October/November 2021 Ala Breve

For more information and to register visit:

John M. Long School of Music

David Raney, AMEA President

We’re Back

I hope you are off to a great start for the school year and your students are engaging in productive musical experiences. It has been so nice to see many musical programs enjoying live performances. This simply reminds me of how important the gift of music education is to the lives of our young people.

In August, the Alabama Music Educators Association (AMEA) Governing Board met to continue planning for the 2022 conference. The board has put a great deal of time and effort into making our next conference the very best possible. There is no question that everyone is eager to get back to in-person clinics and performances. We are looking forward to the opportunity to grow professionally together in January.

This year’s keynote speaker, Dr. Matthew Arau, is the Music Education Department Chair and Associate Director of Bands at the Lawrence University Conservatory of Music. In addition, Dr. Arau is the Founder of Upbeat Global, which is an organization created to inspire positivity through leadership and music around the world. I recently attended one of his sessions and immediately knew he was the person that is needed to address the music educators of Alabama. Please be sure to attend his keynote address to AMEA at the presentation on Friday morning at 10:15am. Prepare yourself

to be inspired by his uplifting message.

I am extremely excited about our keynote performing group, Act of Congress. They were scheduled to perform for our 2021 Conference and have agreed to perform for 2022 since we were unable to have performances in person last January. If you have not yet heard of this native Alabama group, you are in for a special treat. The first time I heard them perform I was impressed with their musicality and creative way to arrange their unique style of music. Since that time, I have purchased several of their albums and have become quite a fan. You can visit their website at http://actofcongressmusic.com and find an extensive music collection through iTunes. Their Christmas music is exceptionally good!

The board has been eagerly planning the AMEA 75th Anniversary for quite some time. It was decided last January to delay the formal celebration until it could be celebrated in person. Pat Stegall formed a Celebration Committee and has done an exceptional job making plans for this momentous occasion. Please join us during the reception scheduled on Friday night of our 2022 conference as we commemorate and celebrate this anniversary.

I am proud of the work our Division Leaders have done over the summer that has resulted in great ideas for in-

“As we continue to move forward, let’s remind ourselves to stay focused on spreading our joy for music education to every student in our classroom.”

person and new events. I have seen the leaders of the Band, Vocal, Orchestra, General/Elementary, Higher Education, and Collegiate Divisions collaborate in order to solve many of the new issues we are facing in education. This work will result in additional innovated opportunities for music educators that will positively impact you and your students.

Alabama has a rich history of extremely gifted leaders that had a tremendously important influence on my career. These leaders inspired me to be a better educator by teaching me the importance of maintaining a professional attitude, even during the hard times. You probably have leaders that you admire as well. Those leaders all started by saying “yes” to a leadership position. There are many local, district, regional, and state leadership opportunities that support

ACT OF CONGRESS

music education. Please consider finding a place you can serve in a leadership role to promote music education. I encourage you to get involved with your division, become a future leader, and be willing to serve.

This is an election year for AMEA. In January, we will share the bios of the nominees for the new president-elect. I hope you will take the time to read about the new candidates to decide who you think should be the future leader of our association. You will receive a ballot in the spring for the election, so please take the time to reflect on your decision and cast your vote.

As we continue to move forward, let’s remind ourselves to stay focused on spreading our joy for music education to every student in our classroom. I know it may not always seem like you

are appreciated but you are. Your enthusiasm to do your very best will impact those around you, including your colleagues. As music educators, we sometimes feel very isolated due to our unique subject. I encourage you to take the time to check on other music educators in your school system and district. You just might be the encouraging voice they need to hear today.

In closing, I wish you all the best. I look forward to seeing you in person in January at the 2022 AMEA Professional Development Conference. It is my pleasure to say, “We’re Back.”

Best regards, David

Raney

AMEA Governing Board 2021-2022

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

Immediate Past President

Greg Gumina Jefferson County Schools 2100 18th St S Birmingham, AL 35209 (205) 379-2000 ggumina85@gmail.com

President, AOA

Dr. Daniel Stevens University of North Alabama One Harrison Plaza Florence, AL 35631 (256) 765-4708 dstevens1@una.edu

President, AMEA Collegiate

Emma Tosney (205) 306-8365 ejtosney@crimson.ua.edu

Industry Representative

Joey Harbison

Gadsden Music Company 607 Broad Street PO Box 132 Gadsden, AL 35901 205-910-2622

jmharbison@aol.com

Executive Director Editor, Ala Breve

Garry Taylor 1600 Manor Dr NE Cullman, AL 35055 (256) 636-2754

executive_director@myamea.org

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

President-Elect

Dr. Rob Lyda

Cary Woods Elementary School 715 Sanders Street Auburn, AL 36830 334-663-0898 lydarob@me.com

Recording Secretary

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

President, AVA

Randall Fields

Bob Jones High School 650 Hughes Road Madison, AL 35758 (256) 772-2547

randall.fields.ava@gmail.com

AMEA Collegiate Advisor

Dr. Meghan Merciers University of North Alabama UNA Box 5040 142 Music Building Florence, AL 35632-0001 (256) 765-4518 mmerciers@una.edu

Assistant Executive Director

Dr. Russell Logan 2020 Janabrooke Lane Auburn, AL 36830 (334) 663-1702

rlogan9853@gmail.com

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

Treasurer/Registrar

Pat Stegall

AMEA Registration PO Box 3385 Muscle Shoals, AL 35661

treasurer_registrar@myamea.org

President, ABA

Joel Henson Pelham High School 2500 Panther Cir. Pelham, AL 35124 (205) 616-7478

jhenson@pelhamcityschools.org

President, ELEM/GEN

Sarah McLendon Hillcrest Elementary 400 E Watts St. Enterprise, AL 36330 (334) 313-2116 smclendon@enterpriseschools.net

President, HED Division Dr. Michael Zelenak Alabama State University 915 S. Jackson St. Tullibody Music Hall Room 208 Montgomery, AL 36104 334-604-9187

Alabama Department of Education Arts Education Specialist Andy Meadows 50 North Ripley Street Montgomery, Alabama 36104 (334) 694-4768

ameadows@ALSDE.edu

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.

January

February

March 19, 2022

April 2, 2022 Colorguard

April 23, 2022

March 26, 2022

Expanding Access and Exploring Growth through Orchestral Performance

Daniel Stevens - President, Alabama Orchestra Association

Nothing catches your attention as fast as the powerful opening themes to many of John Williams’ timeless film scores such as Star Wars, Home Alone, Jurassic Park, Harry Potter, Indiana Jones, or Schindler’s List. The sweeping power of this style of orchestral music is firmly rooted in a neo-romantic tradition closely associated with the 19th-century techniques of Tchaikovsky or Wagner. Orchestral music now impacts every aspect of life, to each video gamer’s delight, to the rock-crossover stage with Elton John and Pink Floyd, to the Copland Rodeo melody that encourages you to buy the latest SUV, and back to the concert hall to be captivated by a Puccini opera, Broadway staple, or classical masterwork.

We look to Gustavo Dudamel and Youth Orchestra L.A.’s Super Bowl half-

or gender. It logically becomes a personal charge of the Alabama Orchestra Association to ensure that all instrumental students in Alabama have access to experience participation in a full orchestra of 80-100 woodwind, brass, percussion, and string students. I am thankful to a number of band directors and studio woodwind, brass, and percussion teachers that have encouraged the organization to open more seats to students that have not yet had a chance to play in a full orchestra. To that end, AOA is excited to announce the addition of the North All-Region Orchestra Festival (Huntsville HS) and South All-Region Orchestra Festival (Prattville HS) concurrently on January 8-9, 2022.

Please encourage your students to participate! Details and audition materials can be found here:

http://alabamaorchestraassociation.org/

DEADLINES for AUDITION SUBMISSION/REGISTRATION

October 15, 2021 – String and Harp Auditions

November 12, 2021 – Woodwind, Brass, and Percussion Auditions

time appearance in January 2016, to motivate us to provide opportunities for all music students regardless of race, class,

● New School Orchestra Programs – If you are a school administrator, our AOA Executive Team wants to work with you

on developing a new string program in your local school. As a complement to excellent band and choral programs around the state, a string program appeals to the diverse student willing to find their unique voice and will place your school district on the map for prospective families (will help propel district population and revenue growth)

All-Region Orchestras –

● North All-Region Orchestra –January 8-9, 2022

● South All-Region Orchestra –January 8-9, 2022

All-State Orchestras –

● February 10-13, 2022

Orchestra Music Performance Assessment

● April 22-23, 2022

Thank you for your never-ending commitment to your student artists. As we return to the live concert stage, I am inspired by your commitment to engaging your community with the value of music. Please know that my door is always open at dstevens1@una.edu.

Sincerely,

Daniel Stevens

From the Registrar

Join/Renew/Register!

Check out the AMEA website and register for the 2022 AMEA conference online at www.myamea.org. You will find it is easy and will save you time and money. Reunite with friends and colleagues from all over the state in January as we celebrate the 75th anniversary of AMEA! Rejuvenate your energy and renew your enthusiasm for the rest of the school year! I can’t wait to see you at the registration booth!

When you are joining or renewing your membership, think of those music teachers in your area that may not be active members, and send them a message inviting them to join and encourage them to register for the conference! You could send an email with their contact information to me at pstegall@mscs.k12.al.us and I will invite them!

Renew your membership now at www.nafme.org. Membership in NAfME is required for participation in state MEA sponsored events like the AMEA Conference, the Elementary Division Fall Conference, All-state and Musical Performance Assessments. Joining NAfME secures your membership in AMEA and in your division. Renewing your membership annually will help you in achieving the continuing service award at our conference on year 25 and beyond.

1946 Yale H . Ellis

I look forward to receiving your completed registrations. They should be postmarked by January 8, 2022, and received by January 14, 2022.

AMEA 75th Anniversary Celebration

President Raney asked that we create a committee to plan some in-person events for the celebration of AMEA’s 75th Anniversary. I would like to thank our committee members for their wisdom and input! The members are Pat Stegall-Chair, Michael Zelenak, Frank Buck, Ann Witt, Carl Hancock, Blair Calloway, and Sarah McLendon. We are planning several events for the conference including “Cocktails and Cakes” as part of the President’s reception. President Raney will cut the cake and we will have a toast in honor of 75 years as AMEA. Southern Performances is providing each division with a Flag/Banner for our opening ceremony procession and a group picture of the division members in attendance. We are planning displays for the AMEA Hall of Fame and Past Presidents, AMEA lapel pins, and an opportunity for retirees to meet with our FAME attendees to build relationships. Our hope is that you will participate in the Celebration of 75 years of AMEA!

AMEA Presidents - Past to Present

1948 Walter A . Mason

1950 Vernon Skoog

1952 John J. Hoover

1954 Lamar Triplett

1956 Carleton K Butler

1958 Mort Glosser

1960 Wilbur Hinton

1962 Lacey Powell , Jr .

1964 G Truman Welch

1966 Jerry Countryman

1968 Floyd C . McClure

1970 Jerry Bobo

1972 Frances P. Moss

1974 George Hammett

1975 Frances P. Moss

1976 S . J. Allen

1978 W. Frank McArthur

1980 Paul Hall

1982 Lacey Powell , Jr .

1984 Johnny Jacobs

1986 Merilyn Jones

1988 Ronald D Hooten

1990 Ken Williams

1992 Dianne Johnson

1994 James K . Simpson

1996 Johnnie Vinson

1998 Michael Meeks

2000 John McAphee , Jr .

2002 Tony Pike

2004 Becky Rodgers

2006 John Baker

2008 Pat Stegall

2010 Steve McLendon

2012 Sara Womack

2014 Carl Hancock

2016 Susan Smith

2018 Greg Gumina

2020 David Raney

Pat Stegall - AMEA Registrar

AVA UPDATES

September 16, 2021

Colleagues:

I enjoyed seeing and catching up with so many of you at our Fall Workshop on September 10. Thank you to the University of Montevallo and Dr. Melinda Doyle, Director of Choral Activities for being such welcoming hosts. Thank you to all presenters and facilitators who made our day one of learning, refueling, and collaborating. At the general membership meeting, we voted on clearer AVA Handbook wording (no policies were changed) that states that participation in All-State Show Choir meets the All-State requirement for OCS eligibility. We also voted on wording that clarifies that District Chairs ask adjudicators to confer in the situation of abnormal ratings splits at SCPA. Please visit the website to read the adopted Handbook revisions as well as the minutes of the meeting. While you are visiting the website, be sure to check out the newly typeset AVA Handbook. Thank you to Margaret Heron for tackling this huge task. We hope this document will be more user-friendly moving forward.

All-State Auditions are October 31November 9. We are planning to hold these auditions in person at several sites throughout the state. However, contingency plans are in the works should we need to move auditions to a virtual format.

All-State Show Choir Auditions will be recorded and submitted via Google Classroom. Teachers will receive the appropriate Google Classroom code

once the audition submission window opens. Students will upload videos of both their singing and dance auditions. Step-by-step instructions will be provided shortly after registration closes. Thank you to Cam Weiler for serving as All-State Show Choir Coordinator.

Honor Choir Screenings will also be recorded and submitted via Google Classroom. This year’s Honor Choir will be an a cappella jazz choir. Thank you to Hilen Wilson for serving as Honor Choir Coordinator.

The 2022 AMEA Conference will be January 20-22 at Birmingham Jefferson Convention Complex. Along with performances by exemplary choral ensembles from around our state and highly acclaimed presenters, we will also have All-State Show Choir and Honor Choir at this conference. The AMEA conference promises to be an event you will not want to miss.

All-State Festival will be March 10-12 at Birmingham Jefferson Convention Complex.

State Choral Performance Assessment and Solo and Ensemble Assessment are scheduled in person in each district in the spring.

Warm Regards,

Randall Fields

AVA President

Birmingham-Southern College

Department of Music

FACULTY

Dr. Jeremy Grall, jgrall@bsc.edu

Associate Professor of Music

Dr. Jeff Kensmoe, jkensmoe@bsc.edu

Associate Professor of Music and Director of Opera

Dr. David Phy, dmphy@bsc.edu

Assistant Professor of Music and Director of Bands

Dr. Lester C. Seigel, lseigel@bsc.edu

Joseph Hugh Thomas Professor of Music

OPPORTUNITIES

Symphonic Band Athletic Band

Jazz Band Concert Choir

Hilltop Singers

Guitar Ensemble

Southern Chorale Opera Workshop

DEGREES OFFERED

Bachelor of Arts (BA) with a major or minor in music

Bachelor of Arts (BA) with Disciplinary Honors in Performance

Bachelor of Musical Arts (BMA)

bsc.edu/music

Randall Fields- President, Alabama Vocal Association

Renew, Refresh, and Reconnect

Greetings colleagues! As you read this issue of Ala Breve, you will notice a common theme - we are excited and looking forward to an “in-person” conference in January. Whoo-hoo! It feels as though it has been decades since we were in the same room together. As you read this issue, you will also see that we have a great lineup of sessions and concerts. In addition, we are celebrating AMEA’s 75th anniversary. It will be a party that you don’t want to miss.

Renew: If you are reading the print version of Ala Breve, you have already renewed your membership. Congratulations! If you are reading it online, maybe not. COVID has taken its toll on AMEA membership. Our numbers have declined since March 2020. Now is the time to reverse this trend. Renew your membership and encourage others to do the same. In my opinion, music is an important part of everyone’s life and a powerful form of advocacy is to support our professional organizations. It’s the right thing to do. Join now.

Refresh: Have you ever wondered why so

many state MEAs have their annual conferences in January and February? These conferences provide that boost needed to help us make it to the end of the school year. By the time January rolls around, we have worked through all of the strategies and ideas that we collected during the summer. Don’t return to the classroom with tired and worn-out activities. Learn something new. I challenge you to attend a session that is out of your comfort zone. If you are a band director, go to a choral session, and vice versa. You will be surprised at what you will learn and how it can change your perspective of teaching. Although I taught at the secondary level, I regularly attended elementary sessions. General music teachers have strategies to engage the most reluctant learner. They will rock your world!

Reconnect: The adage “it doesn’t matter what you know, but who you know” rings true in the field of music education. Maybe you need help finding a piece of music or borrowing an instrument. Maybe your auditorium is under construction and you need another venue for your concert.

CAPITOL TUNES

Maybe you are looking for a new job and are searching for openings. Surrounding yourself with knowledgeable people will help you overcome these challenges. More importantly, as Jackie Wiggins stated “all knowledge is socially constructed.” We learn from others. The personal connections you will make at the conference will help solve your problems and develop your pedagogical content knowledge.

Did I mention that we have a great lineup of sessions this year? We have something for everyone. Keep in mind that the HED Recital takes place on Thursday at 3:30 pm and the HED Luncheon is at noon on Friday. In addition, we are joining forces with the C-NAfME division for our inaugural Lesson Planning Competition on Friday at 3:30 pm. In this event, talented pre-service teachers will demonstrate their instructional skills in short vignettes. Support our collegiate students. They are our future.

See you at the conference!

Perform in the Rotunda of the State Capitol during the 2022 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

=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 to perform a minimum of 20 minutes.

=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 2022 Legislative Session. Groups should 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 receive a stipend to offset the cost of a bus driver and mileage.

=The deadline to apply is November 19, 2021. Notification of acceptance/rejection will go out November 29, 2021.

=Apply at https://form.jotform.com/212503983618964

Michael Zelenak -President, Higher Education Division

FAME

by Jackson Smith

(Future Alabama Music Educators) Scholarship Essay

Why Choose Music Education?

Music Education: the endeavor of inspiring and developing the next generation of musicians - and so much more. Music is the industry of beauty, inspiration, pain, tranquility, stories beyond imagination, and stories far too real. I am choosing to pursue a degree in music education and believe that every student should have access to music education because of the grand impact and enrichment that music, the people I have befriended due to band, and the music educators I have been blessed to have learned from have had in my life.

Throughout my life I have always passionately loved music, always singing childhood lullabies, listening to a wide variety of genres and artists, and eventually learning my first real instrument: the piano.

I remember the feeling of pure joy and excitement I felt when I opened my silver Yamaha keyboard on Christmas Day and the eager excitement for learning I felt when I had my first piano lesson. After a few years playing piano, I heard my school's band and fell in love with the program along with a new instrument: the saxophone. In 6th grade, I started band, and although I did not know that I would develop an overwhelming passion for and desire to have a career in music, I loved band. Band gave me a passion that I could not find in any other school activity. This passion for music that has developed and continued to grow inside of me has been the greatest factor for my decision to pursue the path of music education. It has motivated me in my life in general as well as assisted me through many difficult times, causing the idea of deciding to go into any other career path incomprehensible. With all the great things we as humans discover and experience, we want to share them with

others, which is another reason I have chosen to pursue music education. Sharing and experiencing the joy of music with others, especially students, and seeing that joy culminate and lead to success in students is more rewarding than any other profession or salary it might bring.

Band has also allowed me to develop a connection with other people. Because of the band, I have a second family where everyone diligently works and strives for excellence in all that we do - not solely for performances. If I am being completely honest, band is the only reason I have friends. The family that I have made in band has been one of the most impactful experiences of my life. The friendships I have developed and the people I have met have and will continue to shape me as a person even after college. Of course, I will have a new family with new experiences in college; however, the impacts that have been made on my life will not be changed. This home that I have found in band is another major reason for my decision to enter the field of music education. Being a music educator would allow me to create a family and home for all of the students in my program, especially for those who are much less fortunate than I have been. Even though music itself has a serious impact on students, the family that band creates has the most significant impact that will continue throughout a student's life.

A final, major influence that has pushed me to go into music education is the music educators, as well as teachers in general, that I have experienced in my life. The music educators, both the directors and clinicians at honor bands, I have had in my life have had such a positively enlightening

and inspiring impact on my life. These music educators have inspired the passion for both music and music education that I have with the knowledge they have shared as well as their actions, including the love and support they have shared. The inspiration I have gained from the most influential educators in my life has created a desire to be as inspirational, loving, and caring as the educators in my life have been for me.

My enriching experience with music has entirely convinced me that music education should be available to all students. Not only does music enrich life in general, but also helps with brain development and continued stimulation. On a completely superficial level, all students should have access to music education as it has been shown to lead to more success in other classes as well as gives students more opportunities for scholarships. On a more personal level, band gives a home to students who may have horrifying home lives and creates a network of friendships that will last a lifetime. With the decline of mental health becoming more and more prevalent in students, it is especially imperative for more students to have a home and place of love and support, such as the one many find in music.

Music education is something that I am so excited to pursue. Band has had such an incredible impact on my life, and I cannot wait to share my passion for music which has shown and given me so many beautiful things in my life as well as developed me into the person I am today.

Editor’s Note: AMEA recently awarded the FAME scholarship to Jackson Smith, a 2021 graduate of Guntersville High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Jackson is a music education major at the University of Alabama.

Collegiate Division Updates

Dr. Meghan Merciers, Advisor

We are delighted to announce that registration is now open for the 2021 Collegiate Summit, Connect: bit.ly/ALSummit21. This in-person event will be hosted at Moody Music Building on the campus of the University of Alabama. The itinerary includes a keynote address by Dr. Ruth Brittin, Chair of the Department of Music Education at the University of the Pacific in Stockton, California, breakout sessions for instrumental, choral, and general music, an earlycareer teacher panel, and a dinner for all of the speakers and participants.

Our inaugural partnership with the Higher Education Division is also now underway for the edTPA Lesson Planning Competition. Details are available here: bit.ly/LessonPlanningCompAL. Participants must be an active cNAfME member, a student enrolled in a universitysponsored educator preparation or provisional certificate teaching field program, and attend the 2022 AMEA Conference. The deadline for submissions is October 31, 2021. We hope you will compete in this newly created event!

CALLING ALL MUSIC EDUCATION STUDENTS

ALABAMA cNAfME INVITES YOU

SUMMITCOLLEGIATE CONNECT2021:

GRO IN PROFESSIONAL DEVELOPMENT, CONNECT ITH FELLO COLLEGIATES, AND ENOY A CATERED DINNER SUNDAY, OCTOBER 24, 2021 THE UNIVERSITY OF ALABAMA MOODY MUSIC BUILDING REGISTER HERE: bit.ly/ALSummit 21

2:00 PM

Alabama edTPA Lesson Planning Competition

4:00 PM

TEACHER PANEL

5:00 PM

CONCLUSION AND DINNER

UNIVERSITY OF ALABAMA MOODY MUSIC BUILDING

RSVP: BIT.LY/ALSummit21

RSVP: BIT.LY/ALSummit21

Emma Tosney, President, Alabama cNAfME

Better Together

Sarah McLendon - President, Elementary/General Division

District 1 ChairmenLea Hoppe & Viktoria Truesdail

Colbert, Cullman, Franklin, Jackson, Lauderdale, Lawrence, Limestone, Madison, Morgan, and Winston

District 2 ChairmenKarla Hodges & Karen Morgan

Bibb, Fayette, Greene, Lamar, Marion, Pickens, Shelby, Tuscaloosa, and Walker

District 3 ChairmenDeanna Bell & Kate Donaldson

Jefferson

“If you want to go fast, go alone. If you want to go far, go together.” African proverb

Do you ever find yourself jealous of classroom teachers? I do all of the time! They have a “tribe” in their hallway. They can collaborate daily. They can walk next door to ask a question about their subject. The lesson didn’t work the way they wanted......what worked for you?

We are on an island. Most of us are the only music educators in our building. Some are the only music educators in the system. Some of us are lucky to be in a larger system and have people in town with whom we can bounce around ideas.

We have started yet another year unlike any year in the past. However, we are all in the same boat. We all have children who may have lost singing skills due to the lack of singing. We have children who have missed out on playing the recorder. (My students are begging to be

able to play this year!) Do not let the challenges of the year discourage you! We need to form our “tribes.” We need to support each other. Share ideas. Ask questions. Give answers without being condescending. Form a text group. Share ideas on social media.Write articles for the Ala Breve.

Those of us veterans have it better than novice teachers. We have years of experience from which to draw. Are you a veteran teacher with a new teacher in your district? Become a mentor! You have a wealth of knowledge to share. Are you a beginning teacher and need some guidance? Reach out and we can put you in touch with someone who can help you!

If you are in this profession on your own, you will not get far. If we are working with our colleagues, we will go very far. We are indeed BETTER TOGETHER!

District 4 Chairman - Vacant

Blount, Calhoun, Cherokee, Cleburne, DeKalb, Etowah, Marshall, St. Clair

District 5 Chairman - Phil Wilson

Chambers, Clay, Coosa, Elmore, Lee, Macon, Randolph, Russell, Talladega, and Tallapoosa

District 6 Chairman - Christy Clark

Autauga, Chilton, Choctaw, Clarke, Dallas, Hale, Lowndes, Marengo, Montgomery, Perry, Sumter, and Wilcox

District 7 ChairmenJason Jackson & Regina Williams

Baldwin, Escambia, Mobile, Monroe, and Washington

District 8 Chairman - Hilda Hagins

Barbour, Bullock, Butler, Coffee, Conecuh, Covington, Crenshaw, Dale, Geneva, Henry,Houston, and Pike

AMEA Conference: Tiffany Taylor English, Clinician

January 20-22, 2022 Birmingham, Alabama

Acadia National Park, Mt. Desert Island, Maine

Photo credit: Andrea Marsh, music teacher at Rucker Blvd Elementary

Making the Most of Every Minute: Engagement ‘til the End

Movement Maestro

Concept(s): movement exploration, tempo

Student who is “it” tells the class a motion or movement to do. My only rules are that it has to be quiet and safe (that way a kid doesn’t say, “do the splits!”). The student who is “it” chooses someone who is doing that movement silently.

Clap Conductor

Concept(s): conducting patterns, steady beat, dynamics, tempo

Just like it sounds! A student conducts a pattern and the class follows, clapping their beat. Sometimes they have free reign to experiment; sometimes I ask them to use a certain tempo, dynamic, or conducting pattern.

Silent Statues

Concept(s): movement exploration

by Sadie Wall

If you’re like me, you want your classes to be quiet and ready for the hall when their homeroom teachers arrive. Music tends to be a high energy class. Even with consistent routines, it sometimes takes a couple of minutes for our excited students to settle into quietness. Why not offer some incentive while continuing the learning?

Line-up games are a simple way to keep students engaged and quiet until the end of class. They can help reinforce concepts learned that day or be an avenue for social-emotional learning. Here are the ones I use:

Ultimate Quiet Mouse

Concept(s): syllables, classroom percussion

Materials: any classroom instrument that can produce clear sounds when struck This one’s like the classic “quiet mouse” game— with a twist! The student who is “it” will look for someone quiet and choose them to be the next “quiet mouse” by playing the number of syllables in their pick’s name.

For example, if a student is choosing “Brayden,” they would play the instrument two times. Students with two syllables in their name will raise their hand. If Brayden does not raise their hand, the student who is “it” will choose someone else with two syllables in their name (without calling Brayden out, of course).

I use this game to review barred instrument technique and to pre-teach percussion instruments I plan to use in later lessons. If students are just beginning to learn syllables or are struggling to play the correct amount of times, have the student say their pick’s name while playing the syllables on the instrument.

Mystery Instrument

Concept(s): instrument families of the orchestra, world instruments, classroom instruments

This game is like “20 Questions.” The student who is “it” will choose an instrument and whisper their choice to you so you can help answer questions if needed. Student who is “it” calls on students to ask yes or no questions about the instrument.

If we have just learned about a particular style of music or place in the world, I may narrow it down to that category for reinforcement.

Student who is “it” picks what kind of statue they want members of the class to make (usually an animal). They choose the student who is the most still to be “it” next. This is a great time to talk about levels in movement.

Talking Rainstick

Concept(s): social-emotional learning

Materials: rainstick

The student with the rainstick talks about whatever they want— happy, sad, something they’re looking forward to, etc. When they’re done they play the rainstick then choose someone new who was listening respectfully and wants to share.

Poison Rhythm

Concept(s): rhythm practice

I’m not sure who I learned this from, but it’s a great one! Pick a 4 beat rhythm using concepts the students know (even long/short patterns for the littles). Clap or play it for the students and tell them it’s the “poison rhythm.” The goal is for the students to repeat every pattern EXCEPT the poison rhythm. If the class comfort level allows, you can have students who clap the poison rhythm sit down. (I tell them they can help me “trick” people still playing by clapping the poison rhythm on purpose.)

Tip: Introduce just one or two games at a time. For example, my 5th graders have been playing Ultimate Quiet Mouse and Talking Rainstick for a few weeks. I plan to save some of the others for the end of the year— anything to help end-of-the-year 5th grade engagement!

Tip: Leave a few of these as part of a sub plan. The kids will be able to lead themselves!

If you have questions or line-up games you would be willing to share, please email me at swall@homewood.k12.al.us.

Sadie Hadaway Wall is the music teacher at Edgewood Elementary School in Homewood, AL and is pursuing her Masters Degree in Music Education at Texas Tech University. She holds a Level I certificate in Orff, is Kodály certified through the University of Montevallo Kodály Institute, and has completed an additional Kodály Level III at the West Texas Kodály Initiative. She serves on Alabama’s Orff and Kodály boards as Hospitality chair (Alabama AOSA) and Member at Large (SHAKE). She is a member of Alabama Voices and is the recipient of AMEA’s 2021 Outstanding Young Music Educator Award.

Seeing Band Through a Different Lens

Joel Henson - President, Alabama Bandmasters Association

Parent’s Lens: It’s easy to forget that this season is the first for several of our students. This past fall brought about a new experience for me. My oldest son was spending his first year at a high school band camp. I have been a part of band camps for many years and never thought much about the parents who were leaving their kids in my care for eight hours a day. As I watched him walk in I had some very interesting thoughts:

This year certainly started a little differently than I had planned. Just when I thought the pandemic was coming to an end, we are dealing with a new variant that has presented new challenges and difficult decisions. Honestly, there have been days where I have allowed myself to fall into a funk due to the unknown and daily quarantines. Your perspective has a profound impact on your purpose. Considering different lenses will help you navigate yet another challenging year and give you the will to persevere.

Director’s Lens: Band directors are some of the hardest working professionals in the world. Countless hours are spent planning, rehearsing, and participating in band activities. We see the value in the activity and push students to heights they didn’t even know were possible. Regardless of the circumstances, we have focused on providing as close to a normal band experience as possible for our students. We know the value of the activity and keep the student’s well-being our top priority. During the pandemic, we have had to make decisions in areas that none of us are qualified. We have had to keep a healthy balance of musical achievement, student life, health, and safety to operate a successful program during a global pandemic.

Student’s Lens: As bad as we hate to admit it, most of our students are in band for reasons other than musical achievement. Many of our students do band for the social outlet that it gives them. Others do band to have opportunities that they wouldn’t have without being involved in the activity. Many of our students are finding a place where they belong for the first time in their life. There are the few students who have found their true passion and we have to provide them with the experiences that will push them as well. Students, at the end of the day, want to please their directors. Students are pulled in so many directions. We have to make sure we are giving them an experience with realistic expectations to avoid disappointment and burnout.

● I hope he makes some new friends.

I hope he likes it.

● Did we do all the things? (Hydrate, Sunscreen,

● DEODORANT)

● Will it be fun?

Will he want to go back?

●

This event made me question what was important to my students and parents. Do we spend as much time thinking about our kid’s experience as we do musical excellence?

Which Lens Do You Look Through?:

To truly be a successful music educator, we have to be able to see through all three lenses. As bad as I hate to admit it, my definition of success once centered around marching contests and performances. As I have aged as a music educator, I have seen trophies and accomplishments come and go. The relationships and experiences we give our students are what will go with them for the rest of their lives. What is important to us is sometimes not the same things that are important to our kids and parents. Finding the correct balance of these lenses will lead to a more positive experience for students, parents, and even us directors.

Take Note

Please make sure you have registered on our new ● website: www.alaband.org

You must be a member of NAFME to register. In the near future, you will not receive correspondence from ABA if you have not registered.

We are now accepting applications for collegiate / ● professional performing ensembles for the 2022 AllState Band Festival. The application can be found on our website.

Registration for All-State auditions will take place on the ● director’s side of our website. This registration will open on Nov 1, 2021.

● is being held June 28-30, 2022 in the newly renovated Perdido Beach Resort in Orange Beach, Alabama.

Please make plans to attend the Summer Conference. It

The Alabama Music Educators Association conference is an amazing opportunity for directors to immerse themselves in new teaching techniques, make important connections, visit with old friends, and most importantly, to listen to some of the finest ensembles in our state.

I think it should be an aspiration for all directors to regularly apply and eventually perform at AMEA. I have been fortunate to be involved in four AMEA performances and I can truly say the entire experience fundamentally changed me and the ensembles I’ve worked with. I’ve seen it transform my students’ musical understanding, raise other’s awareness of my school’s program in our community, and open doors for me and my students to participate in other excellent performing venues.

The purpose of this article is to shed light on a process that seems daunting and difficult to navigate. My objective is not to present a cookie-cutter step by step comprehensive course on how to be selected, but to share how I think the process of applying and being selected will improve you and your program. While every situation is unique, and every ensemble has its challenges, the process of submitting a recording will be a valuable learning and growing experience for all involved!

Thoughts on the Application

Affordable Recordings. A high-quality live recording of your ensemble is essential to get invited to perform at AMEA and it speaks volumes during the selection process. Quality recordings can come from home concerts or dedicated recording sessions depending on your budget, so it’s important to consider what you can afford before embarking on this journey.

One cost-saving approach is to use your Music Performance Assessment recordings. These are ideal because they come to you at no extra expense, and they are usually one of the most polished performances of the year. A more

Are You Ready? From Application to Applause, Applying and Performing at AMEA Part 1

by Mike Guzman

expensive approach that may not fit most budgets is to contact a professional recording company to record your school concerts or dedicated “studio” sessions. Finally, a less expensive but practical option is to purchase a personal recorder, such as the Zoom H4n Pro, to create quality recordings at an affordable price. The bonus being it can also be used yearround as a teaching tool beyond the application process.

Recording Bank. No matter what approach you decide to take, it is imperative to create a bank of recordings by capturing every performance throughout the year. This will give you options to select from beyond your Music Performance Assessment recordings. Ever have a great run of a piece at the Christmas concert? Well, this is a great opportunity to keep it and have it available for your application.

Finally, the process of transforming every concert into a critical recording opportunity serves as a much-needed “carrot on the end of a stick,” motivating your students to excel and focus on every detail every time they play. Do we have to wait for music performance assessment to have the best and most well-prepared recordings? No, we can and should hold every performance to the same high standards.

Application Letters. Aside from quality

recordings of your ensemble, it is also important to secure several letters of recommendation for the application. These letters must be sincere and describe your skills as a director AND highlight the ability of your ensemble to prepare and present a challenging and polished program during a very difficult time of the year.

Letter writers should be individuals who have extensive knowledge of and experience with your program. These could be local directors that regularly work with your band or retired and respected educators from across the state. Just as with recordings, you need to build a “bank” of individuals that you can reach out to when it comes time to apply and request application letters. Therefore, it is important to have respected colleagues regularly spend time working with your group so they can speak of their experiences with you and your band firsthand.

Acceptance

Now that you’ve been accepted to arguably one of the most important performances of your career and the history of your program, it’s time to “get the word out” about this honor. But before you do that, you will need to inform some very important people––your students.

Students First. It’s imperative that your students are the first to hear the good news before it hits social media and other circles. All students should hear it in person directly from you as you share your feelings and express your gratitude for their dedication and hard work. Reiterate your aspirations and remind everyone that acceptance is a major accomplishment for the program, school, and community.

Your band parents, school administrators, and the community are next. Parents need to be not only informed but educated as to why performing at AMEA is a celebrated educational opportunity for their children. The administration, faculty, and central office personnel need to hear the news, learn about the magnitude of this achievement, and know how students will benefit from it. Finally, it’s prudent to establish a core group of parents to produce a quality “media package” to inform the community at large through newspaper articles, radio, television, and other outlets. All should emphasize a common theme, “we are all in this together and everyone should celebrate our students’ successes and see how their school’s band program is meeting educational and performance goals.”

Planning

Once you have informed your students, it’s time to make a plan! I advise you immediately begin this process and create a road map to a successful performance. It is critical to work backward from your destination––your band’s performance at AMEA. Think about every element necessary to foster a successful performance day for you, your students, and your audience: great repertoire, guest conductors, fine-tuned logistics, student needs, reliable transportation, informative concert programs, and the many other things that go into an event of this magnitude.

Consider Your Daily Curriculum (Repertoire)

I’ve noticed that sometimes ensembles perform music that is beyond their students’ capabilities, yet it is not prepared to a level that reflects their-day-to day

efforts and accomplishments. Your AMEA program should highlight your ensemble’s strengths by showcasing the excellence your ensemble already strives for through the repertoire they normally prepare and perform. Carefully examine the repertoire your band plays throughout the year. This is your program’s curriculum and it will help you determine what to play at AMEA. If your band regularly plays grade 4 literature, play grade 4 literature at AMEA; grade 3, play grade 3, play the level of literature that led to the invitation to play at AMEA.

If your band’s usual repertoire includes a balance of diverse styles, periods, and musical structures, it will be easy to program a concert for AMEA. Like a nutritious diet or meal…you become what you eat...your band becomes what they play. Your program should regularly highlight quality literature of varying difficulty. Some works need to stretch your ensemble’s technique and others their musicianship. And yet, others should be played for their sheer intrinsic musical appeal. This daily approach expands the scope of your musical curriculum, develops transferable musical skills, and adds interest and variety to your band program. Regardless, whether grade 1 or grade 6, your daily “meal” needs to be of the utmost quality for the sake of you and your students.

Programing for the Concert

Once the logistics are in place, it’s time to select the exact literature to perform at AMEA. It’s important to select music that serves the professional needs of our band director community and yet is enjoyable and transformative for your students. The time and effort needed to prepare a difficult program needs to realistically balance the benefits your ensemble will reap with the possibility of students taking on too much and suffering from burnout. This also applies to band directors––myself included.

Reuse Your Repertoire. Many professional orchestras and military bands reuse repertoire that was performed earlier in the year to help meet a busy schedule. If your day-to-day repertoire is of high quality, this works very well. Prior performances should have presented a balanced program including marches, lyrical/expressive music, overtures, fanfares, and other musical styles of various periods. One could choose one or more pieces from a fall concert and a few more from another concert in December. Not having to start from scratch saves time, and helps students feel more comfortable with the program. I believe this technique allows students to avoid burnout. It is my experience that performing pieces more than once gives students the opportunity to know the music well enough that they go beyond the notes, take risks and make music. Surprisingly, this provides a freshness to the performance.

Variety of Music Levels. In my opinion, a program comprised of only grade six works is not as beneficial to the directors in our state, audience, and students as a program that is a combination of levels.

An AMEA performance is a clinic and professional learning situation for all directors. Ensembles at The Mid-West Band and Orchestra Clinic feature literature of varying difficulty, which I personally enjoy because it gives me the opportunity to take something with me that I can use for my ensemble. In essence, your performance must have something for everyone

Ensemble fit. Overprogramming must be considered as it can lead to burnout. It is critical to consider the amount of time available to prepare, the performers’ strengths, weaknesses, and endurance. A program that fits the ensemble’s abilities will be much better received than one that is not––“success breeds success” as Tommy Brannon regularly says.

One can draw parallels to “polarized training” in cycling where workouts contain intervals of high and low intensity. The same concept applies to good music and to programming quality repertoire for AMEA, times of high difficulty and times of lesser difficulty. I avoid over programming for the sake of my students and my sanity.

Theme. Another approach is to program based on a specific music period, composer, or abstract concept such as a lineage concert (featuring composers, their teachers, and their students). In my

experience, there does not need to be an obvious theme to have a cohesive program. One word can connect it all. For example, a “Snapshots” themed concert could feature music your ensemble played throughout the year. However, be careful not to overemphasize a theme as it could lead to banal programming.

Rehearsal Schedule. When planning a performance of this significance this early in the semester, it is critical to think about your rehearsal schedule. You want to have enough rehearsals to present a polished and inspired performance while not burning out the students. The number of extra rehearsals needs to be carefully considered. Overscheduling of rehearsals is a warning sign that the program is too difficult and will lead to burnout and an uninspired performance that will negatively affect students’ perceptions of the entire event. This means that the repertoire will have to be prepared prior to the second semester to minimize overrehearsing throughout the process, especially in January. I try to avoid rehearsals during holidays. My adage is, if your students aren’t ready before the break, they won’t be ready for AMEA.

Guests. You want to bring in guest conductors and clinicians to listen to performances and rehearsals. It’s important to think of this process as a statewide effort. All Alabama directors

want to hear a quality performance that will inspire and rejuvenate them, especially after this past year, and they want to see you, their colleague, succeed. In my experience when you ask another director for help, they will be more than willing to assist you and your students.

Collaborations like this are what make our profession so special. While it can be intimidating to invite other directors to your rehearsals, work, or conduct your group, it will prove to be a beneficial experience for you and your students. An example is having a mentor that you trust come and work with you and your group. They can offer valuable insights that will further enrich your student’s musical experience.

Financial Support.

As with all aspects of your program, finances play a large part in making this performance possible. Outside of some fortunate situations, most programs do not have adequate funding to take advantage of opportunities like performing at AMEA. It’s important to consider the financial impact this opportunity will have on your program. You should consider this endeavor an investment in you and your students. It is also an investment in your school and community as it brings to light how your community supports the arts.

Community funding is another instance where a parent committee can create a media package to be disseminated to garner financial support. Social media and donating via platforms such as Venmo and PayPal offer a direct way for supporters to contribute. Politicians and business owners are also eager to help. These entities want to be connected to success, and AMEA is an outstanding opportunity to make a connection. Politicians also have discretionary funds and are usually very motivated to assist in these kinds of situations.

While they rarely have a surplus, administrators are adept at acquiring funds to assist worthy causes like your upcoming performance. This is an opportunity for the school to get its name out in the community and state. It is my experience

that a strong effort to assist with finances is usually made. Another option is grants. Some school systems have a grant writer on staff to assist with applying to fund expenses associated with a performance such as yours. Reach out to your school officials and discuss all funding options available. It is critical to reach out to them not only with your needs but also with possible solutions and ideas. This collaboration will prove to be the most effective way to raise the funds necessary for AMEA.

Active vs. Passive Fundraising. The final fundraising opportunity to consider is an “active” fundraiser. These involve a significant number of manhours to be profitable. “Passive” fundraisers require little time and effort. While this seems straightforward, it can be a slippery slope because undertaking a fundraiser that will only benefit a certain group of students will not be popular. Instead, promote the fundraiser as a full program effort as this performance will highlight the excellence of the entire program. This will increase the motivation to participate. It is important to consider the load that “active” fundraisers place on students and parents’ time, as you will be demanding more of it; always be mindful to not stretch the students and parents too thin. However, there are several types of “passive” fundraisers that require little time and effort but provide significant financial assistance. Examples are online donation platforms or large item sales such as mattress sales.

AMEA Trip Planning

With all the excitement of being accepted and setting up your performance, it is easy to get caught up in the music and ignore the logistics. It is important to start the trip planning process early. Acquiring buses, hotel rooms, and equipment trucks can be time-consuming and frustrating. There are ways of distributing the workload while getting everything situated and not taxing you or your students and detracting from the process of making music.

First, consider planning the trip by recruiting the directors in your school

community. These individuals have experience planning major performances and thinking through trip logistics. While it is tempting to take this on yourself, you must think of the welfare of the students and how the burden of administrating a trip will affect your teaching.

Another option is recruiting boosters to assist you. While they might not be versed in band logistics, there may be parents that are adept at doing some of the things necessary for the trip. One example would be parents that are travel agents or event planners. These individuals are used to working on these types of events and can be helpful. Creating a committee of parents with these skills will lighten the load and make it a more pleasurable experience. As always, the director needs to be involved in the decision-making process and make sure the boosters are complying with all school and director regulations.

Finally, the last option to consider is enlisting the help of a travel agent. While this is the costliest approach, it can lighten the load on the directors, parents, and students. Although a travel agent cannot help you with the logistics of the performance, they can help with the timeconsuming and daunting process of acquiring buses, hotels, and other logistics. This approach saves time and allows the

director to focus on the students. It is very important to communicate this to all stakeholders, so they see the benefit of taking this course.

Up Next. The acceptance has been celebrated, stakeholders informed, repertoire selected, and funds raised but there is much more to do to make this performance a reality. Managing your student personnel and what happens on the day of the performance are still to come. Most importantly, what happens after the performance and how it will affect the continued growth of your program.

Editor’s Note: Stay tuned for Part 2 of this article in the February/March issue of Ala Breve.

Mike Guzman is Director of Bands at Hewitt-Trussville High School in Trussville Alabama and doctoral student in Music Education at The University of Alabama. He holds degrees from The University of Miami and Florida International University. Mr. Guzman is an adjudicator, clinician, and conductor throughout the southeast.

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2022 AMEA Conference Schedule

5:00-7:00 pm

5:00-7:00 pm

7:15-9:30 pm

Wednesday, January 19, 2022

AMEA Governing Board Meeting, Sheraton Forum L

AVA Scholarship Audition, Sheraton Forum F

ABA Board Meeting, Sheraton Forum C

7:15-9:30 pm AOA Board Meeting, Sheraton Forum D

7:15-9:30 pm

7:15-9:30 pm

7:15-9:30 pm

AVA Board Meeting, Sheraton Forum F

Collegiate Board Meeting, Sheraton Forum E

AMIEA (Alabama Music Industry Educators) Board Meeting, Sheraton Forum L

Thursday, January 20, 2022

7:30 am -5:00 pm

8:00-9:00 am

9:00 am - 4:00 pm

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:30 am

10:00 am-5:30 pm

10:30 am

Conference Registration Open, Sheraton Forum Registration Desk

AMEA Leadership Breakfast, BJCC East A-B

FAME, Sheraton Forum E

ABA Concert Session, BJCC Theater

Hewitt-Trussville High School Wind Ensemble, Mike Guzman, Conductor

AVA Interest Session, Sheraton Forum A-B

May the (Tuning) Forks Be With You: Independent Musicianship Through Audiation - Matt Carey, Clinician

HED Interest Session, Sheraton Forum C Technology Overload: Stepping Back to What We Really Need - Jane Kuehne & Chase Moore, Clinicians

ABA Interest Session, Sheraton Forum G Five Techniques to Make Your Flutes Sound Better Today - Ginger Zingara, Clinician

AOA, Collegiate, and Elem/Gen Interest Session, Sheraton Forum G Supporting All Learners in the Music Classroom - Morgan Soja, Clinician

Elementary/General Interest Session, Sheraton Forum K Creating Meaningful Movement Opportunities - Lesley Dennis, Clinican

Lobby Performance, BJCC East Ballroom Lobby

Clay-Chalkville High School Brass Quintet

Exhibits Open, BJCC East Ballroom

Lobby Performance, BJCC East Ballroom Lobby Exit 51 Saxophone Quartet (Auburn University)

11:00 am-12:00 pm A VA Interest Session, Sheraton Forum A-B

Building & Maintaining a Thriving Choral Program: The Things You Didn’t Learn in College Megan Rudolph, Clinician

11:00 am-12:00 pm

HED Interest Session, Sheraton Forum C

Infusing Diversity into the Curriculum: Developing Open Educational Resource Materials Carly Johnson, Clinician

11:00 am-12:00 pm

AOA Interest Session, Sheraton Forum D

Intonation is Not Something Students Get for their 14th Birthday! - Anne Witt, Clinician

11:00 am-12:00 pm

11:00 am-12:00 pm

11:00 am-12:00 pm

11:30 am

12:00-1:00 pm

12:00-1:00 pm

12:00-1:00 pm

12:30 pm

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

1:30 pm

2:00-2:45 pm

2:15-3:15 pm

ABA Interest Session, Sheraton Forum Theater

Strategies for Inspired Rehearsal - David Ragsdale, Clinician

Collegiate Interest Session, Sheraton Forum G

Gesture Matters! An Interactive Gesture Refresher - Cameron Weatherford, Clincian

Elementary/General Interest Session, Sheraton Forum J

Music as Early Intervention in the Early Years - Andrea Cevasco-Trotter, Clinician

Lobby Performance, BJCC East Ballroom Lobby

Smiths Station High School Low Brass Ensemble

HED Luncheon, BJCC East A-B

Past Presidents Luncheon, BJCC East C

FAME Luncheon, Sheraton Forum H-I

Lobby Performance, BJCC East Ballroom Lobby

Shelby County High School Chamber Ensembles

ABA Concert Session, BJCC Theater

Thompson Middle School Symphonic Band, Michael Chambless, Conductor

AVA Interest Session, Sheraton Forum A-B

Eves & Adams: Suggestions & Strategies for Teaching Treble Choirs - Phillip Stockton, Clinician

HED Interest Session, Sheraton Forum C

Including English Learners in Music Classrooms - Julie Bannerman, Clinician

Collegiate Interest Session, Sheraton Forum G

Innovative Rehearsal Techniques from Around the Country - Gary Stith, Clinician

Elementary/General Interest Session, Sheraton Forum J

Pop Rhythms - Carrie Cruz, Clinician

AOA Exclusive Exhibit Time, BJCC East Ballroom

Lobby Performance, BJCC East Ballroom Lobby

McAppella (McAdory High School)

ABA Concert Session, BJCC Theater

Pelham High School Wind Ensemble, Justin Ward, Conductor

HED Interest Session, Sheraton Forum C

Beyond your Music Classroom: Supporting Transition for Students with DisabilitiesEllary Draper, Clinician

2:15-3:15 pm

2:15-3:15 pm

AOA Interest Session, Sheraton Forum D

Advocacy: Why Strings? - Joanne May, Clinician

Collegiate Interest Session, Sheraton Forum G

Mentoring First-Generation Music Students from Low Socioeconomic Backgrounds

Carly Johnson, Clinician

2:15-3:15 pm

AMIEA Workshop: Sheraton Forum A-B

Music Industry 101 - Thomas Furlough & Michelle McDonald, Clinicians

2:15-3:15 pm

2:15-3:15 pm

2:30 pm

3:30-4:30 pm

3:30-4:30 pm

Elementary/General Interest Session, Sheraton Forum J

That Gal's Not Even from Alabama! - Becky Halliday & Rob Lyda, Clinicians

AVA Exclusive Exhibit Time, BJCC East Ballroom

Lobby Performance, BJCC East Ballroom Lobby

Auburn University Double Reed Ensemble

HED Recital, Sheraton Birmingham Ballroom

ABA Interest Session, BJCC Theater

Teaching Musicality to Every Student from Beginners "To Infinity and Beyond"

Bill Connell, Clinician with the Bob Jones High School Wind Ensemble, Leigh Thomas, Conductor

3:30-4:30 pm

3:30-4:30 pm

Collegiate Exclusive Exhibit Time

AVA Interest Session, Sheraton Forum C

Mini Breath Boot Camp: Breathing Work and Biomechanics for Singers

Alexix Davis-Hazel , Clinician

3:30-4:30 pm

AOA Interest Session, Sheraton Forum D

Ensemble Rehearsals that Incorporate Language Arts: Not Mission Impossible!

Richard Cangro, Clinician

3:30-4:30 pm

3:30-4:30 pm

3:30 pm

4:30 pm

4:30-5:30 pm

5:30-6:30 pm

7:00-7:45 pm

7:00-8:00 pm

7:00-9:00 pm

ABA Interest Session, Sheraton Forum G

Clarinet Set-up Made Simple - Meghan Merciers & Jessica Hood, Clinicians

Elementary/General Interest Session, Sheraton Forum J

Sing, Say, Dance, Play...Ukulele Style - Tiffany English, Clinician

Lobby Performance, BJCC East Ballroom Lobby

Benjamin Russell Brass

Lobby Performance, BJCC East Ballroom Lobby

Jam Session

Exhibit Hall Reception, BJCC East Ballroom

HED/Collegiate Mixer, BJCC East A-B

ABA Concert Session, BJCC Theater

Bob Jones High School Wind Ensemble, Leigh Thomas, Conductor

Elementary/General Evening Session, Sheraton Forum J

Ukulele Jam Session - Tiffany English, Clinician

AVA Concert Session, Sheraton Birmingham Ballroom

Hoover High School 9/10 Treble Choir - Amanda Slay, Conductor

Grissom High School Chamber Choir - Tucker Ratcliff, Conductor

University of Montevallo Concert Choir - Dr. Melinda Doyle, Conductor

Samford University Acappella Choir - Dr. Philip Copeland, Conductor

8:00-9:00 pm

9:00-10:00 pm

ABA Concert Session, BJCC Theater

Albertville High School Wind Ensemble - Dr. Taylor Cash, Conductor

AOA President’s Reception

7:30 am - 1:00 pm

Conference Registration Open, Sheraton Forum Registration Desk

Friday,

8:00-8:50 am

8:00-8:50 am

8:00-8:50 am

8:00-8:50 am

8:00-8:50 am

8:00-8:50 am

8:45 am

9:00-9:50 am

ABA Business Meeting, Sheraton Forum A-B

Joel Henson, Presiding

AVA Interest Session, Sheraton Forum C

Choral Music as Collaborative Artistry - Joshua Cheney, Clinician

AOA Interest Session, Sheraton Forum D

What If I Have to Teach Orchestra?! Strings for the Non-String Player - Joanne May, Clinician

HED Interest Session, Sheraton Forum E

edTPA From the Inside Out - Morgan Soja, Clinician

Collegiate Interest Session, Sheraton Forum G

Getting the RIGHT Job for You - Anne Witt, Clinician

Elementary/General Interest Session, Sheraton Forum J

Teachers as Facilitators: Orff Schulwerk & Classroom Management - Tiffany English, Clinician

Lobby Performance, BJCC East Ballroom Lobby

Hewitt-Trussville High School Woodwind Quintet

ABA Interest Session, Sheraton Forum A-B

Taking the Fear Out of the Mystery....an approach to sight reading at Music Performance Assessment

Jon Bubbett, Clinician

9:00-9:50 am

9:00-9:50 am

AVA Business Meeting, Sheraton Forum C Randall Fields, Presiding

AOA Master Class, Sheraton Forum D

9:00-9:50 am AOA Master Class, Sheraton Forum E

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:00-9:50 am

9:45 am

10:15 am - 12:00 pm

Collegiate Interest Session, Sheraton Forum G

Creating Obsessed Students: How to Have a 90%+ Retention Rate - Allison Wilkinson, Clinician

Elementary/General Business Meeting, Sheraton Forum J

Sarah McLendon, Presiding

HED Exclusive Exhibit Time, BJCC East Ballroom

ABA Concert Session, Sheraton Birmingham Ballroom

Jacksonville State University Jazz Ensemble I, Dr. Andy Nevala, Conductor

Lobby Performance, BJCC East Ballroom Lobby

Shades Valley High School Saxophone Quartet

AMEA General Session, BJCC Theater

AMEA Business Meeting, David Raney Presiding

Keynote: Matthew Arau

Featured Performance - Act of Congress

12:00-1:30 pm

12:00-1:30 pm

12:15 pm

1:00-3:00 pm

Collegiate Luncheon, BJCC East A-B-C

Phi Beta Mu Luncheon, Sheraton Forum H-I

Lobby Performance, BJCC East Ballroom Lobby

AOA Chamber Orchestra

HED Poster Session, BJCC East Ballroom Foyer

1:00-2:00 pm

AVA Interest Session, Sheraton Forum C

The Process of Programming: A Path to Inspirational, Affordable & Achievable Concerts

Joshua Cheney, Clinician

1:00-2:00 pm

AOA Interest Session, Sheraton Forum D

We All Perform On the Same Stage - Improving the Ensemble Skills Of Your Secondary String Players

Joseph Brennan, Clinician

1:00-2:00 pm

1:00-2:00 pm

1:00-2:00 pm

2:15-3:15 pm

Elementary/General Interest Session, Sheraton Forum J

Orff Schulwerk & Children's Lit: A Natural Fit! - Tiffany English, Clinician

ABA Exclusive Exhibit Time, BJCC East Ballroom

AMIEA Workshop, Sheraton Forum A-B

Bass for Band - Thomas Furlough & Michelle McDonald, Clinicians

ABA Interest Session, Sheraton Forum A-B

Making the Engine Work: The Care and Feeding of Your Jazz Band Rhythm Section

David Allinder, Clinician

2:15-3:15 pm

2:15-3:15 pm

2:15-3:15 pm

AVA Interest Session, Sheraton Forum C

Best Practices in Program Administration for New Choral Directors - Joshua Cheney, Clinician

AOA Interest Session, Sheraton Forum D

Warm Ups for Orchestra Using Rolland String Pedagogy - Joanne May, Clinician

ABA/Collegiate Interest Session, Sheraton Forum G

Analyze, Diagnose, and Prescribe: Finding Solutions to Playing and Sound Issues in Band Rehearsal

Dr. Mark Walker, Clinician

2:15-3:15 pm

Elementary/General Interest Session, Sheraton Forum K

Mentoring Beginning Music Teachers Through Music Education Organizations in Alabama

Morgan Soja, Clinician

3:00 pm

3:30-4:30 pm

3:30-4:30 pm

3:30-4:30 pm

3:30-4:30 pm

Lobby Performance, BJCC East Ballroom Lobby

University of North Alabama Trumpet Ensemble

ABA Concert Session, Sheraton Birmingham Ballroom

Austin High School Percussion Ensemble, Clay Sloan, Conductor

Collegiate/HED Lesson Planning Competition, Sheraton Forum A-B

AOA Business Meeting, Sheraton Forum D

Daniel Stevens, Presiding

ABA Interest Session, Sheraton Forum Theater

This Isn't What We Played in College: Literature Considerations for the New Band Director Craig Aarhus, Clinician

3:30-4:30 pm

3:30-4:30 pm

3:45 pm

4:15-4:45 pm

Elementary/General Interest Session, Sheraton Forum J

The Sound of Success, Phil Wilson, Clinician

AMIEA Roundtable Discussion, Sheraton Forum C

Recording Technologies for the Music Educator w/Artists Chris Vrenna, Michael Ivy, & Jimmy O’Cain

Lobby Performance, BJCC East Ballroom Lobby

Troy University Trombone Octet

AVA Concert Session, Sheraton Birmingham Ballroom

All-State Show Choir - Ly Wilder & Ellie Jordan, Clinicians

Friday, January 21, 2022

4:45 pm

4:30-5:30 pm

7:00-9:30 pm

Lobby Performance, BJCC East Ballroom Lobby

Alabama Winds Clarinet Quartet

Exclusive Exhibit Final Hour, BJCC East Ballroom

AMEA General Session, BJCC Theater

AMEA Awards

Alabama Honor Choir - Jenna McLean, Clinician

Oak Mountain High School Wind Ensemble - Kevin Ownby and Dr.Travis Bender, Conductors

9:30-11:00 pm

AMEA President’s Reception, Sheraton Birmingham Ballroom

Saturday, January 22, 2022

8:00-9:00 am

AVA Interest Session, Sheraton Forum C

An Introduction to Vocal Function: Exercises to Promote Vocal Health in the Choral Classroom

Michelle DeBruyn & Joshua May, Clinicians

8:00-9:00 am

8:00-9:00 am

8:00-9:00 am

8:00-9:00 am

9:15-10:15 am

ABA Business Meeting, Sheraton Forum Theater

Joel Henson, Presiding

Collegiate/HED Interest Session, Sheraton Forum G

Performance Anxiety: Coaching Students Against the Invisible Enemy - Joshua Meyer, Clinician

Elementary/General Interest Session, Sheraton Forum J

The Music & Movement of Brazil in the Elementary Classroom - Edwin Anderson, Clinician

AOA Reading Session (Strings), BJCC Theater

AVA Interest Session, Sheraton Forum C

High School Vocal Repertoire: A Scaffold Approach Promoting Vocal Health & Musicianship Skill Building

Michelle DeBruyn & Joshua May, Clinicians

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:15 am

9:15-10:00 am

10:30 am-12:00 pm

10:30-1:30 pm

HED Interest Session, Sheraton Forum E

HR 101-Understanding the Hiring Process in Higher Education - Gabriel Woods, Clinician

ABA Interest Session, Sheraton Forum Theater

How to Gain Support for Your Program - Jessica Hood & Daniel Seay, Clinicians

Collegiate Interest Session, Sheraton Forum G

Bridging the Gap: Finding Ways to Link Music and Art - Brett Richardson, Clinician

Elementary/General Interest Session, Sheraton Forum J

Gotta Move! - Tiffany English, Clinician

AOA Reading Session (Full Orchestra), BJCC Theater

Lightning Round, Sheraton Forum Theater

ABA Concert Session, BJCC Theater

10:30 am - All-State Middle School Jazz Band - Craig Cagle, Clinician

11:15 am - All-State Bronze Jazz Band - James Crumb, Clinician

12:00 pm - All-State Silver Jazz Band - Steven Roberts, Clinician

12:45 pm - All-State Gold Jazz Band - Alan Baylock, Clinician

1:00-3:00 pm

1:00-3:00 pm

ABA Adjudicator’s Clinic, Sheraton Forum G

Chris Lindley & Terry Ownby, Clinicians

AMEA Governing Board Meeting, Sheraton Forum E

David Raney, Presiding

2022 AMEA Performing Groups

The Albertville High School Wind Ensemble is the premier ensemble of the Albertville Band Program. The Wind Ensemble performs at four concerts per year, and has never received less than a Superior Rating at the Alabama Bandmasters Association State Music Performance Assessment. The Wind Ensemble consists of a select group of students who perform grades 4, 5, and 6 level Wind Band Literature. The Albertville Wind Ensemble is under the director of Dr. Taylor Cash.

The Austin High School Percussion Ensemble is composed of percussion students from the Austin High School Band. It is one component of the Austin High School band program, which also includes the Pride of Austin High Marching Band, the Symphonic Band, and the Jazz Band. The purpose of the Austin High School Percussion Ensemble is to help students grow musically through the performance of quality percussion literature in a variety of musical styles and genres. By utilizing the flexible instrumentation of the modern percussion ensemble, the group can perform musical selections that range from a full ensemble of 15-20 students to chamber works that utilize only a few players. This flexibility allows each student to be a contributing member of the ensemble at his or her own ability level. The Austin High School Percussion Ensemble performs multiple times throughout the year and also hosts the annual North Alabama Percussion Festival. This event provides percussion ensembles from throughout the area the opportunity to perform for and receive feedback from world-class percussion educators. Through the years the ensemble has performed for clinicians such as Thom Hannum, Dr. Iain Moyer, Dr. Jason Baker, Dr. Tony McCutchen, Neal Flum, Edward Freytag, and Scott Brown.

The Bob Jones High School band program consists of a football marching band, competition marching band, varsity and junior varsity winter guards, indoor drumline, percussion ensemble, concert band, wind ensemble, and jazz band. The competition marching band most recently placed 3rd at the Alabama State Championship in 2019 and also performed and competed in the Outback Bowl band and parade competitions in Tampa, FL in early 2020. The winter guards and indoor drumline compete in SCGC and WGI events throughout the southeast and have traveled to Dayton, OH for World Championships. Most recently, the indoor drumline was named 2021 SCGC Scholastic A gold medalists. Both the wind ensemble and concert band received straight superior ratings at the Virtual Music Performance Assessment in 2021. Additionally, the wind ensemble was a feature performance at the 2017 Alabama Music Educators Association State Conference and the 2019 University of Alabama High School Honor Band Festival. The percussion ensemble was a featured performance at the 2019 Alabama Music Educators Association State Conference.

Grissom Choir has held a standard of excellence for the vast majority of its active years at Grissom High School. Upwards of 120 Grissom High School students are current members of one or more of the 4 curricular choirs: The Women’s Chorus, Men’s Chorus, Concert Choir, and top auditioned ensemble: The Chamber Choir. Grissom Choir is consistently known for its dedication to classical choral singing, as well as its inclusion of vocal jazz/pop repertoire. Every year, each choir in the department scores overall Superior & Excellent ratings at State Choral Performance Assessment, as well as individual Superior ratings at the Alabama Solo & Ensemble Festival. Many of our students are involved in Huntsville’s All-City Choral Festival, as well as Alabama’s All-State Choral Festival each year. During the 2020-2021 School Year, Grissom Choir and its students persevered through challenges and limitations, resulting in performance opportunities that were not achieved by other choral departments across the state: an outdoors Fall Concert, an indoors socially distant Winter Concert, as well as a traditional Spring Concert. The Chamber Choir was established in 2018 and is the auditioned, advanced ensemble open to students in 10th-12th grade at Grissom High School. Students must maintain a level of music proficiency that would enable them to be a contributing member of the ensemble. During its 3 1/2 years of existence, the ensemble has grown exponentially in character, morale and skill. The Chamber Choir learns anywhere between 20-25 songs each school year, performing Concert Choir repertoire alongside their Chamber Choir repertoire. These students are not only involved in choir and its respective extracurriculars such as All-City, All-State, and Solo & Ensemble, but also other areas of the school community such as Band, Dance, Theatre, Sports, AP Courses and more.

2022 AMEA Performing Groups

Hewitt-Trussville High School is located in Trussville, Alabama and is part of the Trussville City School System. The school has more than 1500 students in grades nine through twelve. The Hewitt-Trussville High School Marching Husky Band is an integral part of the Friday night experience during football season. Each year, students and staff spend countless hours preparing for their Friday night performances. The Marching Husky Band competes in several marching competitions each fall and consistently earns Superior ratings at these competitions. For concert season, students are placed into one of three ability-based performing groups. The HTHS Wind Ensemble, Symphonic and Concert Bands are under the direction of Mike Guzman. The Concert Jazz Band is under the direction of Mike Guzman and performs at several community events throughout the school year.

9/10 Treble Choir is a non-auditioned ensemble made up of 9th and 10th grade students. This ensemble has been meeting as a class at Hoover High School since the 2017-2018 school year. This ensemble is co-taught by John Kincaid and Amanda Slay, with Mrs. Slay serving as the lead conductor/teacher. The 9/10 Treble Choir works to sing the best of choral repertoire for treble voices that is as fun as it is diverse and educational. In addition to a heavy emphasis on building healthy tone and vocal production, members of the choir switch voice parts for each song in order to build range, develop aural skills, and overall musicianship. We strive everyday to create a positive and uplifting environment where each student can take risks, grow and learn.

During the 2020-21 school year, having a normal rehearsal schedule was out of the question. While other schools were unable to perform (even other music areas at JSU), JSU Jazz Ensemble I managed to rehearse and release three videos on Youtube, two of which featured guest artists. Mike Williams, the former lead trumpet player with the Count Basie Orchestra, joined us on “Come Fly With Me’, and Darren Kramer, trombonist, and Ableton Live artist, joined us on one of his original compositions, “Oban Wan Kenobi”.We were also able to produce our 2021 Jazz Festival virtually, which featured JSU Jazz Ensembles I, II, III, the JSU Latin Ensemble, Hoover High School First Edition, Thompson High School, Gadsden State Community College, the JSU Jazz Faculty featuring Chris Fryar, and the new Alabama Jazz Collective. JSU Jazz Ensemble I was selected to perform at the 2020 JEN International Conference in New Orleans and won a Downbeat Award in 2015. I can say, without hesitation, that no other jazz program in the state of Alabama (or the entire Southeastern Region) was able to accomplish more than the JSU Jazz Program did this past year, both in the quantity of work released to the public and quality of work. With the new Jazz Performance Degree coming next year, we are establishing ourselves as one of the premier schools for Jazz in the region, and a performance opportunity at AMEA would be a great award to our students, who have accomplished so much in this difficult time.

The Oak Mountain Wind Ensemble is made up of seventy-three ninth through twelfthgrade students at Oak Mountain High School. Membership in the band is determined by individual audition. Since the school’s inception, the ensemble has continued to push the boundaries of high school musicianship by performing literature in the advanced realm of the wind band repertoire. Students in this ensemble regularly pursue roles in the Alabama AllState Bands and Orchestras. From 1999 to 2012, the ensemble was under the direction of Jim Duren. Now, under the direction of Kevin Ownby, the OMHS Wind Ensemble has continued a tradition of excellence, consistently receiving superior ratings at adjudicated competitions and assessments. The ensemble has twice been invited to perform at Carnegie Hall in New York City. In the spring of 2016, the ensemble performed as a featured band at the Music for All National Band Festival in Indianapolis. The ensemble has been invited to perform at the Alabama Music Educators’ Association Conference five times since the school’s opening and will be performing at the University of Alabama Honor Band as a guest ensemble in 2018.

2022 AMEA Performing Groups

The Pelham High School Band has a rich tradition of musical excellence dating back to the program’s inception in 1974. The Pelham High School Band Program is composed of two concert ensembles, a jazz ensemble, a marching band, two percussion ensembles, a color guard, a winter guard, a dance team, majorettes, and numerous chamber ensembles. The Pelham Wind Ensemble, the premier performance group at Pelham High School, has performed at numerous state and regional conferences and competitions including the Music for All National Festival, Southeastern United States Concert Band Clinic (SEUS), Grand National Adjudicators Invitational, The Atlanta International Band & Orchestra Conference, Southern Instrumental Conductors Conference, and the Alabama Music Educators Association In-Service Conference (1990, 1994, 2005, 2010, 2013, 2018). Under the direction of Justin Ward, the Pelham Wind Ensemble has been invited and performed as a featured ensemble at the Southeastern United States Concert Band Clinic (2015), The University of Alabama Honor Band Festival (2016), the Kennesaw State University Concert Band Invitational (2017), the UAB Concert Band Invitational (2017), the Alabama Music Educator’s Association In-Service Conference (2018 & 2022), and the Music For All Southeastern Regional Concert Festival (2019)

The Samford University A Cappella Choir was founded in 1939 and serves as the flagship choral ensemble at Samford University. Under the direction of Philip L. Copeland, the choir has received invitations to perform most recently at the National Collegiate Choral Organization in 2013 and the 2022 Southern Regional Conference of the American Choral Directors Association in Louisville, KY. The choir travels internationally every two years and frequently participates in international choral competitions, sweeping all of the top awards at the 2018 Laurea Mundi competition in Budapest, Hungary, and the 2016 ŠIAULIAI CANTAT in Lithuania. For the past eleven years, the choir’s campus performances have been centered around a monthly service of Vespers, a worship event that formally combines Samford University’s sacred spaces and Christian mission.

The Thompson Middle School band program serves 290 students in grades six through eight. Sixth-grade students are placed in the beginning band program where they receive group and individualized instruction. Mr. Chambless teaches the beginning band woodwind and percussion classes, and Mrs. Greene teaches the beginning band brass classes. Each beginning band class meets every day for 48 minutes. In the seventh and eighth grades students are placed in one of three ability-based performing bands. The top ensemble, Symphonic Band, and third band, Concert Band 2, are under the direction of Michael Chambless, and Concert Band 1 is under the direction of assistant director, Meredith Greene. Concert Band 1 and 2 meet every day for 52 minutes, and the Symphonic Band class meets every day for 65 minutes. The Thompson band program has received many awards as well as earned consistent superior ratings at the yearly Alabama Bandmaster’s Music Performance Assessment festivals. The Thompson Middle School Symphonic Band was invited to perform at the 2018 University of Alabama Middle School Honor Band Festival. The success of our program is due to the support of the administration at TSGC and TMS, the parents, the community, the educators, and the hard work of our students.

The CONCERT CHOIR is the premier choral ensemble at the University of Montevallo and is among the most highly regarded choirs in the southeast. Under the direction of Dr. Melinda Doyle, this auditioned ensemble comprised of both music majors and non-music majors performs a diverse repertoire ranging from choral masterworks to spiritual arrangements. The choir tours annually, making appearances throughout Alabama, Florida, Georgia, Louisiana, and Tennessee, and has performed featured concerts for the American Choral Directors Association and the Alabama Music Educators Association In-Service Conference. Recent highlights include the choir’s debut performance at Carnegie Hall for the 2019 Gotham Sings Choral Showcase in New York City and a featured performance for the 2019 Louisiana American Choral Directors State Conference in New Orleans. In summer 2015, the choir performed in some of the world’s best-known musical venues on their inaugural European Performance Tour of the Czech Republic, Hungary, and Austria. More recently in summer 2018, the choir embarked on their second international invitational tour to the United Kingdom and France with performance highlights at the King’s College Chapel, Canterbury Cathedral, and Notre-Dame Cathedral in Paris. Most recently, in March 2020, the Concert Choir was one of only twenty choirs selected from over 120 applications from across the eleven-state division to perform at the American Choral Directors Association Southern Region Conference. The choir has also performed several major works with the Alabama Symphony Orchestra, including recent performances of Beethoven’s “Ninth Symphony” and Orff’s “Carmina Burana.” In addition to concerts on campus each semester, the Concert Choir is frequently featured in concerts throughout the Birmingham area and presents the annual “A Montevallo Choral Christmas” at the Lucille Ryals Thompson Colonial Chapel at the American Village in December. The choir has also recently recorded new manuscripts for Hinshaw Music, an international choral music publishing company.

2022 Conference Featured Speakers, Performers, & Clinicians

Keynote Speaker: Matthew Arau

Dr. Matthew Arau is an Assistant Professor of Music, Chair of the Music Education Department and Associate Director of Bands at the Lawrence University Conservatory of Music. He conducts the Lawrence Symphonic Band and student and faculty chamber groups, guest conducts the Lawrence Wind Ensemble, supervises student teachers, and teaches Conducting and Instrumental Methods and Rehearsal Techniques I & II. Arau has presented clinics on student leadership, rehearsal techniques, and unlocking potential at the following: The Midwest Clinic: An International Band and Orchestra Conference, the Western International Band Clinic, the American Band College of Sam Houston State University, the Conn-Selmer Institute, the Pan-Hellenic Wind Band Conference in Cyprus, the Colorado, Oregon, and Wisconsin Music Educators Association, Midwest Music Seminars, and universities and high schools around the country. He teaches student leadership at the Metro-Capitol Leadership Academy in Sherwood, Oregon and the Colorado State University Band Leadership Academy in Ft. Collins, Colorado, and he is a Conn-Selmer Education Clinician. He conducts honor bands and honor jazz bands of all levels, is an active concert band, jazz band and marching band clinician, and has continued to be an active jazz and classical saxophonist throughout his teaching and academic career. Arau earned a DMA in Instrumental Conducting and Literature from the University of Colorado Boulder, a Master of Science in Music from the American Band College at Southern Oregon University, and a Bachelor of Music in Music Performance, Jazz Studies and Music Education and a Bachelor of Arts in Government from Lawrence University in Appleton, Wisconsin. Prior to pursuing his doctoral degree, Arau was the Director of Bands at Loveland High School in Loveland, Colorado from 2005-2012 where he established the Leadership Symposium for the development of student leaders. The Loveland H.S. Wind Symphony was featured at the Western International Band Clinic (WIBC) in Seattle and two times at the Colorado Music Educators Association Convention. The Loveland Marching Band won the Colorado 4A State Marching Band Championship and the Class AA Championship at the Bands of America Super Regional in San Antonio, Texas. Arau began his teaching career in 1997 as the Director of Bands at Walt Clark Middle School in Loveland, Colorado. The Walt Clark Honor Band was featured at the Colorado Music Educators Association Convention in 2003. Mr. Arau’s professional affiliations include the College Band Directors National Association, the National Association for Music Education and the World Association of Symphonic Bands and Ensembles. He is a past Western Region Representative of the American School Band Directors Association and Instrumental Representative of the Colorado Music Educators Association. His writings on music and music education are published in Conn-Selmer Touchpoint, Bandworld Magazine, and The Saxophone Journal.

Dave Higgs of NPR proclaimed, “Act of Congress is one of the freshest sounding, exuberant bands in all of the known acoustic universe.” The organic sound of Act of Congress is consistently voted one of the “Must See Live Acts of Alabama.” AOC has completed five tours as U.S. Cultural Ambassadors, led by the U.S. State Department. AOC has performed in countries including Thailand, Oman, Palau, Saudi Arabia, UAE, Philippines, Timor Leste, Bali, Liberia, and Jordan. Highlights from recent trips include Independence Day entertainment for Liberian President Ellen Johnson Sirleaf and the Liberian government, and a feature performance at Jordan’s celebrated Jerash festival. Act of Congress was selected artist for “Keep Alabama Beautiful,” and is currently performing original music at live venues, festivals, and national symphonies; including five performances with the Alabama Symphony Orchestra. AOC has backed up country music star, Sara Evans and American Idol winner, Taylor Hicks. AOC’s current licensing catalog includes Showtime and Google. Act of Congress has released two full-length albums, two acclaimed Christmas EPs, a live CD/DVD, and the documentary “A Week In The Life.” AOC has performed for the likes of Paste, SXSW, Disney, NPR, and Billboard. They have opened Live Nation VIP areas for John Mayer and Edwin McCain and were featured on the nationally syndicated Rick & Bubba Show and Woodsongs Radio on XM Radio. Act of Congress has also won the IMWS Disc Maker’s Grand Prize and Colgate Country Showdown Regional Competition. AOC’s full concert from the International Newgrass Festival has been released in national rotation on public television.

2022 Conference Featured Speakers, Performers, & Clinicians

Alabama Honor Choir Clinician: Dr. Megan Rudolph

Dr. Megan Rudolph is in her 27th year of teaching choral music. Her teaching experience includes teaching all levels of choir and teaching collegiate method classes. Currently, she is the choral director at Vestavia Hills High School where she oversees ten choirs. Her choirs consistently receive superior ratings at state,regional, and national festivals. Choirs under her direction have performed at theACDA National Conference (2019), Alabama State Music Educators’ conference(2019, 2015), and the Choir Nationals for Top Choirs in Carnegie Hall (2017, 2015). Dr. Rudolph is an active presenter, adjudicator, and mentor to young teachers. She is Nationally Board Certified (2013, 2003) and Orff Level I Certified. She has served as the ACDA Southern Division R&R for Vocal Jazz and is the Past President of Alabama ACDA. Additionally, she is a dedicated wife and mother of four children (Alexis13, Austin-11, Zach-8, and Max-6).

All-State Show Choir Vocal Clinician: Ly Wilder

As a contemporary vocal artist and educator, Ly Wilder exhibits an infectious energy and knowledge of style and technique that engages students and audiences alike in jazz and popular music. She has been featured as a vocalist with combos, big bands, and orchestras, as a studio singer for choral demos and as a performer at Walt Disney World singing with legendary artists Joe Williams, Rosemary Clooney, Dianne Reeves, and Diane Schuur. A prolific arranger, Wilder’s works have been performed by university and high school groups world-wide. She is in demand as an adjudicator/clinician for festivals throughout the nation and has conducted All-State Vocal Jazz Ensembles and Show Choirs in Arizona, Colorado, Missouri, Mississippi, Illinois, Indiana, Oklahoma, Washington, and Wisconsin. Ly has taught on the staff of Showchoir Camps of America since 2003 and at the Steve Zegree Vocal Jazz Camp. She serves as the Vocal Director of Bloomington Expressive Arts Training (BEAT), which she co-founded with choreographer Brennan Wilder in 2012. Under their direction, this extracurricular community show choir program has expanded to feature five ensembles (including Syncopation and Amplitude) with students from pre-K through 12th grades. Among her varied musical adventures, Wilder has taught on faculty at the Jacobs School of Music at Indiana University (2013-2017) and on the staff of Purdue Musical Organizations at Purdue University (19972003). She holds a BM in Studio Music and Jazz from the University of Miami and a MM in Jazz Studies from Western Michigan University.

All-State Show Choir Choreographer: Ellie Jordan

Ellie Jordan is a freelance choreographer based in Chicago, Illinois. She is a graduate of Western Michigan University and holds a Bachelor of Arts in Dance. Her technical training is in Jazz, Ballet, Modern, Tap, and Hip-Hop. Ellie was a member and part of the creative team for the Hip-Hop ConneXion-Michigan Dance Company. She has been busy this year as an adjudicator and clinician at various show choir competitions and has enjoyed choreographing for many award winning high school and middle school show choirs across the country. Ellie is a past FAME Aspire award winner. Her choreography has also been featured at Six Flags Great America, as well as in the musicals, Beauty and the Beast, The Little Mermaid, Bring It On, Phantom of the Opera, Godspell, West Side Story and Singin’ In the Rain. Ellie also spends her summers as a choreographer for Showchoir Camps of America.

2022 Conference Featured Speakers, Performers, & Clinicians

Alan Baylock, All-State Jazz Gold Band

Alan Baylock is One of the most respected and sought-after jazz composers and educators in the industry today. He is the director of the Grammynominated One O’Clock Lab Band at the University of North Texas and previously served 20 years as Chief Arranger for the USAF Airmen of Note in Washington, D.C. The Alan Baylock Jazz Orchestra recorded three critically-acclaimed CDs and performed throughout the United States for 15 years. Baylock graduated from Shenandoah University (BME 1990), where he later became Jazz Composer-in-Residence, and the University of North Texas (MM 1994). Alan is on faculty at the National Jazz Workshop (NJW) and directed the NJW All-Star Big Band in performances on the East and West Coast. He is an active member of the Jazz Education Network (JEN) where he mentors recipients of the annual Young Composers Award and is a guest clinician for the JENerations Jazz Festival. His eclectic talents have also led him to write music for Roy Clark, Lee Greenwood, Wynonna, Al Jarreau, Chaka Khan, Patti LaBelle, Spyro Gyra, Ronan Tynan, and symphony orchestras throughout the United States and abroad. His music is published by Alfred Music and ProJazzCharts.com. Baylock lives in Denton, Texas with his wife, cellist Maria Baylock. In his spare time, Alan is an avid table tennis player.

Dr. Steven Roberts, All-State Jazz Silver Band

Dr. Steven Roberts is associate professor of jazz studies and trumpet at the University of Alabama at Birmingham. Previously, he was assistant professor of trumpet and jazz at Mars Hill College after holding a similar position at Iowa State University. He is an active teacher and freelance musician and has performed with Kirk Whalum, Vincent DiMartino, Ryan Anthony, Jon Faddis, Allen Vizzutti, Cecil and Deedee Bridgewater, Chip McNeill, Jim Pugh, Charo, and many others. His group “The Roberts Jazz Project” released their album Let’s Fall in Love in 2012. This album features Roberts on both trumpet and keyboard. He is also music director for Unity Church of Birmingham and Saint Junia United Methodist. As director of the UAB Jazz Ensemble, Roberts has led the group to first place in the Alabama Jazz Hall of Fame competition three out of the last four years. Roberts has premiered arrangements for trumpet ensemble at two International Trumpet Guild conferences, and in October 2012 premiered an original brass quintet arrangement on an Eastern European quintet tour. In the summer of 2014, Roberts toured Europe for a month splitting time with the UAB Faculty Brass Quintet, the rock band “Downright”, and completing the tour with his group “The Roberts Jazz Project.” Dr. Roberts received his Doctorate of Musical Arts in trumpet performance and jazz at the University of Illinois (U.C.) in 2005, where he also received his Master’s degree in 2001. He was a soloist with the University of Illinois Wind Symphony, served as principal of the University Orchestra, and filled the jazz chair in the top jazz band. At Illinois, he studied trumpet from Ray Sasaki, Michael Ewald, and Ronald Romm, and jazz from Chip McNeill, Vern Sielert, Ron Bridgewater, and Thomas Wirtel.

James Crumb, All-State Jazz Bronze Band

James Arthur Crumb Jr. was introduced to music and the Saxophone at Norwood Elementary by Mrs. Debora Mayes, Director. He continued his high school musical training at Phillips High School under the direction of Mr. John McAphee, where he developed a desire to someday lead his own band program. Crumb’s career in music education started at Carver High School, where he was Director of Bands from 2000-2005. His bands consistently earned superior ratings at the district, state, and national levels. The Carver High School Marching Rams won the National High Stepping Marching Championship in 2003. Carver’s Symphonic band was honored with the privilege of performing at the 2004 AMEA conference. Crumb has served as a Clinician and Honor Band conductor throughout the Southeast Region. He served as the Alabama All-State Bronze Jazz Band clinician in 2015 and jazz clinician at the 2017 Alabama Bandmasters Association Summer Conference. Crumb is also an accomplished jazz musician as the featured artist in the N’Fusion Jazz Quartet and has also been nominated as Alabama’s Male Jazz Musician of the year 2017 & 2018. Crumb is currently serving as the Fine Arts Consultant for the Birmingham City School’s System where his goals and aspirations are to assist with all fine arts programs to reach a level of continuous superior performances. He is married to Desire Taylor and has two beautiful daughters, Jazmin Alexis and Nadia Corinne. James also has two nieces, Lashaundra and Jaylin, in which he has helped raise as his own daughters, and a great-nephew, Marley Joshua, “Uncles’ Man”. Crumb’s proud parents are James Sr. and Nellie Crumb.

Craig

Cagle, All-State Jazz Middle School Band

Craig Cagle is the director of bands at Spain Park High School in Hoover, Alabama. There, he leads the Pride of the Park Marching Band, Shades of Blue Jazz Band, and the Chamber Winds. Mr. Cagle was the Director of Bands at Mortimer Jordan High School in Kimberly, AL from 2006 to 2021. The Mortimer Jordan Symphonic Band was a featured performing ensemble at the 2020 AMEA Convention. Before his appointment at Mortimer Jordan, Mr. Cagle served for five years as Assistant Director of Bands in the Alice, Texas Independent School District. There, his duties included directing the middle school and high school concert bands, assisting with the competition Marching Band, directing the Jazz Band I, and assistant director of the Mariachi bands. While in south Texas he was also lead trumpet with the Sound of Swing Big Band, under the direction of Fred Junkin. He also played first trumpet with the Corpus Christi Wind Symphony, Bryce Taylor, conductor, and with the Corpus Christi Symphony Orchestra. Mr. Cagle received his BMEd and MM degrees from the University of Southern Mississippi in 1999 and 2001, respectively. There, he studied conducting with Dr. Thomas Fraschillo and Dr. Gary Adam. As a graduate student, he served as conductor of the USM Trumpet Ensemble. Mr. Cagle served from 2017 to 2021 as the Alabama Bandmasters Association Jazz Chair and is a National Board Certified Teacher. Mr. Cagle is a product of the state of Alabama and is a graduate of Buckhorn High School. He is married to Emily Cagle, who is the music teacher at Bryan Elementary School in Kimberly. They have three daughters, Clara, Madeline, and Sofia, and reside in Gardendale. He is an active member in the community and church, where he sings in the choir and serves as director of the handbell choir.

David L. Walters Department of Music JACKSONVILLE STATE UNIVERSITY

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» Saturday, February 12, 2022

AMEA 2022 Clinicians

Dr. Craig Aarhus is Associate Director of Bands and Associate Professor of Music at Mississippi State University. At MSU, he co-directs the Famous Maroon Band and basketball pep bands, conducts the Concert Band and Campus/Community Band, teaches courses in the Department of Music, and currently serves as the Area Coordinator for Music Education. As a member of the band faculty, Dr. Aarhus has been part of a team that has helped lead the band program to unprecedented growth, making it currently one of the largest bands in the Southeast. He holds degrees in music education and conducting from Auburn University and The University of Iowa.

David Allinder began his tenure as Director of Bands at Shades Valley/Jefferson County International Baccalaureate School in 2001. Under his direction, the Shades Valley Symphonic Band has performed for the Alabama Music Educators Conference, the University of Alabama Honor Band Festival, the Grand National Adjudicators Invitational, The Southeastern US Band Festival, and the Music for All National Concert Band Festival. The marching program is a multi-year class winner at the Vanderbilt Marching Invitational and a participant in the Bands of America Regional and Super-regional Championships. In 2019, Mr. Allinder served our state as the Wind Caption head for the Alabama Bicentennial Marching Band. Mr. Allinder has served the Alabama Music Educators Association in numerous leadership capacities including his current role in the President’s Cabinet as Harmonizing Instrument Chair. Mr. Allinder is a multi-year recipient of the National Band Association Citation of Excellence and was awarded the National Board for Professional Teaching Standards Certification in 2008. Mr. Allinder was a past finalist for Alabama Teacher of the Year. He is a member of the Phi Beta Mu Honorary Band Fraternity and the National Band Association. David performs at Hunter Street Baptist Church as a musician and was director of Camp Jam Birmingham, a rock and roll music camp for kids. Mr. Allinder received graduate and undergraduate degrees from the University of Alabama and has served on the faculties of UAB and Birmingham-Southern College. David currently resides in Helena with his wife Jennifer and children, Tanner and Mackenzie.

Ed “Tite Palmares” Anderson is the music teacher for Triangle Elementary School in Mt. Dora, Fl. Born and raised in Mobile, Alabama, Mr. Anderson has been active educator and clinician in steel drum education and capoeira. Ed has presented clinics and concerts at both the Florida Music Educators’ Association Annual State Conference, Florida Music Educators’ Summer Music Institute, FMEA Multicultural Summer Workshop, Illinois Music Educators Conference, and in Trinidad and Tobago. In 2019, he founded Mt. Dora Capoeira, Lake County, Florida’s only capoeira academy. He created a special capoeira program for kids with disabilities and to date has graduated approximately 90 kids into the capoeira ranks. Mr. Anderson holds the rank of Instructor in Capoeira and currently studies the capoeira Angola tradition with Mestre George Palmares, Mestre Nozinho, and berimbau with Grand Mestre No of Capoeira Angola Palmares.

Dr. Julie Bannerman is an Assistant Professor of Music Education at the University of Alabama,Tuscaloosa. She teaches undergraduate and graduate courses in music education and coordinatesthe PreK Music Partnership with Tuscaloosa City Schools. A former public school music teacher, she specializes in general music education at all levels. Dr. Bannerman’s research and clinical interests include sociocultural issues in music education, policy issues in music education, and music teacher education. She is published in the Journal of Music Teacher Education, Bulletin of the Council for Research in Music Education, and Journal of Research inMusic Education. Dr. Bannerman serves on the editorial board of Contributions to Music Education and is a member of the Music Educators Journal Advisory Committee. Dr. Bannerman regularly presents research and clinical sessions at regional and national conferences.

Joseph Brennan received his Bachelors and Masters degrees in Music Education from Temple University studying violin and playing trumpet.For 35 years, Joe has been the orchestra director at Haverford Middle and High Schools in suburban Philadelphia and is the Music Department Co-Chair. In 2006, Joe was recognized by PMEA with the Citation of Excellence Award. Joe is a former President of the Pennsylvania/Delaware Chapter of ASTA and in 2018 was awarded the Distinguished Service Award for an Individual by the chapter. Joe has twice been chosen to attend the Juilliard School’s “Conductors Workshop for Music Educators”.

Jon Bubbett, received his BMEd from Troy State University and a MMEd from VanderCook College of Music. His thirty eight year career closed with twenty six years atThompson High School in Alabaster, AL. His bands have performed for the Music for All National Concert Band Festival (2011, 2015) and the Alabama Music Educators Association Professional Development Conference (1997, 2009, 2014, 2019). He has served as a clinician participant for the Alabama Music Educators Association Professional Development Conference and the Midwest Clinic. Mr. Bubbett has concert band music published through Excelcia Music Publishing, RWS Music and Eighth Note Publishing companies.

AMEA 2022 Clinicians

Richard M. Cangro, Ph. D., is a Professor and Program Coordinator for Music Education at the Western Illinois University School of Music. He was formerly a public school band and orchestra director for 15 years in Connecticut. A two-time Fulbright Specialist grant award recipient, he has presented at numerous music educator events throughout the US and has presented professional development sessions in Canada, China, Ecuador, England, Myanmar, Puerto Rico, Pakistan, Taiwan, and Thailand. Musically, he is a member of the Knox-Galesburg Symphony and the music director/conductor of the Monmouth CivicOrchestra and the Quincy Area Youth Orchestra.

Matthew Carey is the Director of Choral Activities at the University of Alabama in Huntsville. Originally from Washington state, Dr. Carey taught high school vocal music for 4 years after receiving his undergraduate degree from Western Washington University. He holds a Master of Music from the University of Oregon and a DMA in Choral Conducting from Texas Tech University. His conducting teachers include Leslie Guelker-Cone, Sharon Paul, María Guinand, Hirvo Surva, and Richard Bjella. Prior to Coming to UAH, Dr. Carey served as conductor of the University of Oregon’s award-winning Chamber Choir, preparing the ensemble for their inaugural season as participants in the Oregon Bach Festival. The UO Chamber Choir performed under the batons of Helmut Rilling and Matthew Halls, as well as serving as the ensemble for the Conductor’s Showcase concert. Dr. Carey was also the Director of Choirs and Vocal Studies at Oklahoma Panhandle State University before joining the faculty at UAH. Dr. Carey has been performing nationally both as an oratorio soloist and as a professional chorister for over a decade. He is a ten-year member of the Berwick Chorus of the Oregon Bach Festival, and recently joined the Helmut Rilling Ensemble, based in Germany. He resides in Madison, AL, and is a fan of sailing, cinema, and cats.

Andrea Cevasco-Trotter is the Director and Professor of Music Therapy at the University of Alabama. She researches the effects of neurological music therapy interventions on premature infants’ physiological and behavioral parameters. She is a Fellow of the National Institute for Infant & Child Medical Music Therapy. She is a part of research team systematically investigating the role of music therapy on preschoolers’ behavior, executive functioning, and social emotional skills. Dr. Cevasco-Trotter’s work has been published in the Advances in Neonatal Care, Pediatric Nursing, Journal of Music Therapy, and Music Therapy Perspectives.

Joshua Cheney, a native of Fayetteville, North Carolina, is the Assistant Professor of Music, Director of Choral Activities, and Coordinator of Worship Leadership at Gardner-Webb University in Boiling Springs, North Carolina. At GardnerWebb he conducts the Concert Choir, the Men’s Chorale, and the Handbell Ensemble. Joshua is also responsible for teaching conducting and courses in the Worship Leadership program. Joshua holds the B.A. in Music Education from Campbell University, the M.M. in Choral Conducting and Church Music from Mercer University, and the D.M.A. in Choral Conducting from Louisiana State University.

Bill Connell is an adjunct professor at the University of Alabama Huntsville where his assignments include an advanced music education class for aspiring band directors and supervisor of instrumental music interns. Previously Mr. Connell taught in public schools for 44 years as a high school, middle and elementary school band and orchestra director. He was Director of Band at Grissom High School in Huntsville from 1986 to 2018. The bands under Mr. Connell’s leadership are well known for their exceptionally musical performances in concert and marching. Mr. Connell attended the University of Tennessee, Knoxville where he received a Bachelor of Science and a Master of Music Education Degrees, both with high honors. While at UTK Mr. Connell was drum major of The Pride of the Southland Band for two years. Mr. Connell is in high demand as a band performance evaluator and clinician throughout the United States. He has been an adjudicator in 30 states in concert, marching and jazz band and served as a guest conductor for numerous all-state, clinic and honor Bands. Mr. Connell is a mentor for numerous young band directors throughout the United States. Bill Connell is happily married to his wife Jodie who have 3 children, Brandon Rutherford, Laura Beth and Brooke plus Ian and Kristin from a previous marriage. He is humbled and honored to be a session clinician at the 2022 AMEA Professional Development Conference.

Carrie Cruz is a general music teacher at Hueytown Primary School in Jefferson County, AL. She has taught PreK general music through middle school band and has been with Jefferson County for 16 years. Carrie earned her Bachelor of Science in Music Education from Auburn University in 2001 and her Master of Education from Arizona State University in 2003. She recently completed another Master of Education in Vocal Music from Auburn University in the summer of 2021. Carrie was awarded National Board Certification in Early and Middle Childhood Music in 2009 and renewed in 2018. She received Orff Levels I, II, and III Certification from Samford University and Kodály Levels I, II, and III Certification from the University of Montevallo. Carrie has won thousands of dollars of grant money for her classroom and for the Alabama Chapter of the American Orff-Schulwerk Association. She was on the executive board of directors for the Alabama Chapter of AOSA for ten years and served as President in 2018-2021. Carrie enjoys spending time with her husband and two sons, playing trombone and eating tacos. She is a member and guest conductor of the Birmingham Wind Ensemble, and board member of the Birmingham Community Concert Bands Association and the Hueytown Arts Council.

American mezzo-soprano Alexis Davis-Hazell is a clinician, presenter and singing actor of opera, concert and musical theatre repertoire. She regularly collaborates on contemporary works and co-presents concerts blending classic and contemporary music, through her production company Jazzoperetry, Inc. Alexis has also toured, participating in over 130 performances of Porgy and Bess, in Europe and North America. Dr. Davis-Hazell’s research interests include: the legacy of Blackface Minstrelsy in contemporary voice performance practice, vocal repertoire by African American women composers, and advocacy for Russian art song studies through improvement of curricula for lyric diction pedagogy. Dr. Davis-Hazell is Assistant Professor of Voice and Lyric Diction at The University of Alabama School of Music. She holds degrees in Voice Performance Studies from Temple University (B.M. Hons.) and Arizona State University (M.M., D.M.A.)

Dr. Michelle Murphy DeBruyn is an artist-teacher dedicated to the highest level of musical performance and the encouragement of young vocalists and Professor at the Schwob School of Music at Columbus State Uiversity. Ms. DeBruyn is a highly accomplished performer, pedagogue, and musical director, which issupported by awards in each area of specialty. Dr. DeBruyn has completed her Advanced Yoga Teaching Certification and is teaching yoga classes and workshops targeting the special needs of musicians and performers. She has written the chapter on “Meditation” for So You Want To Sing With Awareness, a NATS collaboration published in 2020.

Ellary Draper is Associate Professor of Music Therapy at The University of Alabama. She holds degrees in music education from Westminster Choir College, music therapy from Florida State University, and music and human learning from The University of Texas at Austin. Prior to attending The University of Texas, Dr. Draper worked as a music therapist with a variety of ages and populations. She also has experience as an elementary general music teacher. Dr. Draper’s research interests are in the areas of children with disabilities, particularly in inclusive music classrooms. Currently, she serves as the Chair of Special Education for the Alabama Music Educators Association and on the Board of Directors for the Certification Board for Music Therapists. A regular presenter at national and regional music therapy and music education conferences, her research is also published in the Journal of Music Therapy, Journal of Research in Music Education, Music Educators Journal, UPDATE: Applications of Research in Music Education, General Music Today, imagine, and Ala Breve

Tiffany English is the music specialist at Sugar Hill Elementary School in Gwinnett County, Georgia. She holds multiple degrees from the University of Georgia and Piedmont College. Her education also includes post-Level III Orff Schulwerk teacher education and Level I Kodály training. Tiffany has served the American Orff-Schulwerk Association as Region IV representative on the National Board of Trustees, vice president and president of AOSA, chair of the Professional Development Committee, president of the Atlanta Area Orff Chapter, and co-chair for the 2014 and 2021 AOSA Professional Development Conferences. Tiffany has been named the Teacher of the Year three times in her career and was honored as the Gwinnett County Teacher of the Year in 2007. She presents at numerous conferences and workshops throughout the United States and is a frequent honor chorus clinician. Tiffany has mentored 15 student teachers in her career and frequently hosts elementary music education methods course observations in her classroom. She was awarded the Athens P-20 Collaborative Mentor Award from the Georgia Colleges of Teacher Education in 2021.

Dr. Becky Halliday is an Associate Professor of Music at the University of Montevallo. She has presented research findings at regional, national, and international conferences, and is an active clinician and conductor. In addition, she is the founding Director of the University of Montevallo Kodály Institute (UMKI) is and a co-Director of the University of MontevalloYoung Musicians’ Camp. Currently, she serves on the Board of Directors of OAKE and the Council of General Music Education for NAfME. Dr. Halliday earned her Ph.D. in Music Education from The University of Southern Mississippi and both her MMed and BMUS from The University of Georgia. She holds certifications in the Orff-Schulwerk Approach and the Kodály Concept, and is the recipient of the 2021 Lacey Powell Outstanding Music Educator Award.

Michele Hobizal is a retired elementary music teacher who has taught for 31 years in Texas. Hobizal earned a BME from Texas State University. She is a past conductor of the Katy ISD District Elementary Honor Choir with performances at the 2007 and 2011 TMEA conventions. She has served two terms as the Texas Music Educators Association (TMEA) Elementary VP. Hobizal is also a Past Elementary VP for the Texas Choral Directors Association (TCDA). She is a cadre member of the Center for Educator Development in Fine Arts (CEDFA), an experienced clinician throughout Texas and was on the 2013 Fine Arts TEKS Review Committee for Kindergarten through 2nd grade music. Hobizal is a very proud Quaver Instructional Coach and Clinician!

AMEA 2022 Clinicians

Jessica Palmer Hood is the Associate Director of Bands at Muscle Shoals High School in Muscle Shoals, Alabama. She attended the University of Alabama for her undergraduate degree and the University of North Alabama for her master’s degree. Hood has taught for 6 years, during which her students and ensembles have continuously grown and achieved. Hood is serving as the Past Chairman for the Shoals Area Band Directors Association and is an active judge, clinician, and conductor; other professional affiliations include ASBDA, NAfME, AMEA, ABA, and WBDI. Jessica resides in the Shoals with her husband Griffin Hood

Dr. Carly Johnson serves as Chair of the Department of Music at Alabama State University. She has been twice nominated for the President’s Award for Excellence in Teaching at ASU, and currently serves as President-Elect for the Higher Education Division of the Alabama Music Educators Association. Dr. Johnson received her Doctor of Music Arts in Trumpet Performance from The Ohio State University, the Master of Music in Trumpet Performance from the University of Florida, and the Bachelor of Music Education from the Dana School of Music at Youngstown State University.

Jane M. Kuehne, Ph.D. earned bachelor’s and master’s degrees in music education from the University of Texas at San Antonio and a Ph.D. in music education Florida State University, where she also earned certificates in Computers and Music and in College Teaching. Dr. Kuehne teaches undergraduate and graduate music education courses, leads research and field work with both graduate and undergraduate students, and serves as the Graduate Program Officer for the Department of Curriculum & Teaching at Auburn University. Her research areas include sight-singing, diversity and inclusion, technology in music education, and more recently the effects of early and often field teaching experiences, through the program she and Dr. Kathy King created, Learning to Teach: Teaching to Learn (LTTL).

Chris LindleyChris Lindley retired from public education in 2020 after 25 years, most of those at Albertville High School where he led the 300-member Albertville High School Band in internationally televised parade performances in the Rose Parade in Pasadena, California (2011, 2018). In 2017, Chris was inducted into the Rho Chapter of the prestigious Phi Beta Mu International Bandmasters Fraternity, and in 2018 was the recipient of the Phi Beta Mu Outstanding Bandmaster of the Year Award for Alabama. In 2019, Chris was tapped by AMEA to lead the Alabama Bicentennial All-State Marching Band for their performance in the Bicentennial Parade. In 2020, Chris was an education inductee into the Jacksonville State University Hall of Fame.

Rob Lyda is the music teacher at Cary Woods Elementary in Auburn, AL. Dr. Lyda has completed studies in Kodály, World Music Drumming, TI:ME, is an Orff-Schulwerk (Levels I-III and Master Class) certified teacher. Dr. Lyda regularly presents sessions and research on technology integration, creativity, and general music education at state, regional, and national conferences. Currently, Dr. Lyda serves as the Chair of NAfME’s Council for General Music Education, President-Elect of the AMEA, and Advocacy Chair of the AMEA.

Joanne May, retired Assistant Professor of Music Education and Director of Orchestras at Elmhurst University, founded the annual Elmhurst World Music Festival, assisted in writing the course String Improvisation for Educators, sat on search committees for four new string faculty members to the department, and was string advisor to the Music Performance degree development committee. She conducted the Elmhurst University Philharmonic for 10 years, including performances at the Illinois Music Education Conference and in Chicago’s Millennium Park for the Chicago World Music Festival. She also led tours with the orchestra for annual performances in several states. Before teaching at Elmhurst University, May retired with 33 years of public school teaching of strings, orchestra, band, and general music. She has served as President of the Orchestra Division for ILMEA, Illinois ASTA President, National Chair of the ASTA Student Chapter Committee, and National Chair of the Orchestra Council for NAfME. Her awards include the Mary Hoffman Award for Teaching Excellence by Illinois Music Educators Association, Educator of the Year and Distinguished Service Award fromthe Illinois American String Teacher’s Association, and Teacher Recognition Award for the Presidential Scholar Program in Washington, D.C. by the U.S. Department of Education.

Dr. Joshua May, tenor, is an Assistant Professor of Voice and Director of Opera Activities at theSchwob School of Music at Columbus State University. He has performed and premiered works throughout Europe, Canada, and the United States. As a voice educator, he has presented his research with the National Opera Association, College Music Society, National Association of Teachers of Singing, New Voice Educators Symposium, and the Lilly Conference. He holds a D.M.A. in Voice Performance from the University of Connecticut, an M.M. in Vocal Performance and an M.M. in Vocal Pedagogy both from the New England Conservatory of Music.

Meghan Merciers is Executive Director of the School of the Arts and Associate Professor of Music at the University of North Alabama in Florence, Alabama. She is an active soloist and collaborative musician and has performed throughout the United States, Europe, Canada, and Mexico. Dr. Merciers is principal clarinetist of the Shoals Symphony Orchestra and frequently performs recitals and lectures with her chamber ensembles, Una Duo, Trio Leo, and Devil Sticks, championing the music of underrepresented composers. She is a Silverstein Pro Team Artist and Yamaha Performing Artist. Dr. Merciers serves on the Alabama Music Educators Governing Board as AMEA Collegiate Advisor and is co-sponsor of the UNA Collegiate NAfME Chapter.

Joshua Meyer is currently the Band Director at Ashford High School, where he teaches 6th-12th grade band, as well as Class Guitar. He is a graduate of the University of Alabama, holding a Bachelor’s in Instrumental Music Education. During his time at the university, he served as a soloist for the Million Dollar Band, was an active member of Phi Mu Alpha, and served on the state governing board for the Alabama Music Educators Association. He was named the Outstanding Senior for the School of Music’s 2017 Graduating Class. Mr. Meyer began his teaching career at Auburn Early Education Center, teaching K-2 General Music. He has since been a middle school assistant band director, a visual technician for the Bluecoats Drum and Bugle Corps, and is currently spending his summers pursuing his Master of Music Education degree at Florida State University.

Mr. Chase Moore earned a bachelor’s in music education from the University of Alabama and is currently completing a master’s in music education at Auburn University where he also serves as a graduate teaching assistant with the Auburn Bands. Prior to attending Auburn, Mr. Moore was the director of bands at Duncanville Middle School where he also served as his school’s technology coordinator. While at the University of Alabama, Mr. Moore marched with the Million Dollar Band where he also served on the leadership team, played in all of the bands on various instruments, played with The University of Alabama Trombone Choir, and was treasurer for the University of Alabama Trombone Studio. Mr. Moore is a frequent performer and is a member of the Alabama Winds and Black Warrior Winds where he plays oboe and bass clarinet.

Terry S. Ownby retired June 1 of 2021, after 30 years of teaching instrumental music. Mr. Ownby was the Director of Bands at Florence High School where he oversaw the marching, concert and jazz bands and served as the Secondary Fine Arts Academic Leader. Prior to his appointment at Florence, he served as a professor of music at Wallace State Community College, where he taught Symphonic Band, Music Theory, Music Appreciation and the Brass studio. He held the position of Director of Bands at Muscle Shoals Middle School and Assistant Director of Bands at Muscle Shoals High School for 22 years and also was instrumental in restarting the Muscle Shoals Jazz band program, which he directed for 9 years. He holds a Bachelors of Music in music education and a Master of Arts in Education degree from the University of North Alabama. He serves as a guest Clinician/Conductor and Adjudicator throughout the Southeast.

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. In 2015, Dr. Ragsdale was named the UAH College of Arts, Humanities and Social Sciences Professor of the Year. He currently serves AMEA as the wind band music reviewer for Ala Breve. In demand as a clinician and conductor, Dr. Ragsdale has conducted numerous All-state and district honor bands as well as recent university conducting engagements at Florida Atlantic University, Florida International University, Winthrop University, the University of Southern Mississippi, and the University of Georgia. Additionally, he has led a diverse array of performers in orchestral settings, including Grammy winners Wynonna Judd, Lee Greenwood and the Indigo Girls, American Idol Ruben Studdard, newgrass band Act of Congress, and Broadway star Ivan Rutherford. He is a frequent presenter at music educator conferences, the College Band Directors National Association, a contributor to the “Teaching Music Through Performance” textbook series, and serves as Vice Chair of Region 8 of the National Association of Schools of Music. Dr. Ragsdale resides in Huntsville, Alabama with his wife Jennifer Ragsdale, Head of Middle School at Randolph School, their daughters, Ella (15), Anna (12), and dog Rudy (7).

Dr. Brett A. Richardson serves as Coordinator of Music Education/Director of Bands and associate professor of music at the University of the Incarnate Word (UIW) in San Antonio, TX. He is also the Conductor and Artistic Director of the San Antonio Harmonie Ensemble, a community chamber winds group. Richardson holds a Doctor of Music degree in Wind Conducting from the world-renowned Indiana University Jacobs School of Music and is in demand nationally as a conductor and clinician. Recent honors include the 2019 UIW Provost’s Legacy in Teaching Award and election into Phi Beta Mu International Honorary Bandmasters fraternity.

AMEA 2022 Clinicians

Dr. Megan Rudolph is in her 27th year of teaching choral music. Her teaching experience includes teaching all levels of choir and teaching collegiate method classes. Currently, she is the choral director at Vestavia Hills High School where she oversees ten choirs. Her choirs consistently receive superior ratings at state,regional, and national festivals. Choirs under her direction have performed at the ACDA National Conference (2019), Alabama State Music Educators’ conference (2019, 2015), and the Choir Nationals for Top Choirs in Carnegie Hall (2017, 2015). Dr. Rudolph is an active presenter, adjudicator, and mentor to young teachers. She is Nationally Board Certified (2013, 2003) and Orff Level I Certified. She has served as the ACDA Southern Division R&R for Vocal Jazz and is the Past President of Alabama ACDA. Additionally, she is a dedicated wife and mother of four children (Alexis13, Austin-11, Zach-8, and Max-6).

Mr. Daniel Seay is in his third year as the band director at Muscle Shoals Middle School in Muscle Shoals, AL. Prior to his current position Mr. Seay served as the band director at L.F Addington Middle School and J.J. Kelly High School in Wise, VA from 2004-2006. He was also the band director at Brooks High School in Killen, AL from 2006-2018. Mr. Seay graduated from Brooks High School in 1999. He graduated from The University of Alabama with a Bachelor of Science in Music Education in 2004 and completed his Masters Degree from The University of North Alabama in the summer of 2017. He served as ABA District 3 Vice Chairman from 2017-2019 and as chairman from 2019-2021. His professional affiliations include National Association for Music Education, Alabama Bandmasters Association, Phi Kappa Phi, American School Band Directors Association and Pi Kappa Lamda (Theta Theta Chapter). Mr. Seay received the National Band Association Citation of Excellence in December of 2018 and was also recognized by the University of North Alabama as a “2020 Distinguished Teacher Mentor’’ in Secondary Education. Mr. Seay is married to Amy Muse Seay of Wilsonville, AL. The couple have four daughters: Caroline, Annalise, Elizabeth, and Emalia.

Dr. Morgan Soja is the Director of Music Education at Samford University. She earned her PhD and MM in Music Education from the University of North Carolina at Greensboro, and her BM in Music Education from Bowling Green State University. She has certificates in Kodaly levels I and II, Orff Level I, and GIML Introductions to MLT and Elementary General Music coursework. Soja has served on the Higher Education Board of NCMEA, and is an active participant in the Supporting Beginning Music Teachers area of strategic planning and action of SMTE. She has presented frequently at state and national NAfME conferences.

Gary Stith is Professor & Conductor Emeritus at the Greatbatch School of Music, Houghton College (NY) and also adjunct professor of music education at Ithaca College. He holds degrees from the Ohio State University and the Eastman School of Music. He taught instrumental music in the Holland and Williamsville (NY) Central Schools for a total of thirty years, including serving as Instructional Specialist for the Fine and Performing Arts in the Williamsville schools from 1993 – 2002. Gary is author of Score and Rehearsal Preparation: A Realistic Approach for Instrumental Conductors and The Conductors Companion: 100 Rehearsal Techniques, Imaginative Ideas, Quotes and Facts both published by Meredith Music Publications, a division of GIA.

Dr. Phillip Stockton, Associate Director of Choral Studies at Mississippi State University, conducts the Schola Cantorum, a 90 voice un-auditioned women’s choir. Stockton has worked with treble choirs of all ages throughout his career. Dr. Stockton completed the Bachelor of Music Education at Auburn University, the Master of Music Education at Florida State University and the Ph.D. in Music Education from the University of Mississippi. While at the University of Mississippi, Stockton was a graduate conductor and student of Dr. Debra Spurgeon, a leading pedagogue of women’s choirs.

Dr. Mark J. Walker is Director of Bands and Professor of Music at Troy University. He conducts the Symphony Band and directs the “Sound of the South” Marching Band. Dr. Walker teaches courses in conducting, wind literature, marching band techniques and measurement/assessment. He has adjudicated and conducted honor bands throughout the United States and Canada. Dr. Walker is the editor of the book, The Art of Interpretation of Band Music published by GIA. He also serves as the Associate Editor of the Journal of Band Research. Dr. Walker is in demand as a clinician throughout the United States, and has appeared as guest conductor with the United States Air Force Band, the United States Navy Band, and the Royal Hawaiian Band, among several others. Dr. Walker is a member of American Bandmasters Association, Alabama Music Educators and Alabama Bandmasters Association, Phi Beta Mu, CBDNA, NAfME, Kappa Kappa Psi, and Phi Mu Alpha among many others.

Dr. Cameron Weatherford serves as Assistant Professor of Choral Music at Lee University in Cleveland, Tennessee where he conducts the Choral Union, Men’s Chorus, and teaches courses in the undergraduate and graduate choral music curriculum. Prior to coming to Lee, he served as the Chair of the Division of Fine Arts and Director of Choral Activities at Louisiana College in Pineville, Louisiana wherehe directed the Louisiana College Chorale, Voices of LC, The Louisianians, The LCWomen’s Chorus and taught courses in the choral music education curriculum. In March 2017, Dr. Weatherford won first place in the National ACDAGraduate Conducting Competition in Minneapolis Minnesota. In 2016, he wasawarded the Young Music Educator Award by the Louisiana Music Educators Association. He has been featured as a session presenter in Louisiana, Mississippi, and Ohio conferences including LMEA, MMEA, ACDA, and the Kettering National A Cappella Conference. Dr. Weatherford holds a B.M. in Church Music from Louisiana College, a M.M. in Choral Conducting from The University of Southern Mississippi, and a DMA in Choral Conducting from the University of Kentucky. He lives in Cleveland,Tennessee with his wife Caroline and their three children, Hudson, Annie, and Scout.

Allison Wilkinson is the CEO and founder of the I Am School of Music and the Making Musicians Training Program. Each year, she teaches thetools of Applied Music Psychology tomusic educators from around the world, from Australia to Zimbabwe and everywhere in between. A veteran teacher with more than 15,000 hours of direct teaching and many more in research, Allison is also the mother of four children and the favorite aunt of twelve more.

Phil Wilson graduated from Troy (State) University in 2001 with a B.M.E. and completed his Master of Music Education from Auburn University in 2007. In 2010, Phil became a National Board Certified Teacher in the area of Early and Middle Childhood Music in 2010, and renewed in 2019. Phil earned a Ph.D. from Auburn University in December of 2020. Phil is the 2019-2020 recipient of the Max Federal Credit Union Life Changer Award, and the 2010-2011 Alabama State Teacher of the Year.

Dr. Anne C. Witt teaches Music Education classes, string academic classes and private cello lessons at the University of Alabama. She taught middle school and high school strings in Austin, Texas for 15 years and played cello in the Austin Symphony for 22 years. Anne 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 the Community Music School at UA, and started an annual Adult Strings Weekend for amateur adults. She also teaches Music Appreciation courses in the OLLI program for retired adults. Dr. Witt has presented educational sessions at many AMEA and ASTA conferences. She enjoys guest-conducting orchestras, and is the author of A Rhythm a Week for band and strings classes. After returning to her hometown of Tuscaloosa, AL in 2004, she organized a community initiative to fund the start-up of a school string program, named Strings in Schools. After 15 years, over 1700 students have participated, and several alumni have become music teachers. Five full-time string teachers teach daily classes in all middle schools and high schools of the Tuscaloosa City Schools. She is Past President of Chamber Music Tuscaloosa, and continues to play cello professionally in a string quartet called “Four Strings Attached.”

Dr. Gabriel Woods Currently serves as Assistant Professor of Music at Savannah State University and Coordinator of Music and Music Education. Dr. Woods earned his B.A., M.M. Ed., and D.M.E. from Liberty University. Georgia. Dr. Woods has served as a music educator and administrator in the K-12 sector. Dr. Woods is a member of the College Music Society National Association for Music Education Georgia Music Educators Association and the Professional Association for Georgia Educators He has presented at several state music educatorconferences. His honors include Adjunct Professor of the Year twice at (Ogeechee Technical College), Teacher of the Year.

Ginger Zingara is presently assisting at Birmingham area schools, maintaining a flute studio and is Adjunct Professor of graduate music education at the University of Alabama Birmingham. Previously, she was Director of Bands at Birmingham Southern College, Professor of Instrumental Music and Director of Bands and Orchestra at Dodge City Community College in Dodge City, Kansas, Music Education Instructor at Troy University in Troy, Alabama, as well as Conductor for the Music South Orchestra, Tri-State Community Orchestra in Dothan, Alabama. She taught middle school and high school bands and orchestras in Georgia and Alabama to high acclaim, including such highlights such as having one of only 16 bands from the United States selected to perform at the Lord Mayor’s Millennium Parade in London, England in front of 2 million + viewers and the Queen of England and royal family, receiving the John Philip Sousa Foundation “Sudler Flag of Honor”, and Director of the Alabama All-Star Band at the 100th Anniversary of the Lions Club.

A Music Educator’s Potential Response to Afghanistan

In August 2021, the world watched helplessly as the Taliban entered Kabul, Afghanistan’s capital city. The existing government fell, the United States withdrew its troops, and the Taliban retook the majority of the country. Unfortunately, this event was proceeded by over forty years of civil wars, foreign invasions, and failed governments. The case for the prosperity of the nation of Afghanistan in modern times has been a tragic one. With this tragedy, our initial images of Afghanistan are often filled with war and terrorism. However, have we as music educators ever looked beyond the war-torn rubble to discover the humanity in a rich culture? Can we not counter these images of misery and despair with beautiful stories and memories of the once music-filled tea houses of Kabul and Afghan children joyfully singing in the homes and schools of their villages? Music educators have the potential to address the events of Afghanistan by facilitating peace, cultural understanding, and acceptance in their music classrooms.

Facilitating Peace

There have been several examples in the literature of music and peacebuilding among refugees, immigrants, displaced persons, and populations affected by war traumas. Pettan (1996) investigated a cross-cultural project in Norway between Norwegians and Bosnian refugees in the aftermath of the Bosnian war. In this project, Norwegians were taught to sing and play some of the music traditions of Bosnia and ensembles of Norwegians and Bosnian refugees performed this music throughout refugee centers in Norway. Similarly, Balsnes (2016) examined a network of multicultural gospel choirs in Norway. These choirs primarily consisted of refugees from conflict regions around the world. Both music project examples had strong collaborations with the host population, while providing the refugees a safe space for them to begin to assimilate into their new cultures and homes and a place for them to share and work through previous war traumas. These groups were able to experience the healing power of music by sharing the nostalgia and pride of their music cultures while learning music from their new cultures. In our present

by Scott Sexton

climate, there is potential to implement similar music projects in our music classrooms to promote peacebuilding to address current events.

We are in a unique situation where the situation in Afghanistan has affected our country in a number of ways. There are millions of displaced Afghans around the world due to decades of ongoing conflict in Afghanistan. There are thousands of Afghan refugees in the United States, and due to the recent events in the Summer of 2021, that number will continue to grow. Because of our nation’s twenty-year involvement in Afghanistan, it is likely that you and your students have military family members and friends that have served deployments to this region (or maybe even you as the music educator have served). Unfortunately, you and your students likely know people that lost their lives in military service to our country in the Afghanistan War. In addition to the thousands of American lives lost in the conflict, thousands of Afghan civilians also perished in their country as a result of war. We must also acknowledge the pain of millions of Afghan citizens abroad, as they have had to helplessly watch their beloved homeland descend in chaos from afar. One cannot begin to imagine the trauma that all the aforementioned groups have experienced as a result of the conflict in Afghanistan. Music educators have the opportunity to facilitate peacebuilding and incorporate the sharing of Afghan music cultures in their classrooms. Sharing these music cultures allows music educators to create space to promote crosscultural understanding and address cultural misconceptions that have been perpetuated by the ongoing conflict in Afghanistan.

Cultural Understanding and Acceptance

It should be noted that there are several events in the history of music education that attempted to address the use of music to address cultural understanding. After World War II, there was an emphasis among music educators to build bridges between cultures in an effort to better understand one another and to promote world peace. The newlyfounded United Nations formed the United

Nationals Educational, Scientific, and Cultural Association (UNESCO), which in turn formed the International Music Council in 1946 (McCarthy, p. 40, 1995). The International Music Council became the International Society for Music in 1953, and one of its goals was to promote music as the universal language and use it as a tool to advocate for world peace. Even though we are almost eighty years away from the end of World War II, we can certainly apply these philosophies from the music education field in the 1940s and 1950s to our current international situation.

Unfortunately, there are several misconceptions surrounding Afghan culture and Afghanistan among Americans. Many people only vaguely understand the purpose of America’s involvement in Afghanistan, the role of religion (Islam versus Islamic Extremism), or even more simple things such as the country’s geographic location and its customs. Introducing some Afghan music to your students can help dispel these misconceptions. There are several things that music educators can do when it comes to learning music from another culture. First, it is important that the music teacher learn a little about the background of a culture and/or country. It might be useful to learn a few facts about Afghanistan’s rich history and the underlying causes to the wars of the 1970s, 1980s, 1990s, and 2000s.

Second, create spaces in your classroom and curricula to include this music in a meaningful and authentic manner. If you are not comfortable in leading an Afghan song, allow your students the opportunity to hear a recording of Afghan musicians. If possible, you can strengthen your music program’s community connections by engaging a culture bearer from the Afghan music tradition. Invite a culture bearer to speak to your class, whether in-person or virtually via an online video conferencing platform. Perhaps you can collaborate with teachers from other content areas to create a cross-curricular unit on Afghanistan. Even only offering your students a glimpse of other music cultures has the potential to erase a few misunderstandings and prejudices from the younger generation.

The final thing we can do as music educators is to demonstrate enthusiasm and respect for teaching new music cultures in our classroom. If you are excited and truly interested about learning about new cultures, you students will emulate that same excitement and interest. In addition to generating excitement, you are showing your students that are creating space

for the numerous cultural identities in your classroom. Sandoval (2016) argued that peacebuilding in music education can only begin the cultural identities of all students can be valued and recognized in the music curricula. I believe that exploring Afghan music in the classroom can affirm numerous cultural identities, whether you have an Afghan child refugee in your class, or a child of an American military parent that served in Afghanistan.

Conclusion

I want to offer the disclaimer that I am not Afghan, nor do I have Afghan heritage. Additionally, I am not a member of the American military, nor have I visited Afghanistan. This brief article came from my love of sharing global music and using music to address current events. After a quick search about Afghan music, I spent many hours reading articles and books about Afghan music and culture. One thing that stood out in my research was the fact that the Taliban suppressed culture in many ways during its first rule (1996 to 2001). One of the things the Taliban banned during this time was music. Because of this ban and the decades of war in Afghanistan, there are not many English-language music education resources. At the end of the article, I have included of resources that may help you start to learn more about the music, culture, and history of Afghanistan. This resource list is definitely not exhaustive.

Campbell (p. 19, 2018) stated “Collaborations among musicians assert that music bridges the divides that have arisen artificially from diverse races and ethnicities, religions, and political beliefs.” I charge music educators to explore the use of Afghan music in your classroom so that we might foster collaboration among our young musicians, promote cultural understanding, and incorporate peacebuilding in our music instruction.

Resources

Music:

Afghanistan National Institute of Music- This is the only music school in Afghanistan. The school teaches both Western music and Afghan traditional music. The website has photos of many traditional instruments and costumes, as well as videos of Afghan youth performing traditional music. https://www.anim-music.org

Afghan Rubâb: The Lion of Instruments: The Smithsonian Folkways Institute has a series of

lesson plans for global music. One set of lesson plans features this Afghan stringed instrument. The lessons would be perfect for a middle and high school general music class and integrates some of the national standards for music education. https://folkways.si.edu/afghan-rubab-lioninstruments/kabuli/music/tools-for-teaching /smithsonian

Qu Qu Qu Barg-e-Chinaar: Children’s Songs from Afghanistan, by Louise Pascale, published by the National Geographic Society. This songbook features 16 songs collected by Dr. Louise Pascale during her time as a Fulbright Scholar to Afghanistan in the 1960s. In the early 2000s, she began The Afghan Children’s Songbook with the mission of returning music to the children of Afghanistan. Through this organization, over 50,000 Afghan songbooks were distributed. The songs are perfect for elementary and middle school students. A CD is included in the book with Afghan-Canadian children singing the songs. afghansongbook.org

Books/Films/Documentaries:

A Fort of Nine Towers: An Afghan Family Story, by Qais Akbar Omar, published by Picador. Omar’s memoir of his time growing up in Afghanistan in the early 1990s, from the period after the Soviet invasion until the civil war of the 1990s.

Afghan Dreams: Young Voices of Afghanistan, by Tony O’Brien and Mike Sullivan, published by Bloomsbury USA Children’s Books. The book is a photo project consisting of youth from all over Afghanistan. Each photo is accompanied by a little story about the youth and includes the youth’s dreams for the future.

Learning to Skateboard in a Warzone (If You’re a Girl), documentary directed by Carol Dysinger and produced by Elena Andreicheva that won 2020 Academy Award for the Best Documentary Short Subject. The documentary highlights Skateistan, an organization that started a skate school in Kabul for underprivileged girls to learn to skateboard, read, and write.

The Dressmaker of Khair Khana, by Gayle Tzemach Lemmon, published by Harper Collins Publishers. The true story of Kamila Sadiq and how she became a seamstress to support her family during the rise of the first Taliban government regime.

The Kite Runner, by Khaled Hosseini,

published by Riverhead Books. This book is fictional account of a young boy set in the midst of real-life events in Afghanistan. The storyline weaves through a period of Afghan history, from times of peace, to the Soviet invasion, until the rise of the Taliban. The author is Afghan-American and has authored other novels that are set in Afghanistan. The book and film provide a context to the timelines of events in Afghanistan from the late 1970s to 2000, but it should be noted the book and film have drawn some controversy due to a brief inclusion of sexual violence in its plot.

References

Balsnes, A. H. (2016). Hospitality in multicultural choral singing. International Journal of Community Music, 9(2), 171-189. https://doi.org/10.1386/ijcm.9.2.171_1

Campbell, P.S. (2018). Music, education, and diversity: Bridging cultures and communities (J.A. Banks, Ed). Teachers College Press.

McCarthy, Marie. “Canticle to Hope: Widening Horizons in International Music Education, 1939-1953.” International Journal of Music Education 25 (1995): 38–49.

https://doi.org/10.1177/025576149502500 105

Pettan, S. (1996). Making the refugee experience different: ‘Azra’ and the Bosnians in Norway. In R. Kirin & M. Povrzanović (Eds.), War, exile, everyday life: Cultural perspectives (245-255). Institute of Ethnology and Folklore Research.

Sandoval, E. (2016). Potential contributions of music education to peacebuilding: Curricular concerns. Journal of Peace Education, 13(3), 238-251. 17400201.2016.1234647

Scott Sexton is a Lecturer of Choral Music at Troy University, where he teaches courses in choral music, private voice and piano, and supervises music education interns. His previous experience includes teaching elementary music and middle/high school choir in public and private school settings. His research interests focus on the intersection of music education, peacebuilding, and ethnomusicology.

Band Music Reviews

Always Grateful

As you might guess, these articles in Ala Breve are actually written months ahead of publication. That’s an eternity, I’m learning, within the context of a pandemic! For instance, in the August issue of Ala Breve, this column was naively brimming with optimism for emerging from the pandemic, shedding the masking and distancing narrative, and recapturing the joy in our return to the classroom under almost-normal conditions. Yet, at the time of this writing, (like you, I suspect) I have a considerable number of students missing from rehearsal due to various quarantine measures as schools and universities continue to grapple with best practices for controlling the spread of the virus within our campus communities. By the time you read this, I fear we will all have more students, not fewer, quarantined or otherwise missing from our Fall rehearsals and performances.

As such, I am - in my own programmingseeking performance repertoire which can

withstand whatever flexibility of personnel and instrumentation this season may continue to warrant. One of the great outcomes of the pandemic for our entire profession was the increased focus by composers on “flex” scoring and adaptive arrangements. Even before the pandemic, few programs had the luxury of consistent and appropriate instrumentation. And certainly, by now, many more programs are confronting the new realities of the post-Covid instrumental music education paradigm where budget and instrumentation challenges are even more dire.

Many of our composer colleagues have not only embraced this challenge but transformed the industry through their creative and vibrant re-scoring of both new and standard repertoire alike. These efforts have resulted in significantly more and better repertoire for ensembles of all sizes and abilities, regardless of instrumentation. Alabama’s own Robert W. Smith has added a significant number of flex and custom resources to his website, as has Randall Standridge, Tyler Grant, John Mackey, and a host of other composers on whom we all depend for quality literature. In fact, a quick search of JW Pepper’s website reveals 450 adaptive arrangements in the Concert Band category alone!

We are grateful for the creative power of

by C. David Ragsdale

all composers who provide us, through their music, our very curriculum. And sometimes these composers are teachers, too. I will close with a nod to one such composer-teacher in District 1 who has recently published his third work for band. Patrick Harper of Hazel Green High School composed “Semper Gratus” in honor of long-time band director, James Champion. “Semper Gratus” begins and ends with exuberant, fanfare-esque themes flanking a middle section characterized by lush, reedy, lyrical writing. The grade three, 4.5-minute overture explores several keys, styles, and colors, with solid scoring and substantial percussion writing – all culminating in an accessible concert opener with plenty of opportunities for great sounds. “Semper Gratus” is Latin for “always grateful.” Today, I’m grateful for all composers who continue to advance our profession through their powerful and creative contributions to our literature.

Dave Ragsdale Professor and Chair Department of Music

The University of Alabama in Huntsville

General Music Reviews

by Deanna Bell

Just Five: Collection of Pentatonic Songs compiled by Dr. Robert E. Kersey”

“Just Five is a valuable collection of more than 80 folk songs based on the five-note pentatonic scale. This compilation is excellent for any music teacher who wants to use authentic, cross-cultural folk tunes as a teaching tool. Tone sets for Kodály instruction are given for each song.”

The book includes:

• different cultures

Natural chants and games of children and folk songs of

• and so-mi-la.

The book is in a natural sequence beginning with so-mi,

Also, remember to check your folk song collection to make sure they do not include songs with a questionable past. Here is a link to a working document of songs we should remove from our collections.

https://docs.google.com/document/u/0/d/1q1jVGqOgKxfi UZ8N3oz0warXefGIJill2Xha-3X5nUY/mobilebasic

Deanna Bell

Music Teacher,Vestavia Hills Elementary East Adjunct Professor, UAB

• using the pentatonic approach.

Designed to provide supplementary material for teachers

Here is a sample lesson from the book:

Tri-M National Music Honor Society

Spotlight on the Gardendale High School Tri-M Chapter

The Tri-M National Music Honor Society at Gardendale High School has been active since 2004. Currently, Cara Thomas and Jesse Taylor serve as coadvisors for the chapter. One of the focuses of this chapter is to promote support for all the arts programs at Gardendale. One of the most important ways that they do this is to have students from other arts programs serve as ushers and distribute printed programs at any school concert. In the past they have taken trips to enjoy local music professionals of all kinds - and they hope to return to this more as conditions allow!

The Gardendale chapter is involved in other activities to serve their school and community. They prepare goodie bags for teachers, staff, and administration and they conduct fundraisers by using penny drops.

According to Ms. Thomas, the primary benefit of Tri-M is to create “a community of arts students who all have a love for music in any form. It allows them to flourish in a way that is not always possible throughout the normal school day.”

Congratulations, Gardendale High School Tri-M chapter students and advisors!

If your chapter is up and running and beneficial to your overall program, I would like to highlight some of the activities of your chapter. There is enough bad news going around - let’s share some good news! I can be reached at: jbcclarinetstudio@gmail.com. Please send me an email and I will try to share some of the great things going on in TriM in Alabama.

Ready to start your chapter? Go to: https://nafme.org/start-your-tri-mchapter-today/

John Cooper, AMEA Tri-M Chair

Impressions

of jam sessions, we host a regular jam session in downtown Gadsden on the 2nd and 4th Wednesday of every month. We have also implemented a “Battle of the Bands” concert series where each combo is given one rehearsal to develop a 30-minute show and they perform it live on campus the 3rd Wednesday of the month during lunch. Our students are also performing several dates throughout the semester for various community events within local businesses, fairs, country clubs, restaurants, other college jazz festivals, etc.

Impressions. No, I’m not referring to “Impressions”, a jazz standard by John Coltrane. I’m referring to the influence we can have on our students. As an educator, we are role models but think about what we can do to create those life-changing moments that last a lifetime. Bring in clinicians or guest artists, take your students to a concert, attend a music conference, bring your students to a jam session, plan a tour, or… yes, there are infinite possibilities. Be creative. We are creative people. I know what some may say at this point, that sounds great, but where do I find the funds to do any of those suggestions? If you can’t afford to pay an international guest artist to come to your school, call around your region. I would venture to say that there are talented colleagues in the public school system and higher education that would be willing to work or perform with your students. If you are a clinician or an All-State director, etc. …PLAY for your students! It is great to reinforce or help with rhythms or notes on a specific piece but consider broad concepts that can be applied to anything. Inspire! Leave a positive impression that lingers for months or years.

I’m in my mid 40’s and still remember performing with guest artists while working on my undergraduate degree in the ’90s. I remember taking a lesson with Bobby Shew, Arturo Sandoval, Terence Blanchard, Clyde Kerr, and countless others. I remember performing at Carnegie Hall, Birdland, and Snug Harbor. I remember performing at the Montreux Jazz Festival in Switzerland. I remember touring 15K miles on a tour bus in 3 months. Think about the moments in your life that are burned into your memory forever. Is it your wedding day, is it a vacation, is it a family reunion, is it a concert, is it a tour or trip you took, is it the birth of your children, is it the first home your purchased, was it graduation, was it a sunset, was it the first time you heard your favorite musician? What about these moments create long-lasting impressions and how can create oppor-

tunities for life-changing influence on our students?

Musically speaking, exposing students to the possibilities of greatness is a win-win. Have you ever heard; you are what you eat? You are what you listen to. Saturate your ears with recordings of the masters so that you can remind yourself of what we should all strive for. Teach your students “how to listen”. Plan listening sessions if you can carve that time in. We as educators should go hear live music and potentially perform outside of the classroom. Seek out that inspiration that drives our motivation and bring that inspiration back to the classroom! We all got into music for one reason or another. Remember that reason!

I’m constantly trying to think “outside of the box” and I’m trying to expose students to a variety of experiences at Gadsden State. Now, before I give some examples, I should mention there are excellent programs all over this state, both in the public school system and higher education. Seek out those programs and see what you can tie into or derive examples from.

This semester we are taking the GSCC Show Band to hear “Blood Sweat and Tears”, “Delfeayo Marsalis and the Uptown Jazz Orchestra”, and we will probably go check out JSU’s concerts since they are local. I am planning to reach out to several colleagues around the state to see if they would be interested in working with the band some time this year. We are looking into attending the 2022 JEN Conference and there are some students interested in the 2022 NAMM Show during the summer. The GSCC Jazz Festival is November 4 and guest artists will include the Army Jazz Ambassadors, Sherman Irby from Jazz at Lincoln Center, and Greg Gisbert! This festival includes clinics, performances by regional jazz ensembles, a finale concert, and an after-party jam session downtown. Speaking

Yes, this might seem overwhelming, but again I’m trying to think of every experience I can give students that might be classified a “life-changing”. In full disclosure, I’m not referring to GSCC as the way, but just “a” way. There are many ways to accomplish goals and we are all different in our approach. Again, there are programs all over this state that are providing life-changing experiences. Many of us are aware of those programs. Do some research, visit those programs, speak to those directors, and find out what makes those programs successful. I’m hoping to visit some of these programs so that I can learn myself!

To help “connect the dots” for events around the state and to assist everyone with planning and organizing opportunities for students, there is a new website that will be launched this fall: alabamajazz.org. This website is in process and should go live shortly. Jam sessions, festivals, clinics, all-star HS jazz groups, camps, scholarships, teachers, concerts, and more will all be included. We can’t wait for you to check it out!

Art Blakey once said, “Jazz washes away the dust of everyday life”. JC Chasez stated, “The beauty of music is that everyone hears it their own way, and every song you hear leaves an impression on you that alters the way you hear everything from that point on”. As educators, we assume the awesome responsibility of shaping the world. We’re all here for one another. Consider that destiny could be a result of all your actions and the impressions that you have taken in. Embrace the opportunities for self-discovery for your students. It all starts with an impression.

In the spirit of swing,

Dr. Matt Leder

Photo by Dr. Matt Leder

Dr. Matt Leder

Alabama Bandmasters Association AMEA Division Events 2021 - 2022

Alabama Vocal Association

Elementary/General Division

Alabama Orchestra Association

AMEA Industry/Institutional Membership 2021-22

All National Music

P.O. Box 5502, Navarre, FL 32566

Best in Class Tours, LLC

P.O. Box 770963, Winter Garden, FL 34777

Arts Music Shop, Inc.

3030 East Blvd, Montgomery, AL 36116

Gadsden Music Company

P.O. Box 132, Gadsden, AL 35902

Guardian Music and Group Travel

10929 Franklin Ave, Suite S, Franklin Park, Illinois 60131

J.W. Pepper and Son, Inc.

9053 Riverside Pkwy, Lithia Springs, GA 30135

Madison Band Supply

1604-B Hughes Road, Madison, AL 35758

Marchmaster Inc.

PO Box 73379, Newnan, GA 30271

Our Group Tour LLC

4903 Ashley Circle SE, Owens Cross Roads, AL 35763

Ronald Sachs Violins

2001 Commerce Dr N, Peachtree City, GA 30269

Southern Performances PO Box 6852, Gulf Shores, AL 36542

Super Holiday Tours 116 Gatlin Ave, Orlando, FL 32806

The University of Alabama Department of Music Education

810 2nd Ave, Tuscaloosa, AL 35401

The University of Alabama School of Music

810 2nd Ave, Tuscaloosa, AL 35401

Troy University

John M. Long School of Music, Troy, AL 36082

University of Alabama at Birmingham

950 13th Street S., Birmingham, AL 35294

University of South Alabama

LPAC 1072, 5751 USA Drive South, Mobile, AL 36688

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!

it's time TO START A Tri-M MUSIC

SOCIETY CHAPTER honor

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

Ready to start a chapter? Visit MusicHonors.com