incumbent upon conductors to possess a solid concept or aural image of the type of sound they desire their ensemble to produce, and to structure rehearsals and create teaching strategies which will enable their students to achieve and reinforce a particular quality of sound. Concepts of sound quality are shaped by many factors including the ensembles to which we listen, the instrument(s) we play and perhaps most influential is our ensemble performance experience. There are numerous concepts of sound production, and I prefer avoiding conversations that debate “right” versus “wrong” concepts of ensemble sound production. Rather, I choose to respect a conductor’s decision to approach his or her ensemble’s sound in a certain manner, provided it is an appropriate quality for a particular composition and that the best interest of the music is served. I fondly remember my days as a high school and college student when I started listening to music in a more serious way, and thus began gaining greater appreciation for and insight into the many aspects of musical performance. As a trumpet player, my early listening habits tended to focus on instrumental ensembles including orchestras, brass quintets and wind bands. I was and continue to be an avid listener of classical music, and I recall eventually being able to differentiate the Chicago Symphony Orchestra under the baton of Sir Georg Solti from the Philadelphia Orchestra under Eugene Ormandy simply by listening to the unique quality of sound that each ensemble produced. The CSO, of course, had that marvelous brass sound, while Philadelphia possessed a rich, lush string sound. Both were truly world-class ensembles, but their sounds were quite distinct. The point is that conductors of any ensemble, through deliberate thought and careful decisionmaking, should arrive at their personal concept of sound, and teach toward that concept.
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I know that my personal performance experiences as a trumpet player in the Texas Tech University Symphonic Band under the direction of James Sudduth and the University of Illinois Wind Symphony under James F. Keene significantly shaped my opinions about the ideal wind band sound. Like the conductors with whom I studied, I subscribe to the principle that the desired fundamental sound of a wind band is that which is a wellblended, dark, resonant sound that is built on the low sounding instruments within the band. Who has influenced your concept of band sound, and how has that influence affected the way you approach your ensemble’s sound? I assume that a large number of wind band conductors have come to know this approach to balance and ensemble sound production as the “pyramid system.” This popular phrase resulted from the teachings and highly influential writings of Dr. Francis McBeth, especially his manual entitled Effective Performance of Band Music: Solutions to specific problems in the performance of 20th Century Band Music, I fully endorse the pyramid of sound concept for wind bands that has been championed by Francis McBeth for several decades now, and that concept essentially sets forth the idea that low voices in the band should contribute more sound to the full ensemble sound than the high voices.
With this in mind, it can be effective to first demonstrate improper balance by having your band invert the pyramid of sound creating a bright sound, or by having individual players “stick out” in certain sections to illustrate the effects of poor blend. Following this demonstration, you can provide the band some type of signal which indicates to them to increase the bass voices while decreasing the treble voices, gradually creating more of a pyramid of balance that will affect the sound in a most revealing and positive manner. Dr. McBeth proposed that pyramids may be created on various levels from the full ensemble to instrument families to individual sections. The three diagrams below from Effective Performance of Band Music illustrate this approach: Diagram 1: Full Ensemble Balance
Diagram 2: Woodwind Family Balance
To achieve a pyramid of balance, band members should think, listen, and balance down at the section, instrument family, and full ensemble levels. Ensemble members that play higher sounding instruments should fit their sound inside the sound of lower instruments. Special attention must always be given to inner voice parts or they will often fail to adequately contribute to the total band sound. It is important to constantly monitor for good balance within the band, but also to listen for proper blend, which results when students match volume, make a uniform quality of sound, and produce good intonation within sections and families of instruments. Good ensemble balance and blend are two essential components of achieving a satisfying band sound.
Diagram 3: Brass Family Balance
Conductors should teach their students what proper ensemble balance and blend sounds like and why good balance and blend enables bands to achieve a desired ensemble sound.
Notice that within Diagrams 2 and 3, there are “double pyramids” which indicate the proper balance within each family and for each 21
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instrument section that commonly has multiple parts. See Effective Performance of Band Music by Francis McBeth for a more detailed explanation of the pyramid of balance concept. Once the preferred fundamental sound concept has been established, a plan should be devised to enable the ensemble to develop that sound. The early phase of a rehearsal is the most logical time to work on sound development. It is important that an adequate amount of time be given to the “developmental” portion of the rehearsal, and additional time for this type of ensemble work should be afforded to younger ensembles. At the high school level, I typically dedicated 2025% of each rehearsal to fundamental work, which included refinement of sound, scales, articulation, intonation, technique, etc. With the Iowa Symphony Band, I use approximately 10 minutes out of a 90-minute rehearsal to establish the band’s sound and tune the ensemble. To begin, excellent playing fundamentals must be in place. These include a properly working instrument, exemplary posture, effective breathing, adequate airflow and the production of a characteristic tone by each individual member of the ensemble. In experiences with my own ensembles and as a guest conductor of honor bands, I find that I must frequently stress and reinforce the importance of excellent performance fundamentals. I believe most would agree that the success of an athlete, athletic team, musician or musical ensemble is largely dependent on the development and application of strong performance fundamentals. If I notice students sitting improperly during rehearsal or if the ensemble is not utilizing breath support to their fullest, I will quickly identify the problem and will make necessary adjustments. In fact, in recent years I have begun incorporating a few minutes of focused breathing exercises at the beginning of rehearsals. Such exercises serve to “warm up” the students’ use of air and clear their minds so they can focus their attention on the rehearsal. I will reinforce the importance of breathing during the course of a rehearsal if I feel the ensemble is not fully utilizing breath support. The Breathing Gym by Sam Palafian and Patrick Sheridan provides some outstanding exercises to improve breath control and airflow, and these exercises can easily be applied to individual as well as large ensemble settings. During the first part of the rehearsal, after greeting the students, I will typically have them stand as I lead them through a few 22
breathing exercises, which I vary for each rehearsal. I will then have them perform some non-notational long tone exercises such as those that are commonly referred to as “Remington patterns,” which begin on some predetermined unison pitch (often Concert F) and are performed in descending and/or ascending minor seconds in increasing intervals. The Remington pattern can also be applied effectively to chordal work. Additional non-notational exercises include major, minor and chromatic scales, scales in various intervals such as thirds, fourths, fifths, etc. and scales performed in a round by instrument group (Always start with the low voices! See Diagram 1 for group assignments) to name a few. These types of exercises will enable your students to focus their complete attention on their individual sound production as well as that of the entire ensemble. Incorporate singing to encourage the students to be active listeners and more completely engaged throughout this process. You may want to have them sing a note within a scale (“Sing the next note in the scale”), or a chord tone (“Sing your note within the chord.” “Now, sing the tonic.”). There are many techniques that can be implemented that will create variety for you and your students as well as enable them to develop important performance concepts. Refer to the end of this article for an illustration of the Remington pattern, which was extracted from an article by John P. Paynter, A Daily Warm-Up Routine, which appeared in the September/October 1984 issue of Band. It is important to keenly monitor and assess the sound the ensemble is producing at all times. Tendencies are that, as the students perform at stronger dynamic levels or in higher tessituras, the quality of the sound will brighten. In establishing the base ensemble sound, it is essential to eliminate these performance tendencies, and achieve consistency in all ranges at all dynamic levels. If you incorporate technical work such as scales, arpeggios, rhythm studies, etc. within your full ensemble rehearsals, the second phase of the developmental section of the rehearsal is an ideal time for that material. Remember to constantly monitor the band’s use of air and sound production as they begin to perform more technically challenging material. This is exactly the time when young musicians may begin to back off on their breath support and thus start to produce poor, unsupported tones. The culmination of this portion of the rehearsal, which is often referred to as the “warm up,” should be the performance of a
chorale or a slow, lyrical composition. Ensemble members should be given opportunities to apply developmental concepts such as tone production, balance, blend, phrasing, dynamics, etc. within a musical context. To create some variety in this part of the rehearsal, I will often have the woodwinds play or sing their parts while the brass buzzes their parts of the chorale on their mouthpieces in order to open up their sound and to work on their listening skills. If I find the band’s attention lacking, I will often have them (a) sing the chorale to become more aware of intonation, (b) transpose the chorale up or down a given interval to increase their focus, (c) “bop” (perform all notes in short rhythmic values) the chorale to illustrate precision problems or the importance of some inner part movement, and/or (d) slur the entire chorale to improve airflow and phrasing. There are many outstanding collections of chorales available for concert bands at every performance level. I have enjoyed using Sound Training: Twenty-Six Chorales of J. S. Bach, arranged by Wayne Gorder, published by Ludwig Music, for my chorale work with the Iowa Symphony Band. Of course, the Sixteen Chorales by Johann Sebastian Bach, arranged by Mayhew Lake is an excellent, time-tested collection of chorales. These are but two of many fine chorale books that are now available for bands of any ability level. Instead of utilizing a chorale at the end of the developmental portion of the rehearsal, you may want to have the band perform a slow, lyrical work or selected passages from that work. Compositions such as Salvation Is Created by Tchesnokov, Nimrod from Enigma Variations by Elgar, Come, Sweet Death by Bach/Reed, Amazing Grace by Himes or Ticheli, Shenandoah or Loch Lomond by Ticheli, Llwyn Onn by Hogg, Ave Maria by Biebl, Air for Band by Erickson, etc. work beautifully during this part of the rehearsal. It is through the performance of slow, sustained music that students have the best opportunity to refine their sound production as well as their overall musicianship. Once the first phase of the rehearsal has been completed, the ensemble is ready to begin work on their current concert repertoire. However, the developmental work must continue. As the band performs various passages within compositions, they should ultimately apply the concepts introduced and reinforced at the beginning of the rehearsal. Be sure you assess their sound production throughout the entire rehearsal, along with October/November 2018
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their articulation, intonation, phrasing, dynamic contrast, etc., and make corrective or reinforcing comments as needed. We should never accept a sound that is a poorer quality than the most focused, beautiful tone which they are capable of producing. Remember, our students can usually very quickly replicate a performance concept if they simply have an adequate model. So, thanks to an increasing availability of recordings of outstanding bands at all age/ability levels, it is possible to obtain representative concert band performances that will clearly illustrate your preferred concept of ensemble sound for your middle school, high school or collegiate students. You might already use this method when demonstrating the desired tone qualities of individual instruments, but it is also a powerful way to model the quality of the full ensemble sound. Additionally, it is helpful to frequently record your band not only for your own assessment purposes but also to enable your students to listen to and evaluate their sound as an ensemble. Involve your students in the assessment process and have them identify the strengths and areas of weakness they hear within their own band. What do they like about the sound they make? What do they not like about their sound? What can they improve? How can they improve it? At this time, it is important to note that a “one sound fits all” approach to ensemble sound should be avoided. The fundamental band sound is one that is developed according to the principles previously outlined; however, conductors, through score study and interpretation, must derive at a quality of sound that is appropriate for each individual composition they are conducting with their ensembles. Some compositions or sections within a work may require a dark, rich quality of sound from the ensemble while others may need a bright, edgy sound. It is possible that a piece will require a sound that results from balancing the band according to figure 2, similar to an hourglass, or perhaps the appropriate balance for a work would more appropriately resemble a diamond structure shown in figure 3. Wind band compositions that have been written within the past few decades have grown increasingly sophisticated on many musical levels, thus compelling conductors to give adequate attention to the quality of sound that may be required of each unique work. The standard pyramid of balance, figure 1, may be appropriate in the majority of musical situations, but not all of them. Conductors must have the knowledge, ala breve
creativity and confidence to understand when a change is needed in the band’s sound and what adjustments to make to create the appropriate sound. And finally, it is often easy to overlook the contributions of the percussion section as we focus on the sound production and balance within the band’s wind sections. However, the quality of sound a percussion instrument or section contributes to a work can affect the overall ensemble sound as much as that of a wind instrument or section. Again, from experiences with my own ensembles and as a guest conductor, I find that percussionists tend to favor articulate, dry sounds produced by hard mallets or sharp, crisp performance techniques. Similar to my personal sound preferences of the wind instruments, I generally prefer percussion sounds that are dark and resonant rather than those that are bright and brittle. Of course, changes must be made in accordance with the musical context, but I prefer making adjustments from a position of the initial sounds being dark and resonant, rather than from the other direction. Take care to attend to the sounds the percussion section is delivering. Young players especially seem to be content if they strike the proper instrument at the proper time, but they often neglect to consider the quality of the sound they produce. And remember, the quality of a percussion sound can be changed greatly simply by changing the performance technique. It is not always necessary to start by changing a stick or mallet. Describe the sound you want and see how close your students can get to that sound by making their own performance decisions! The sounds that our bands produce should be of primary importance to all of us, and we must take steps to aptly describe the desired quality of ensemble sound as well as nurture that sound in a careful, consistent manner. My advice is that you establish a sound routine (Pun intended!) through which you work each day to develop the sound of your band but take care to create variety within that routine so that your students do not become bored or complacent with this very important part of the rehearsal. Be patient. Like music itself, the development of an ensemble’s sound is an ongoing endeavor, and although we conductors may eventually be satisfied with the quality of sound our band is achieving, there will always be room for refinement.
References: Chodoroff, Arthur. Performance: Ensemble Sound. In School Band and Orchestra, December 2010. Lowell, MA: Symphony Publications, 14-16. Gorder, Wayne. Sound Training: Twenty-Six Chorales of J. S. Bach. Cleveland, OH: Ludwig Music Publishing Co., 1995. Lisk, Edward. The Creative Director: Alternative Rehearsal Techniques. Ft. Lauderdale, FL: Meredith Music Publications, 1987. McBeth, Francis. Effective Performance of Band Music: Solutions to specific problems in the performance of 20th Century Band Music. San Antonio, TX: Southern Music Co., 1972. Paynter, John. A Daily Warm-Up Routine. In Band, Volume 1, Number 1. Traverse City, MI: Band, Inc., 1984, 6-9. Williamson, John. Rehearsing the Band. Cloudcroft, NM: Neidig Services, 1998. (From A Daily Warm-Up Routine by John P. Paynter. September/October 1984 issue of BAND.)
Richard Mark Heidel is director of bands in the School of Music at The University of Iowa where he conducts the Symphony Band, teaches graduate courses in conducting and band literature, guides the graduate band conducting program, and oversees all aspects of the University of Iowa band program. Ensembles under Dr. Heidel’s direction have performed at national, regional and state conferences including those of the College Band Directors National Association, National Association for Music Education, Iowa Bandmasters Association, Wisconsin Music Educators Association, Illinois Music Educators Association and National Band AssociationWisconsin Chapter. He has also led concert tours to Ireland and England as well as throughout the Midwest. Reprinted with permission from the Winter 2010 issue of the Iowa Bandmaster.
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2019 Conference Featured Speakers Dr. Tim Lautzenheiser, Keynote Speaker Tim Lautzenheiser began his teaching career at Northern Michigan University. He then moved to the University of Missouri, and from there to New Mexico State University. During that time, Tim developed highly acclaimed groups in both instrumental and vocal music. Following his tenure in the college band directing world, he spent three years with McCormick’s Enterprises working as Executive Director of Bands of America. In 1981, Tim created Attitude Concepts for Today, Inc., an organization designed to manage the many requests for teacher inservice workshops, student leadership seminars, and convention speaking engagements focusing on the area of effective leadership training. After thirty-plus years of clinic presentations, some three million students have experienced one of his popular sessions. Tim presently serves as Vice President of Education for Conn-Selmer, Inc. He is a nationally recognized voice touting the importance of arts education for every child. His books, produced by G.I.A. Publications, Inc., continue to be bestsellers in the educational community. He is also co-author of popular band method, Essential Elements, as well as the Senior Educational Consultant for Hal Leonard, Inc. Tim is also the Senior Educational Advisor for Music for All, and NAMM (The National Association of Music Merchants). He holds degrees from Ball State University and the University of Alabama; in 1995 he was awarded an Honorary Doctorate from the VanderCook College of Music. He continues to teach as an adjunct faculty member at: Ball State University, Indiana-Purdue/Ft. Wayne University, and Butler University. In addition, he is a member of the Midwest Clinic Board of Directors and the Western International Band Clinic/American Band College Board of Directors. He is presently the Chair of the National Association for Music Education Music Honor Society (Tri-M).
Dian Eddleman, NAfME Southern Division President Dian Eddleman, Immediate Past-President of the Tennessee Music Education Association is presently Director of Choral Activities at the University School of Jackson, Jackson, Tennessee. She previously served as President of West Tennessee Vocal Music Education Association and as a longtime board member of TMEA and WTVMEA. An experienced K-12 music teacher, active clinician and adjudicator Mrs. Eddleman holds numerous awards for teaching and leadership from district, regional and state organizations. Her honors include selection to Who’s Who Among America’s Teachers, National Honor Roll Outstanding America Teachers, Governor’s School for the Arts Outstanding Teacher, and Who’s Who Among Professional Women. She was nominated for “Teacher of the Year with the Jackson Madison County Schools and is a member of NAfME, TMEA, WTVMEA and ACDA. She holds a Bachelor of Arts degree from Harding University with post-graduate work at the University of Memphis and the Juilliard School.
2019 Alabama Intercollegiate Band Clinician A native of Greeley, Colorado, Lowell E. Graham is the Director of Orchestral Activities and Professor of Conducting at the University of Texas at El Paso. He is the recipient of the “Abraham Chavez” Professorship in Music. He enjoys a distinguished career conducting ensembles in many musical media, including the Green Bay Symphony Orchestra, the Virginia Symphony, the Spokane Symphony, the Valdosta Symphony Orchestra, the El Paso Symphony Orchestra, the American Promenade Orchestra, the Greeley Philharmonic, Chamber Music Palm Beach Chamber Orchestra, the Westsachsisches Symphonieorchester, the Mormon Tabernacle Choir, Banda Sinfonica do Estado de Sao Paulo, Orquestra de Sopros Brasileira, Banda Sinfonica de la Provincia de Cordoba – Argentina, Banda Municipal de Musica de Bilbao – Espana, Banda Municipal de Barcelona – Espana, the National Symphonic Winds, the National Chamber Players, the Avatar Brass Ensemble and the Denver Brass. In 2006 he was named the “Director Honorifico Anual” for the Orquesta Sinfonica Nacional de Paraguay. He has held numerous conducting positions to include that of the Commander and Conductor of the United States Air Force's premier musical organization in Washington, DC. As a USAF Colonel, he became the senior ranking musician in the Department of Defense. He is a graduate of the University of Northern Colorado where he received a Bachelor of Arts degree in music education in 1970 and a Master of Arts degree in performance the following year. In 1977 he became the first person to be awarded the Doctor of Musical Arts degree in orchestral conducting from The Catholic University of America in Washington, D.C. In 1995 he was honored with membership in the prestigious American Bandmasters Association, the professional association of master conductors and musicians and was named President in 2018. Membership is considered the highest honor achievable by American bandsmen; it recognized outstanding achievement in the field of concert bands. In 2014, he was named as the President and CEO of the John Philip Sousa Foundation. 24
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2019 All-State Jazz Band Clinicians Gold Band - Ronald Carter is Distinguished Professor, UNC-Fayetteville State University, Fayetteville, NC. He is former director of the world-renowned Northern Illinois University (NIU) Jazz Ensemble and former Director of Jazz Studies and is continuing to educate students in jazz education and performance on university, high school and performing arts schools and campuses across the country, South America and Canada. He has performed, conducted and presented clinics at regional, national, and international conferences, and directed all-state jazz bands in Illinois, Indiana, Rhode Island, Missouri, Texas, Wisconsin, Colorado, Iowa, Maine, Kentucky, Vermont, Arizona, Kansas, Arkansas, Tennessee, South Carolina, North Carolina, Georgia, Washington, Oregon and Massachusetts. Carter conducted the Florida State University Tri - State All-Star Jazz Band in 2017. An abbreviated list of his honors and awards includes Downbeat Magazine’s Jazz Educators Hall of Fame, The Woody Herman Music Award (Birch Creek Music Center), The 1991 Milken National Distinguished Educator Award, Southern Illinois University Excellence in Teaching Award, and the St. Louis American Newspaper’s Excellence in Teaching Award and Northern Illinois University Board of Trustees Professorship. Recently accepted appointment as Felton J. Capel Distinguished Professor of Performing and Fine Arts UNC – Fayetteville State University, Fayetteville, NC. Carter’s projects includes former International Consultant for the Essentially Ellington Jazz Competition sponsored by Jazz at Lincoln Center in New York; former Lead Artist for the Jazz At Lincoln Center Band Director’s Academy; Co-Author for Alfred Publications “Swingin’ On The Bars”, and co-author of GIA Music Publications “Teaching Music Through Performance in Jazz – Book I & II as well as a contributing author to the Beginning Jazz Ensemble Textbook.Carter is currently an artist for Conn-Selmer Inc. and D’Addario Woodwinds –(Rico Reeds) Silver Band - Jerry Tolson is professor of jazz studies and music education at the University of Louisville, where he is chair of the music education division, directs instrumental and vocal jazz ensembles and teaches jazz pedagogy, jazz style, jazz history, and African American Music classes. He is a clinician for Alfred Music, a consultant for Pearson Educational Publishing, and serves as an adjudicator, guest conductor, and jazz camp instructor internationally. A graduate of Drake University and the University of North Texas, Tolson has made presentations at state, regional, and national Music Education conferences, the International Association for Jazz Education Conference, Jazz Education Network, and the Midwest Clinic. as well as universities in the U.S. and abroad. Tolson’s articles have appeared in Music Educator’s Journal, Jazz Educator’s Journal, The Journal of Jazz Studies, and The Instrumentalist, and he is a contributor to the following publications: Teaching Music Through Performance in Jazz, (ed. Carter and Miles), Jazz Pedagogy: The Jazz Educator’s Handbook and Resource Guide (Dunscomb and Hill), and The Jazzer’s Cookbook: Creative Recipes for Players and Teachers. Tolson has been named to “Who’s Who Among America’s Teachers”, and has received the Kentucky Music Educators “College Teacher of the Year” award and the University of Louisville Distinguished Faculty Service and Multicultural Teaching Awards. Tolson has served as a board member of the University of Louisville Athletic Association, the University Club of Louisville, and IAJE. His other professional memberships include the American Federation of Musicians, Jazz Education Network, ASCAP, NARAS, College Music Society, National Band Association, Louisville Jazz Society, and National Association for Music Education.
Bronze Band - Dr. Wes Parker has served as the Director of Jazz Studies at North Carolina State University since 2006. He directs the jazz ensembles, coaches jazz combos, teaches jazz history and jazz improvisation, instructs students in the low brass studio, and served as the Assistant Director of the NC State Marching Band from 2006-2010. Dr. Parker holds a Bachelor of Science in Music Education from Tennessee Tech University, a Master of Music in Performance from the University of Southern Mississippi and a Doctor of Musical Arts in Trombone Performance and Pedagogy from the same university. Parker’s trombone playing has been heard in jazz ensembles and orchestras throughout the United States. As an active freelance musician, Parker has performed with such artists as Branford Marsalis, Ellis Marsalis, Michael Feinstein, Josh Groban, Aretha Franklin, Regis Philbin, Placido Domingo, the Jimmy Dorsey Orchestra, the Temptations, and the Pointer Sisters. Under Parker’s direction, the NC State Jazz Ensemble has shared the stage with such great jazz musicians as Wayne Bergeron, Jeff Coffin, Bobby Shew, Chris Vadala, and Harry Watters. An active clinician, Dr. Parker has worked with middle school, high school, and collegiate jazz ensembles, as well as numerous marching bands throughout the Southeast. Prior to his appointment at NC State, he served as the interim professor of trombone at The University of Southern Mississippi, and spent time teaching public school in Mississippi and Oklahoma. Middle School Band - Mr. Earnest Echols is the associate director of bands at Minor High School. He has taught in Alabama, Georgia and Florida since 2002. Mr. Echols attended the University of Alabama and where he earned his BSE and MM. He has taught in several countries including Kenya, Zambia, Italy, Spain, Canada, and England. Mr. Echols is an active performer on piano and trumpet. His most recent recording project, “...For Love, Life and Music” is available on iTunes” and features him on both instruments. Mr. Echols teaches students the knowledge that he has gained over a lifespan performing in the Marching, Concert, and Jazz idioms. Mr. Echols is a former member of Florida Bandmasters Association, Florida Vocal Association, and the Florida Orchestral Association, and a current member of NAfME, ABA, and AEA. ala breve
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AMEA 2019 Performing Groups Meet the Alabama School of Fine Arts Music Department…..talented instrumentalists grades seven through twelve enrolled in a unique curriculum of academics, music instruction and performance. During the past fifty years these dynamic ensembles have given hundreds of performances for thousands in audiences throughout the United States. The ensembles have appeared at the Alabama State Legislature, Alabama State Council on the Arts, the United States Capital in Washington, D.C., New York City, Florida, Birmingham Civil Rights Institute, Imagination Celebration, to name a few. Each ensemble has successfully competed in national and state-wide festivals and competitions where they’ve consistently achieved superior ratings and special recognition. The ensembles are in constant demand for their polished and professional approach to performance and have been recognized for their varied concert repertoire of Renaissance through Twentieth Century standards, jazz standards, light classics and spirituals. Members of these ensembles have been awarded grants for summer study at Interlochen, Eastern Music Festival, Brevard, Sewanee, Rocky Ridge Music Center, and the Kennedy Center/National Symphony Orchestra Summer Music Institute. Alumni have distinguished themselves with scholarships to such prestigious institutions as the Juilliard School, Cincinnati College-Conservatory, Boston University, Oberlin, Yale, Harvard and Berklee. The Alabama Winds, an all-adult community band based in Tuscaloosa, Alabama, was organized in the summer of 2013 and is comprised primarily of practicing music educators residing throughout the state of Alabama. Members travel from as far as Huntsville, Auburn and Enterprise to our rehearsals, based at Thompson High School in Alabaster, Alabama. Alabama Winds rehearses for three hours each month and performs two major concerts each year, one in December and one in May. The mission of the Alabama Winds is to foster and promote the appreciation of highquality wind band music through performances of artistic merit for our audience, the residents of the state of Alabama and the members of the ensemble. Community outreach is very important to Alabama Winds, and the ensemble provides scholarships for middle and high school students to attend summer music camps, and provides a $500.00 scholarship to a high school senior planning to pursue a career in music education. The ensemble also provides a performance opportunity at its December concert for beginning band students to play alongside the members of Alabama Winds during the concert. The Alabama Winds has performed invitational performances at the 2015 Alabama Music Educators’ Association Inservice Conference, the 2016 Alabama Honor Band Festival, and at the 2017 Midwest International Band and Orchestra Conference in Chicago, Illinois.
The official youth orchestra of the Alabama Symphony Orchestra, the Alabama Symphony Youth Orchestra is an ensemble dedicated to nurturing talent, building community, and empowering young lives in the state of Alabama. The group consists of 70 of the brightest young musicians from throughout the state of Alabama.
The Auburn University Jazz Ensemble is one of the new exciting sounds of Auburn University. The 19 member group is selected from the entire student body, and includes students from many different majors. The group features the best in big band Jazz, with contemporary compositions from artists such as Gordon Goodwin, Lyle Mayes, Maria Schneider, Bob Mintzer and Tom Kubis, as well as music from the libraries of Count Basie, Duke Ellington, Wood Herman, Stan Kenton and Buddy Rich and original compositions. The band performs on campus and throughout the region. The Auburn University Jazz Ensemble is directed by Dr. Michael Pendowski.
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AMEA 2019 Performing Groups Bella Voce is a sixty member non-auditioned women’s ensemble. Under the direction of Dr. Khristina Motley, the group has consistently received superior ratings at the Alabama State Performance Assessment. The purpose of Bella Voce is to achieve the highest possible standard of musical excellence, a heightened understanding of the composers and lyricists, while instilling a lifelong appreciation of choral music. Members of the ensemble will perform, by invitation, a concert at Carnegie Hall in the spring of 2019. Last year, the choral department had twenty-three members participate in All-State Choir, three members in All-State Show Choir, the District II OCS winner, and two participants in the FAME Scholarship Program. Additionally, Hillcrest choral students participated in the Disney Candlelight Processional for the past three years. Finally, members of the women’s ensemble collaborate with HHS multidisability students, a group called our Adaptive Ensemble, which performs annually at The University of Alabama. The Bob Jones High School Percussion Ensemble has a rich tradition of excellence and is considered one of the premier high school percussion ensembles in the state of Alabama. Whether it is on the football field, indoor arena, or concert stage, the percussion ensemble always excels at the highest of levels. The Bob Jones High School Percussion Ensemble prides itself on developing well rounded percussionists and strives to expose its members to a variety of different percussive settings and demands. Past members of this great organization have gone on to excel in both outdoor and indoor percussion activities as well as pursued percussion opportunities at the collegiate level. On the football field, The Bob Jones High School Battery and Front ensemble are well known for pushing the envelope and have been honored at many local and regional competitions, receiving numerous high percussion awards. In the indoor arena, the ensemble has been a constant innovative force in not only the region but also on the national stage. The Bob Jones Winter Drumline have medaled at the South Eastern Color Guard Championships numerous times as well as are two-time open class finalists at the Winter Guard International World Championships. Not only has the ensemble repeatedly raised the bar in both the outdoor and indoor activities, they have also represented their band program well at local and regional concert festivals, contributing to the band’s numerous superior awards. The concert percussion ensemble is also a main stage in the program’s repertoire. Members are exposed to a variety of different styles and explore both classic and modern percussion music. The students do a tremendous job balancing all aspects of the program to include a Fall Football marching show, a Fall Competition marching show, a Spring competitive indoor drumline program, 2 concert band programs, 2 jazz bands, and a concert percussion ensemble; all the while constantly seeking out new opportunities and striving to achieve at the highest of levels in every ensemble.
The Enterprise High School Women’s Ensemble is a combined extracurricular ensemble made up of the women enrolled in daily choir classes. They received the Best in Festival Award at the Cultural Arts Center Choral Festival in 2017, and First Place in the Women’s Division at the Cultural Arts Center Choral Festival in 2016. They are under the direction of Cameron Johnson Weiler, and accompanied by Lis Donaldson.
Fairhope Middle School is located in Fairhope, Alabama and is a part of the Baldwin County School System. The Fairhope Middle School band has a long and rich tradition of musical excellence and is an integral part of the school. The band program is composed of approximately 150 students in the 7th and 8th grade, with a 7th grade Concert Band, a 7th and 8th grade Symphonic Band, Jazz Band, and 7th and 8th grade Percussion Ensembles. The Concert and Symphonic Bands consistently receive superior ratings at the yearly Alabama Bandmasters State Music Performance Assessment. The band program also consistently has students selected for the Alabama All-State Band, the Alabama All-State Jazz Band, and has one of the highest numbers of students in the District VII Honor Band and Baldwin County Honor Band. The band is under the direction of Ms. Jennifer Salley who is a native of Fairhope, Alabama and is a graduate of Fairhope High School. ala breve
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AMEA 2019 Performing Groups LIBERTY PARK MIDDLE SCHOOL is located in Vestavia Hills, Alabama and is part of the Vestavia Hills City School System. Built in 2008, the school has a total population of five hundred and thirty students in grades six through eight. Currently, one hundred and twenty-six of those students are enrolled in the band program at Liberty Park. The Liberty Park Band is an integral part of the Fine Arts Department at Liberty Park Middle School. The instrumental program consists of Beginning Band, Concert Band, Jazz Band, and Percussion Ensemble. The LIBERTY PARK MIDDLE SCHOOL CONCERT BAND is made up of seventytwo seventh and eighth graders at Liberty Park Middle School. The ensemble is split into a winds class and percussion class. Each class meets daily for fifty-three minutes. We combine the classes as needed before school to prepare for upcoming performances. The Liberty Park Middle School Band has consistently received a Superior rating at the Alabama Bandmaster’s Association District IV Music Performance Assessment since its inception in 2008. Several of the students are active participants in district level events, honor bands, etc. Approximately ten percent of the ensemble is enrolled in private lessons outside of their regular band class. Since the school opened its doors, the band has traveled annually on a multi-day Spring trip to take part in an out-of-state music festival, competition, or workshop.
The Liberty Park Middle School Choral Department consists of 160 singers in 6th through 8th grades. 7th and 8th Grade Boys Choir is made up of 51 nonauditioned singers. These boys rehearse everyday in two separate 53 minute long classes. They only rehearse together one or two times before a performance.
The Miles College Choir is a choral ensemble consisting of auditioned students who have a devotion and appreciation for music. The students who are a part of the Choir strive to present a high quality choral experience by performing all genres of music with excellence. To continually nurture the smaller ensemble which evolves from the Choir, The Golden Voices is a smaller group comprised of elite singers selected from the Choir and chosen by the Director to present an equally excellent performance in the ensemble arrangement. Both choral ensembles perform on and off campus throughout the year and present repertoire of diverse musical styles and various historical periods. The Miles College Choir and The Golden Voices serve as the College Choir and as the Presidents Choir and is the official choral representative of the institution. Membership is by audition only and scholarships are available. Under the leadership of our President, Dr. George T. French, we exude the message of Culture, Class and Civility through song. The Miles College Choir has journeyed to many places displaying outstanding performances and garnering great accolades as they travel throughout the country. The Choir is presently under the direction of Mrs. Valerie R. Harris and she is assisted by Mr. Patrick J. Whitehead.
Muscle Shoals High School is located in Muscle Shoals, Alabama. The Muscle Shoals area is considered to be “The Hit Recording Capitol of the World” thanks to Fame and Muscle Shoals Sound Studios famous hit recordings from the 70’s and 80’s. Today these two studios still exist and the area is considered a hot bed for young and rising musical talent. The Muscle Shoals High School Wind Ensemble has existed for only one year due to the growth of the concert program at Muscle Shoals High school. The high school symphonic band has received superior ratings at MPA for 24 consecutive years. This trend began under past director Pat Stegall. The Wind Ensemble is now under the direction of Mr. David Waters along with assistant directors Jessica Hood and Daniel Seay. These three directors team teach all grades 6-12 on two different campuses.
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AMEA 2019 Performing Groups The Oak Mountain Symphonic Band is the second of three wind bands at Oak Mountain High School. It consists of seventy-one ninth through twelfth grade students at Oak Mountain High School. Membership in the band is determined by individual audition. Under the direction of Dr. Travis Bender, the ensemble performs a wide variety of genres in the high school wind band repertoire. Notably, this ensemble frequently performs newly published compositions for wind band. Under the baton of Dr. Bender, this ensemble has only received adjudicated ratings of superior at all contests and festivals. Since the school’s inception, the Oak Mountain Symphonic Band has twice been invited to perform at the National Band and Orchestra Festival at Carnegie Hall in New York City. In the spring of 2016, the Symphonic Band was invited to perform at the Music for All National Band Festival in Indianapolis. A performance at AMEA would be a first for this ensemble, and allow attendees to hear new band literature graded 3.5 to 5 at our state’s music conference.
The Spain Park High School Symphonic Winds have most recently performed as part of the 2018 Music For All Southeastern Regional Concert Band Festival in Atlanta, GA, the 2016 University of AlabamaBirmingham Concert Band Invitational in Birmingham, AL and the 2015 University of Alabama Honor Band Festival in Tuscaloosa, AL. They have consistently earned Superior Ratings at the Alabama Bandmasters Association Music Performance Assessment.
The Thompson High School Wind Ensemble was formed in 2001, the result of tremendous growth in the Thompson High School Band program that allowed for the creation of another performing ensemble. The Wind Ensemble is 65 members strong with the majority being juniors and seniors. Since the inception of the Wind Ensemble they have earned straight superior ratings at all Alabama Bandmasters Association District and State Evaluations. The Thompson Wind Ensemble is also a five time recipient of the National Band Association’s Citation of Excellence Award as well as a recipient of the NBA Programs of Excellence “Blue Ribbon” Award for 2013/2014 In addition, they have also earned straight superior ratings from other regional competitions throughout the southeast, most recently Festivals of Music in South Carolina, Smoky Mountain Music Festival in Tennessee, the Alamo Music Festival in San Antonio, Texas, and the Dixie Classic National Adjudicators Invitational in St. Louis, MO. Most notably, the Wind Ensemble was selected as a guest performer for the Southeastern United States Concert Band Clinic held on the campus of Troy University, Troy, AL in February 2007, the Alabama Music Educators Association in-Service Conference in 1997, 2009 and 2014, the Music for All National Concert Band Festival in 2011 and 2015, the 2012 CBDNA / NBA Southern Division Conference at Kennesaw State University in Kennesaw, GA , the 2014 JanFest at the University of Georgia in Athens, GA , UAB Honor Band Festival in 2015 and the Alabama Honor Band Festival in February of 2010 and 2018 Membership into the Wind Ensemble is through an audition / selection process. While the members are serious and dedicated to the performance of outstanding symphonic wind literature, few students actually study privately. The Wind Ensemble consistently has members selected for the Alabama Bandmasters Associations All State Music Festival and for the many university sponsored honor band festivals throughout Alabama. Other performing ensembles at Thompson High School include the 200 member “Marching Southern Sounds”, the 65 member Symphonic Band, the 60 member Concert Band, various chamber ensembles and the 19 member Thompson Jazz Band. ala breve
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AMEA 2019 Performing Groups The University of Alabama at Birmingham Wind Symphony is the premier performing ensemble for wind, brass and percussion students at the university. Members are selected through audition each semester and comprise the best musicians on campus. Over twenty unique majors are represented in the group from music education to biomedical engineering. The primary objective of this ensemble is to perform literature of the highest musical value with emphasis on works originally written for band and wind ensemble. High expectations for individual musicianship and advanced technical attainment provide members with a musically enriching and artistic performance experience.
The mission of the UA Women’s Chorus is to provide students, both majors and nonmajors, with a choral experience that will be rewarding and life enriching. The Women’s Chorus is committed to the performance of choral music repertoire at its highest level. It is designed to provide the background, training, and experience, when coupled with prerequisite coursework in other areas needed for those wishing to enter the choral, voice, or music education fields. The ensemble experience may become a forum for the synthesis of component parts of a complete music education. The choral art is a medium for communication between people, and it is the development of this expressive communication that is at the heart of the philosophy that guides this ensemble.
An elite group of UNA singers, this ensemble appears at on- and off-campus at events such as the Renaissance Faire in Florence, on tour with the UNA Collegiate Singers, in collaboration with other groups such as the UAH Concert Choir, Huntsville Youth Orchestra, HCCA Chamber Chorale, and as part of the Alabama ACDA Collegiate Choirs Festival. In the spring of 2009, they had the privilege of representing the University of North Alabama on the Department of Music & Theatre’s first international tour in its history, taking them to Italy. Since then, the group toured to Costa Rica in the spring of 2011 and Ireland in spring 2013 as part of UNA’s Study Abroad program; they completed a second tour to Italy in the spring of 2015, and will return to Costa Rica in the spring of 2019 with the UNA Chamber Orchestra. They have been featured performers at the AMEA conference in 2006, 2013, and 2016, and are thrilled and honoured to return again.
The Vestavia Hills High School Honor Choir, under the direction of Dr. Megan Rudolph, is one of eight ensembles at Vestavia Hills High School. This group of 1012th graders work hard all year to make sure that they have a strong understanding of music theory, musicianship, and sight-reading skills. The Honor Choir consistently receives superior ratings at State, Regional, and National adjudicated events. They have served as host choirs for many collegiate honor choirs including Mississippi State, University of Alabama, and the University of Alabama Birmingham. Additionally they have participated in the Choir Nationals in New York City (2015 and 2017). The students in the choir come from a wide variety of backgrounds in the school, and make it a point to continually try to represent themselves, their families, and Vestavia Hills High School with the utmost character, kindness, and morality.
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Alabama Bandmaster’s All-State Jazz Bands 2019 Students are invited to submit audition recordings in order to be considered for the All-State Jazz Band. The All-State Jazz Band festival is held in conjunction with the Alabama Music Educators Association In-Service Conference at the Birmingham- Jefferson Convention Complex on January 17-19, 2019. Selection for the Alabama All-State Jazz Bands is determined by a recorded audition that students prepare and directors send to the Alabama Bandmasters Association (ABA) Jazz Division. A qualified panel of adjudicators will be judging student recordings. Band directors will then be notified of the selected students approximately three weeks after the deadline. Directors must be members of NAfME in order for their students to audition and participate in the All-State Jazz Bands. Clinicians We are excited to have outstanding clinicians for this year’s All-State Jazz Bands. These directors bring years of high-level jazz education experience and will offer our students a memorable opportunity for musical growth. (biographies are in this edition). Mr. Ron Carter, Gold Band Mr. Jerry Tolson, Silver Band Mr. Wes Parker, Bronze Band Mr. Earnest Echols, Middle School Band Audition Procedures and Information Students in 9th-12th grades audition for the high school bands. (The third-year provision is in effect for All-State jazz band auditions. This means 9th graders in their third year of study may audition for the middle school band). Students in 8th grade and below will audition for the middle school band, but they may choose to audition for the high school band with director approval. Directors must complete the Online Registration Form by going to https://goo.gl/forms/9gnDBl0En3kEeh4Z2 and mail fees to the listed address. Online registration and payment must be received by October 29, 2018. Please be careful with the spelling of student names as this data will be used throughout the audition and concert process. Once the director has registered students online, they will receive a Dropbox link to upload their students’ recordings to their school’s audition folder. No CDs will be accepted for auditions. All audition recordings should be in high quality mp3 format (not .m4a, wav, or .aiff, etc). Auditions should be recorded live with no special editing or effects. Do not speak on the recordings. Send a recording with only ONE track. You can combine your mp3 recordings into one file with software such as Audacity (download for free at audacityteam.org) or Garage Band. Each student’s recording should be in one mp3 file, labeled as follows. FirstName_LastName_instrument_School Examples:
John_Doe_altosax_CupcakeHS Sally_Jones_piano_PecanPieMS
Be sure you send recordings with one track that includes all of the student’s audition requirements. The order of items on the recording for wind players, vibraphone, and piano should be: Scales (played in the order listed), Etude, followed by the Play-A-Long tunes, in the order listed. The order of items on the recording for guitar and bass players should be the Etude followed by the Play-A-Long tunes, in the order listed. The order of items on the recording for drum set players should be the Patterns (in the order listed) followed by the Play-A-Long tunes, in the order listed. Band Directors should mail registration form and one registration fee check, made payable to the Alabama Bandmasters Association, in one envelope to the Jazz Chairman at the following address: Ms. Kim Bain, Chair ABA Jazz Division PO Box 1231 Pelham, Alabama 35124 The audition fee is $15.00 per student along with the school fee of $20.00 per school. These fees are due with the registration form (see below), which must be received by October 29, 2018. Students who are chosen for the All State Jazz bands will pay a $40.00 per student registration/participation fee at the event. For more information check the ABA website. Click on the 2018-2019 All-State Jazz Band Requirements.
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Motivation Strategies for Musicians: Keep Calm and Practice On by Dr. Brittney Patterson One of the greatest challenges facing musicians of all ages and ability levels is staying motivated from day to day. Life is full of challenges, be they finding time to practice, prepare for an upcoming concert, or studying for final exams while battling sleep deprivation, but the key to overcoming these challenges is to maintain a positive attitude. This philosophy is true for every area of life, in relationships with friends and family or in a job, and it is certainly true for musicians who are striving to have effective practice sessions. Practice is not meant to be torturous hours spent playing difficult passages repeatedly while thinking about other tasks that could be completed during that time; it should be moments in the day when musicians are allowed to experiment and create art free from the pressure of an audience or a teacher. This is admittedly easier said than done but keeping an open mind and a positive attitude can keep musicians motivated even during the most trying times in life.
Imagine a talented student named Lydia, a flutist who is working on an undergraduate music degree. She has a very busy schedule that includes teaching private lessons, playing in orchestra, and completing classwork on time in several challenging courses. On top of all of these duties, Lydia must practice for
several hours a day to improve her playing, but at the end of the day all she wants to do is watch television and sleep. How can she stay motivated to practice after a full, stressful day? There are several steps that she can take to improve her practice session (not to mention her mood!)
Staying motivated to practice when life is increasingly busy and stressful is a very difficult task, and many musicians struggle with taking their instrument out of the case and practicing in the face of these stressors. Let’s create a scenario to illustrate these difficulties and how to deal with them in a productive, realistic way. 38
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The first step in maintaining the motivation to practice, whether you’re an overburdened student, a recent graduate free from the expectations that go along with weekly lessons, or a band director who is swamped with band boosters, it is important to begin each practice session with an exercise that feeds your musical self. This may sound a bit silly at first but think about the number of tasks we complete each day and think about how many of these tasks we do in for our own health and sanity. Self-care is an important part of maintaining good mental and physical health, so it makes sense to incorporate it into a practice session. Instead of launching into a volley of scales and arpeggios at fast tempi begin by doing some breathing exercises and connecting with your body. Don’t play long tones while thinking about your todo list; instead, focus on your sound and technique. Perhaps, in addition to your normal etudes and solos that you need to practice each day, you can incorporate music that interests you outside of the normal lesson setting. We are more motivated to complete tasks when they contain some kind of reward for us, so treat yourself! The next step in staying motivated as a musician is to be gentle with yourself in the practice setting. On the surface this may sound like psychobabble but imagine if each time you met with friends you made snide remarks the entire time. You would run out of friends quickly! The same is true with yourself–– if you think negative, unkind thoughts about your playing every time you practice you will not look forward to the next session. Instead of focusing on negative aspects of your playing, think constructively; instead of saying, “My double-tonguing in the Ewazen Sonata is terrible. I’m a terrible trumpet player and I’ll never play this well,” think, “I need to work on my double tonguing in a few measures of the Ewazen Sonata. I sound quite good on some parts, but I can make some improvements to this aspect of my performance.” Having a balanced view of your performance is a vitally important part of staying motivated and interested in practicing.
musician in a stressful world is to share your gifts with your community. Too often, we approach performances with a sense of dread; we don’t want to make any mistakes, and if we do make these inevitable mistakes then we are failures who don’t deserve to make music. Imagine if a professional athlete held themselves to this standard, framing themselves as failures whenever they made a mistake in a game. If they did, there would not be many sporting events! We should approach our performances in the same manner—mistakes happen, but what matters is sharing our talents with others. Performances should be events that are highlights of our schedules, chances to see the culmination of our hard work. Looking forward to recitals and ensemble performances as opportunities to engage with people and share a part of yourself can help to reframe the stress that often accompanies concerts. Here is a final step that can help musicians of all ages and ability levels stay motivated: read about other musicians who have struggled in similar ways and to know that you are not alone in your struggles! There are numerous books written by athletes, scholars, psychologists, and musicians about the struggles that accompany practicing and performing at a high level. These books are not written by people who have never dealt with any problems and have lived trouble-free lives—quite the opposite! At the risk of sounding callous, it is important that musicians know that they are not unique in their struggles. This issue of staying motivated and satisfied as a performer has been written about in numerous articles and books, which should be encouraging to all musicians! Instead of living a life of isolation dealing with the loneliness of being the only person who has experienced the pressure and difficulties of facing day after day of practice and self-evaluation, we are surrounded by a supportive community of people who understand this lifestyle and have provided resources for coping with it. It is imperative that musicians take advantage of these resources to battle burnout and depression and live the most fulfilling lives that they can.
Music is a demanding activity that requires its practitioners to be completely engaged physically, mentally, and emotionally in order to perform at the highest level. Because of the demands that are placed on musicians on a daily basis, maintaining the motivation to practice can be difficult. The most important thing that a musician can do to keep this motivation is to keep a positive attitude and to know that no matter what, you are not alone! Suggested Further Reading Toughness Training for Life by James E. Loehr Beyond Talent by Angela Myles Beeching The Inner Game of Tennis by W. Timothy Gallwey The Art of Practicing: A Guide to Making Music from the Heart by Madeline Bruser
Dr. Brittney Patterson is Assistant Professor of Music at the University of Montevallo where she teaches Musicology and Flute. She earned her Doctorate from the University of Alabama, her Master’s degree from the University of Northern Colorado, and her Bachelor’s Degree from the University of Tennessee. Her research interests are flute pedagogy, the music of Germaine Tailleferre, and music at the court of Frederick the Great.
A third step in staying motivated as a ala breve
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Jazz Music Reviews
In the Spirit of Swing – An Introduction I suppose we are all trying to find “Bb” in life. Whether we are trying to tune up a band, an instrument, or trying to find balance in life we must strive to find the center of things. Music is constantly evolving and we should be aware of the opportunities to develop musical growth. As music educators, we strive to enrich our students with meaningful musical experiences. During a commencement speech at Julliard, Wynton Marsalis stated, “We are entrusted and charged with a common purpose and given the tools to lift the human spirit, challenge intellect, expand the capacity of our hearts, and ultimately lift the horizon of human aspirations.”
out if you would like to assist or have ideas. I can be reached via email (matt@mattleder.com). Come join the music!
In reality, we are all students and it is important to stay informed to current pedagogy and the resources available to us. Traditionally, Ala Breve has not included an area dedicated to jazz studies or commercial music. I am pleased to announce that this publication will now include an area dedicated to this genre. Within this area, pedagogy, music, new resources, etc. will be presented; keeping both students and educators informed. This first article simply serves an introductory announcement.
Keep swingin’,
I would also like to introduce the Alabama music community to JEN. The Jazz Education Network is dedicated to building the jazz arts community by advancing education, promoting performances, and developing audiences. JEN has recently created JEN Chapters and Societies. Educational institutions have the opportunity to take advantage of all the JEN benefits including subscriptions to publications like Downbeat, JazzEd, Jazz Times, industry discounts, free charts, priority registration to the JENerations Jazz Festival, and the opportunity to host events on their campus for their students. At the secondary level, students are FREE once the director starts a school chapter. At the collegiate level, students are given a discounted membership once the director starts a school chapter. There are several reasons to join JEN, but the resources and network of professionals, students, and jazz fans is well worth giving JEN a serious look. More information on JEN can be found at: http://jazzednet.org/. I have been appointed the JEN Unit Leader for Alabama and would be happy to answer any questions or assist anyone that needs help starting a JEN Chapter or Society. I will be reaching out to regional jazz directors to begin brainstorming on how we can improve jazz education in our region. Please feel free to reach
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The music community is comprised of colleagues, mentors, friends, students, and people from all backgrounds. In the spirit of swing, let’s learn from one another, stay humble, listen, and creatively find solutions that are beneficial to our students and the music. Keep your eye out in the next issue for resources and thoughts on jazz/ commercial education. Back to the “woodshed” and see you on the band stand!
Dr. Matt Leder
Dr. Matt Leder is an avid educator and has performed as a guest artist/clinician throughout the United States for over twenty years. He holds a DA in Music Education/Trumpet Performance & Pedagogy from the University of Northern Colorado, a MM in Jazz Studies from the University of New Orleans, and a BM in Jazz Performance from East Carolina University. Dr. Leder has studied with Ellis Marsalis, Clyde Kerr Jr., Irvin Mayfield, Terence Blanchard, and many others. He has served as Music Director/Instructor at Gadsden State Community College since 2014. Prior to this appointment, he was Chair of the Music Department at Northern New Mexico College. He has also held faculty positions at Brown University, Community College of Rhode Island, St. George’s School, Talladega College, and the University of Colorado at Denver. Dr. Leder served eight years as an active duty Navy Musician and four years in the Air National Guard Music Program. While a member of the armed forces, he had the opportunity to perform for five US Presidents. Dr. Leder currently plays Monette trumpets. More information can be found on his website: www.mattleder.com
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AMEA 2019 Clinicians Alison Allerton is Assistant Professor of Choral Music Education at University of Tennessee-Chattanooga, where she conducts the Women’s Chorale and Men’s Chorus and teaches courses in choral methods, secondary general methods, and aural skills. Prior to her collegiate career, Dr. Allerton spent twelve years as a public school choral music educator at the elementary, middle, and high school levels in the Greenwich Public Schools in Greenwich, CT. She was named a recipient of the Greenwich Public Schools Distinguished Teacher Award in 2010 and the Yale Distinguished Music Educator Award in 2007. In 2011, her 50voice middle school boys select choir gave an invitational performance at the Connecticut Music Educators Association State Conference. Dr. Allerton holds a Bachelor of Music Education from James Madison University, a Master of Music in Music Education with an emphasis in Choral Conducting from the Eastman School of Music, and a DMA in Choral Conducting from Louisiana State University. Nancy H. Barry is Professor and Program Coordinator of Music Education in the Department of Curriculum and Teaching at Auburn University. She earned the Master's degree and Ph.D. in music education, and certificates in Electronic Music and Computers in Music from Florida State University. Barry has published in such journals as Arts and Learning, Psychology of Music, Journal of Music Teacher Education, Contributions to Music Education, UPDATE, and Bulletin of Research in Music Education, and is a frequent presenter at national and international professional conferences. Barry is an active member of professional organizations such as NAfME and the College Music Society. She served as National College Music Society Secretary from 2016 – 2018, and currently chairs the CMS Committee on Academic Careers. Franklin Bell is a practicing attorney in Birmingham, Alabama. He earned a Bachelor of Arts from the University of Alabama and a Doctor of Jurisprudence from Vanderbilt University, School of Law. He is also an active musician in the Birmingham area performing with multiple ensembles and as a soloist. His practice frequently involves representing musicians in dealing with a variety of legal issues. Mr. Bell has been a presenter on legal issues for music educators at The University of Alabama, Samford University, and The University of Alabama at Birmingham. Deanna Bell is the music teacher at Vestavia Hills Elementary East, conductor of the Birmingham Wind Ensemble, and an adjunct music professor at the University of Alabama at Birmingham. She has worked in Alabama, Tennessee, and Virginia teaching elementary music, choir, and band in all grade levels from kindergarten to college. She earned her Bachelor of Science in Music Education from The University of Alabama and her Master of Music Education from Samford University. In 2010, Deanna was awarded National Board Certification in Early and Middle Childhood Music. Deanna received Orff Levels I, II, and III Certification from Samford University and Kodály Levels I, II, and III Certification from The University of Montevallo. She serves on the Alabama Kodály Educators Board, the Executive Board for the Alabama Chapter of the American Orff-Schulwerk Association, and is a District 3 Chair for the Alabama Music Educators Association. Deanna is the 2016-2017 Elementary Teacher of the Year for Vestavia Hills City Schools, and a 2019 Quarterfinalist for the Grammy Music Educator Award.
Joe Brennan received his Bachelors and Masters degrees in Music Education from Temple University studying violin and trumpet. Joe works in the Haverford Township School District located in suburban Philadelphia. He is the Co-Chair of the Music Department, and is the director of the string program at Haverford Middle and High Schools, a position he has held for the past 32 years. He has presented sessions for NAfME, ASTA, MidWest, and state conferences. Joe continues to be a guest conductor and clinician for string festivals. He has twice been chosen to attend the Juiliard School’s “Conductors Workshop for Music Educators” Jennifer Canfield is a graduate of Troy University (BME and MS in Education) and Auburn University (PhD in Choral Music Education). Her teaching experience spans over 17 years in grades K-12, both in public and private schools. Dr. Canfield has recently retired from Huntingdon College, where she served as Department Chair, and Director of Choral Activities and Music Education. Since her “retirement”, she is an adjunct professor at Auburn University, where she enjoys teaching elementary education majors how to incorporate music in their general classroom. Dr. Stefanie Cash is Director of Music Education at Berry College. Dr. Cash is responsible for teaching methods and techniques classes, conducting the Berry Women’s Choir as well as supervising student teachers. She has previous experience conducting multiple collegiate choirs and also taught classes in conducting, choral techniques, choral pedagogy and choral methods. Dr. Cash also frequently serves as a guest clinician for various district and All-State honor choirs. Prior to joining Berry College, Dr. Cash served at the collegiate level as both Director of Music Education and Director of Choral Activities. Cash taught at the middle school level in Kentucky and both the high school and collegiate level in Georgia. Choirs under her direction have performed for KMEA and GMEA in-service conferences as well as the 2008 ACDA Southern Division Convention. Dr. Cash’s research interests include world music usage in choral ensembles, partnerships between music education programs and public schools and performance practice techniques. ala breve
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AMEA 2019 Clinicians Michael Chambless is in his fourth year teaching at Thompson Middle School, and in his third year as Director of Bands. He earned a Bachelor of Science in Music Education from the University of Alabama in the spring of 2014. In college he was an active performer in the UA Wind Ensemble, Symphonic Band, Jazz Band, Saxophone Quartet, and Million Dollar Band. Prior to teaching at Thompson Middle School, Mr. Chambless was the band director at Hillcrest and Duncanville Middle Schools. Bands under his direction have consistently received superior ratings at Alabama's Music Performance Assessment. Rusty Courson (b. 1963) is a native of Phenix City, Alabama. Dr. Courson earned the BME (1989), MSE – Music Education (1996), and MSE – Educational Administration (2007) from Troy University, and the Ed.S. (2010) and Ed.D. (2018) in Educational Leadership from Liberty University. Mr. Courson retired at the end of the 2015-16 school year after 27 years as a music educator in the State of Alabama, and is currently serving as an adjunct instructor at Troy University in a part-time capacity. He taught at Russell County High School, South Girard School (Phenix City), Eufaula High School, and Smiths Station High School. His marching, jazz, and concert bands consistently earned Superior Ratings throughout his career, along with numerous Best In Class awards and Grand Championships. After taking a two-year sabbatical to complete his doctorate, he has returned to the classroom as Director of Bands at W.H. Shaw High School in Columbus, Georgia. Dr. Courson has held leadership roles within AMEA, most recently as Past-President of ABA. Valerie Diaz Leroy joined QuaverMusic.com as a lead trainer in 2015. Before putting on the green Q, she served as a dedicated music educator for 13 years at Shorecrest Preparatory School in St. Petersburg, Florida. Valerie received her B.A. in Vocal Performance from Boston College, holds Orff Levels I & II, and Kodály Levels I & II Certifications. As part of her professional preparation, Valerie has been researching the historical evolution of musical instruments with particular emphasis on ethnomusicology and the trajectory of the banjo. This has added value and dimension to her studies of folk music . Valerie currently lives a very music-inspired life in Maryville, Tennessee!
Ellary Draper is Assistant Professor of Music Therapy at The University of Alabama. Dr. Draper has worked as a music therapist with a variety of ages and populations and as an elementary general music teacher. Currently she serves as the Special Education Chair for the Alabama Music Educators Association. Her research is published in the Journal of Music Therapy, Journal of Research in Music Education, General Music Today, and Update: Applications of Research in Music Education. She holds degrees in music education and music therapy from Westminster Choir College, Florida State University, and The University of Texas at Austin. Dr. Mark Foster is the band director at John Carroll Catholic High School in Birmingham and has been teaching band for 29 years. He has previously taught band Mountain Brook Junior High School, Gardendale High School, and Hueytown High School. He holds the bachelor of science, master of arts, and doctor of education degrees from the University of Alabama, as well as National Board Certification through the National Board for Professional Teaching Standards. He is a frequent guest conductor at honor bands throughout the Southeast, and he maintains an active schedule of performing as a trombone player Percussionist Benjamin Fraley and clarinetist Jennifer Fraley formed the Sources Duo in 2014, and have since performed and given clinics at music schools throughout the United States. Focusing on newly written or rarely performed works, their everincreasing repertoire is influenced by a variety of musical styles and cultures, and reflects both performers’ versatility on several instruments. The duo’s current commissions explore the sound of the E-flat clarinet and percussion with works by composers Jamie Whitmarsh, Jerod Sommerfeldt, and Danny Clay. Both Jennifer and Benjamin Fraley maintain active performance schedules in addition to serving as faculty at Troy University. Michelle Gann received her Bachelors and Masters degrees in Music Education from Mississippi State University. While there, she was a member of Phi Kappa Phi and Gamma Beta Phi honor societies. In addition, she graduated Summa Cum Laude, was inducted into the MSU Hall of Fame and was recognized as MSU’s Graduate Woman of the Year. Ms. Gann has taught high school in Alabama for twenty-six years. During that time, her bands have received numerous superior ratings at both marching and concert competitions including the Alabama State Band Festival and the Music Performance Assessment. She has adjudicated competitions and conducted honor bands at various locations across Alabama and Georgia. She is currently in her 20th year as the director of bands at Gordo High School in Gordo, Alabama. Michael Guzman is Director of Bands at Tuscaloosa County High School and also serves as Co-founder and Artistic Director of the Black Warrior Winds, an adult community band serving the West Alabama. He holds degrees from the University of Miami and Florida International University, in Music Education and Wind Conducting, respectively. For much of the last decade, Guzman has been a sought out musician and teacher in Florida and Alabama. Bands under his director in both have been consistently rated superior and he has served as an adjudicator and conductor throughout the Southeast. 42
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Come Study with World Class Faculty In the Departmennt of Music at Aub u urn University
to learn more about our world class faculty visit www.auburn.edu/music
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AMEA 2019 Clinicians Libby Hearn is currently pursuing a PhD in Music Education at the University of Alabama where she serves as a graduate teaching assistant working in music education, teacher education, choral conducting, and as a research assistant. She is also serves as the accompanist and show choir director at Tuscaloosa County High School. Before moving back to Alabama in 2016, Ms. Hearn was the founder and director of Knight Fusion Singers at Marian University in Indianapolis. As an assistant professor of music, she taught courses in music theory, aural skills, vocal pedagogy, and choral/vocal music education. She also conducted the University Choir. Ms. Hearn taught for seven years as a choral educator at Hueytown High School in Hueytown, Alabama. While at Hueytown, her choirs consistently received superior ratings at state assessment and earned numerous awards and honors at contests and festivals across the southeast, including a memorable performance at the 2010 AMEA State Conference. She is the proud mother of two beautiful children, Catherine and Andrew. Dr. Tim Heath is the Director of Athletic Bands and Assistant Professor of Music Education at Samford University, where he also serves as the Assistant Director of the Samford Wind Ensemble and serves as a conducting faculty member.
BethAnn Hepburn teaches general music and elementary and junior high choirs in Streetsboro, Ohio and Ph. D. Candidate at Kent State University in Music Education. She has the distinction of Master Teacher from the Ohio Department of Education. She is a teacher education instructor for the American Orff-Schulwerk Association and is on faculty for orff certification courses at Trinity University in Texas, The University of Hawai’i, The University of the Arts Pennsylvania at Villanova, and New York City ETM. BethAnn is a frequent presenter for Orff chapters throughout the United States, and has trained teachers in China, Scotland, Singapore, and India. She is the past PD chair for AOSA, and current PD chair for General Music for OMEA. BethAnn is on the Board of Trustees for the American Center for Elemental Music and Movement. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-III.
Lori Hetzel is the Associate Director of the School of Music, Associate Director of Choral Activities and Full Professor of Choral Music Education at the University of Kentucky where she conducts the UK Women’s Choir and the ever-popular a cappella group “Paws and Listen”. In addition to her conducting duties, Dr. Hetzel supervises student teachers and teaches undergraduate methods and choral conducting courses where she has pioneered a unique partnership program with area high schools and middle schools allowing undergraduate students to begin classroom teaching early in their curriculum and gain true ‘hands on’ experience. Hetzel is a contributing author to the new textbook Conducting Women’s Choirs: Strategies for Success. Among her many academic accomplishments, she was the recipient of the University of Kentucky “Great Teacher of the Year” award in 2000, a finalist for the Provost Awards for Outstanding Teaching in both 2009 and 2010, and the winner of the Robert K. Baar Choral Award in 2011 “given to one choral director in the state who exhibits outstanding leadership in choral music and promotes music education in the state of Kentucky.” Lori Hetzel received the Bachelor of Music Education degree from the University of Wisconsin/Green Bay, the Master of Music from the University of Missouri/Kansas City and the Doctor of Musical Arts degree from Michigan State University. Matthew Hoch is Associate Professor of Voice and Coordinator of Voice Studies at Auburn University, where he teaches applied voice, diction, and vocal literature courses. Prior to coming to Auburn in 2012, he spent six years as Assistant Professor of Voice at Shorter College, where he taught applied voice, vocal literature, and served as Coordinator of Voice Studies. Dr. Hoch is the 2016 winner of the Van L. Lawrence Fellowship, awarded jointly by the Voice Foundation and NATS. He is the author of three books, including A Dictionary for the Modern Singer (2014), Welcome to Church Music & The Hymnal 1982 (2015), and Voice Secrets: 100 Performance Strategies for the Advanced Singer (2016), coauthored with Linda Lister. He holds the BM (summa cum laude) from Ithaca College with a triple major in vocal performance, music education, and music theory; MM from the Hartt School with a double major in vocal performance and music history; DMA from the New England Conservatory in vocal performance; and the Certificate in Vocology from the National Center for Voice and Speech. In addition to his academic life, Dr. Hoch is also Choirmaster and Minister of Music at Holy Trinity Episcopal Church in Auburn, Alabama, where he lives with his wife, Theresa, and three children: Hannah, Sofie, and Zachary. Jeremy Howard received a BME in vocal music education and an MM with an emphasis in the Kodály philosophy from Morehead State University. He holds certification in all three levels of the Kodály teaching method. Additionally, he studied at the Kodály Institute in Kecskemet, Hungary during the summer of 2011. Mr. Howard currently serves as the 3 Year-Old through 8th Grade General Music Teacher and Choir Director at Christ the King Cathedral School in Lexington, Kentucky. He is active as a conductor for Honor and Festival Choirs, a clinician for several music educator workshops and conferences, and teaches Kodály certification courses in Alabama and Kentucky. He is the president of the Kentucky Association of Kodály Educators (KAKE), and a member of Organization of American Kodály Educators (OAKE).Jeremy resides in Lexington with his wife, Laura, also a music educator, and their son,Michael Rhys. ala breve
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AMEA 2019 Clinicians Kristi Howze has been teaching for the past twenty-four years. Mrs. Howze earned her Bachelor of Music degree from Samford University and her Masters in Education at Auburn University. During Mrs. Howze’s twenty-four years of teaching she has not only taught elementary music, but has also had experience teaching 3rd, 4th, and 5th grades as well as high school chorus. She is currently the Lower School Music teacher at UMS-Wright Preparatory School in Mobile, Alabama. During Mrs. Howze’s fourteen years at UMS-Wright she has directed over 75 fully staged musicals with elementary and middle school students.
Jane Kuehne (Ph.D.) is Associate Professor of Music Education at Auburn University where she teaches undergraduate and graduate courses in music education, and supervises graduate research. Her primary research and study areas include teaching sight-singing, pre-service music educator biases, string/orchestra music education access and opportunity (with Dr. Guy Harrison), and most recently critical race theory (theories) self-study and effects of bias in education.
Dave Lawson is a highly trained woodwind clinician that has been teaching woodwinds for over 13 years. He earned his Bachelor’s in Clarinet performance and Music Education from Reinhardt College (University). He has taught clinics from elementary school beginners to high school seniors auditioning at the college level. He has learned from and taught next to such esteemed directors as Mrs. Mary Land, while she was the director at Pickens Middle School, and Daniel Gray, while he was at River Ridge High school. Dave is a professional clarinet and alto sax player, recently performing with Tara Winds at their GMEA Performance in January of 2014 and again at Midwest in December of 2015. Dave regularly performs with The Dalton-Whitfield Community band in Dalton, GA, the Alpharetta City Band in Alpharetta, GA, and the American Patriot Winds in Woodstock, GA. Dave has studied clarinet with Andrea Strauss, Mariano Pacetti, John Warren, and both clarinet and sax with Mitchel Henson. Dave maintains a busy private studio that ranges from beginners to retired beginners from 7-67. All of Dave’s middle and high school students are required to audition for All-state. Dave’s studio is fast paced, intense and filled to the brink with fun. Dave also runs a woodwind repair shop where he fixes instruments for schools and private students. Currently, we have three apprentice woodwind techs and nearly 150 instruments that our shops owns that we are fixing, renting, or selling. Dave has also taught numerous repair courses throughout the southeast. In 2017, Dave taught sessions at the Alabama Music Educators Convention (AMEA), the Georgia MEA, the Tennessee MEA, West Georgia, and Reinhardt University.
Rob Lyda is the music teacher at Cary Woods Elementary School in Auburn, Alabama. Throughout his career he has taught music classes for students in grades K - undergraduate. He earned the BME at Troy University and the MEd and PhD in Music Education from Auburn University. In addition to his academic degrees, he completed studies in in Kodaly, World Music Drumming, TI:ME, is an Orff-Schulwerk (Levels I-III & Master Class) certified teacher. Rob regularly presents sessions on technology integration and general music education at state, regional, and national conferences. He contributes curriculum materials for NAfME publications, the Alabama Symphony’s children’s concerts, and other state and national groups. He holds memberships in Alabama Music Educators Association, the National Association for Music Education, American Orff Schulwerk Association, Phi Kappa Phi, and the National Band Association. Currently, he serves as the National Chair of the NAfME Council for General Music Education and Secretary of the Elementary Division of AMEA.
Mary McGowan is in her 25th year of teaching instrumental music and her 3rd year as the Director of Bands at Adamson Middle School in Rex, GA. Her Bands have consistently earned Superior Ratings at performance evaluations and music festivals in Georgia, North Carolina, Illinois, Tennessee, Louisiana and Florida. Her students have participated in GMEA District 5 and 6 Honor Bands. Students under her direction have also been accepted as fellows with the Atlanta Symphony Orchestra’s Talent Development Program. She has served as a clinician/session presenter for Atlanta Public Schools, Clayton County Schools, Woodruff Arts Center in Atlanta, Georgia (2017) and the Alabama Music Educators Association In –Service Conference. (2018) Previous teaching experiences include New Orleans Public Schools, Atlanta Public Schools. Clayton County Public Schools and Spelman/Morehouse Colleges. She is also a Volunteer Family Mentor on the Atlanta Symphony Orchestra’s Talent Development Program committee. Ms. McGowan is a graduate of Xavier University of Louisiana with a Bachelor of Arts Degree in Music, and received a Master of Secondary Education Degree from Southeastern Louisiana University, and is pursuing an Educational Specialist Degree in Music Education at Piedmont College. She also is a private instructor in clarinet and oboe. Dr. Cara Morantz joined the faculty at UAB as Assistant Director of Bands in the fall of 2014. She is a part of the instructional team for the Marching Blazers, the Wind Symphony, the Symphony Band, and the Blazer Bands. In addition, she provides instruction in music classes including courses in music education.
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AMEA 2019 Clinicians Originally from Kinston, Ala., Travis Perry has been a music teacher for more than 36 years. From experience, he learned that keeping his students excited and interested in playing was key to their success. Perry noticed that 7 out of 10 of new guitar students, including Bradi, his own daughter, quit taking lessons within 60 days. While teaching, Travis continued working on his idea of a simple “magical” device that students could easily mount on the guitar, press down a button and work on the right hand rhythm patterns until they learned how to play guitar chords on their own. In October, 2010, Perry introduced ChordBuddy to the market. Two years later, he appeared on the hit ABC show “Shark Tank,” to reach out for more funding to grow his business. Today, guided by the motto “you make the music, ChordBuddy makes it easy,” Travis is spreading the love of music to guitar players around the world. Bob Phillips (b. 1953), pedagogue, composer, teacher trainer, and conductor, is renowned as an innovator in string education. Bob brings a wealth of knowledge and a sense of humor to his clinics, drawn from his 27 years as a public school string teacher. He is an expert in large group pedagogy and in the development of alternative styles for strings. He is one of today’s leading educational authors and composers, and his books and pieces are performed by thousands of string students each year. Bob is currently the Director of String Publications for Alfred Music and is Past-President of the American String Teachers Association. Bob and his wife, Pam are also part of the creative team for Barrage 8. Bob has authored over 19 book series that include 130 books for use in the classroom, including the ground breaking series Fiddlers Philharmonic, Fiddlers Philharmonic Encore!, Jazz Philharmonic, Jazz Philharmonic: Second Set and Latin Philharmonic, the String Explorer method, and the revolutionary Sound Innovations method, all published by Alfred Music. He has been elected “Teacher of the Year” nine times by national, state, and regional associations and has been invited to present clinics in more than forty states and eight foreign countries. Recognized as “Citizens of the Year” by the City of Saline for their work in arts education, Bob and Pam were also honored in special ceremonies by both the House and the Senate of the State of Michigan for their work with the Saline Fiddlers. In 2013, Bob was inducted into the University of Michigan School of Music’s Hall of Fame. Stephanie Porter has been an elementary music teacher for sixteen years. In that time, she has taught in several systems at three levels. Since landing in Hartselle three years ago she has composed a school song and started two elementary choirs that tour the area. She completed her masters in elementary reading specialty in May of 2018. She remains an advocate for music education in her area and routinely advises regular education teachers on how music enhances their standards. Stephanie currently teaches general music and reading intervention at one elementary school in Hartselle and conducts an after-school choir at the intermediate school in order to ensure those students receive some music enrichment since it is not offered during the school day. She also recently composed a SATB choir piece for her high school choir director’s retirement.
Dr. C. David Ragsdale is Professor and Chair of the Department of Music at the University of Alabama in Huntsville. In addition to his administrative responsibilities, Dr. Ragsdale teaches courses in music education and conducting. Additionally, Dr. Ragsdale conducts the University’s Wind Ensemble, the Huntsville Chamber Winds, and the Tennessee Valley Music Festival Orchestra and Wind Ensemble. In 2015, Dr. Ragsdale was named the UAH College of Arts, Humanities and Social Sciences Professor of the Year. Dr. Ragsdale has conducted All-State Bands in Alabama and North Carolina and is slated to conduct the Florida All-State Band in 2020. Other recent conducting engagements include numerous regional and district honor bands as well as the honor bands at Florida Atlantic University, Winthrop University, Wake Forest University, University of Southern Mississippi, and the University of Georgia. He is a frequent contributor to the “Teaching Music Through Performance” textbook series and his research on Stravinsky’s neoclassic era was twice selected for presentation at the College Band Directors National Association Southern Division Conference in 2016 and 2018. Prior to UAH, Dr. Ragsdale served as Associate Director of Bands and Director of the internationally acclaimed “Band of the Hour” marching band for the Miami Hurricanes at the University of Miami where he was also inducted into the Iron Arrow Society, this highest honor attainable at the University of Miami for students, faculty, or alumni. Dr. Ragsdale holds a Bachelor of Music degree from Appalachian State University (NC), a Master of Music degree from Winthrop University (SC), and the Doctor of Musical Arts degree from the University of Miami (FL). A disaster responder for the American Red Cross, he and his wife Jennifer, Middle School Dean at Randolph School, currently reside in Huntsville, Alabama along with their daughters, Ella and Anna. Dr. Megan Wicks-Rudolph began her teaching career in 1994 in Decatur, AL. She is currently the Director of Choral Activities at Vestavia Hills High School. At Vestavia Hills High School she oversees eight performing ensembles with over 300 students taught daily, an assistant choral director, part-time voice coach, and a part-time accompanist. Choirs under her direction consistently receive superior ratings at local, regional, and national adjudicated events. Dr. Rudolph is Nationally Board Certified (2003, 2013) and Orff Level I Certified. Her choral music experience includes directing children’s choir, middle school choir, high school choir, church choir, and teaching collegiate methods classes. She currently serves as the ACDA Southern Division R&R for Vocal Jazz and Past President for Alabama ACDA. Additionally, she is an active lecturer and adjudicator throughout the United States. Megan is married to her husband Brian, and they are the proud parents of Alexis (10), Austin (8), Zach (6), and Max (4). ala breve
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AMEA 2019 Clinicians Ted Scalzo has taught Wind Ensemble, Jazz Band, Marching Band, Advanced Music Theory & Composition, and Multimedia for 36 years at Bay Shore High School, NY. In addition he has taught classes at SUNY Fredonia, SUNY Potsdam, C.W. Post and Hofstra University. Ted is a current member of Suffolk County Music Educators Association, NYSSMA, TMEA, TBA, TI:ME and NAFME. Ted also served on the New York State School Music Association Technology committee and has been an Apple Distinguished Educator since 2005. Since retiring from teaching Ted is working with MakeMusic as a trainer, clinician and higher ed consultant.
Donna Smith is in her seventh year of teaching as the current Band and Choir Director at Fayette Middle School in Fayette, Alabama. She has previously taught 6-12 as well as 6-8 grade band programs in Thomasville and Tuscaloosa. Donna received her Bachelor’s and Master’s degrees in Instrumental Music Education from Troy University in Troy, AL. Outside of her professional achievements, she also connects with music through service as a Province Officer for Sigma Alpha Iota and a member of the Black Warrior Winds Community Band. Donna is the proud wife of Kenny and mother of Cooper, their son. Dr. Phillip Stockton, Assistant Professor of Music Education and Director of Choral Activities at Mississippi University for Women, received his Bachelors of Music Education from Auburn University, Masters of Music Education from Florida State University, and Ph.D in Music Education from the University of Mississippi. Before coming to MUW, Dr. Stockton was Director of Choral Activities at Mandarin High School in Jacksonville, Florida where his choirs consistently received superior ratings at performance assessment. Dr. Stockton is in his fifth year at The W and has seen the program grow during that time. He remains an active clinician and judge for choirs throughout Alabama, Mississippi, Louisiana, and Florida. He is an active member of American Choral Director’s Association (ACDA) and the National Association for Music Education (NAfME), and is currently the R&R for Student Activities for the Southern Region ACDA. His research focuses on the historical adolescent voice change as well as best practices for the choral classroom. Dr. Stockton is married to his lovely wife Amy and together have a son Lee and a daughter Molly. Dr. Jason Sulliman is the assistant professor of trombone at Troy University in Troy, Alabama. He teaches applied trombone lessons, brass methods, and coaches various trombone ensembles. He has previously taught at the University of North Alabama as well as Vincennes University in Vincennes Indiana. Jason has performed with several professional orchestras throughout the United States including the Alabama Symphony Orchestra, the Indianapolis Symphony Orchestra, the New Mexico Philharmonic Orchestra, the Pensacola Symphony Orchestra, the Northwest Florida Symphony Orchestra, the Carmel Symphony Orchestra, the Terre Haute Symphony Orchestra, the Lafayette Symphony Orchestra, the Anderson Symphony Orchestra, and the Wheeling Symphony Orchestra. In addition to orchestral paying, Jason has shown versatility in chamber music as a performer with the Dallas Brass Quintet, the River City Brass Band, and the Spark Brass Quintet. Throughout the past fifteen years Jason has been involved with the Tony and Emmy award-winning Broadway show “Blast!” and has performed as a soloist on trombone, euphonium, and tuba during several national and international tours. From 2008-2014, Jason served as the company's music manager and conductor. Viktoria Truesdail is currently in her sixth year teaching grades PreK- 6th in the Madison County School System. She holds degrees from Cleveland State University and University of Florida. Prior to teaching in the elementary classroom, Mrs. Truesdail has held various music positions including having her own private woodwind studio, Pre-K director, adjunct collegiate instructor and Assistant Director of Continuing Education at Georgia College. She currently instructs four extra-curricular clubs at her schools including: The Bucketing Blue Thunder, the Bucketeers, the Monrovia Music Makers and the Singing Cubs. In 2018, she received the “Super Citizen” award from Endeavor Elementary School for her dedication to always helping others and for excellence in leadership. Mrs. Truesdail also enjoys being a busy band, guard and track mom for her three children. Kyle J. Weary is recognized as a leader in teaching music literacy and contemporary commercial music. Kyle has been invited to present educational sessions at the State, Regional, and National levels. Kyle has presented in Virginia, Maryland, Delaware, New Jersey, Pennsylvania, Connecticut, and Texas. Kyle’s articles on teaching music literacy and vocal pedagogy in the choral rehearsal have appeared in Choral Director Magazine. Kyle has earned nominations for the GRAMMY music educator award in 2018 and 2016 where he advanced as a quarterfinalist both times. In 2015, Kyle was nominated for Washington County’s Teacher of the Year. As guest conductor, Kyle has conducted honor choirs in Allegany County (MD) Washington County (MD), Vermont ACDA, Cumberland County Honors Choir (PA), and with The Maryland Symphony Orchestra. Kyle currently teaches in West Shore School District as an Elementary Music Specialist and is the Director of Music at Silver Spring Presbyterian Church in Mechanicsburg. Currently, a PhD Music Education student at Auburn University, Kyle attained a Bachelor of Music Education and Master of Music in Conducting from Shenandoah Conservatory of Music where he was awarded the 2018 Distinguished Alumni Award for Young Career Achievement.. Kyle is also a graduate of the Contemporary Commercial Music Vocal Pedagogy Institute. 48
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AMEA 2019 Clinicians Kevin Whalen is Director of Jazz Studies and Associate Professor of Music in the Schwob School of Music at Columbus State University. Whalen has served as the jazz trumpet chair of The Glenn Miller Orchestra and held a jazz trumpet chair with the Grammy-nominated University of North Texas One O'Clock Lab Band. Dr. Whalen has presented at the Jazz Education Network Annual Conference, the Annual Conference of the International Trumpet Guild, the International Conference on the Blues and at universities throughout the country, including the Eastman School of Music, Ithaca College, the University of North Texas, and Virginia Tech.
Dr. Meghan Merciers is Assistant Professor of Music at the University of North Alabama (UNA) with an applied focus in larinet and saxophone. Dr. Merciers has given numerous masterclasses throughout the United States and held performer and lecturer residencies at the Conservatoire de Musique de Courbevoie near Paris, and the Conservatoire de Limonest in Lyon, France. Prior to joining UNA in August 2013, Dr. Merciers taught at Albion College and the Flint School of Performing Arts in Michigan. Mr. Sam Merciers is a visiting assistant professor in Theory and Composition at the University of North Alabama. Dr. Whitney Farris O’Neal, a native of Jonesboro, Arkansas, is Assistant Professor of Flute at the University of North Alabama. Prior to her appointment as flute instructor at UNA, O’Neal was Instructor of Woodwinds at Stillman College from 2010-2011, and served as Instructor of Flute at Mississippi State University in the fall of 2010. Dr. Tracy Wiggins is Assistant Director of Bands and coordinator of the percussion program at the University of North Alabama. He holds the Doctor of Musical Arts degree from the HARTT School, University of Hartford, the Master’s Degree in Percussion Performance from the University of New Mexico, and the Bachelor of Music in Music Education from Oklahoma State University, as well as post-master’s work at The Ohio State University.
Art Williams is an associate professor and chair of the Department of Music at Faulkner University in Montgomery, Alabama. He holds a Bachelor of Music Education and M.S. in Education degree from Troy University as well as a Ph.D. degree in music education from Indiana University. With experience teaching at the elementary, secondary, and collegiate levels, Williams is a specialist in elementary general music education. He is also actively involved in the field of music education, where he appears as host of “Mr. Art’s Music Room,” the DVD component of Warner Brothers’ and Alfred Publications’ nationally released Music Expressions curriculum.
Gretchen Windt, mezzo soprano, was an Apprentice Artist with Sarasota Opera, Sugar Creek Symphony and Song Festival, and Utah Symphony & Opera. She has performed with Cincinnati Opera, Opera Southwest, Chesapeake Chamber Opera, Opera Idaho, Bowen Park Opera, OperaModa, and DuPage Opera Theatre. She has performed with the Ohio Light Opera for five seasons in works by composers including Cole Porter, George Gershwin, Franz Lehar, and Jacques Offenbach. She graduated from the University of Utah (D. M. A. in vocal performance), the University of Cincinnati-College Conservatory of Music (M.M. in voice/opera), and North Park University (B.M.E. in music education/voice). She currently is an Assistant Professor in voice at the University of North Alabama.
Dr. Anne C. Witt teaches Music Education, String Pedagogy and String Literature at the University of Alabama. She taught middle school and high school strings/orchestra in Austin for 15 years and played cello in the Austin Symphony; she was also Director of the University of Texas String Project. Dr. Witt has served as President of the Texas Orchestra Directors Association, President of the Alabama ASTA chapter, and National President of ASTA. Her degrees were earned at the University of Alabama and the University of Texas at Austin. She founded the Adult Strings program in which she teaches classes for adult beginners, cello lessons and the annual Adult Strings Weekend. Dr. Witt has presented educational sessions in many states, at all ASTA national conferences and at the Midwest Clinic. She enjoys guest conducting All State and regional festival orchestras, and is a frequent presenter at AMEA. Dr. Witt is author of A Rhythm a Week, used by school band and orchestra classes nationwide. In 2005, she organized a community initiative to fund the start-up of Strings in Schools – a string program in the Tuscaloosa City Schools. After 13 years, over 1000 students have participated, and groups have won top honors in competitions. Five full time teachers teach daily classes in all the middle schools and high schools. Three graduates of the program have become certified music teachers. She further served the community as President of the Tuscaloosa String Quartet Society. She continues to play cello professionally in a quartet called “Four Strings Attached.” She was an adjudicator for the ASTA National Orchestra Festival and for the first Alabama Orchestra MPA in 2016. ala breve
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AMEA 2019 Clinicians Dr. Damion Womack currently serves as Assistant Professor of Music, Chair of the Fine Arts Department and Director of Choral Activities and Huntingdon College. His duties include conducting all choral ensembles, teaching choral methods, conducting, and supervising the music and art faculty. Choral ensembles under the direction of Dr. Womack have performed by juried invitation for regional and national conventions of The American Choral Directors Association, and The National Association for Music Education. Prior to his appointment at Huntingdon College, Dr. Womack served as Director of Arts at The Montgomery Academy, where he received the McLemore Award for Excellence in Teaching. Dr. Womack currently erves as the American Choral Director’s Association National Chairman for High School Choirs and has served on planning committees for the 2010, 2012, 2014, and 2018 ACDA Southern Region Conventions. He is in demand as a guest conductor and clinician in the Southeast and has served in this capacity in Alabama, Georgia, South Carolina, Louisiana, Mississippi, North Carolina, and Illinois. Dr. Womack holds a Doctorate of Musical Arts in Choral Conducting from the University of South Carolina in Columbia, SC and holds Music Education degrees from Alabama A&M University and Alabama State University. Michael S. Zelenak, Ph.D., is the Assistant Professor of Music Education at Alabama State University where he teaches graduate and undergraduate methods courses and supervises students as they matriculate through the music education program. He received a bachelor’s degree from the University of Michigan, and completed the masters and doctoral programs in music education at the University of South Florida. He earned National Board Certification while teaching chorus, strings, keyboard, guitar, and general music in Pinellas County, FL. He is a member of the advisory committee for NAfME’s Music Educators Journal and on the editorial board for the Florida Music Educators Association’s Research Perspectives in Music Education.
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To arrange a visit, email musicc@uab.edu or call 205 934-7376
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2019 Conference Schedule Wednesday, January 16, 2019 5:00‐7:00 PM
AMEA Governing Board Meeting ‐ Sheraton MR 407
5:00‐7:00 PM
AVA Scholarship Auditions ‐ Sheraton MR 403
7:15‐9:30 PM
ABA Governing Board Meeting ‐ Sheraton MR 410
7:15‐9:30 PM
AOA Governing Board Meeting ‐ Sheraton MR 405
7:15‐9:30 PM
AVA Governing Board Meeting ‐ Sheraton MR 403
7:15‐9:30 PM
Collegiate Division Governing Board Meeting ‐ Sheraton MR 407
7:45‐8:45 AM
AMEA Leadership Breakfast ‐ BJCC East A‐B (1st Floor)
8:00 AM‐5:00 PM
Conference Registration Open ‐ Sheraton Birmingham Ballroom Lobby
9:00‐10:00 AM
Interest Session ‐ Forum A‐B (2nd Floor) Philip Stockton: Creating a Sequential Approach to Musicianship
9:00‐10:00 AM
Interest Session ‐ Forum C (2nd Floor) Michael Zelenak: Contextual Understanding, Artistic Expression, and Planned Supports: Strategies for Addressing the Challenges of edTPA
9:00‐10:00 AM
Interest Session ‐ Forum D (2nd Floor) Jason Sullivan: Wellness and Injury Prevention for the Music Teacher and Performing Artist
9:00‐10:00 AM
Interest Session ‐ Forum Theater (2nd Floor) Justin White/Matthew Chambless: From Fussing to Focused: A Positive Approach to Teaching 6‐12 Grade Band
9:00‐10:00 AM
Interest Session ‐ Sheraton Forum G (3rd Floor) Michael Guzman/Michelle Gann: Who’s Line Is It Anyway? A Detailed Approach to Developing and Enhancing Your Band’s Sightreading Skills
9:00‐10:00 AM
Interest Session ‐ Sheraton Forum J (3rd Floor) Stephanie Porter: Reading in Music and Recording on a Budget
9:00 AM‐4:30 PM
FAME ‐ Forum E (2nd Floor)
10:15‐11:15 AM
Interest Session ‐ Forum A‐B (2nd Floor) Elizabeth Hearn: Dance With The One Who Brought You: A Rationale For Maintaining Choral Ensemble Identity
10:15‐11:15 AM
Interest Session ‐ Forum C (2nd Floor) Megan Rudolph: My Journey with Reese: A Student Born a Female Transitioning to Male
10:15‐11:15 AM
Interest Session ‐ Forum D (2nd Floor) Bob Phillips: Beginning Strings ‐ The First Two years are Critical
10:15‐11:15 AM
Interest Session ‐ Forum Theater (2nd Floor) Ted Scalzo: Up Close and Personal with SmartMusic: An Introduction to the Software
10:15‐11:15 AM
Interest Session ‐ Forum J (3rd Floor) Viktoria Truesdail: Buckets, Balls and Cans...Oh My!
10:30‐11:15 AM
ABA Concert Session ‐ BJCC Theater Liberty Park Middle School 7th and 8th Grade Band ‐ Jody Bryant, Conductor
11:30 AM
Grand Opening of the Exhibits ‐ Sheraton Birmingham Ballroom
11:30 AM‐5:30 PM
Exhibits Open ‐ Sheraton Birmingham Ballroom
Thursday, January 17, 2019
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Thursday, January 17, 2019 12:00‐1:00 PM
HED Luncheon ‐ BJCC East A‐B (1st Floor)
12:00‐1:00 PM
Past President’s Luncheon ‐ BJCC East C (1st Floor)
12:00‐1:00 PM
FAME Luncheon ‐ Forum H‐I (3rd Floor)
1:00‐2:00 PM
Interest Session ‐ Forum A‐B (2nd Floor) Benjamin Fraley: Cross Collaborations ‐ Connecting Percussion and Woodwinds
1:00‐2:00 PM
Interest Session ‐ Forum C (2nd Floor) Anne Witt: Classroom Management ‐ Systems and Routines
1:00‐2:00 PM
Interest Session ‐ Forum Theater (2nd Floor) Franklin Bell: Copyright Law for Music Educators
1:00‐2:00 PM
Interest Session ‐ Forum J (3rd Floor) Kristi Howze: Let's Put On a Show
1:00‐2:00 PM
Interest Session ‐ Forum K (3rd Floor) Travis Perry: Help! I Teach Guitar and Need More Tricks to Differentiate!
1:00‐2:45 PM
ABA Concert Session ‐ BJCC Theater Oak Mountain High School Symphonic Band ‐ Travis Bender, Conductor Muscle Shoals High School Wind Ensemble ‐ David Waters, Conductor
1:00‐3:00 PM
AVA Concert Session ‐ BJCC East Ballroom (1st Floor) Liberty Park Middle School 7th & 8th Grade Boys Choir, Heather Cantwell, Conductor Bella Voce ‐ Hillcrest Women's Ensemble, Khristina S. Motley, Conductor Enterprise High School Women's Ensemble, Cameron Johnson Weiler, Conductor Miles College Choir, Valerie R. Harris, Conductor
2:15‐3:15 PM
Interest Session ‐ Forum C (2nd Floor) Bob Phillips: The Art & Science of Motivation
2:15‐3:15 PM
Interest Session ‐ Forum Theater (2nd Floor) Jane Kuehe: Facing the Music: Addressing "‐isms" in Our Classrooms
2:15‐3:15 PM
Interest Session ‐ Forum J (3rd Floor) Beth Ann Hepburn: Croaking or Singing? Developing Singing Part‐singing in the Upper Elementary Classroom
2:15‐3:15 PM
Interest Session ‐ Forum K (3rd Floor) Jeremy Howard: Musical Make‐Believe: Weaving Your Way Through the Elementary Years
3:30‐4:30 PM
Interest Session ‐ Forum A‐B (2nd Floor) Damion Womack: Storytelling: Using Text, Phrase, and Forward Motion to Inspire your Choral Ensemble!
3:30‐4:30 PM
Interest Session ‐ Forum C (2nd Floor) Ted Scalzo: Get Started with Finale Basics
3:30‐4:30 PM
Interest Session ‐ Forum D (2nd Floor) Joe Brennan: We All Perform on the Same Stage ‐ Improving the Ensemble Skills of your Secondary String Players
3:30‐4:30 PM
Interest Session ‐ Forum Theater (2nd Floor) Tim Heath: Trading Bands ‐ "Learning from Friends"
3:30‐4:30 PM
Interest Session ‐ Forum G (3rd Floor) Dr. Tim Lautzenheiser: The Key to Success With Beginning Band Students
3:30‐4:30 PM
Interest Session ‐ Forum J (3rd Floor) Jennifer Canfield: TEAM Works!
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Thursday, January 17, 2019 3:30‐4:30 PM
HED Recital ‐ BJCC East Ballroom (1st Floor)
4:30‐5:30 PM
Exhibit Hall Reception ‐ Sheraton Birmingham Ballroom
5:30‐6:30 PM
Collegiate/HED Mixer ‐ BJCC East A‐B (1st Floor)
7:00‐9:00 PM
ABA Concert Session ‐ BJCC Theater Thompson High School Wind Ensemble, Jon Bubbett, Conductor University of Alabama at Birmingham Wind Symphony, Sean Murray, Conductor
7:00‐9:00 PM
AVA Concert Session ‐ BJCC East Ballroom (1st Floor) Alabama School of Fine Arts Choir ‐ Cathy Spence, Conductor Vestavia Hills High School Honor Choir ‐ Megan Rudolph, Conductor University of North Alabama Chamber Choir ‐ Ian Loeppky, Conductor
7:30‐8:30 PM
Interest Session ‐ Forum J (3rd Floor) ELEM/GEN Evening Session
10:00‐11:00 PM
ABA Concert Session ‐ BJCC Theater Alabama Winds, Randall Coleman, Conductor
Friday, January 18, 2019 7:30 AM‐1:00 PM
Conference Registration Open ‐ Sheraton Birmingham Ballroom Lobby
8:00‐9:00 AM
Interest Session ‐ Forum A‐B (2nd Floor) Lori Hetzel: Unleashing the Power and Beauty of the Female Voice in a Choral Ensemble
8:00‐9:00 AM
Interest Session ‐ Forum C (2nd Floor) Deanna Bell: Elementary Music Internship ‐ Tips for Success
8:00‐9:00 AM
Interest Session ‐ Forum D (2nd Floor) Thomas Bough: Adulting 201 ‐ Stuff Young Educators Need to Know
8:00‐9:00 AM
Interest Session ‐ Forum E (2nd Floor) Megan Rudolph: Breaking the Mold: How the Traditional Performing Ensemble Classroom has Changed in Order to Retain and Recruit Performers
8:00‐9:00 AM
Interest Session ‐ Forum J (3rd Floor) Beth Ann Hepburn: Dancing in the Melting Pot
8:00‐9:00 AM
ABA Business Meeting ‐ Forum G (3rd Floor)
8:30 AM‐5:30 PM
Exhibits Open ‐ Sheraton Birmingham Ballroom
9:15‐10:15 AM
AVA Business Meeting ‐ Forum A‐B (2nd Floor)
9:15‐10:15 AM
Interest Session ‐ Forum C (2nd Floor) Rusty Courson: Does Participation in Performance‐Based Music Classes Make Students Smarter?
9:15‐10:15 AM
Interest Session ‐ Forum D (2nd Floor) Bob Phillips: The Total Tone Transformation
9:15‐10:15 AM
Interest Session ‐ Forum E (2nd Floor) Jason Sulliman: More than Just a Game: What Educators can learn from the Gaming Industry
9:15‐10:15 AM
Interest Session ‐ Forum G (3rd Floor) Mark Foster: Money Matters: If I Knew Then What I Know Now...
9:15‐10:15 AM
ELEM/GEN Business Meeting ‐ Forum J (3rd Floor)
9:15‐10:15 AM
ABA Concert Session ‐ BJCC East Ballroom (1st Floor) Bob Jones High School Percussion Ensemble, Kevin Smart, Conductor
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Friday, January 18, 2019 10:30 AM‐12:00 PM
AMEA General Session ‐ BJCC Theater Alabama Youth Symphony Orchestra Keynote Address: Dr. Tim Lautzenheiser
12:00‐1:00 PM
Phi Beta Mu Luncheon ‐ Forum H‐I (3rd Floor)
12:00‐1:30 PM
Collegiate Luncheon ‐ BJCC East A‐C (1st Floor)
1:00‐3:00 PM
HED Research Poster Session ‐ Sheraton Birmingham Ballroom Lobby
1:15‐2:15 PM
Interest Session ‐ Forum C (2nd Floor) Ted Scalzo: Easily Create Your Music Assignments with the New SmartMusic Notation Program
1:15‐2:15 PM
Interest Session ‐ Forum G (3rd Floor) David Ragsdale: How to REALLY Succeed at MPA: An Adjudicator's Perspective
1:15‐2:15 PM
Interest Session ‐ Forum J (3rd Floor) Beth Ann Hepburn: Purposeful Pathways: First Steps on the Path K‐1
1:15‐2:15 PM
Interest Session ‐ Forum K (3rd Floor) Valerie Diaz Leroy: Five Ways to Engage Hard to Reach Students
1:15‐2:15 PM
ABA Concert Session ‐ BJCC East Ballroom (1st Floor) Auburn University Jazz Band ‐ Dr. Michael Pendowski, Conductor
1:15‐3:00 PM
AOA JW Pepper Reading Session ‐ Forum D (2nd Floor)
2:00‐3:00 PM
Interest Session ‐ Forum A‐B (2nd Floor) Lori Hetzel: Empowering the Treble Chorus with Quality Repertoire
2:00‐3:00 PM
Interest Session ‐ Forum G (3rd Floor) Matthew Hoch: Vocal Terminology: Finding Common Ground and Synergy between Choral Directors and Teachers of Singing
2:30‐3:30 PM
Interest Session ‐ Forum J (3rd Floor) Art Williams: Mister Rogers' Musical Neighborhood ‐ Extending Fred Rogers' Approach to Elementary Music Education
2:45‐4:30 PM
ABA Concert Session ‐ BJCC Theater Fairhope Middle School Symphonic Band, Jennifer Salley, Conductor Spain Park High School Symphonic Winds, Chris Neugent, Conductor
3:15‐4:15 PM
Interest Session ‐ Forum A‐B (2nd Floor) Lori Hetzel: Choral Music Reading Session
3:15‐4:15 PM
Interest Session ‐ Forum C (2nd Floor) Stefanie Cash: Use of Movement to Enhance Choral Rehearsal and Performance
3:15‐4:15 PM
AOA Meeting ‐ Forum D (2nd Floor)
3:15‐4:15 PM
Interest Session ‐ Forum E (2nd Floor) Ellary Draper: Collaboration: Working with Special Educators to Include Students with Severe Disabilities in Music Classrooms
3:15‐4:15 PM
Interest Session ‐ Forum G (3rd Floor) Dave Lawson: Repair Made Easy. Learn How to Repair Basic Issues with Simple Ingenuity
4:30‐5:30 PM
Exclusive Exhibit Hour ‐ Sheraton Birmingham Ballroom
7:00‐9:30 PM
AMEA General Session ‐ BJCC Theater AMEA Awards University of Alabama Women's Chorus ‐ Marvin Latimer, Conductor Alabama Intercollegiate Band ‐ Col. Lowell Graham, Conductor
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Saturday, January 19, 2019 8:00‐9:00 AM
Interest Session ‐ Forum A‐B (2nd Floor) Kyle Weary: Equipping the Versatile Singer ‐ Teaching Vocal Registration
8:00‐9:00 AM
Interest Session ‐ Forum C (2nd Floor) Gretchen Windt: We're Off to Chez Maxim's: Operetta Arias for the Developing Singer
8:00‐9:00 AM
Interest Session ‐ Forum D (2nd Floor) Tracy Wiggins: We CAN Make This Up: Teaching Improvisation in the Concert Ensemble Setting
8:00‐9:00 AM
ABA Business Meeting ‐ Forum G (3rd Floor)
8:00‐9:00 AM
Interest Session ‐ Forum J (3rd Floor) Beth Ann Hepburn: Clap Your Hands! Songs and Rhymes Using Body Percussion
8:00‐9:00 AM
Interest Session ‐ Forum K (3rd Floor) Valerie Diaz Leroy: Why We Dance: Celebrating Cultures through Movement in the General Music Classroom
9:15‐10:15 AM
Interest Session ‐ Forum A‐B (2nd Floor) Allison Allerton: It’s Not Rote—It’s Aural Literacy!
9:15‐10:15 AM
Interest Session ‐ Forum C (2nd Floor) Mary McGowan: Tips From the Trenches‐ After You Land That Band Director Job!
9:15‐10:15 AM
Interest Session ‐ Forum D (2nd Floor) Nancy Barry: Intelligent Practice: The Art and Science of Efficient Practice
9:15‐10:15 AM
Interest Session ‐ Forum G (3rd Floor) Donna Smith: Bridging the Gap: The Middle School Directors role in the High School Band
9:15‐10:15 AM
Interest Session ‐ Forum H‐I (3rd Floor) Kevin Whalen: A Missing First Step: Empowering the Young Improviser
9:15‐10:15 AM
Interest Session ‐ Forum J (3rd Floor) Rob Lyda: Everybody Sing, Say, and Play: Happy Birthday, Dear Alabama!
10:30‐11:30 AM
Lightening Round ‐ Forum A‐B (2nd Floor)
10:30 AM‐12:30 PM
ABA Concert Session ‐ BJCC Theater All‐State Jazz Bands
1:00‐3:00 PM
ABA Adjudicators Clinic ‐ Forum A‐B (2nd Floor)
1:00‐3:00 PM
AMEA Governing Board Meeting ‐ Forum C (2nd Floor)
Visit AMEA’s website, www.myamea.org - preregister for the conference - reserve a room at the Sheraton - apply to bring a lobby group to the conference - register a student for the FAME program ala breve
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NAfME’s Professional Development eKit: A Blueprint for Alabama Music Educators Edward Ted C. Hoffman, III, University of Montevallo Becky Halliday, University of Montevallo Alden H. Snell, II, Eastman School of Music Lisa M. Gruenhagen, Bowling Green State University Music teacher professional development is critical to improving instruction and increasing teacher retention. To disseminate elements of effective professional development, members of NAfME’s Society for Music Teacher Education “Professional Development for Experienced Teachers” and “Professional Development for Beginning Teachers” areas for Strategic Planning and Action created a Professional Development eKit, available at https://nafme.org/my-classroom/professionaldevelopment/professional-development-ekit/. In Figure 1, we share a visual of the eKit you can share with fellow teachers, administrators, and professional development provid The Professional Development eKit is based on seven fundamental principles of professional development. We share each principle, accompanied by a brief description. We then offer suggestions for aligning these principles with existing professional development opportunities in the State of Alabama. Effective Professional Development… Is musical. Music teacher professional development should be content and context specific, providing teachers opportunities to improve their own musicianship while learning ways to improve their students’ musicianship. Teachers with an instrumental music background may require support when asked to teach general music or a music technology course. Similarly, a change in grade levels taught could necessitate a refresher in skills and techniques for teaching different age groups. Is not “one size fits all”—it differentiates between needs of beginning and experienced teachers. Effective mentoring is important for beginning teachers. Their needs are unique depending on context of their new position and their teacher preparation experiences. Early- to mid-career teachers need support in making changes to improve student achievement; one way to do this is to study teaching practice. Veteran teachers require ways to organize their wisdom to help newcomers and find ways to stay current with contemporary educational policy and expectations. Places teachers in a supportive community of learners. Collaboration with a community of peers is critical to combatting music teacher isolation, a common challenge for music educators. Communities can be formed in many ways, including in person at the school, district, county, or state level, or online. Teachers may find it helpful to participate in a community of teachers who teach similar content, grade levels, or years of teaching experience. Is voluntary and features autonomy and choice. Teachers learn best when they have input choosing their role. Beginning and early career teachers may benefit from release time for observing other teachers. Mid- to late-career teachers may benefit from facilitating teacher meetings or mentoring student teachers. Providing teachers 58
choice in how professional development is delivered (e.g., online, face-to-face, lectures, small- or large-group learning) increases teacher engagement in the professional development being offered. Provides opportunity for reflection in a cycle of innovation, feedback, and reconsideration. A cyclical process of learning is more effective than brief, sporadic attempts at trying new things. Reflection and feedback work best when teachers have support from colleagues who share similar professional concerns and who will encourage them in a nonthreatening manner. Creating shared experiences and understandings through participation in collaborative reflection with colleagues is key to ongoing learning and the implementation of new ideas. Is sustained, with ample site-specific support for classroom implementation. Professional development involves more than single conference presentations or in-service days. More than an hourly requirement, professional development is a long-term approach to learning: a semester-, year-, or career-long venture. Taking a course, joining a PLC, or regular attendance at state, regional, or national MEA conferences are all important pieces of comprehensive PD. Each of these can be even more impactful when teachers attend with colleagues with whom they can reflect on these shared experiences and who can offer support in translating new concepts and ideas into the shared local school site and into each unique classroom context. Results in teacher learning and improved practice. Teachers who engage in sustained efforts to improve their teaching develop a vision and understanding about teaching, learning, and students. Along with this curricular vision, teachers develop dispositions, practices, and tools that support their teaching and enhance student achievement. They report improved job satisfaction and increased feelings of efficacy. Teacher learning usually improves teachers’ methods for supporting their students’ growth and development. Finding Good Models for PD When looking for models of effective PD, start by reviewing the Alabama Standards for Effective Professional Development adopted by the State Board of Education (https://www.alsde.edu/sec/ec/Career and Technical/Alabama Professional Development Standards.pdf). The Department of Education’s Teaching and Learning Improvement Division (http://www.alsde.edu/div/dtl/plg/Pages/home.aspx) articulates those professional development activities aligned with these Standards, which may include the completion of coursework at a regionally accredited institution (allowable credit), participation in web-based and live workshops and trainings provided by institutions or professional organizations such as AMEA (allowable clock hours of professional development), or completion of the National Board for Professional Teaching Standards (NBPTS) certification. Lesser known, are opportunities for individuals or groups of educators to propose personalized, employer-verified professional development experiences related to travel, presentation, course auditing, supervision of student interns, and book studies. If you are interested in crafting unique PD experiences, share the eKit with colleagues, school administrators, Human Resources Department, October/November 2018
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and district music or fine arts supervisors as you design your personal professional development plan. Note: Ted Hoffman, Becky Halliday, Alden Snell, and Lisa Gruenhagen wrote on behalf of the Professional Development for Experienced Teachers Area of Strategic Planning and Action, part of the Society for Music Teacher Education. Infographic created by Daniel Abrahams and Peter Hamby, University of Arkansas.
ION EDUCAT EVELOPMENT C I S U M D SIONAL PROFES
eKIT
7
ESSENTIAL ELEMENTS OF EFFECTIVE PD EXPERIENCES
1 2 3 4
IS MUSICAL DIFFERENTIA AT TES BETWEEN NEEDS OF BEGINNING AND EXPERIENCED TEACHERS
WHA AT T IS EFFECTIVE PROFESSIONAL DEVELOPMENT FOR MUSIC TEACHERS?
5 6
PLACES TEACHERS WITHIN A SUPPORTIVE COMMUNITY OF LEARNERS
IS VOLUNTARY TARY Y,, FEA AT TURING ELEMENTS OF AUTONOMY AND CHOICE
7
STA TA AT TE AND NA AT TIONAL NAfME CONFERENCES
PROVIDES OPPORTUNITY FOR RE EFLECTION IN A CYCLE OF INNOVA AT TION, FEED DBACK, AND RECONSIDERA AT TION
IS SUST TA AINED, WITH AMPLE SITE-SPECIFIC SUPPORT FOR CLASSROOM IMPL LEMENT TA AT A TION
RESUL LT TS IN TEACHER LEARNING AND A IMPROVED PRACTICE
EXP PA ANDED EXPLANA AT TIONS OF THE 7 ESSENTIAL ELEM MENTS MA AY Y BE ACCESSED DA AT T:
Read to Succeed: Check out the following resources forr your yo own and others’ professional development: The Musician’s Journey: Crafting Y Yo our Career Vision and d Plan by Jill ll Timmons (Oxford University Press, 2013; www.oup.com) The Music T Te eacher’s F irrs st Ye Yearr by Elizabeth Peterson (Me eredith Music Publications, 2011, www.meredithmusic.com) The First Days of School by Harry K. Wong and Rosemary T. T Wong (Harry ar K. Wong Publications, 2009; www.effectiveteaching.com)
HTTP://WWW.NAFME.ORG/MY-CL LASSROOM/ PROFESSIONAL-DEVELOPMENT M / PROFESSIONAL-DEVELOPMEN NT T--EKIT/
Travel to learn: Attend your state/regional music educa ators o conferences, n as well as national events such as the following, to stay current, network with colleagues, and gain professional io development pm credit for sessions attended: NA AffME National In-Service Conffe erence, November 2017 7,, Dallas, a TX (This conference features numerous opportunities for subject-based professional development and the chanc ce to observe nationally-known music educators in action).
essional Development Re esources Some Helpful Proffe Start where you stand: Your state music education cation association a is a good od place to start. See a list of all the Federated F State Associations of the National Association for Music Education (NAfME). Know the ropes: Iff your dis district has a supervisor of music or fine arts, he or she might m be a wonderful sourrce of professional development ideas, s, as well well as the person who knows what’s needed to o stay current. Consider online learning: ar Ma Many colleges and universities are now offering eri distance learning. Online courses es offer convenience and access to man ny topics. Many M classes are free or low-cost, but some e are as pricey as on-campus offerings. ngs. Check each school’s offerings, and make sure the he credits you earn will qualify towarrd professional development in your ou jurisdiction. Keep excellent records of what you p pay and what you learn; there may be tax credits or professional deductions ct available to you.
THIS PROFESSIONAL DEVELOPMENT eKIT GIVES TEACHERS, ADMINISTRA AT TORS, AND PD PROVIDERS PRACTICAL IDEAS FOR STRUCTURING PD THA AT T WORKS.
Learn to teach each guitar: guita Teaching Guitar Workshops (TGW) are five-day p professional development nt o opportuniti nities that help you start or en nhance a c classroom guitar program. TGW, sponsored by y NAfME, ME, GAMA, NAMM and Du Duquesne Univerrsity, also provide three graduate duate cr c edits, a guitarr,, method books, and guitar accessories es to attendees. NAfME m members are en ncouraged to attend one of these weeklong events. For site locations, applicati tions and for m more information, visitt www w .guitar aredunet.org. e To get your name on the list to take a TGW I, the first level (whe ere participants ts receive the graduate credit dit and the instrument), please contact webmaster@guitaredunet.org.
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DEVELOPING STUDENT LEADERS This article first appeared in the Yamaha SupportEd magazine. It is reprinted here with permission of the author
By providing a leadership curriculum for your students, you will create a culture of excellence in your music program, make a difference in other people’s lives and enrich your own. By Kevin Ford
When I first began my teaching career in 1994 at Tarpon Springs (Florida) High School, seven students attended rehearsal. The school had one performance ensemble, and the band room only opened for one period during the curriculum day. Since then, we have grown to nearly 300 students and have 10 separate performance ensembles. Tarpon Springs won the Bands of America Grand Nationals marching band competition in 2014, the WGI Sport of the Arts color guard championships in 2016, the National Band Association Program of Excellence Blue Ribbon Award in 2016 and top honors for its Wind Ensemble in several national festivals. The collaboration among our students, parents, administrators and teachers to collectively place an emphasis on leadership and a growth-based mindset directly shaped the progress of our program. An active and empowered student leadership council made the difference in the expansion of our organization and more importantly impacted the personal development of each of our students. 60
In 2009 the Tarpon Springs Leadership Conservatory for the Arts (TSLCA) became an offi cial magnet program for students throughout Pinellas County. Presently, every student at the TSLCA takes a yearlong leadership course, music theory and music composition/technology in addition to performance ensemble courses. Just recently, we added the leadership curriculum to Tarpon Springs Middle School, creating a continuous program from grades 6 to 12.
• Habit 2: Begin with the End in Mind – “Define your mission and your goals in life.”
Our student leaders hold one another accountable for the way we prepare, practice and perform. Students lead, inspire, motivate and communicate with their peers. Our curriculum objectives on teaching life skills enable them to attain excellence in all aspects of their lives and positively impact the lives of the people around them
• Habit 6: Synergize – “Work together to achieve more.”
7 HABITS We target our yearlong leadership curriculum to freshmen because it pushes them to think past just today and focuses them on what they would like to achieve in their lives over the next four years and beyond. We teach the following student leadership habits, adapted from Sean Covey’s “The 7 Habits of Highly Effective Teens.” • Habit 1: Be Proactive – “Take responsibility for your life.”
• Habit 3: Put First Things First – “Prioritize, and do the most important things first.” • Habit 4: Think Win-Win – “Have an everyone-can- win attitude.” • Habit 5: Seek First to Understand, Then to Be Understood – “Listen to people sincerely.”
• Habit 7: Sharpen the Saw – “Renew yourself regularly.” Through this course and intense self-refl ection, each student experiences a paradigm shift. For instance, rather than practicing their instruments because we ask them to do so, they practice because they become self-driven toward achievement. Each student enters every rehearsal with their own set of goals and leaves every rehearsal with a new set of goals. LEADERSHIP WORKSHOPS Leadership lessons don’t stop after one year. At Tarpon Springs, we require student leaders and potential candidates for our leadership council to attend six spring workshop sessions taught by band staff. We meet with them after school before they can run for a October/November 2018
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leadership position including band president, overall vice president, gradelevel vice presidents, drum majors, section leaders, historian, secretary, publicity and other roles. At these workshops, we explicitly cover our standards for all leadership expectations and operational procedures. These meetings also provide a terrifi c opportunity for the students to provide their input about the music program. This type of feedback provides them ownership into solving the challenges of the organization. In addition we set up one-on-one interviews with each leadership candidate. The student explains his or her expectations of the desired position. We address our wishes for that individual and position and make recommendations to help each person become a successful leader. EFFECTIVE COMMUNICATION An effective student leadership team serves as the liaison between the directors and the other students in the organization. Our student leadership meets as a council with the directors at the beginning of each week to discuss goals, concerns and objectives. The directors receive feedback as well as delegate responsibilities. Student leaders then initiate the necessary steps to ensure that the ala breve
students in their sections are properly prepared for upcoming performances. Well before each actual event, the leaders relay to students and parents all pertinent details as well as the expectations of each individual member. In addition, we guide our student leaders to keep the directors aware of concerns within the organization and to offer their suggestions on how to improve them. The individuals on the leadership team will not always agree, but you can assist them in learning the art of compromise and instill in them the importance of supporting one another regardless of their personal feelings.
opportunities for students empowers them to take responsibility for their own excellence and inspires them to be creators, risk takers, innovators, artists and leaders who will not only make a positive difference in their own lives but also in the world. This article originally appeared in Yamaha SupportED magazine.
TEAMWORK AND EXCELLENCE Communicate to your students that the organization can only succeed when all students are succeeding. Enable students who are excelling to help the more inexperienced students with their individual struggles. I can assure you that this model of peer excellence will be contagious. The need to promote and foster this concept should be an educational priority for you. Student leaders must be devoted to excellence at all times and conduct themselves with integrity in all aspects of their lives: within an academic classroom, socially at a party, on social media and in the music building. Ultimately, providing leadership
ABOUT THE AUTHOR Kevin Ford is the founder and director of the Tarpon Springs (Florida) Leadership Conservatory for the Arts. He is presently in his 23rd year of teaching in the public school system. Kevin also enjoys an active schedule as a leadership speaker, guest clinician and adjudicator throughout the country. Kevin Ford is a Yamaha Master Educator. 61
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AMEA Division Events
2018 - 2019
Alabama Bandmasters Association Statewide
District 1
District 2
District 3
District 4
District 5
District 6
District 7
District 8
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Event All State Solo Festival All State Festival Summer Convention District Fall Meeting All State/ District HB Auditions Unassigned All-State Auditions District Honor Band MPA #1 MPA #2 Solo and Ensemble #1
Location Univeristy of Alabama Huntsville Von Braun Civic Center Hampton Inn Huntsville First Baptist Church Sparkman HS Sparkman HS Grissom HS Huntsville HS James Clemens HS Meridianville MS
Date 24-Apr-19 April 25-27, 2019 June 19-20, 2019 20-Aug-18 January 25 & 26, 2019 26-Jan-19 February15 &16, 2019 February 27 & 28,2019 March 12-14, 2019 30-Mar-18
Deadline 3/1/2019 3/1/2019
Solo and Ensemble #2 District Spring Meeting District Fall Meeting All State Auditions Unassigned All-State Auditions District Honor Band MPA Solo and Ensemble #1 Solo and ensemble #2 District Fall Meeting All State Auditions District Honor Band MPA Solo and Ensemble District Fall Meeting All State Auditions MPA Middle School MPA High School District Honor Band Solo and Ensemble #1 Solo and Ensemble #2 District Spring Meeting District Fall Meeting All State/ District HB Auditions Unassigned All-State Auditions District Honor Band District Meeting MPA Solo and Ensemble Solo and Ensemble District Fall Meeting All State Auditions Unassigned All-State Auditions District Honor Band MPA Solo and Ensemble District Spring Meeting District Fall Meeting All State Auditions MPA District Honor Band Solo and Ensemble District Spring Meeting District Fall Meeting All State Auditions MPA District Honor Band District Spring Meeting Solo and Ensemble #1 Solo and Ensemble #2
Hartselle HS TBA Gadsden City HS Band room Albertville HS Sparkman HS Albertville HS Gadsden City HS Audiorium Southside HS Oxford HS TBA Muscle Shoals HS Russellville HS UNA Muscle Shoals HS Pelham HS Hoover HS Hewitt Trussville HS Vestavia HS Thompson HS Mountain Brook JH Bumpus MS Bumpus MS Heather Henson's House Prattville HS Prattville HS University of Alabama University of Alabama University of Alabama Prattville JHS Tuscaloosa Co. HS Lake Martin Opelika HS Prattville HS Auburn HS Opelika HS Trinity Presbyterian TBA St. Michael Catholic HS Saraland HS Baker HS TBA Spanish Fort MS St. Michael Catholic HS Enterpriise HS Troy Elementary Enterprise Performing Arts Center Enterprise HS Enterprise HS Carver Magnet School Greenville HS
13-Apr-19 13-May-19 28-Aug-18 12-Jan-19 26-Jan-19 February 8-9 2019 February 26-March 1, 2019 15-Apr-19 29-Apr-19 8-Sep-18 26-Jan-19 February 15-16, 2019 March 5-7, 2019 4-May-19 10-Sep-19 26-Jan-19 March 4-7, 2019 MArch 11-14, 2019 April 5-6, 2019 30-Apr-19 4-May-19 16-May-19 23-Aug-19 26-Jan-19 26-Jan-19 February 15-16, 2019 16-Feb-19 March 1-2, 2019 21-Mar-19 15-Apr-19 18-Aug-18 26-Jan-19 26-Jan-19 February 15-16, 2019 March 5-7, 2019 4-May-19 13-May-19 27-Aug-18 26-Jan-19 March 19-22, 2019 March 28-30, 2019 4-May-19 6-May-19 20-Aug-18 26-Jan-19 March 12-14,2019 March 15-16, 2019 15-Mar-19 4-May-19 11-May-19
3/21/2019 5/8/2019
8/15/2018 12/10/2018 12/10/2018 1/27/2019 1/27/2019 3/7/2019
12/3/2018 12/3/2018 1/28/2019 1/28/2019 4/1/2019 4/1/2019 1/7/2019 2/1/2019 2/8/2019 4/15/2019 1/15/2019 12/21/2018 12/21/2018 2/1/2019 3/22/2019 3/22/2019
1/14/2019 1/14/2019 2/6/2019 2/8/2019 3/7/2019 4/5/2019 1/10/2019 1/10/2019 2/4/2019 2/11/2019 4/15/2019
1/15/2019 2/15/2019 2/22/2019 4/10/2019 4/10/2019
October/November 2018
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Alabama Vocal Association Event Fall Workshop ASSC Audition Submission Deadline ASSC Festival All-State Auditions
Location Huntingdon College
All-State Festival AMEA Board Meeting AMEA Conference
Date September 7 October 20 March 5-7 November 1 November 2-3 November 3 November 5-6 November 7 November 8-9 March 7-9 January 16 January 17-19
Solo and Ensemble District I District II District III District IV District V District VI District VII (Fall) District VII (Spring)
Date April 4 April 2-4 February 23 February 7 February 19-20 April 4 November 15 February 7
Location Highlands Baptist Church University of Alabama
SCPA District I District I District II District III
Date February 28 March 1 April 2-4 March 18-20
Location First Baptist Church, Decatur Highland Baptist Church, Florence University of Alabama TBD
District IV District V District VI District VII
April 11 April 8-9 April 4 March 26
Gadsden City High School TBD TBD Spring Hill Baptist Church
Date TBD November 27 November 26 November 28 November 13 November 15 November 30
Location Decatur Middle School Paul W. Bryant High School Cahaba Heights United Methodist Church Oxford High School Madison Academy Alabama Christian Academy St. Michael Catholic High School
OCS/OA/ME District I District II District III District IV District V District VI District VII
Birmingham Mobile Montgomery Florence Huntsville Gadsden Tuscaloosa Samford University BJCC BJCC
Jacksonville State University First Baptist Church TBD Spring Hill Baptist Church
Elementary/General Division August 25, 2018 October 12, 2018 October 13, 2018 January 17-19, 2019
East Alabama Music Workshop 13th Annual Elementary Music Festival Fall Workshop AMEA Professional Development Conference
Grace United Methodist Church, Auburn, AL Samford University’s Wright Center Location TBA Birmingham-Jefferson Convention Complex
Alabama Orchestra Association August 1, 2018 August 6, 2018 September 28, 2018 October 14, 2018
Composition Contest Deadline Audition Excerpts Posted Audition Registration Deadline Auditions Must be Completed
December 1, 2018 January 17-19, 2019 February 7-10, 2019 April 5, 2019
Scholarship Application Deadline AMEA Conference All-State Orchestra Festival Orchestra MPA
AMEA Collegiate Division TBA January 17-19, 2019 ala breve
Collegiate Summit AMEA Professional Development Conference
Samford University Birmingham-Jefferson Convention Complex 63
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PRE-REGISTRATION FORM AMEA In-Service Conference January 17-19, 2019 Birmingham-Jefferson Convention Complex
LAST NAME _____________________________ FIRST NAME_____________________ (for badge) NAfME ID#_______________________________ Please enclose a copy of your card.
Home Address: (City)
(State)
(Zip)
AOA
HED
COLLEGIATE
AOA
HED
COLLEGIATE
Email: Primary Phone: School Name: Principal Division:(check only one) ABA AVA
ELEM
Other Division/s Affiliation:(check all that apply) ABA AVA ELEM
Please tell us if you are: Clinician
Conductor of a performing group at the conference
Current Member, Clinician, Conductor
First Year Teacher
Pre-Registration $95.00 (On-Site Registration $110.00)
Pre-registration $75.00 (On-Site Registration $85.00)
Retired Member
Spouse* or Guest* of AMEA Member Registration $15.00 *may not be a music teacher
Registration Complimentary Name TOTAL AMOUNT PAID $
Retired
Collegiate Member (college student) Pre-Registration $40.00 (On-Site Registration $55.00) Luncheon: Yes No Non-Member Alabama Music Teacher
P MAKE CHECKS PAYABLE TO AMEA A fee of $35 will be charged for returned checks
No Purchase Orders Accepted. Check or Credit Card Only To pre-register with a credit card go to www.alabamamea.org through January 8, 2019
Mail form and check by Jan. 8, 2019 to: AMEA Registration, PO Box 3385, Muscle Shoals, AL 35661 Important: Forms and payment received after Jan. 8 will be held at the registration desk for onsite registration. Do not send forms or payment to the above address after Jan. 8, 2019! THANK YOU! Your conference packet will be ready at the registration desk in the Sheraton Hotel. Your receipt will be in your packet at the conference. 64
P
Pre-Registration $222.00 (On-Site Registration $237.00)
October/November 2018
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HU UNTING GDON COLLEG GE
M MUSIC C www hun www.hun ntingdon ed ntingdon.e du/music MAJO ORS Mussic P–12 Music Education E (Chorral) P–12 Music Education E (Instrumental) m
GENEROUS G CELEBRA R TING SCHOLARS A HIP PS VOICE I S: AVAILABLE FOR QU UALIFIED STUDENTS w who participate in n Concert Choir
THE HUN NTINGDON COLLEGE H HIGH SCHOOL CHORAL FESTIVAL
September 23–24, 2018
Dr. Kevin Fenton, Clin nician
CHOR RAL ENSEMBLES Concert Choir Chamberr Choir Various Choral C Ensembles
20 019 AUDITION DATE
Teacher Brea ak-Out Sessions 12 studentts per school Lunch, t-sh hirt and music include ed in fee
February 16,, F 2019
The cost is $4 40 per student Deadline to register: Septembe er 10, 2018
www.hunttingdon.edu/ chorall-festival l festival
Huntingdon n College is committed to a policy agains a t legally impermissible, arbitrrary, or unreasonable discriminatorry practices. For more inforrmation, see www.huntingdon.edu u/misconduct.
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Each Membe er of the Jaguar Marching c Band re eceives a scholarship Full-Band travell opportunities to away a games and exhibitions Mattching hi Univ i ersity it -provided id d wind i d instruments i t t g University y in the state and region Fastest growing No fees e and No fundraisin ng!
AUDITION DA AT TE ES WOODWIND W OODWIND & B BRASS January ry y 12, 20 019 February ry y 9, 20 019 March M arch 9, 20119 April 6, 2019 9
DR RUMLINE: Clinic: M March arch 16, 2019 Auditionss: April 6Auditions 6-7 7, 2019 COLOR GU GUARD: ARD: Clinic: M March arch 16, 2019 Audition ns: April 13, 2019
For more Information about AUDITIO ON DATE T S visit jjaguarm g marchingband.or g g or call 25 51-460-6136
FOR MOR RE INFORMA AT TION, TEXT JMB J TO 251--241-0291 Laidlaw w Performing Arts Ce enter U A Drive South, Room m 1072 5751 USA Mobile, AL 36688 251 460 6136 • usajmb@southala 251-460-61 abama edu abama.edu
www.jag guarmarchingba and.org face ebook.com/jaguarmarchingba and
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