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AMEA WEB SITE: www.azmea.org NA MUS IC IZO AR

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Official Publication of the Arizona Music Educators Association, Inc.

Arizona Music Educators Association, Inc In-Service Conference February 2–4, 2012 Mesa Marriott Hotel 200 N. Centennial Way Mesa, AZ

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QUALITY

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VA L U E

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SUPPORT

CHRISTIAN HOWES DEPENDS ON YAMAHA. “T­he Yamaha Silent Electric Violin rocks. I have used it for 10 years and

PROFESSIONALISM

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it keeps getting better. It’s the only electric violin that sounds great clean and still has the flexibility to be processed for use with multiple effects.” -Christian Howes Renowned Jazz Violinist/Composer

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WINTER 2011/2012

VOLUME 56, NUMBER 2 Official Publication of the Arizona Music Educators Association, Inc.

CONTRIBUTORS Prestige Publications, Publisher Merry Carol Spencer, Editor Carol Vogt, Designer Cover Photo by Scott and Joci Burgener

CONTENTS CONTENTS DEPARTMENTS: 6

PRESIDENT’S MESSAGE—It’s Time for YOU! Rob Nichols, AMEA President

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FROM THE EDITOR’S CORNER! ALL I’VE LEARNED, I LEARNED FROM SOMEONE ELSE—NOT ALL IN KINDERGARTEN! Merry Carol Spencer, AMEA Editor

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MUSIC READING SUCCESS FOR YOUNG SINGERS! Julia Higgins, ChoDA President

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CHODA SESSIONS AT THE AMEA CONFERENCE—A YEAR NOT TO BE MISSED Amanda Estes, ChoDA Conference Chair

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AZSGM CONFERENCE HIGHLIGHTS Tara Kissane, AzSGM President 2012 ABODA STRINGS HIGHLIGHTS FOR AMEA IN-SERVICE CONFERENCE Darlene Wedington-Clark, ABODA Vice President of High School String Activities

Contributors: Amanda Estes Meg Arrendondo Eric Haenfler Greg Hebert Julia Higgins Tara Kissane Rob Nichols Susan O’Rourke Laura Scholten Merry Carol Spencer Santha Stall Marshall Stewart Angela Stout Evan Tobias Darlene Wedington-Clark Randy Wright

Send editorial copy to: Send editorial copy to: Merry Carol Spencer e-mail: marcy.spencer@gilbertschools.net

Send advertising copy to: Carol Vogt Prestige Publications 8455 N La Oesta Ave Tucson AZ 85704 520-544-0929 Deadlines for submission: Fall 2012–September 1, 2012 Winter 2013–November 15, 2012 Spring 2013–February 1, 2013 ISSN: 0519-6129

The AMEA Board of Directors wishes to express its appreciation to SUNDANCE PRESS (the printers of the Arizona Music News) for their quality work. Arizona Music News is published three times during the school year and entered as third class matter at the post office in Tucson, Arizona. Subscriptions are included in member dues. Non-member subscriptions are $20.00/ year or $7.00/issue. Copyright 2011 by the Arizona Music Educators Association, Inc. All articles and photos that are submitted become the property of the Arizona Music Educators Association, Inc. All changes of address should be sent directly to

David Waggoner

6818 E. Kingston Place Tucson, AZ 85710.

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14 ABODA CONFERENCE HIGHLIGHTS Eric Haenfler, Conference Coordinator for ABODA 19

THE WHY, WHAT AND HOW OF ASSESSMENT Susan O’Rourke and Santha Stall, Contributors from Ohio Music Education Association

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RECONNECTING AT THE CONFERENCE Randy Wright, Vice President of Professional Development

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STEPS IN BUILDING A CHORAL MUSIC PROGRAM Greg Hebert, ChoDA Past President

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FROM THE COLLEGIATE CORNER Evan Tobias, AMEA Collegiate Chair

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ARE YOU AN AMEA CERTIFIED ADJUDICATOR . . . WHY NOT?! By Marshall Stewart, AMEA Adjudication Chair

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PRACTICAL IDEAS FOR ENGAGING ANY AUDIENCE By Angela Stout, Contributor

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INNOVATIONS IN THE PERFORMING ARTS By Meg Arredondo, IN-Ovations Chair


CONTENTS CONTENTS

Continued

ADVERTISERS: 2 Arizona State University, Herberger College of the Arts 10 Forum Music 30 Music & Arts 14 Music Mart 31 Northern Arizona University, College of Arts & Letters 28 Tour West America 17 Yamaha — MIE 3 Yamaha — Strings

INFORMATIONAL: 10 Press Release: Local Educator Featured In Book On Excellence In Education 8 AMEA In-Service Conference 15 Exhibits! Exhibits! Exhibits! 16 Conference Sessions Grid 5 AMEA Sustaining Members NAfME: 6 My Music Class 7 Music Makes the Difference Promotional Items 24 stART Workshops 27 2012 AMEA In-Service Conference 29 Ask the Mentors—Online Professional Development

AMEA

Sustaining Members AMEA appreciates the support given our organization by the following Sustaining Members: Eastman Music Company Ikuko Salazar 2158 Pomona Blvd Pomona, CA 91768 Gemeinhardt Musical Instruments LLC c/o Chris Bertrem 57882 State Road 19 South Elkhart IN 46517 Phone: 574-295-5280 Fax: 574-295-8323 Email: cbertrem@gemeinhardt.com JW Pepper Sam De Renzis 14711 Carmenita Rd Norwalk, CA 90650 562-921-0930 sderenzi@jwpepper.com

Neil A. Kjos Music Co David Paul PO Box 17820 4382 Jutland Dr. San Diego, CA 92117-3698 Phone: 858-270-9800 x6740 Email: dpaul@kjos.com Phoenix Youth Symphony Stacey Page 2057 W Claremont St. Phoenix AZ 85015 Phone: 602-277-7013 Tucson Philharmonia Youth Orchestra Dr. Suzette Battan PO Box 41882 Tucson,AZ 85717-1882 Phone: 520-623-1500 Email: info@TPYO.org A M N W I N T E R 2 0 10 / 2 0 11

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his is an exciting time of year for music teachers. As I write these thoughts we’ve finished that first round of concerts, and we’ve found out our students can do it. It’s time for transitioning from our string orchestra focus to full symphony, and from marching band to concert band. Beginning guitar students are finally ready to be placed into performance ensembles, and choirs are ready to perform tons of community and school holiday concerts! Now it’s time to think about you. Finally, something just for music teachers. Have you been to any “inservice trainings” at your school lately? Spent time working on incentive goals, reading across the curriculum, PLC’s and objective writing? Well all these are certainly worthy, but they probably don’t excite you. They don’t energize you about your passion. They probably don’t impact what you will teach tomorrow. But February 2–4, is all about teaching music. The weekend is designed to support you, encourage you and energize your teaching. So, register now for the one event each year that you get two days of inspiring performances, exciting new ideas, and an opportunity to learn from each other’s successes and from experts in our field. Spend time in collegial communication and contemplation. 6

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Message from the President— It’s Time for YOU! By Rob Nichols, AMEA President

REGISTER NOW for the 2012 AMEA Music Teacher In-service Conference Feb 2-4 at the Phoenix Mesa Marriott in downtown Mesa. Welcome Dr. Tim Lautzenheiser Keynote Speaker! Our Keynote Speaker this year is Dr. Tim Lautzenheiser of Attitude Concepts. We are all excited to welcome “Dr. Tim” back to the AMEA Conference. I’ve had the opportunity to hear Dr. Tim many times, and each time I come away encouraged and inspired. This is reason enough to attend this year’s conference, yet there is so much more for YOU at this year’s conference. Don’t miss out! Celebrating Arizona’s Centennial Teachers who play a band instrument or sing (guessing that would be all of us) are encouraged to join the All Music Director Band and Choir as part of our celebration of the Cen-

tennial of Arizona’s statehood. Go to the Conference section on the Website for more information on this exciting group and the amazing directors. Be sure to check out this edition of Arizona Music News for all the latest information on the conference offerings. Information about sessions, clinicians, performances, and directors are included. Web site Kudos! Have you seen the new website — www.azmea.org ? Although it is still a work in process, it’s got some cool features! Our goal is to provide you with a site that provides easy answers, information, and connections. We hope to use the site as a tool for you. Look for directory information and AMEA publications soon. A huge thank you to David Duarte, AMEA webmaster for his sacrificial devotion to this project.


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n the past two years, I’ve served in two “service” positions for music organizations. I recently held the position of ACDA National Honor Choir Chair for the Chicago 2011 Convention, and now Editor for AMEA and the Arizona Music News. These are not my only service experiences, but they are my most recent. From these two positions, I have gained a renewed respect and interest in what my colleagues from EVERY area have to share. I’ve learned about children’s choirs, high school honor orchestras, curriculum and assessment specialists, technology wizards, instrumental managers, and even how hotels plan and provide services for a convention. I have become less myopic within my own area, and more aware of “all” aspects of music education. This doesn’t mean I don’t carry my own passion for choral music. Quite the opposite and I have no intention of abandoning it. It does mean I’ve gained a renewed awareness of other’s expertise, and the inclusion of some of it in my teaching has created new and enjoyable lessons for my students. Some of this has come directly from two AMEA meetings! Who knew that when I got up early on a Saturday morning and drove to Dobson High for the AMEA meeting, I’d encounter new teaching ideas! Hey! That’s not

From the Editor’s Corner! All I’ve Learned, I Learned from Someone Else—Not all in Kindergarten! By Merry Carol Spencer, AMEA Editor

what happens at an AMEA meeting is it? And those that know me well understand how much I dislike like getting up early on Saturdays when I have no school commitments (a rare occasion). I had little hope for an interesting meeting. The exact opposite occurred! I met new people that represent almost every aspect of music education. I made new connections, and I was excited when Dave Duarte showed us some technology tips, and Evan Tobias and Lynn Tuttle shared their knowledge about Core Curriculum standards, and the new requirements coming down from the state. I’m here to tell you that both of these things are going to come at us like a steam train in 2014 and we should be prepared, not blown away, frustrated, or overwhelmed when we are asked to document student growth. These are just a few encoun-

ters of my two year “service” experience. When I think about what has shaped me as a music educator, I immediately think of people and ideas: people that I’ve encountered in the way I just described, in the most unexpected places or situations. This is what the AMEA Conference is all about; experiencing people’s ideas. This conference, I would encourage you to break out of your “area” and venture into other sessions. It’s amazing to me what can be learned from new colleagues as well as old friends. By colleagues, I mean MUSIC colleagues, not necessarily band, choir, strings, or general music associates. Make new connections. Also, consider serving an organization. The dividends are well worth the extra time investment. Most importantly, skip “kindergarten” in February and enjoy the conference!

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don’t remember learning how to read music — at least not as a beginner. I remember learning solfege syllables in junior high and I know I became a more proficient and independent sight-reader throughout high school and college. But since I took piano lessons from a very young age and have parents who are musicians, many of the basic fundamentals such as pitch and its relationship to notes on a staff, basic rhythms, meter, key signatures, half steps and whole steps to name a few, have been a part of what I have known and understood for as long as I can remember. Unfortunately, for the majority of my middle school choir students, this is not the case. I’m sure most of us have had students come into our classrooms that know very little (or nothing at all) about how to read music. Where do you even begin? And how much time do you spend teaching those fundamentals? What about classes where some students barely know what a quarter note is while others are ready to sight-read Bach chorales? Here are some ideas that have worked for me. I can’t take credit for most of this. I have pieced together ideas from countless mentors, AMEA and ACDA conference sessions and trial and error. One of the most important things I’ve learned is that many concepts must be explicitly taught. Don’t as8

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Music Reading Success for Young Singers! By Julia Higgins, ChoDA President

it should look like on the staff, sume anything! I used to assume that they will naturally become better my students knew that when notes go at seeing a melody on a staff and up on the staff, the pitch goes highknowing how it should sound. er. I used to assume that they knew When doing a simple dictation which line to follow in their music. I exercise, I will write the key sigused to assume that male singers with nature, time signature, number of changed voices understood what it measures and the starting pitch on meant to sing “down an octave.” You the board. I’ll play the example on can’t assume that your students know the piano and encourage them to any of these things if you haven’t write out the rhythm first, and then taught it to them! try to write the solfege underneath Find a method book that is sethe rhythm and then put the notes quential. I am primarily using Sing on the staff. Start off with just one at First Sight (Level 1) from Alfred or two measures and continue to Publishing this year, but I’ve also increase the length and difficulty. used Patterns of Sound, Five Minutes to Reading Music, the Jensen Sight 2. Mystery Songs! Sometimes I have a “mystery song” on the board Singing Method as well as reprowhen students come in to class. I ducible materials from Masterworks will write out a phrase of music Press. Once you’ve found a method from a song that I think most of book that you like, supplement it them are familiar with (without the with other books, materials and your lyrics, of course) and they have to own stuff. No method book will meet figure out what the song is by the all of the needs of every student. Use time I am finished with attendance. books as a guide so you don’t have to completely invent your entire sight 3. Echo singing! Have students singing and music reading curricu“echo sing” various solfege patterns lum from scratch. before they ever have to sight-read them. If they know what a pattern In addition to working through sounds like, when they see it on the a method book and supplementing page later, they will sing it more your own materials, do other activiaccurately. ties that develop your students’ reading skills and ear training. Using a va- 4. Interval Practice and Scales! riety of activities will help keep music Frequently sing scales (major and reading interesting and fun for your minor) and in various interval patstudents. terns (for example, thirds ascending 1. Dictation! When students can hear a melody and know what Continued on next page


Continued from previous page

— Do-Mi-Re-Fa-Mi-So-Fa-LaSo-Ti-La-Do-Ti-Re-Do and then descending) and Do-Re, Do-Mi, Do-Fa, Do-So, etc. to continue to help students hear, sing and understand the distance between notes. 5. Use the music! Constantly point out musical symbols & concepts in their concert music. If there is a phrase (or sometimes an entire song!) that they can sight-sing and learn on solfege, do it. Clap and count rhythms. Do not allow any students to learn their music “by rote.” Hold students accountable for always following their part in the score. Don’t forget about your more advanced music readers! How do you keep them challenged and engaged? Use sight-reading examples that have

multiple voice parts. While the majority of the class sight-reads the same part (like the soprano line), I’ll have an advanced student or two read from a different lines. This is more challenging because no one else will be singing that part with them. Before the entire class sings an exercise for the first time, I’ll have a more advanced student sing it first. During dictation, challenge students to write out an example after only hearing it once or twice even if you play it more times than that. I may also assign a more difficult sight-reading example to a small group of advanced students to figure out in the hallway or practice room and come back and sing it for the class. Commit to building your students’ music reading skills in every re-

hearsal. I spend about 10-15 minutes of every rehearsal working directly on theory and/or sight singing. However, that doesn’t mean that “sight singing time” is the only time we build on these skills — developing music literacy is embedded into everything we do! Demonstrate and “think aloud” your process for working out difficult passages of music and don’t forget to allow students to figure out for themselves what went wrong and try it again. If you have other ideas you’d like to share or have any questions about teaching music reading to young singers, feel free to contact me at jhiggins@cfsd16.org Julia Higgins Choda President jhiggins@cfsd16.org

ES/JH Fall ChoDA Festival at Canyon del Oro High School

All-State Jazz Rehearsal

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FOR IMMEDIATE RELEASE: CONTACT: Scott Lang Company Name: Scott Lang Leadership Email Address: scott@scottlang.net phone: 480.577.5264 Website URL: www.scottlang.net

LOCAL EDUCATOR FEATURED IN BOOK ON EXCELLENCE IN EDUCATION PHOENIX, ARIZONA NOVEMBER 4, 2011 — In a time when most politicians and policy makers are attacking the quality of our public education system, nationally recognized author and music education expert Scott Lang releases a new book featuring ten current music educators as some of America’s finest teachers. In Lang’s new book, LEADER OF THE BAND, he highlights ten extraordinary music teachers and the qualities that make them so exceptional. David Duarte (Deer Valley School District) is one of the ten featured educators and is hailed as an exemplary educator. In a time where America is craving more positive news, this book highlights what is right with the public education system and those who are leading the way with music education. For more information about this book, or the people highlighted within please contact Scott Lang using the information listed above.

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• Special musicianship plaque awarded to student or section from each group!

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Include festival, awards ceremony, lodging, breakfast, and attraction. • Your itinerary is tailored to your group’s budget and interests. • Personalized trip planning balances education and fun. • Safe, secure lodging takes the worry out of planning.

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To request a Director’s Guide or for more information, Call us toll-free. 1-888-76-FORUM (763-6786) 10

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ChoDA Sessions at the AMEA Conference— A Year Not to be Missed

You Too Can Teach Guitar...Successfully Jim Yancy Vocal Techniques for Young Singers Jean Perry Maintaining Diversity: A Survey of New Multicultural Literature Dr. Rollo Dilworth

By Amanda Estes, ChoDA Conference Chair

In addition to these outstanding sessions, ChoDA is presenting three performance sessions for our constituents. There is no better place to hear and experience excellent choral music than in the audience of an AMEA usic for all Arizona students — this is the theme performance. We are excited to host four concert choir for the 2012 AMEA Conference and ChoDA groups and two vocal jazz ensembles this year. The conis excited to offer our directors tools to do just cert choir performances will be held at the First United that! ChoDA is proud to host Dr. Rollo Dilworth, comMethodist Church with vocal jazz performances performposer/arranger and associate professor of Choral Music Eding in the convention center, Palo Verde Ballroom. Choucation at Temple University, as our headliner at this year’s DA would like to congratulate the following choirs and conference. We also bring you Dr. William McMillan from their directors for being selected to perform this year: the University of Texas at El Paso, Dr. Garwood Whaley, Esperero Canyon Middle School 7th Grade Choir President of Meredith Music, Michael and Jill Gallina, Julia Higgins youth choir composers and Vance George, Director Emeritus of the San Francisco Symphony Chorus. In addition to Mountain View High School Chorale these presenters, many of our own Arizona colleagues will Mason B. Schreiber offer their expertise in conducting, vocal techniques, choNAU Women’s Chorale ral literature, choral methods and fundamentals. Sedona Academy of Chamber Singers Our goal for the conference this year is to make choosRyan Holder ing which session to attend a difficult decision. We are ofNorth Canyon High School Vocal Essence fering many options and we encourage you to divide and Joyce Bertilson conquer. Take the time to map out your schedule, send a colleague to attend another session and share information Gilbert High School Advanced Vocal Ensemble and materials with each other. Here are a few of the opMerry Carol Spencer tions you will have: Finally, I would like to encourage all of you to parConducting the Choral Art Song ticipate in the Centennial Educator’s Choir. Please go to Dr. Rollo Dilworth www.Amea.org to register! In celebration of Music Education in Arizona, we want to feature those who CAN Ear Training for Your Choir and DO teach to our Arizona children. Our choir will Dr. William McMillan be directed by headliner, Rollo Dilworth. We will be So Much Stuff, So Little Time: performing Dilworth’s arrangement of How Can I Keep Ideas for a more efficient and productive rehearsal from Singing and a commissioned piece by Arizona’s own Dave Perry Dr. James DeMars and Alberto Rios called Turquoise and Choral Colors Thunderstorm. Vance George It has been an honor to coordinate the ChoDA sesWhy Can’t People Be More Like Dogs? sions for the 2012 conference and I hope to see our entire Dr. J. Edmund Hughes constituency in February! Amanda Estes Cleaning Up Your Conducting Technique ChoDA Conference Chair Elizabeth Schauer amanda.estes@guhsdaz.org Breathing Gym for Vocalists Patrick Sheridan

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ur February conference is only three months away and the Arizona Society for General Music has a great line-up of presenters planned for your learning pleasure! In planning for this year’s conference, we tried to give you a wide variety of topics and presenters. We honored your feedback/requests received from last year’s conference, to provide many repeat sessions so that you can “have it all!” In February, we have the Gallina’s coming from New Jersey who will be “Puttin’ on the Kidz” and “Music to Grow On” — all sponsored by Hal Leonard so there will be some complimentary materials! Sherry Luchette is coming from California and bringing her “Jazz Kittens” books and CD’s, helping us learn more effective ways of teaching jazz with Orff techniques. This session is sponsored by Peripole, Inc. Sharon Burch (sponsored by Hal Leonard), will travel from Iowa bringing her Freddie the Frog puppets and teaching us games and storytelling with those puppets. Gilberto Soto (sponsored by MacMillan/ McGraw Hill) will present contemporary bilingual music for ESL/ELL students in early childhood and elementary education. In addition to our headliners, some of Arizona’s finest will also be presenting at AMEA. Linda Murphy, a music specialist in Chandler USD, will present a session on teaching children with autism/Aspergers and will distribute complimentary CD’s. Laura Dunbar, a University of Arizona doctoral student, will present performance assessment strategies for general music teachers. Kate Tice and Abigail Van Klompenberg, current general music teachers, will provide effective strategies for integrating technology into the music classroom that will enhance student experience. Silver Burdett/Pearson will once again sponsor Shelly Cooper as she presents “Multi-media Pathways for Engaging Students in Music Making.” And we can count on Sandy Stauffer to break away from her sabbatical for a couple of days to present sessions on thinking skills and singing games. We are 12

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AzSGM Conference Highlights By Tara Kissane, AzSGM President

also excited to have Liza Meyers, who is now living and teaching in New York, returning to Arizona to present folk dances and singing games from around the world. Once again, most of the AzSGM sessions will be held in Superstition North and South but the sessions with the Gallinas will be held in the Historic Irving Building Auditorium. If you have not seen that building, you are missing a treasure and it’s just another reason to attend the conference. I believe this will be one of our best conferences yet, as we will also be celebrating Arizona’s centennial. Make no mistake, you will leave this conference with plenty of new ideas, materials, renewed energy and friendships, as well as methods and activities you can implement immediately! We look forward to seeing you in February. In the meantime, enjoy your holidays and stay healthy! Cheers, Tara Kissane President, AzSGM


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elcome to the new and returning ABODA orchestra and guitar educators of Arizona. This is a very exciting time of year. We have all had our fall concerts and are moving toward the end of the first semester. We have planned an exciting In-Service Conference for you. In addition to listening to outstanding performances, we hope you will attend all of the ABODA string sessions. Some of the highlights include:

2012 ABODA Strings Highlights for AMEA In-Service Conference By Darlene Wedington-Clark, ABODA Vice President of High School String Activities

“You Too Can Teach Technique on the String Bass” Dr. Daniel Swaim will present this insightful session. Dr. Swaim is a Professor Emeritus of Double Bass at Arizona State University. He has taught at the collegiate levels for 39 years. Dan Swaim has played in the Atlanta, Dallas, Wichita, and Phoenix Symphonies. This session will help teachers let go of their fears of teaching string bass techniques. Come and learn ways to ensure the success of your string bass sections.

been involved in music education for over 25 years. Mr. Meyer will undoubtedly bring a wealth of information, knowledge, and experience to enhance our string programs.

“Starting a Guitar Program” The clinician is Dr. Mark Nelson. Mark is the Director of Bands at Pima Community College. If you ever wanted to begin a guitar program but did not know how to get started, this session is for you! Come ready to reach a larger population of students “Perform, Connect, Reflect — on your campus, and get them makThree Keys to Maximum “Organizing a Chamber Music ing music on a daily basis. Performance” Project for your Orchestra” You don’t want to miss these The clinician is Wendy Barden. ABODA Sessions at the Conference. Presenter Mr. Richard Meyer is Ms. Barden is a music educator from currently the orchestra director at Submitted by the Osseo Area Schools in Minne- Oak Avenue Intermediate School in Darlene Wedington-Clark sota. Her instrumental music career Temple City, California. He is a naVP of High School Orchestra spans elementary through college tionally recognized composer with Activities levels. She is sure to motivate you to over 100 works for orchestra and maximize every musical experience band pieces in print. Mr. Meyer has with your students.

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ABODA Conference Highlights By Eric Haenfler, Conference Coordinator for ABODA

BODA is pleased to welcome Darren Davis and Richard Meyer as two of their headliners for the 2012 AMEA Conference. Mr. Meyer is a well-known orchestral composer/music educator sponsored by Alfred Publishing and Mr. Davis is the director of the outstanding Broken Arrow High School Band program from Broken Arrow, OK. Other fine clinicians will include Elementary/Jr. High specialists Bruce Pearson for bands and Wendy Barden

for strings. Scott Lang and Tim Lautzenheizer will also be on hand to help get you and your students motivated, as each will be offering a special clinic. Selected performing groups include four wind ensembles, two string ensembles, and two jazz ensembles. Clinicians from several Arizona universities and successful statewide music educators will cover a wide range of topics including clarinet, brass, string bass, interview techniques, guitar, and solving rhythm

problems. For jazz band teachers this year is quite diverse with Mike Steinel, Matt Johnson, and Jack Cooper offering multiple sessions. The 2012 AMEA Conference will provide something for all levels and idioms of music teaching this year. Don’t miss this chance to recharge and enhance your ability in the classroom. Submitted by Eric Haenfler, ABODA State Festival Coordinator camhaen@cox.net

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EXHIBITS!!

EXHIBITS!!

EXHIBITS!!

One of AMEA’s most important conference activities is visiting the exhibits. As this issue of AMN goes to press, exhibit registrations are still coming in and we expect to fill the hall again this year. We are keeping the exhibits open during the lunch time on Saturday and have added more exhibit time Saturday afternoon. Don’t forget, our exhibitors are here to serve you and to sell their products. To ensure that we keep our best exhibitors returning it is important to BRING P.O.’s for your favorite vendors.

NEW NEW

NEW

NEW

COMPANY AMEA: Accent on Advocacy The Academy Drum and Bugle Corps Arizona State University Herberger Institute Barber Shop Harmony Society Charms Office Assistant Conn-Selmer, inc. Eastman Music Company Educational Performance Tours Field Studies International Forum Music Festivals Fruhauf Uniforms Gemeinhardt Co. LLC Hayden School Supply/ Stanbury Uniforms J W Pepper & Son, Inc. Jupiter Band Instruments, Inc. Macmillan/McGraw-Hill Malmark, Inc – Bellcraftsmen Milano Music Center MRZ/ Red Apple Fundraising Music & Arts Center Music Celebrations International Music Mart, Inc Neil A Kjos Music Company Northern Arizona University School of Music Pearson (Silver Burdett) PepWear Phoenix Boys Choir Phoenix Children’s Chorus Phoenix Youth Symphony The Tuba Exchange The University of Arizona Uplifting Promotions USC Thorton School of Music World’s Finest Chocolate, Inc. Young Women in Harmony (Sweet Adelines International)

PRODUCT Materials and Information for the Advocacy of Music Education Drum Corps, Winterguard University School of Music 4-part A-Cappella Music Web-based Software for Music Program Management Musical Instruments Musical Instruments Performing Arts Tours Music Festivals Adjudicated School Music Festivals Marching Band Uniforms Musical Instruments Band Uniforms Printed Music Band Instruments General Music Program Handbells - Choirchimes Musical Instruments Frozen Foods, Gift Wrap and Cookie Dough Instruments, rentals, lessons, accessories & more! Music Tours & Travel Printed Music Educational Music/Methods Education Silver Burdett Making Music Screen Printing-Embroidery-Promotional Items Youth Choir Children’s choir Youth Orchestras Tubas and Euphoniums School of Music Butter Braid Fundraising University Chocolate 4-part A-Cappella Music A M N W I N T E R 2 0 10 / 2 0 11

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Maricopa A

ABODA

Unlocking the Mysteries of the Jazz Ensemble Score Mike Tomaro

Grassroots Advocacy in Arizona Panel Discussion

SESSION 2 - FRIDAY - 9:15 - 10:15 a.m.

Making an Advocate Transitioning from Out of Your Chamber to Jazz Principal: Ten Things Merry Carol You Can Do Spencer Demo Monday. Choir- Gilbert HS Marcia Neel

AMEA Adjudicator Certification Workshop 7 - 9 PM Marshall Stewart

ACME / CMENC AMEA Palo Verde I

Using the Kalimba Mark Holdaway

AzSGM Palo Verde II & III

Music and Artistry or Waiting for the Goosebumps Ruth Kurtis

String Teaching for the Band Director Walt Temme & Bill Bitter

How To Retain Successful Audacity and and Recruit Assessment in the Garageband Scott Instrumental Elementary Belck (Repeat of Students Classroom session 1) Marcia Neel Sam Gronseth

How to Do CHoDA Greg Hebert Troy Meeker

Vocal Jazz Reading Session Merry Carol Spencer

EM/MS Reading Session Russell Robinson

The Vibraphone: Enhancing High Issues for Beginning Data is My Friend String Intonation School Jazz Tubists Robert Morrison Margaret Schmidt Programs Alexander Lapins

ABODA Forum George Hattendorf

Yamaha Music in Pirates & Education: A full Princesses; Orff service music Activities for Boys education system & Girls

SESSION 6 - FRIDAY - 5:30 - 6:30 p.m. Jazz Style and Improv Russell Robinson

Strategies to Teach SightSinging Successfully

Why Do You Only Do This in Choir J. Edmund Hughes Demo Choir-

Break/Visit the Exhibits - 4:15-4:45 PM

HALL OF FAME AWARDS LUNCHEON - FRIDAY - 12:15 - 2:15 - MAIN HALL SESSION 4 - FRIDAY - 2:30 - 3:30 p.m. Charms Music Make It Special: PERFORMANCE SESSION 2:30-4:15 PM Desert Web-Based PERFORMANCE SESSION Management for Teaching Music to Canyon MS - Andrea Squires Franklin Elementary East Orchestra Barry Olson, Director Successful Special Learners Academy of Tucson HS - Caleb Nihira Poston Junior High Concert Band Jennifer Bock, Director Programs Linda Murphy University of Arizona - Elizabeth Schauer Mark Hodge SESSION 5 - FRIDAY - 3:45 - 4:45 p.m.

Clarinet Rx: Diagnostics and Remedies for All Levels Jana Starling

Nurturing Young Singers Shelly Cooper/ Karlena Leal

Never Fear. Kodaly for Big Kids is Here! Older Beginners in the Music Classroom Liza Meyers

Using Contemporary Bilingual Music for the ESL and ELL Students in the Early Childhood &

Start Strong and Survival Tips for Thrive: Ideas, Instrumental Teachers Resources, and who are Required to Strategies for a First Teach General Music Year Lou Detaranto Brian Peterson

The Top 10 Reasons Music Teachers Don’t Assess – and Getting Over IIt Scott Shuler

Research Poster Session

Conducting MS SingersPirates & iPad and Its Uses Building Necessary Songs and Movements Gesture: Turning their Princesses: Orff Balancing Tonal PERFORMANCE SESSION Mesquite Junior High Orchestra Laura Reed, In the Music Realizing our Energy into Support for Music for Elementary Activities for Boys Colors Director Desert Vista High School Wind Ensemble Josh Thye, Director Classroom Musical Something Education Teachers & Girls Jennaya Robison Mark Hodge Imaginations Alan Wonderful. Russell Kenneth Raessler Mark Nelson Charise Lindsay McClung Robinson BREAK - VISIT THE EXHIBITS - FRIDAY - 10:30 - 11:00 a.m. SESSION 3 - FRIDAY - 11:00 - 12:00 p.m.

Reserved for Performance Warmup

Learning Jazz You Want My Vocabulary by Gameshow: Who Essential Time Band To Do Involving School To Music and Smart Music in Creating Music Singing the Solos Wants To Be an Management for What!? Singing In of Jazz Masters-Orchestra Parents Beyond your Curriculum with Children Arts Advocate? The Music Teacher The Instrumental for Instrumentalists Kirk Moss Robert Sheldon Leigh Kallestead Sandy Stauffer Lynn Tuttle Emily Schwartz Classroom and Vocalists Brian Meyers Jeff Libman BREAK - VISIT THE EXHIBITS - FRIDAY - 4:45 - 5:30 p.m.

The Auxiliary One Person CAN Percussionists: Make a Enhancing WorldDifference Influenced Jazz Robert Morrison Steve Hemphill

Everyone Can Improvise Frank Dubuy

Promoting Your Music Program David Duarte & Julie Gragg

Keep Fun in the Fundamentals Kirk Moss

SESSION 1 - FRIDAY, FEBRUARY 4, 2011 - 8:00 - 9:00 a.m. Meeting Students How To Succeed Where They're At: Custom Field Audacity and at Musicals Using Hip-Hop to Shows Garageband Scott Without Really Teach National Thomas Bough Belck Stressing Debra Standards Jo Davey Robert Vagi Singing Range: The Adolescent Male Alan McClung

ARIZONA MUSIC EDUCATORS ASSOCIATION IN-SERVICE CONFERENCE — FEBRUARY 3–5, 2011 — TENTATIVE SCHEDULE ABODA ABODA ABODA Technology AzSGM ChoDA ChoDA ChoDA STRINGS Conference MPS Historic MPS Historic MPS Historic Pima B Ballroom D-G Yuma C Theatre Superstition Irving Bldg, Irving Bldg. Irving Bldg. Room 117 Rm 114/115 Auditorium WEDNESDAY - FEBRUARY 2, 2011 and THURSDAY - FEBRUARY 3, 2011 ABODA All-State Jazz Band Rehearsals PRE-SESSION - THURSDAY, FEBRUARY 3, 2011 - 7:30-9:30 p.m.

All-state Jazz Concert (ABODA) 7:30-9:30pm Arizona Ballroom D-G

ABODA All-State Jazz Band Rehearsals

ABODA Starlight

Inside story: A Arizona Arts Ed Monday Night Lab composers Census Band--A New perspective on his Mandy Buscas & Model for Learning own music Lynn Tuttle Keith Kelly Robert Sheldon

AMEA ADVOCACY CHOLLA I & II

TENTATIVE AMEA IN-SERVICE CONFERENCE GRID


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Things I See as a Jazz Festival Judge Ken Taylor

You Want to be a Music Advocate? 12:30 - 1:30 Lynn Tuttle and Michael Soto

Registration & Visit Exhibits for Special Guests 11:00-12:30

Charise Lindsay (Repeat Session 2)

Alan McClung

Corona Del Sol HS Greg Hebert

Multi-Tasking Beyond Rhythm Training Ruth Kurtis

Division IV Marching Band....Is It Working Tom Sullivan

Yamaha Music in Instrumental Education A full Recruiting and service music Retention education system Jenny Nichol Lauren Altiere Brad Seagraves (Repeat–Session 6) Creating Music with Children Sandy Stauffer (Repeat of Session 5)

PERFORMANCE SESSION Desert Ridge High School Frank Sargent, Director Chandler-Gilbert Community College J. Edmund Hughes, Director

Reading Music in Elementary Strings Jenny Nichol Linda Levy

(Repeat session 11)

One Parent CAN Make a Difference Robert Morrison

SESSION 12 - SATURDAY - 4:30 - 5:30 p.m. The Marching Charms Music Side of Marching Web-Based Make It Special: Band: How to Get Management for Teaching Music to the Most from Successful Special Learners your VisualDesign Programs Linda Murphy (Repeat Session 4) Casey Ehrler Mark Hodge Ben Henderson (Repeat Session 4)

Continued 3:15-4:45 PM in MPS Auditorium Empowering Singers with Authentic Expression Tom Carter Demo Choir-Apollo HS (Clydene Balke)

3:15-4:45 in MPS Auditorium Empowering Singers with Authentic Expression Tom Carter Demo Choir-Apollo HS (Clydene Balke)

SESSION 10 - SATURDAY - 1:45 - 2:45 p.m. KEYNOTE ~ TOPIC: ARIZONA MUSIC ADVOCACY (PLEASE NOTE: This session and sessions 11 & 12 in BLUE include, parents, administrators, and advocates invited by AMEA members. Please see the flyer in December issue of ARIZONA MUSIC NEWS magazine) Scott Shuler - MENC President & Robert Morrison - Quadrant Arts Education Research ARIZONA BALLROOM BREAK - VISIT THE EXHIBITS - SATURDAY - 2:45 - 3:15 p.m. SESSION 11 - SATURDAY - 3:15 - 4:15 p.m.

CONSTITUENT MEETINGS - SATURDAY, 12:15 - 1:30 p,m. ABODA meeting - Conference Theatre AzSGM Meeting - Palo Verde II - III ChoDA Meeting - Historic Irving Bldg Auditorium CMENC Meeting - Palo Verde I

Food Concessions will Open from 11:00 a.m. - 3:00 p.m. - EXHIBITS will remain open During Lunch 12:00 - 1:30

The Best Defense Is A Good Offense Kirk Moss

Keep Fun In The Using Garage Choral Warm-ups Music Be Afraid of Fundamentals One Parent CAN Don't Band in your for the Beginning Entrepreneurship Your Percussion Moss (Repeat Make a Difference Lesson Plans Choir Thomas Bough Kirk William Meldrum of Session 1) Robert Morrison Janel Huyett Dianne Gourley

Unleashing The Power of Sound Innovations Robert Sheldon

BREAK - VISIT THE EXHIBITS - SATURDAY - 10:15 - 10:45 a.m. SESSION 9 - SATURDAY - 10:45 - 11:45 a.m.

(Repeat–Session 7)

Exploring Childern's Voices Through Vocal Play Lori Gray Michelle McConkey

(Repeat Session 6)

Using Contemporary Bilingual Music for the ESL and ELL Students in the Early Childhood & ES Classroom Gilbert Soto

Exploring Childern's Voices Through Vocal Play Lori Gray/ Michelle McConkey

ES Classroom Gilbert Soto

Advocacy: Building Never Fear. Kodaly for Local Support for Big Kids is Here! Older Quality Music Beginners in the Music Programs Scott Shuler Classroom MENC President Liza Meyers (Repeat session 11) (Repeat session 3)

Advocacy: Building Nurturing Young Local Support for Singers Quality Music Shelly Cooper/ Programs,Scott Shuler Karlena Leal MENC President (Repeat of Session 4)

Avoiding Teacher Burnout Kenneth Raessler

SESSION 7 - SATURDAY - 8:00 - 9:00 a.m. Successful Preparing your All You Wanted To Smart Music in Assessment in the Rhythm in the Vocal Groups and students for Creative Rehearsal Know About your Curriculum Elementary Beginning Band Sound Systems Regional and AllTechniques Graduate School Leigh Kallestead Classroom Jim DeBusk State Auditions Russell Robinson Sandy Stauffer/ Heather Dziczek (Repeat Session 5) Sam Gronseth Jennifer Jarrett Shelly Cooper (Repeat Session 3)

SESSION 8 - SATURDAY - 9:15 - 10:15 a.m. Meeting Students What's on the iPad and Its Uses Where They're At: Page:Determining PERFORMANCE SESSION Movement and JH/HS Reading Authentic vs Using Hip-Hop to In the Music Flowing Wells High School Jazz Band Robert Gaston, Director Editorial the Singer Session Teach the Nat’l Classroom Mountain Ridge Wind Ensemble George Hattendorf, Director Information In The Tom Carter Standards Mark Hodge Russell Robinson (Repeat–Session 2) Score Robert Vagi (Repeat Session 1) Elizabeth Schauer

Best Practices For Scoring The Band Thomas Bough

To Music and Jazz Band is Just Beyond Another BAND Robert Sheldon Keith Kelly (Repeat of Session 5)

The Jazz Band Trumpet Section Fred Forney Denny Monce

Booster Groups: The Jazz Volunteers, Commandments: Fundraisers & Guidelines for Advocates Julie Successful Gragg & Kingman Authentic Swing Band Boosters Jerry Tolson

Initiating How to Make Conversations Improv Less Scary with Elected for Novice Officials Students Jackie Thrasher Tony Vacca

The Teacher as an Advocate Michael Soto

for schools Lauren Altiere

6:00 - 7:30 AMEA Reception ( Buffet Food & No Host Bar) - Canyon Room ASU Mentor Teacher/Alumni Reception 7 p.m. - Palo Verde I FRIDAY NIGHT CONCERT - SPONSORED BY CO-MEP The Central Arizona Concert Band of Prescott - Conductor, Clydene Dechert • The Carolyn Eynon Singers (Phoenix) - Director, Carolyn Eynon • 7:30-9:00 PM (Arizona Ballroom D-G) SATURDAY - FEBRUARY 5, 2011 AMEA CORPORATION MEETING - 7:00 a.m. Room: Palo Verde I

Steve Hemphill


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The Why, What and How of Assessment By Susan O’Rourke and Santha Stall, Ohio Music Education Association Reprinted with permission of TRIAD, the official publication of the Ohio Music Education Association, Shelley Jagow, editor. Not for further reproduction without permission of OMEA. The Why, What and How of Assessment by Susan O’Rourke and Santha Stall; Volume LXXIX (1), pp. 89-92, Fall 2011.

Standards Based System

I had long admired the rubrics that were sent home by my children’s art teachers. They did a great job at deSantha: Quality schools are schools where learning, in- scribing the art work of a child in clearly defined skills, struction, curriculum and assessment align. It is critical concepts and evaluations. I began to understand that this that students know what they are expected to learn and art work from my then elementary age child was much how their progress will be measured. Effective progress more than a pretty picture. I wanted to assess my students monitoring generates data that assists teachers in provid- in this way so I could communicate the information to ing targeted and differentiated instruction. It also engages others. My next challenge was to create a tool that would students in taking ownership of their learning. not only be accurate, but quick and easy to use with little The history of student standards began in Ohio in or no disruption to the pace of the class. 1997. Common expectations for what all students should know upon the completion of high school were the pre- Creating a Useful Rubric cursor to Ohio’s Academic Content Standards. In 2001 Susan: A rubric is an assessment tool used to commuSenate Bill 1 mandated assessments that matched these nicate student progress in regard to a specific skill set and standards. And in 2004, Senate Bill 2 was the impetus standard of excellence. A rubric consists of criteria, definiin creating Ohio’s Standards for the Teaching Profession, tions of skills and established levels. (see example 1) ExPrincipals and Professional Development. ample 1 is a rubric that I created for middle school band Whether it is learner standards, educator standards rehearsals. It can be used to evaluate a sectional rehearsal, or professional development standards, assessment fo- a full band, or a section of the band during a full band recuses on growth. Assessment data provides a longitudinal hearsal. The descriptors are precise and easily identifiable picture of progress and can be used to make predictions so that assessment can be accurate and quick. Initially, I regarding achievement. Below is one music educator’s used this rubric and others like it in print form. I circled search to align curriculum, instruction and assessment the descriptors that applied to the students quickly and with the use of technology. easily. It was great to have accurate assessments, but communicating with fellow directors, students, parents and Purpose for Assessment administrators remained unchanged. Susan: Each year, like most educators, I look for ways The next big leap occurred when I incorporated the to improve my teaching. As a woodwind specialist I am use of my touch screen tablet. I created multiple rubrics privileged to assist with multiple grade levels. In a way that addressed a variety of age level skills and performance it can be like being in the past, present and future all in practices. Some were adapted to specific pieces being preone day. One fall while assessing beginning woodwinds pared for concerts or adjudicated events. In example 1 the on their ability to articulate, memorize the notation and blue boxes are used to type the date or just an “x” under fingering of the first 5 notes, hold their instrument prop- the descriptor that aligns with student progress. If I have erly with good posture while maintaining a good embou- time or need to give comments in any section, the boxes chure and breath support (so much!), I realized I needed a are expandable. Assessments are literally at my fingertips. more effective tool. I needed a tool that would effectively It couldn’t be easier. After class I frequently email the measure student progress and allow me to communicate completed rubric to my colleague. Individual assessments this information to other directors as well as keep the data can be sent to parents and students. for myself to share with students and formulate future lesson plans. Continued on next page A M N W I N T E R 2 0 10 / 2 0 11

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Example 1

Middle School Band Rubric

Criteria

Proficient

Progressing

Emerging

Note Accuracy • Correct Notes • Correct Key • Observes Accidentals

Correct Notes, key signatures and accidentals.

Few pitch errors in key signature or accidentals

Many note errors, key signatures or accidentals

Tone Quality • Breath Support • Embouchure

Meets or exceeds characteristic tone of grade level ensemble.

Characteristic tone of grade level ensemble with some inconsistencies.

Fundamental embouchure errors and/or lack of breath support.

Rhythm • Maintains Steady Beat Throughout • Accurate Rhythms

Beat remains steady, all rhythms are accurate.

Beat remains steady with few interruptions. Most rhythms are accurate.

Unsteady beat. Most rhythms are inaccurate.

Articulation • Clean “T” Attacks • Performed Articulations as Notated

Performed all articulations accurately as notated in music.

Few errors either in execution or missing articulation as notated.

Many errors in execution and/or disregard for notation in music.

Instrument Technique • Posture • Hand Position

Displays good posture and holds instrument correctly.

Posture and instrument position leave room for improvement.

Poor posture and/or hand position.

Additional Comments

When creating your rubric, consider your immediate and long term goals. Do you want to assess a fundamental such as instrument position or embouchure? Maybe you should break down skills into smaller components for this type of rubric. Do you want to assess progress on a large scale such as an entire piece that will be performed? That rubric will cover a wide range of criteria with multiple skills in each description. For example, Tone Quality might include posture, breathing, tone and intonation. What is the experience level of students being assessed? Example 2 is a rubric for individual beginning band students. It’s great to use for a one line song from a band method book. I go down the line, hearing each student while completing their assessment with the rubric on my touch screen tablet. In example 1 I have simply put an “x” to designate the assessment, but in other areas I gave advice for specific improvement. Feedback is immediate in some cases and at other times I print or email the rubric. 20

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Students are aware of the criteria and are involved in the creation of the follow-up rubric because they can easily be created on the spot from my template. Student involvement in goal setting creates ownership. Why Use a Rubric? Susan: When questions arise regarding decisions about students, a colleague of mine answers with his own question, “What’s best for kids?” Consistently using a rubric to integrate performance and feedback creates formative assessments which help direct teaching to address the needs of the individual as well as the needs of the group as a whole. Students benefit by sharing in the goal and understanding the criteria. The criteria in a rubric are foundational musical skills. I view assessment with rubrics as the road map for each student to become a better musician. Continued on next page


Example 2 Beginning Band Rubric

Student, flute

Proficient

Progressing

Posture Breathing

Drop left shoulder, keep head facing forward. X

Embouchure Pitch Accuracy

Covered. Needs to roll out or keep head up. X

Rhythm Articulation

Emerging

Hesitates X

Additional Comments   Applications in Using Rubric Assessments

Susan: So now you have completed assessment rubrics on your touch screen tablet, laptop or a hard copy version. The most immediate use of the information might be “grade cards”, but formative assessment is about growth. Formative assessment directs your next step in teaching the specific concepts or directing the progress of a group or individuals. Rubrics show what the students know and don’t know; what they can and can’t perform. If we really look at the data we are collecting, we can also see what areas of our own teaching need improvement. If you are creating and using rubrics on a touch screen tablet or similar electronic device, the possibilities are endless. In addition to ease and speed of use in the classroom, communication is the next big draw to this type of technology. Within seconds I am able to transfer effective notes, in the form of the completed assessments, to my co-teachers. Planning time is at a premium especially if you’re a traveling teacher, so we typically use email to plan our next steps for each group. Group or individual assessments can also be sent to parents. Just as my children’s art teachers educated me through the rubrics stapled to the back of their art work, we can inform and educate the parents of our students.

Progress (or lack of it) is visually apparent on a well-designed rubric. Parents can begin to understand what is involved in producing a good characteristic sound for their child’s grade level or the various components needed for note accuracy. The connection between progress on the rubric and at home practice will also become apparent. Students love technology! My students are curious whenever I have my touch screen tablet in class. They love to look at the criteria on each new rubric, they give great input in creating new rubrics and if it’s an individual assessment they love seeing their name on the rubric on my touch screen tablet. I frequently hear, “Can I go next?” That’s music to my ears! Administrator Perspective Santha: As a former music educator and retiring administrator, I have collaborated with teachers in collecting and analyzing student performance to improve classroom instruction. This included peer review of student work samples, universal screeners, achievement tests, value added assessment, goal setting, informal and formal observations. I marvel at the rich history the performing arts has in using high yield strategies. Reinforcing effort and personalizing Continued on next page A M N W I N T E R 2 0 10 / 2 0 11

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recognition (both individual and ensemble skills) mirrors Marzano’s current research on best practices for increasing student achievement. Clear and compelling standards, affirmation of progress and authentic engagement are some of the elements of Schlechty’s “Working on the Work.” Mrs. O’Rourke serves as a woodwind consultant for several school band programs. The consultant model she works within requires daily progress monitoring that is easily communicated to students, teachers and parents. This new generation of learners was born “wired” to use technology 24 hours a day, seven days a week. In the fall when we met to discuss her evaluation goals she shared that she wanted to focus on assessment and rubrics. During her mid-year progress conference we talked about the rubrics she had created and possible improvements. Susan expressed frustration with the difficulties in using hard copy versions. They were cumbersome to use while teaching and communication of student growth was sporadic. At her end of year conference Susan’s ideas had evolved into more clearly defined performance indicators and using hand held technology to increase the ease of implementation. I applaud her for developing rubrics that can be effectively executed in the performing arts classroom and meet the instructional needs of her students. With the passage of Senate Bill 5, a higher level of accountability has been established that will link teacher evaluation to student learning resulting in using student progress to move from experience based seniority to results based seniority. As we embark on this journey each educator must understand the “why,” “what,” and “how” of assessment. Methods for communicating progress will need to focus on performance indicators not “grades.” Santha S. Stall has a B.S. Music Education from Ball State University and a M.S. in Educational Administration from the University of Dayton. Santha has worked in public education for 35 years as a music educator and secondary administrator. She was the 2000 OASSA Middle School Principal of the year. Ms. Stall has worked in three different Ohio school districts—Dayton Public Schools, Delaware City Schools and Worthington Schools. Susan O’Rourke has a Bachelor of Music Education and MA in Woodwind Pedagogy from The Ohio State University. Currently in her 21st year in music education, Susan has spent the last 16 years in the Worthington City Schools where she serves as district woodwind specialist. Since 2008 Susan has also been the band director at Polaris Christian Academy. In addition to having taught in both public and private schools, she is on the adjunct faculty at Mount Vernon Nazarene University where she is the clarinet and saxophone instructor. 22

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Reconnecting at the Conference By Randy Wright, Vice President of Professional Development

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t this year’s AMEA Conference (February 2–4), I am very much looking forward to meeting you, or reconnecting with those of you I’ve met throughout the years. I will be located in “conspicuous” place, ready to help you with any professional development documentation or questions that you may have. I truly believe that just gathering with and communicating with other music educators can make us all better teachers, while improving our perspective in the classroom. Please take a few moments to look at this year’s conference website. http://www.azmea.org. You will note that some of the best clinicians, teachers, musicians and members of the music industry from around the country are included. I would also like to point out that many of our finest teaching resources are located right here in Arizona’s backyard, and many of those great educators will be featured as well. With 2012 being Arizona’s Centennial, I anticipate that our conference this year will be one of the most special. To celebrate, make sure that you participate in our Director’s Ensembles! • Dr. Tim Lautzenheizer, band • Dr. Rollo Dilworth, choir Visit the new AMEA website: http://www.azmea.com and click on the “Conference Ensembles” button on the right side for more information and to sign up. As always, the conference will be a great place to hear many excellent music ensembles and find out the latest news from our colleagues. I look forward to seeing you all there!


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he most important part of being a good music teacher is being a strong musician, especially when teaching secondary choral music. This is often overlooked by many administrations. If a choral music teacher is hired to teach (and build) a choral performance program but does not have a strong grasp on the areas of music learned in college, that teacher should find another job because he/she is not serving music education. We are musicians, and must never forget that our skills are the most important part. Unlike the movie School of Rock, those who can’t do…shouldn’t be teaching music. With this being said, it is not the only thing needed. The second thing a secondary choral music teacher must have is the skills to manage a program (translation — a “manager of people”). We direct people, not music. We understand music and work to communicate that to our students and audiences, but it is the people that make music. It is easy to forget this as students do not often share our vision of how amazing music is, and can be for them. It is our job to teach them. With this comes communication, empathy, encouragement, patience, problem solving, vision, and innovation. If a student comes to us and tells us that he/she cannot make our concert this Thursday night, instead of reacting to their irresponsibility and immediately fuming in frustration (of course, that has never happened me), we need to find out what is going on first. Larry Mabbit, one of the most fantastic music teachers Arizona has ever seen, once said, “don’t focus on why they are missing your concert, rather focus on why they would want to miss your concert.” In other words, are they missing because

Steps in Building a Choral Music Program By Greg Hebert, ChoDA Past President they have to do something they are not looking forward to, or because they really do have a good reason? Our positive and professional communication to our students and their parents will often soften the blow of misunderstandings like these. Managing people goes further than this example. Choral music teachers need to empower their students and community to help run the program. When starting at Corona Del Sol eighteen years ago, I did not have children. I often stayed at school until at least 6:00 p.m. every night planning and doing all of the tasks it takes to run a choral program. I loved it! Then, children came, and so did my lack of sleep. My family and personal responsibilities became so important to me, and thus my priorities began to shift. It was then that I had to let go of doing everything, and look for help. Parents want to help. They just need to be asked. Students want to help too. Part of managing people is letting go of our control. We need to be the boss of our program, but we don’t need to do all the jobs. Look at yourself as a manager and delegate these responsibilities. It is not important who does the job, rather that the job gets done. Take a little pressure off of yourself and breathe. The ones that have stayed in this business the longest have figured this one out. Being a strong musician/educator, and manager are so important. Nonetheless, there is more. We must advocate for our programs. The most successful and sustaining program directors in Arizona continue to recruit, knock on administrators’ doors, volunteer for leadership positions, network with their colleagues, and make their programs

present in their communities. Reach out to your neighbor schools! If you are a high school teacher and have not invited the junior high programs to your school, and visited them, then you better do that soon. Your program depends on their support, and their program depends on yours. Also, if you teach Jr. High or High School, then you should be seeking opportunities for them to continue on at the next level. It’s not about being “done” with our jobs, but developing our students to continue in music forever. Finally, be humble. We can all learn something from each other. It is one thing to say we are humble, but are we able to swallow our pride and take the high road? Do we need to send angry emails? Do we need to put a “dig” in to get our point across to people? Look to the greats for this one. Think about who inspires you the most. That person was probably humble. There will always be a better teacher, musician, school, principal, students, parent group, facility, paycheck, and the list goes on. Consider yourself a blessing to your students, and your students a blessing to you. In conclusion, in order to build your program you must: 1. Be a strong musician and lifelong learner of music. 2. Manage the people of your program, not the program. 3. Recruit by connecting with colleagues and your community. 4. Be humble and thankful for your talents, and see your student’s joy. Greg Hebert Choral Director, Corona del Sol High School A M N W I N T E R 2 0 10 / 2 0 11

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he 2012 AMEA conference will include a broad range of ACMEA and NAfME Collegiate sessions dedicated to helping pre-service music educators consider issues related to entering their first teaching position, in addition to presenting music education research on some of the most current issues facing our field. For collegiate students interested in making the most of their internship and student-teaching experiences, Marsha Vanderwerff will provide the keys for understanding the mentoring experience. To provide fundamentals for current or future teaching, sessions such as considering your future classroom teaching philosophy, presented by Dr. Thomas Kloss and using cognitive science to improve learning, presented by Lauren Kapalka Richerme are sure to build a strong pedagogical foundation for all attendees. Emily Schwartz’s presentation on time management skills and Dr. Brandon Haskett’s session on developing a professional learning network will offer key ideas to help pre-service and practicing music teachers reach their full potential. Those interested in the possibility of starting graduate work in music education will not want to miss a panel on the topic hosted by Dr. Margaret Schmidt. To broaden thinking on teaching approaches, Meg Arredondo 24

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From the Collegiate Corner By Evan Tobias, AMEA Collegiate Chair

will address strategies for encouraging guitar students to practice while Evan Tobias and Jerry Rulon-Maxwell will share ideas related to popular music and teaching guitar. Emmett O’Leary will speak on contemporary techniques that can improve students’ musicality and rhythmic performance in addition to addressing music standards with technology. Several sessions focusing on research, including but not limited to Dr. Thomas Kloss’s report on music teacher burnout and stress as well as attitude research in music education, will provide the latest information on issues important to the field. This year’s conference also addresses national issues situated in our local context of Arizona. Dr. Jeff Bush will facilitate a panel that is sure to stimulate our thinking on realities of contemporary music education. A series of presentations by Lynn Tuttle and Dr. Evan Tobias are designed to

bring current and pre-service educators up to speed on student evaluations and assessment. Lauren Kapalka Richerme will address the important issue of advocacy and what we might learn from how the media portrays music. Whether attending the AMEA conference about to enter your first teaching position, half-way through your first year, or with years of teaching experience, the ACMEA and NAfME collegiate sessions at the 2012 AMEA conference are sure to provoke your thinking and inform your teaching. Evan Tobias Asst. Professor Music Education Arizona State University Consortium For Digital, Popular, and Participatory Culture in Music Education @ ASU http://cdppcme.asu.edu evan.tobias@asu.edu

stART Workshops coming to a town near you! Join the AZ Commission on the Arts and the AZ Department of Education for a series of professional development workshops throughout the state. Visit www.azarts.gov/start to learn more and to register. The first stART event is scheduled for December 7 in Safford.


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Are You An AMEA Certified Adjudicator . . . Why Not?! By Marshall Stewart, AMEA Adjudication Chair

t this time of year, those of us who are responsible for hiring adjudicators for Solo & Ensemble Festivals as well as Regional Auditions are busy contacting potential adjudicators. We always want our student performers to be heard by the most qualified adjudicators available. The AMEA has established a certified adjudicator list and we are constantly looking to add new names to the list. To be certified, adjudicators are required to have a degree with a major or minor in music, be members of NAfME and have attended an AMEA certification workshop. We will provisionally certified individuals who do not meet all the qualifications, but attend our workshop. The workshop is intended to help adjudicators with the techniques and strategies for judging so we can provide solid, educationally based information to our young performers. Emphasis is more on the techniques than on the assigning of a rating. Ratings are discussed and the intent is that the ratings in each area are result of the comments written on the form.

In addition, potential adjudicators discuss the differences between solo & ensemble festival performances and audition performance. During the workshop, video performances are used to facilitate actual judging practice. After each performance we discuss the critical elements and corrections to be made that would help students become better performers. Since the high school solo & ensemble festival and regional auditions occur prior to the AMEA In-Service Conference, we try to set up a schedule of workshops. By the time you get this magazine, our fall workshops will have passed, but you can still attend our traditional workshop on Thursday evening at the AMEA In-Service Conference. If you would like more information about the workshops, please contact me at Marshall_Stewart@q.com or by phone at 520-297-6832.

Marshall Stewart and Participants in Previous Adjudication Workshop A M N W I N T E R 2 0 10 / 2 0 11

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usic is fun! My college music education professor will cringe when he reads that statement. I agree with him that we don’t teach music because it’s fun, and kids shouldn’t get involved for that reason alone. Fun is part of the equation though, not the goal, but certainly a nice side effect. I teach beginning and middle school band. I know most parents are just thrilled by whatever their child does, but we almost always perform at school-wide concerts with the choir and general music classes — where most of the audience does not have a kid in band. My challenge has been to hook the entire audience by putting something fun and different in the program. I usually get more rave reviews after concerts from non-band parents than I do from band parents. They love it, and it’s doing wonders for my beginning band numbers! Here are some strategies for engaging ANY audience:

Practical Ideas for Engaging Any Audience By Angela Stout, Contributor

Snyder & John Moss • An American Celebration, arr. Carl Strommen Feature the instruments you don’t have. We really needed a tuba. Having my husband fill in would work for school concerts, but it would never work for a festival. The beard would be a dead giveaway. So I decided to fundraise to buy a tuba. To kick off the fundraiser, we played the narrated beginning band tune, Introducing the Band by Andrew Balent, but we changed it to go something like this: • Read the regular narration and play up through the low brass. • Insert narration with vamp about the importance of the tuba. • Play the low brass (but call it tuba) section with backgrounds only (accompanied by laughter from crowd). • Explain conducting raffle (see below) during last vamp.

community who plays a band instrument to join us on a song. It’s always hard to publicize and organize, but last year it really payed off. Three of the kids who were in my first band and are now high school seniors came back and hung out with my kids before the concert. They told stories and talked about the doors that music has opened for them, and my kids were all ears. When we performed the same simple swing tune that those seniors played at their last concert with me, the audience was blown away by the conservatory-bound percussionist and his solo. My kids certainly had fun performing with him too. It was the highlight of the concert.

Don’t rehearse before you perform. Sight-read on a concert. One year, for the month before the concert, we sightread a new song from Standard of Excellence First Performance book. Then at the next concert, I surprised them on stage with a piece to sightread. They rocked that grade half Allow the audience sing along. Raffle off your job. For three concerts running, the Everyone wants to be the maestro. piece, and the audience was impressed. choir/music teacher and I have col- Sell raffle tickets to raise money for Be the soundtrack. laborated on a combined piece. We your version of “my tuba.” I taught Adding a visual element to mualso put the lyrics in the program so the band an easy march and handed sic keeps those visual learners, young the whole audience can sing along. the baton to the winner at the next and old, interested. We’ve played The It’s my favorite conducting experi- concert. We raised hundreds of dolPink Panther for a dance by the K-5 ence of the year! Here are the three lars, and the 1st grader who won wore ballet class, and this year we utilized pieces we have played with much tails. I bet you he’ll join band in 5th the big screen in the gym for a presensuccess. grade. I hope he plays the tuba! tation for the school. I scanned the • A Christmas Serenade, Warren music in and created slides with imAsk your alumni to show off. Barker At our last concert every year, I in• A Holiday Sing-Along, arr. Audrey Continued on next page vite alumni and anyone in the school 26

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ages to go along with First Concert: A Demonstration Performance by Bruce Pearson, performed by the beginning band. The middle school band played along with muted YouTube videos. I admit it was a crude first attempt at using multimedia, but I hope to get kids more involved in that part, especially those who aren’t in band. You may call these strategies gimmicky, but I call them engaging, and let’s face it, we need to engage more than just our current students if we hope to save our programs. What I’ve done has worked for my situation, and you probably have your own ideas. I encourage you to share them in the next issue of Arizona Music News, so we can all make our concerts more “fun!” Angela Stout 7-8 Spanish Teacher / 5-8 Band Director Integrated Technology Coordinator St. Michael’s Parish Day School Tucson, AZ 85711

Laura Scholten’s 2nd Grade Students at Linden Elementary School’s Veterans Day Program

­1st - 5th Graders Singing God Bless America at Linden Elementary School’s Veterans Day Program

2012 2012 AMEA AMEA In-Service In-Service Conference Conference Registration is now available on-line at www.azmea.org for the 2012 AMEA In-Service Conference. Pre-Registration deadline is December 31. Register early to ensure a seat at the Hall of Fame luncheon.

The 2012 AMEA In-Service Conference promises to be one of the best ever. The conference will be held February 2–4, 2012 at the Phoenix Marriott Mesa Hotel and Convention Center. Coffee, Juice and Danishes in the exhibit area in the AM and over 10 hours of professional development credit are yours for attending the conference. Additional information regarding the conference will be posted on the website in the future. Come get recharged! Something for everyone! See you there! Conference Housing: Phoenix Marriott Mesa 200 North Centennial Way Mesa, Arizona 85201

Attendees may call Marriott Reservations toll-free at (800) 835-9873 and ask for the “AZ Music Educators” group rate or go to http://www.marriott.com/phxmm and enter ameamea as the group code to make reservations.

Keynote Speaker:

Dr. Tim Lautzenheiser A M N W I N T E R 2 0 10 / 2 0 11

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hen we think of innovative practices in education, we normally think of creative teaching methods designed to enhance instruction and increase learning. My original intent, when thinking about writing this article, was to offer another definition of Innovations. However, what I have to say relates directly to the above — “Innovative practices are designed to increase instruction and learning.”

Innovations in the Performing Arts By Meg Arredondo, IN-Ovations Chair

are we so confined to defining muFinally, as teachers, we have the sic education to the traditional band, opportunity to mold our students choir and orchestra? into intelligent consumers with the It has been my experience that one ability to recognize artistic value. of the reasons students do not contin- Innovation is not just creating new ue with music education is that there teaching methods that fit old models is a distinct lack of creativity within of instruction. It is meant to enhance the ensemble setting. How many instruction and increase learning, band and orchestra students actually even in non-traditional ways.

compose their own songs? We spend a vast majority of our time rehearsing music written by other people, most I remember my days at the K–8 of them dead. school I attended in Scottsdale, AriNow think about the guitar stuzona. At that time, general music dent. If you are lucky enough to meant sitting in the room singing teach a guitar class, have you stopped songs from a text book that the music to listen to how many of them are teacher taught by rote. writing their own songs? What a Music was something I grew up great opportunity to teach notation with, but hardly in the sense that I was and reading. Most of them spend a given multiple opportunities to learn great deal of time trying to pick out to play instruments by taking private the strumming patterns riffs from lessons. I was lucky to have a sister their favorite group. I believe we call that was nine years older. She wanted that ear training. The music teacher to sing harmony; therefore, she had has a wonderful opportunity to harto teach her five-year-old little sister ness these interests and turn them to sing the melody and stay on pitch, into learning. while she strummed her guitar. This Teaching alternative music classes led me to join choir in middle and has other benefits as well. We, as muhigh school. I also took part in a very sicians, have an opportunity to really innovative extra curricular activitypay attention and learn what our stuthe hand bell choir. dents are listening to and where their So what’s my point? A love of mu- interests lie. As artists we have the sic and a willingness to study further ability to help our students focus on does not necessarily begin with tradi- music which has technical and aestional training. Musical interests are thetic value; perhaps even discovering varied and personal. Creativity can new things ourselves. not fit neatly into a little box. So why

Meg Arredondo IN-Ovations Chair rarredondo2010@yahoo.com

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