CMEA Magazine Fall 2023

by

In This Issue

22 Central Coast Section Update by Samuel Oh, CMEA Central Coast Section President

22 North Coast Section Update by Collin Kirkwood, CMEA North Coast Section President

24 Northern Section Update by Tanner Johns, CMEA Northern Section President

25 Southeastern Section Update by Dr. David Betancourt, CMEA Southeastern Section President

26 Southern Border Section Update by Emma Schopler, CMEA Southern Border Section President

26 Southwestern Section Update by Dr. Tamara Thies, CMEA Southwestern Section President

27 CMEA Mentorship Program

29 CAJ Update

29 Music Supervisor’s Update by Brad Van Patten, CMEA Music Supervisors Representative

30 Purpose, Quality, and Community: Looking to Our History to Shape Our Present and Future by David Green, CBDA Director of Communications

In This Issue (continued)

31 Elementary Music Educators Survey by Sal Rios, CMEA Elementary Music Representative

31 Calling All Retired Members by Rita Zigas-Brown, CMEA Retired Members Representative

32 CMEA: Where Music Educators Inspire, Connect, and Build Community

by Amy Lui, CMEA Secondary Music 6-12 Representative

33 In Memorium: Dr. Barbara Reeder Lundquist by Dr. Will Copola, CMEA Global Music Education Representative

34 Innovation. Part II. by Dr. Megan Foley, CMEA Innovations Representative

CMEA Past Presidents

2020-2022 Armalyn De la O, San Bernadino

2018-2020 John Burn, Cupertino

2016-2018 Scott Hedgecock, Fullerton

2014-2016 Michael D. Stone, Bakersfield

2012-2014 Russ Sperling, San Diego

2010-2012 Norman Dea, Walnut Creek

2008-2010 Jeff Jenkins, Chula Vista

2006-2008 Cheryl Yee Glass, Danville

2004-2006 Rob Klevan, Pacific Grove

2002-2004 Sam Gronseth, Paradise

2000-2002 George DeGraffenreid, Fresno

1998-2000 Dennis L. Johnson, Salinas

1996-1998 Jay D. Zorn, La Crescenta

1994-1996 Don Doyle, Pasadena

1992-1994 Bill Adam, Roseville

1990-1992 Carolynn Lindeman, Greenbrae

1988-1990 L. Leroy Roach, Walnut Creek

1986-1988 John L. Larrieu, Portola

1984-1986 Vivian M. Hofstetter, Bakersfield

1982-1984 David S. Goedecke, Stockton

1980-1982 Charles L. Freebern, San Diego

1978-1980 Henry Avila, Monterey

1976-1978 Mary C. Reed, Elk Grove

1974-1976 Marlow Earle, Lakewood

1972-1974 Louis Nash, La Crescenta

1970-1972 Anthony L. Campagna, Foster City

1968-1970 Judd Chew, Sacramento

1966-1968 Kenneth D. Owens

1964-1966 Keith D. Snyder, Davis

1962-1964 Gibson Walters, San Jose

1960-1962 Douglas Kidd

1957-1960 Joseph W. Landon, Fullerton

1955-1957 Harold Youngberg, Oakland

1953-1955 Fred Ohlendorf, Long Beach

1951-1953 George F. Barr

1949-1951 Elwyn Schwartz

1947-1949 Clarence Heagy, Fresno

35 Prop 28 Update

36 California Orchestra Directors Assoctiation Fall Update by Tiffany Ou-Ponticelli, CODA President

37 Higher Ed Music Education by Dr. Kara Ireland D’Ambrosio, CMEA Higher Education Representative

CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education

2022 - Marlene Mudge

2020 - Stephen Luchs

2019 - Judi Scharnberg, Jeri Webb

2018 - Dr. Lawrence Stoffel, Dean Hickman

2017 - Dr. Edward Harris, Michael Corrigan, James Mazzaferro

2016 - Dr. Robert Halseth, Rosemarie Krovoza, Rick Meyer

2015 - Dale Anderson, Ann Marie Haney, Dr. Thomas Lee

2014 - Jon Christian

2013 - Orrin Cross

2012 - Gayane Korkmazian, 2012; Gerald E. Anderson, 2012;

2011 - David Whitwell

2010 - Nicholas Angiulo, Vincent Gomez

2009 - Kem F. Martinez, Carl W. Schafer, Robert W. Lutt

2008 - Duane Weston

2007 - John Larrieu, Mary Val Marsh, Barbara Cory, Bill Ingram

2006 - Carolynn Lindeman, Joe Foster, Paul Shaghoian

2005 - Frances Benedict, L. Leroy Roach, Silvester McElroy, Jerry Kirkpatrick

2004 - Robert Greenwood, Arthur Huff, Lyle Stubson, Lois Vidt

2003 - John Farr, Thomas Eagan

2002 - Larry Johnson, Mary Louise Reilly

2001 - William Hill, Helynn Manning, Wesley “Colonel” Moore

2000 - Vivian Hoffstetter, F. John Pylman

1999 - Lawrence Sutherland

1998 - Chuck Schroeder

1997 - Dean Semple

1996 - Burl Walter Jr.

1994 - Jerry Moore

1992 - Mike Pappone

1991 - David Goedecke

1987 - Marlowe Earle

1985 - Arthur Dougherty

1983 - William Burke

1981 - Aubrey Penman

1979 - Steve Connolly

1977 - Howard Swan

1975 - Russell Howland

These words – “music-evoked autobiographical memories” – yes, they mean exactly what they suggest. Music-evoked autobiographical memories are those made by a moment in a person’s life and evoked by music. We’ve known for years that music assists in storing and recalling our memories, so, when I came across this term a few weeks ago, my immediate reaction was, “Of course! We know that.” As I reflected on the phrase, I quickly began to recall some of my favorite pieces and with those pieces came a deluge of memories and emotions that defined moments in my life.

I found myself smiling, scrolling through my music, and playing a few of my favorite pieces, as I revisited the music and people I had shared them with – as if it were just yesterday. Some were from over 40 years ago, and others from more recent times. As the melodies played, I could vividly remember the exact location, the weather, the surroundings, the lighting, the company I was with, and the precise emotions I felt. It was a sound-guided time travel at its finest.

As I lost myself in the music and memories, I realized many of these moments were deeply rooted in my music education and tied to a community. It’s the kind of music that creates an unspoken bond, letting us know we shared that particular moment with others and that it meant something personal and profound. These moments have shaped me, driven my passion for music, and instilled a desire to experience that sense of musical community repeatedly.

I urge you to take a moment to reflect on your cherished musical memories. Revel in these moments (and the tunes!), for they have unforgettable moments in your heart and mind and are unparalleled by anything else.

Here are just a few of the memories that bring me immense joy:

- Earth, Wind, and Fire’s “All ‘N All” album. The entire album. I was a junior counselor at a music camp in the Rocky Mountains of Colorado the summer after its release, and we played that album every single day. It still brings me feelings of freedom and memories of working in the kitchen, laughing with my friends, the crisp mountain air, and running flute sectionals. Both “Fantasy” and “September” became my anthems that summer and every time I hear those songs I am in Grand Lake, Colorado, as if it were yesterday.

- The Eagles’ “Lyin Eyes.” I was in the 8th grade, standing on the 40-yard line of Littleton High School’s football field in Littleton, Colorado. I was playing my piccolo at a football game for the first time, and with each note I played I was almost overwhelmed with

President's Message

by Anne Fennell, CMEA President

the moment and the music. I saw the audience from the field, the cold mist of my breath in the fall air, and I remember that as 8th graders we felt like the most important people in the world because, after all, we were playing with the high school band! When we arrived at the chorus section of the piece, I could hear the people in the stands start to sing with our music and I was in awe of what we were creating.

- Carl Orff and Gunild Keetman’s “Street Song,” performed by one of my ensembles at the National AOSA Conference in Las Vegas, Nevada. I remember feeling the audience right behind me and at the same time, choosing to block their energy to focus on the music and the beaming faces of my students. Their bodies swayed with the rhythm and chord changes, and the connection to the music was palpable. With every glance we exchanged, there was a sense of pure joy and the harmonic rhythm patterns filled the hall. When the crowd erupted with a burst of applause at the end, we all looked at one another and I could feel our pride as an energy force, as if it levitated us off the stage.

- Tool’s “Forty Six & 2.” My high school ensemble adored Tool, and this piece, and watching them master the meter changes flawlessly was so much fun! They seemed to transcend the piece to become one with the music, and together we felt fierce and indomitable as we effortlessly moved between 4/4 and 7/8. Their unspoken bond was evident when the piece ended, and when we all broke into high-fives and cheers, I knew we had become a united ensemble, like no other.

I have so many more memories, but these jumped out at me, because each one of these had an emotional and a physical sensation for me. I’m still beaming as I type these words!

The crux of my message? It’s simple. Create and recognize lasting musical memories with your students. That’s it. Share your past musical memories and what they meant to you. Then, when those magical moments happen with your students, take the time to talk about it. That moment will bring everyone together and the students will be able to find the words for those feelings and sounds that are felt in the heart, and these will, in turn, begin to create their autobiography. Music is powerful and forging lifelong memories with music is real, because when a memory intertwines with sound, it becomes a part of our personal history that will last forever. So, here’s to a spectacular year of #makinglifelongmusicalmemories.

CMEA State Council

CMEA EXECUTIVE BOARD

CMEA President

Anne Fennell afennell@calmusiced.com

CMEA President-Elect

Chad Zullinger czullinger@calmusiced.com

CMEA Vice President Holly MacDonell hmacdonell@calmusiced.com

CMEA Secretary Tiffany Barry tbarry@calmusiced.com

CMEA Immediate Past President Armalyn De La O adelao@calmusiced.com

CMEA OFFICE cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632

CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002

CMEA Administrative Assistant Heather Adams hadams@calmusiced.com 559 410-2425

CMEA Legislative Advocate Martha Zaragoza Diaz lobbyist1.mzd@gmail.com

SECTION PRESIDENTS

CMEA Bay Section President Sandy Lewis slewis@pausd.org

CMEA Capitol Section President Christopher J. Tootle ctootle80@gmail.com

CMEA Central Section President Elisha Wells elisha.wells@fresnocitycollege.edu

CMEA Central Coast Section President Sam Oh samuel.oh@salinasuhsd.org

CMEA North Coast Section President Collin Kirkwood collinkirkwood1@gmail.com

CMEA Northern Section President Tanner Johns tjohns@chicousd.net

CMEA Southeastern Section President Dr. David Betancourt dbetancourt@cerritos.edu

CMEA Southern Border Section President Emma Schopler emmaschopler@gmail.com

CMEA Southwestern Section President Dr. Tamara Thies Tamara.Thies@csulb.edu

NAfME OFFICERS

NAfME President Scott Sheehan 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768

NAfME Western Division President Scott Hedgecock shedgecock@calmusiced.com

COUNCIL OF REPRESENTATIVES

CMEA CAJ Representative Barb Catlin barbcatlin@gmail.com

CMEA CASMEC Coordinator Francisco Marquez fmarquez123@me.com

CMEA CBDA Representative Dan Bryan dbryan1109@gmail.com

CMEA CCDA Representative Dr. Arlie Langager arlie.langager@gmail.com

CMEA CCDA Choral Leadership Academy Coordinator John Sorber johnso@cos.edu

CMEA CODA Representative Tiffany Ou-Ponticelli touponticelli@pausd.org

CMEA Advocacy Day Performance Coordinator John Brasier jbrashie@egusd.net

CMEA Advocacy Representative Russ Sperling sperlingruss@gmail.com

CMEA Collegiate Representative Dr. Diana Hollinger dhollinger2006@yahoo.com

CMEA Collegiate Council Representative Daniel Crispino dcrispino@mail.csuchico.edu

CMEA Creating and Composition Representative TBA

CMEA CTA Liason Troy Trimble troyatrimble@gmail.com

CMEA DEIA Representatives Jonathan Raman Jraman85@gmail.com

CMEA Diverse Learners Representative Regan Lambert rlambert@emcsd.org

CMEA Elementary Music TK-5/6 Representative Sal Rios rioss@gfusd.net

CMEA Global Music Education Representative Dr. Will Coppola wcoppola@usc.edu

CMEA Higher Ed Music Education Supervisor Representative Dr. Kara Ireland D’Ambrosia Kara.IrelandDAmbrosio@sjsu.edu

CMEA Higher Education and Research Representative Dr. Ruth Brittin rbrittin@pacific.edu

CMEA Innovations Representative Dr. Megan Foley mfoley@polytechnic.org

CMEA Mentorship Program Chairperson Ryan Duckworth mentorship@calmusiced.com

CMEA Music Supervisors Representative Brad Van Patten BradVanPatten@iusd.org

CMEA Music Education through Technology Representative Holly MacDonell hmacdonell@calmusiced.com

CMEA New Teacher Representative (5 or less years) Nico Salum nicolosalum@gmail.com

CMEA Retired Members Representative Rita Zigas-Brown rzigas.brown@gmail.com

CMEA Rural Schools Representative Jeremiah Jacks jeromejacks30@gmail.com

CMEA Secondary Music 6-12 Representative Amy Lui amy.lui@polyhigh.org

CMEA Social Media Representative Holly MacDonell hollymacdonell@gmail.com

CMEA State Band and Orchestra Festival Coordinator John Burn jburn@calmusiced.com

CMEA State Choral Festival Coordinator Stacey Kikkawa choralfestival@calmusiced.com

CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org

CMEA Tri-M Representative Cassandra Moulton-Rizzo cmoulton@nohum.k12.ca.us

CMEA Urban Schools Representative Zack Pitt-Smith zackpittsmith@gmail.com

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4four Build the Groove: Building

Dictation skills for your Music Technology Students!

by Holly MacDonell, Music Education Technology Representative

Do you want to test your and your students’ sequenced groove dictation skills? Check out https://4four.io/groove/build where the user builds the examples they hear. Inaccurate steps are highlighted once the build is submitted, as shown below. Choice of styles include rock, dance, funk, hip hop, jazz, and latin grooves. What a fun way to continue developing listening skills!

Screenshot from https://4four.io/groove/build

CMEA 2024 ELECTIONS

VOTE!

CMEA State Board Elections for PresidentElect, Vice President, and Secretary

• Email from CMEA with link to online ballot in January 2024

• Voting Window: February 1-February 22, 2024

Please follow the links to research the candidates and ballot issues. Both NAfME and CMEA are working hard to present all Elections 2024 information in a timely manner to assist our membership in making voting decisions and ensure they are prepared when the emails with the voting links arrive. A recent study by NAfME has indicated that only a small percentage of members actually take the time to vote. California, along with the other MEAs in the Western Division, have higher rates of membership participation than in other areas of the country, but even WE can improve on this! Be watching social media for more ways to learn about the candidates as the 2024 ELECTIONS approach!

Read about all the candidates in the following pages.

Thank you for your interest in the future leadership of NAfME and CMEA, and please participate in the process in early 2024!

ELECTIONS 2024

President-Elect

Holly MacDonell grew up in Orange County, California performing viola in school ensembles and for the Orange County Youth Symphony, and during the summer at music camp. After high school, Holly moved to Northern California to attend Humboldt State University where she obtained Music Education and Literature degrees and her single subject music teaching credential.

After receiving her credential, Holly moved to Northeastern Oregon to teach K-12 general music and band for two years. Holly also performed, and was Assistant Conductor with, the Inland Northwest Musicians community orchestras and choirs based in Pendleton, OR.

Holly moved back to Humboldt County in 2008 and has taught K-8 music in before-, during- and after-school programs. Holly works with her local section’s festivals as chairperson of the North Coast’s Solo and Ensemble Festival and their All County Music Festival’s Junior String Orchestra. Currently she teaches K-8 general music, strings, ukulele, and music technology at Fieldbrook School, where she also presides over the School Site Council.

Holly is a Past President of CMEA’s North Coast Section and the current Vice President on CMEA’s State Board. Her experience on CMEA’s Board of Directors has nourished Holly’s inspiration and strengthened her determination to bring the highest quality musical experiences to every student from one end to the other of our diverse state.

Holly performs viola and violin for groups all over the North Coast, where her colleagues depend on her leadership, including Eureka Symphony, All Seasons Orchestra, Symphony of the Redwoods, and a new chamber group, Bach On! She also enjoys experimenting with synths, loops, and DAWs. Holly states:

I am dedicated to advancing music education in California, to ensure that every student across California has access to the highest quality musical experiences.

I am acutely aware of the transformative power of music and its ability to foster creativity, collaboration, and personal growth. As a Past President of CMEA’s North Coast Section and the current Vice President on CMEA’s State Board, I have had the privilege of being actively involved in shaping the future of music education in our diverse state. Together, CMEA strives to create a California where every student is encouraged to realize their potential through the pursuit of their creative passions. By advocating for comprehensive music programs, equitable resources, and authentic learning opportunities, we aim to empower students from one end of our state to the other.

My primary goal is to foster an inclusive and empowering environment where students can thrive, irrespective of their backgrounds or circumstances. By supporting music educators, facilitating professional development, and championing the value of music education, CMEA can help empower the next generation to embrace their unique talents and unlock their boundless potential.

Holly MacDonell CMEA Vice President

ELECTIONS 2024

President-Elect

Things are great at the bottom of the state!

So goes our traditional opening from Southern Border Section for at least a decade. I look forward to telling you more about that, and myself, as I humbly accept the nomination to be President-Elect of CMEA!

I’ve come to California via a windy road of music education. I was raised in a northern suburb of Detroit, and had my first experience in MENC (throwback! Young folks — that’s old-person NAfME) as the collegiate rep on the Michigan MEA board. After teaching high school band and orchestra in Phoenix, I burned out and left the profession. While it was a turbulent time full of questions, I now view it as an invaluable experience that helped me balance work and life, something so important especially for our younger colleagues. The burnout year also brought the famous Jax the Dog into my life, who just celebrated his 18th birthday like a champ! After grad school and teaching on Chicago’s south side, I started at the University of San Diego in 2015. I had the opportunity of beginning the formal band program from scratch, as well as designing our Music Teaching and Learning degree. I’ve also had the opportunities to work part time in three local K-12 public school districts, keeping in touch with “real” music education “in the trenches.”

As the Southern Boarder Section president for five years, I enjoyed being an active part of a handful of state-level CMEA meetings per year. I believe CMEA’s greatest strength is advocacy at the highest levels, as well as a truly progressive mission on how to move education forward. I believe I have a background that would help cultivate the many things CMEA does extremely well, and also work to improve our listening, communication, and efficiency.

With such a large and diverse state, listening is not easy. In friendly chit-chats with diverse colleagues leading up to this article, I found an abundance of out-of-the-box and insightful “What if CMEA did __?” Whether we look at ways to involve voices not currently represented, tweak existing programs, or build new programs altogether, CMEA’s greatest resources are its people! Building on listening, communication can also grow. Navigating Prop 28 funds and the proposed AB238 grant for student teachers are just two hot topics — can we energize our communication beyond CASMEC and the (amazing!) magazine you’re currently reading, at a local and individual level? Finally, I recently saw a meme that read, “If a meeting doesn’t have food, it should be an email.” This may oversimplify things… slightly… but I would strive to find ways to invest our resources, especially time, as wisely and efficiently as possible.

In my nine years in California, I have embraced and enjoyed learning the lay of the music education landscape. I would look forward to balancing more of an outsider perspective with the existing frameworks that make CMEA and music education in our fine state (wait for it)… great!

Dr. Jeff Malecki University of San Diego

ELECTIONS 2024

Vice President

Kelly Anthony has served as the Music Director at Huntington Park High School for the past eight years. With an unwavering passion for music, Mrs. Anthony ardently shares the joy of music with her students and the wider communities. She finds immense pride in being part of the HP family and takes pleasure in fostering a dynamic musical environment as a Spartan. At HPHS, Mrs. Anthony leads a diverse array of programs, including Jazz Band, Concert Band, String Orchestra, Percussion Ensemble, Marching Band, Winter Colorguard, and Drumline.

Mrs. Anthony earned her Bachelor’s of Music Degree from California State University, Northridge, excelling in trombone performance and music education. Graduating Summa Cum Laude, she completed her teaching credential in music through the credential program. Further enriching her expertise, she recently achieved a Masters in Music Education Degree from the American Band College of Central Washington University.

She is currently serving as the President of the Los Angeles Secondary Music Teacher’s Association and is also entrusted with the role of Diversity, Equity, and Inclusion Representative for the CMEA Southeastern Section. Her exceptional contributions have garnered accolades such as the Grammy Signature School awards, alongside multiple grants from esteemed organizations like the Grammy Foundation, Latin Grammy Foundation, and the Mr. Holland’s Opus Foundation.

Mrs. Anthony would love to serve as the new Vice President of CMEA to continue to grow her skills in professional development and to give back to the amazing music education community of California. Her commitment to nurturing music education’s growth aligns perfectly with her leadership experiences. Armed with a strong belief in collaborative efforts, she envisions working alongside educators, administrators, and policymakers to champion the cause of music education. Mrs. Anthony’s vision extends to ensuring that each student gains access to a superior and inspiring musical journey. In her prospective role as Vice President, she aims to introduce inventive concepts, propagate inclusivity, and play a pivotal role in shaping California’s musical landscape for future generations.

Ryan Duckworth has been teaching music in Southern California for over twenty years.  He has taught band and choir at elementary, middle, and high school levels and is currently the choir teacher and Visual and Performing Arts Department Chair at Bloomington High School in San Bernardino County.  He is excited to be creating and piloting a new music production course for his school this year.  He also serves as a California Teacher Induction Coach for new music teachers in his district.

Ryan has served as President of the San Bernardino County Music Educators Association (SBCMEA) and two-terms as president of the CMEA Southeastern Section.  He is currently serving as the interim Secretary as well as the Mentorship and Support Program Chairperson for the California Music Educators Association.

A life-long singer and instrumentalist, Ryan earned his Bachelor’s Degree in music education with an emphasis on vocal music at the University of Redlands.  He later earned a Master’s Degree in Music Education from Boston University.  He has presented sessions at the California All-State Music Education Conference and has written several articles on music education, leadership, and advocacy.

Ryan enjoys serving and supporting the music education community in California.  He is passionate about service-leadership, and he would value the opportunity to continue supporting the music teachers of California in a new role as the Vice President of CMEA.  Our association’s advocacy work is so important, and Ryan wants to continue working with fellow passionate, creative, and dedicated music educators to build an even better future for the music teachers and music students in our state.  His vision for music education is  to create ever-expanding opportunities for young musicians to discover and nurture their natural talents and creative natures under the guidance of highly effective and well-supported music teachers in their schools, no matter where they live.

Kelly Anthony, Huntington Park High School

Ryan Duckworth, Bloomington High School

ELECTIONS 2024

Secretary

Emelynn Montoya (she/her) is currently teaching choir, ukulele choir, and beginning violin at Sierramont Middle School. She earned a Bachelor’s of Music with a double emphasis in Music Education and Vocal Performance  and a Master’s of Arts in Music Education from San Jose State University. She has sung with Choral Audacity, the San José State University Choraliers, Concert Choir, and West Valley College Masterworks Chorale in tours throughout California, Europe, and at Carnegie Hall. Emelynn serves as the Multicultural Music Representative for CMEA Bay Section. In her free time, Emelynn likes to bake for her partner and their effervescent and outgoing toddler. Emelynn states:

“I am running for Secretary for CMEA because I am passionate about serving my professional organization and my colleagues. I have served on the CCDA and CMEA Bay Section Boards. It would be my honor to serve as your secretary.”

Philip Aduan is currently the Director of Music at Adrian Wilcox High School in Santa Clara, California. Philip teaches two orchestra classes, concert band, jazz band and choir. Prior to his appointment at Adrian Wilcox High School, he has held positions on the CMEA Bay Section Board as an Area V Representative and for CMEA Comes to You. Philip was also the Junior High School Symphonic Band Manager for CMEA and participated as stage crew for CMEA for 5+ years while earning his undergraduate degree. He also presented at CASMEC with Ken Nakamoto and Katie Gilchrist on “Navigating the Post Credential” for newer music educators.

Philip graduated from San Jose State University with a BM in Music Education, received his Single Subject Credential, and received his MM in Instrumental Conducting with Dr. David Vickerman. Prior to his work at San Jose State University, he taught high school marching band at Leigh High School in California for two years and was a counselor at Donner Mine Music Camp in Tahoe. Philip has been teaching at Adrian Wilcox High School for three years. Philip states:

I’m enthusiastic about the opportunity to serve as the California Music Educators Association’s Secretary because of my unwavering dedication to music education and its profound impact on students and communities. With a proven track record of leadership and organizational skills, I am committed to advancing the mission of CMEA by fostering collaboration among music educators, advocating for the importance of music in schools, and supporting initiatives that enhance the quality of music education statewide. My collaborative spirit, and unwavering dedication to the musical arts make me a strong candidate to help shape the future of music education in our state through this vital role.

Emelynn Montoya, Sierramont Middle School

Philip Aduan, Adrian Wilcox High School

Stand Up 4 Arts Education Advocacy Day: Performances LIVE On Stage at the State Capitol!

by John Brashier

CMEA Advocacy Day Performance Coordinator

Earlier this year, we returned to in-person performances at the State Capitol to forward advocacy for Arts Education. Last March, we enjoyed the live presentations and performances of all four arts education organizations in the State of California: Visual Art, Dance, Music and Theatre. We are excited to bring back representatives from all of the Arts, including K-12, as well as higher education and community members in 2024. Our planned date of March 19th will prove to be another energizing day of celebration as we gather together and spread the word far and wide.

Arts Advocacy Day will consist of these live presentations combined with addresses, Q&A’s, and in-depth meetings in chambers with our arts leadership for the four disciplines and our participating legislators in the State Capitol. We have planned an indoor venue for the event, as this will provide a more friendly performance environment.

Please consider this an all-call for interested groups to offer to participate in what will prove to be a fantastic vehicle to bring our arts programs to the fore. Those of us near the Capitol have an opportunity to represent all of the exemplary teaching going on across our great state. Please consider submitting your interest today. No school is too small, or too large, too old or too new, or too anything. The planners’ goal is to draw a deep slice from our diverse communities, varied programs, and innovative avenues for bringing the beauty of our arts to a young generation. We would love to present world percussion, Orff performances, and mariachi

groups, in addition to our vocal and instrumental ensembles. We are looking for all groups to meet the highest performance standards, so not all groups will be accepted, but please do send us the latest examples of your groups’ work. You can submit your offer to participate by filling out the Google form linked here:

https://forms.gle/jY6LhPbBuqoKbZyM8

We are looking forward to hearing from you!

Bay Section Update

Sandra Lewis Bay Section President

Hello from CMEA Bay Section!

I hope that everyone has had a smooth and successful start to their musical school year. The first week back was tiring. Now that music and folders have been ordered, auditions and concerts have been scheduled, and the home/family life schedule has been balanced, I find myself slipping back into “music educator” mode and I am once again so grateful to be in such an engaging and rewarding profession.

Here is some news from Bay Section. We just had our Large Group Festival registration open and used a new registration page to facilitate this process. I want to thank our web designer Jeffery van Loben Sels who did a fantastic job taking the input of our executive board, along with our Large Group Festival coordinator Mr. Greg Conway. Through his expertise he really created a registration process that is user friendly and allows for the organization to have a better way to gather the data that is needed to distribute to our festival site hosts.

Another exciting update for Bay Section is having our banking go to an “online” version of QuickBooks. We have also moved

to having the ability/option to pay via “Zelle” thus making the payment process for various bills to vendors very quick. We are also looking into various ways to go cashless when paying for medals at our Bay Section Festivals, and I look forward to updating in the upcoming months what we come up with to get rid of the onerous task of converting medal money sales from each festival into checks to be then sent to the treasurer.

We have begun our preparations for our Winter Conference which will be hosted at San Jose State University on January 5th and 6th, 2024. Our special reps have almost all of their sessions chosen and we are excited at the variety and depth of the offerings for our conference attendees. In addition to our Band, Orchestra and SATB Choir Honor ensembles, we have added an SSA Honor choir this year. Adding an SSA ensemble was based on the recommendation of our Choir Special Reps and other directors and I am so happy that our board was able to make this happen.

As I mentioned in my previous article, we had been working on a postcard to send out to all of the public schools in Bay Section to let music educators that were perhaps new to the area or firsttime teachers know about our organization. This project ended up collecting the information from 1300 public schools in Bay Section and completing this task would not have happened if not for the efforts of our past PR/Media Representative Katie Gilchrist and our current PR/Media Representative Jonathan Pwu. Thanks to their hard work and dedication, Bay Section now has a database of all the public schools in our area and we are making plans to expand this database, with the help of our Area Representatives, to include private and charter schools!

As current president of Bay Section I am always deeply grateful for the help and support of all of the members on our executive and full board. I would say that “teamwork” really does make the music education “dream work.”

Capitol Section Update

Christopher J. Tootle Capitol Section President

Interview With Outgoing Fall In-Service Coordinator, Brad North

Inspiration, collaboration, and fellowship are just a few hallmarks of a great professional development conference, and the Capitol Section Fall In-service had all three and more. The in-service was held on Saturday, September 9th, and hosted by the American River College Music Department in Carmichael, California. Personally, I have always found the day inspiring to say the least. It kicks off the schoolyear just right! I always come away with several new things to try in my own classroom, and I’m sure the other 100+ participants who showed up would say the same. The day was packed. There were five one-hour-long sessions in four different areas for a total of 19 sessions, lunch, and a general session. Each session focused on one of four areas: Elementary General Music, Band/Jazz Band, Choir, and Strings. You can see the entire program here: https://anyflip.com/eelr/zwul/

The Capitol Section has enjoyed over a decade of fall inservices thanks to the leadership of the incredible Brad North. Brad has been the In-service Coordinator since its inception, and this was his final year serving in the role. So, a week before the in-service, I thought it would be nice to interview Brad, and shine a light on one of the Capitol Section’s most respected retired music educators. Here is the interview:

College, and earned my AA in Music. Then because Sac State was one of the only universities in CA with a saxophone major, I transferred there. That’s where I got my bachelor’s degree in saxophone performance and my teaching credential. My first teaching job was in 1981 at Palo Alto HS, but living there was too expensive. So, I came to Kennedy HS in Sacramento and got to work with Nick Angiulo. After some layoffs in the Sacramento City Unified School District, I landed at Valley HS and then finished my career with 19 years at Woodcreek High School.

Chris: When did you retire and what have you been doing in the music education field since then?

Brad: I retired in 2019 and I’ve continued serving as the Fall Inservice Coordinator as well as helping with the Golden Empire Music Festivals. Last year, I took over coordinating the Golden Empire Music Festivals completely and I plan to do that for another two years. I also supervise music education students for CSUS.

Chris: Tell me more about your history with the Capitol Section. What positions have you held?

Brad: It would be easier to say what positions I haven’t held! I’ve been president of the Capitol Section four times. I did a lot as the Jazz Representative a long time ago, when we used to have a GEMF Jazz Festival back in the day.

Chris: You said the Capitol Section In-service has been going on for 9-10 years. Why did you get it started?

Brad: I started the In-service because the Elementary General Music Teachers were being underserved. There was basically no reason for them to be a member of NAfME, CMEA or Capitol Section. And now, they are one of the biggest groups to attend the in-service. I have also always promoted the in-service as something that anybody can attend. You don’t have to be a NAfME or CMEA member to participate. That gives us a chance to recruit more members, and it works.

Chris: What do you like best about managing the In-service?

Brad: The day after! No really, it serves a purpose. Us older guys talk about this a lot. When I came through, it was Ron Jones, Bill Hill, Ted Webber, Nick Angiulo, and Aubrey Penman. We even have a CMEA state award named after him! And I got to work with those guys. And now, what about the future of the section? You’re stepping up, and there’s a lot of other younger teachers getting involved now too. And I’m looking at the registration for this year’s in-service, and I’m seeing a lot of names of people, especially choir folks, coming back to the in-service this year, and a lot of new names I’ve never seen. It’s a great day. A day like that and you get lunch. And there’s all the young Mandarins Music Academy teachers signed up too.

Chris: What do you wish you could do differently with the inservice?

Chris: Let’s start with an easy question. Give me a list of your career highlights.

Brad: I graduated from Frank W. Cox High School in Virginia Beach, Virginia, in 1975. Then I went to Monterey Peninsula

Brad: If I could do something different, I’d somehow find a way to get the people who are not coming to come to it. I do like the time of year – that’s the timing the Elementary people need it. I think it’s a good jumpstart for a lot of people to come in and do things. I’d also like it to be more social; a bigger social event. Like at CASMEC, we have more time to just hang out together.

Chris: Okay, some more questions about you. What’s your primary instrument, secondary instrument, and first instrument ever?

Brad: Woodwinds (my degree is on saxophone). Secondary instruments are flute and clarinet. I used to be a good guitar player and I passed my piano classes in college. My very first instrument was the ukulele with Mrs. Sigman, my fourth grade music teacher.

Chris: Who are your personal greatest music education heroes?

Brad: That’s easy. The people that had the biggest impact on me besides those earliest teachers like Mrs. Sigman, number one, was probably Nick Angiulo, at Kennedy HS. And then there was Don Schamber (jazz guy from Monterey), and Dr. Hank Smith (also from Monterey). Working with Aubrey Penman – I never saw him teach – but working with him on things. The guy was amazing. And Dr. Carol Delaney, Elementary General Music teacher at Sac State. She made us actually teach General Music for a semester.

Chris: Why did you become a music educator in the first place? Was there a specific experience or moment where you knew, or did it just kind of happen?

Brad: It just kind of happened. I was in Monterey, and I got an associate’s degree. Sac State was the place to go because not every university had an applied sax degree. All my friends at CSUS were going into the credential program, so I did too. That’s just what everyone was doing. There were 48 sax majors at the time. The top quartet included a young lady from Australia, Clay Redfield, Curtis Gaesser, and me. It was fun.

Chris: Tell me one or two unique experiences you had as a younger person that shaped your outlook on music education.

Brad: I guess I was meant to be a band teacher, because my high school band teacher, Billy T. Cooper - he kept me interested, kept me coming to school; because I didn’t want to be there. And I remember when a choir came through and did a performance at the high school. I don’t remember the name of the group. And they did “Yesterday” by the Beatles. I was a Beatles fan and it was really complex and interesting, and I thought, “They’re doing the Beatles!”

Chris: If you could be or could have been a member of any famous band, past, present, or future, popular or unpopular, and regardless of genre, what band would that be?

Brad: The Basie Band.

Chris: What are your hobbies when you’re not doing Music Ed stuff?

Brad: I golf a lot. And I do stuff around the house. My wife and I recently remodeled. And I just like to hang. We like to travel to our favorite places. I’m pretty low key. I like to sit in my backyard.

Chris: What’s your favorite TV show right now?

Brad: Gemstones.

Chris: Favorite TV show of all time?

Brad: Seinfeld, but Barney Miller wasn’t bad either.

Chris: What’s an important quote that means something to you?

Brad: I can’t get it right, but I think John Adams talked about, and I can never get the quote right, but it’s something like, the reason why we had the revolution is we worked so hard to form this nation so our sons and daughters could be successful in farming and industry, so their sons and daughters could study the arts. And my new favorite quote is, “We don’t know what we don’t know.”

Chris: If you could only eat one meal for every meal of the day for the rest of your life, what would it be?

Brad: Lasagna! I like it cold for breakfast.

Chris: Red or white wine?

Brad: White. But I do like a good Pinot Noir with a steak. But I prefer Pinot Grigio.

Final note from the author: I’d like to thank Brad for taking the time to chat with me. And on behalf of the Capital Section, thank you for hosting such an incredible in-service for the past decade, and your great service to music education through the years. Finally, Brad was presented with a bottle of Pinot Grigio at the General Session as a small token of thanks. Thank you, Brad.

Capitol Section Events

January 13 - Honor Band

February 24th, 2024 Jazz @ Cosumnes River College

March 2nd, 2024 Solo & Ensemble @ American River CollegeRegistration Coming Soon...

March 9th, 2024 Large Instrumental @ American River College

April 13th, 2024 Large Instrumental & Vocal @ Sacramento State

April 20th, 2024 Large Instrumental @ Davis High School

April 20th, 2024 Vocal @ Cosumnes River College

April 27th, 2024 Large Instrumental @ Sacramento State

May 3rd & 4th EGUSD/CapSection Large Instrumental @ Cosumnes River College - Registration Coming Soon...

More information about the CMEA Capitol Section can be found at www.cmea-cs.org.

Central Section Update

Elisha Wells

Central Section President

I would like to thank CMEA President Anne Fennell, the Executive Board, the CMEA Office Staff, and the rest of the Section Presidents for the warm welcome, as this is my first year serving as President of the Central Section. Former President Mike Tackett was a wonderful leader, and I am honored to be Central Section President now, following his footsteps.

The Central Section has been quite busy with planning large ensemble festivals in the spring. Our Festival Coordinator, Rob Bentley, is a rock star in his own right. He has planned 29 large ensemble festivals across the Central Valley, spanning from Bakersfield to Merced. Additionally, our board received quality feedback from adjudicators and ensemble directors last year regarding the efficiency of our Sight-Reading procedures at festivals. While there was an outpouring of positive feedback about SightReading, there were also very constructive observations that the board is passionate about addressing for the ‘23-’24 year. We have added a new Instrumental and Choral Sight-Reading Coordinator to the board, and they will both address ways that our SightReading process can be more clearly communicated, studentcentered, and director-friendly. We are very fortunate to welcome Anne Hendrickson and Greg Lapp, two retired and highly respected music educators, to the board as Sight-Reading Coordinators.

The fall season brings some exciting events to help encourage our band, choral and orchestral students. On September 9, the Visalia Mighty Oaks Chorus is hosting an all-day educational event for singers in the area, and the Central Section has agreed to host 25 students to attend this event. On the same day, CMEA is partnering with CBDA to host an All-State Super Saturday event at Fresno City College to help the young aspiring all-state musicians prepare for the auditions. Orchestra programs are getting ready to attend the College of Sequoias Orchestra Festival in late October, and General Music educators welcome an Education Through Music workshop that will be hosted at Manchester Gate in late September.

One of our local high schools was recognized last year for earning a Tri-M® Music Honor Society State Chapter of the Year Award. The National Chapter of the Year Program is designed to motivate and reward chapters that perform service projects, encourage Chapter Officers to perform their duties properly, and increase awareness and interest in what other Tri-M chapters are doing. The Tri-M® Music Honor Society is the international music honor society for middle/junior high and high school students, designed to recognize students for their academic and musical achievements, reward them for their accomplishments and service activities, and to inspire other students to excel at music and leadership. Tri-M is a program of the National Association for

Music Education. Congratulations to Mr. Calvin Carr and the Mission Oak High School Music Department in Tulare, CA, for winning the Western Division State Chapter of the Year Award!

As we brave the extreme heat and get back to school, the CMEA Central Section team is focused on creating more meaningful relationships in order to increase membership and bring awareness to our wonderful organization that is here to offer support. I have personally charged each local MEA representative with the task of reaching out to the membership and inviting them to bring at least one new teacher to their local membership meetings. As we emerge out of the Covid era, it’s more important than ever to create lasting and supportive relationships in the world of music education. We need each other more than we know.

Have a fantastic, safe, successful, and joyous fall semester.

Central Coast Section Update

Sam Oh

Central Coast Section President

Now being out of the pandemic for the last few years, I feel this school year is different. I feel more energized and the feeling of being “burned” out and stress is gone. I was telling another colleague that I am really enjoying this year’s Freshmen. They are so different from the last two classes of Freshmen we had in school. I believe it might be that these Freshmen actually got to have a full Middle school experience, unlike the previous two classes. I believe

that these Freshmen brought back the joy of why I love being an educator.

As for the Central Coast, we are now fully booked having chairs for our honor groups, and more information about the honor events will hopefully be posted soon. The dates are now updated on our website. All information about our events are posted. Right now, within our section we do have one opening. We need a chair to run the choral festival. If you are interested please feel free to contact me or anyone else on the board.

Dates to look forward to are our Fall General Meeting/Inservice Day. It will be held on September 9th at Alisal High School in Salinas. Address is 777 Williams Rd. Starting time is from 1:00 PM to 3:00PM. We have plenty of new teachers within our section, and it would be great to meet them all and extend our membership to them! We will have a variety of workshops that will be presented on that day. Some will focus on choral techniques, instrument repairs and community collaboration. We will have someone from the Monterey Pop music group to share their clinical resources that they are starting within the community and possible ways to help schools with their music programs.

North Coast Section Update

Collin Kirkwood

North Coast Section President

This year the North Coast has been working hard to schedule festivals and other events. We have been reviewing and updating board position roles to make sure that the duties listed reflect the needs of our section. Below is an interview I did with one of our local music teachers.

What is your name, where do you teach, how long have you been teaching? Maybe who you teach?

My name is Kristen Volta and I teach 6-8th grade choir and band at Crescent Elk Middle School in Del Norte County, CA. I am going on my fifth year of teaching. I teach 6th grade beginning

band, two classes of intermediate/advanced band, one class of choir, a percussion class, and a jazz band. Del Norte County is in the middle of the redwood forest at the very northern end of California, about a 30-minute drive from the Oregon border. I teach at the only 6-8th grade middle school in town.

What is something that surprises you about teaching?

I don’t think anyone can prepare you enough for this job. Coming out of college, I went straight into teaching. I had this idea of trotting off and inspiring all students as much as I can through the art of music. As if all I have to do is teach music and the rest will fall into place, but there is so much more to teaching than just content. Relationship building is one of the most important and powerful tools in the profession. If you don’t create a healthy and safe environment for the students, they’ll never learn. (Easier said than done). Students come from a variety of cultures and backgrounds at home. I thought it would be easy to connect with the students because I feel as if I am a trustworthy individual that connects well with people, but some of these students don’t want to trust you. They have been hurt by every adult in their life and assume it’ll be the same with everyone they meet going forward. It’s heartbreaking and really goes to show how much trauma lies within the world. These students have taught me more about love and empathy than I imagined possible.

What are some of the successes you have had teaching music?

Teaching music can be so rewarding and fulfilling. Success to me is seeing a student light up because they finally made their first note on the flute, or they get so excited because they finally crossed over the break on clarinet. I even see success when a student decides the only reason to get out of bed in the morning is because they don’t want to miss music class. As far as my own program goes, I have had a huge success in the last few years. I was lucky enough to start the profession when the world was shut down over COVID. My predecessor left the program in good shape, there was good interest in the program and there were good enrollment numbers in the classes. I picked it up where she left off and was shut down in March of that year. The interest died down, teaching over Zoom sucked, and the students didn’t want to take band or choir anymore. They didn’t know what to expect out of the class, coming out of the pandemic. I was extremely nervous as the teacher and I had to fight to get the numbers back to a decent class size and it was tough at first. Once we got back into the groove of things, the students fell back in love and wanted to go to music class. I grew my numbers from about 80 students in 6 separate classes to about 200 students in the 6 classes. My 6th grade class specifically has grown from about 40 students to 100+ students interested in the class.

What do you think are some of the challenges you face specifically because you teach at a rural school?

Teaching at a rural school is tough sometimes. We provide all rented instruments to the students and have to provide all reeds, valve oil, swabs, etc. Unless purchasing online, our nearest music shop is about 2 hours away. Providing the same opportunities to the students in this area can be challenging because we don’t have everything a big city has. Any event we hold here in town is special because we don’t see too much of the world outside the redwoods. We connect on a deeper level as a community because we are so tight knit and integrated in everyone’s lives. It’s a blessing and a curse.

What do you think are some of the challenges you face teaching at a title XI school?

I think there is this unspoken fear about teaching at a Title XI school. Sure, it has its moments where the students act more like animals than humans, but what child doesn’t at one point? We are all learning how to navigate life, myself included. I have students from all different kinds of home lives; from having a loving family, to Mom just landed herself in jail again. Navigating all of those big emotions is tough on children and some of them age themselves faster than they should. Even with the trauma some of these students face, they are all teachable and they all want to learn in one way or another. Finding that spark is challenging, but not impossible.

What do you want music education to look like in the future?

If I were to create the perfect utopia, I would want to see music education in every single school site in the world. I want to see music education supported and not on the brink of losing their funding. Music education is so important in the lives of students.

We are the teachers the students are going to remember when they are adults and living their lives. We foster love and creativity and there is no other profession that can give what spark we give to students. We need more good educators in the world to see change in our futures.

Do you feel supported as a music teacher and if so from who?

Yes, I do feel like I am supported as a music teacher. I know that can’t be the same for everyone but I feel like I live in a pretty special community that cares about the musical enrichment for the students. I’ve never lived in such a small town before moving here and I was so shocked about the way the community gives back to the musical arts. Specifically, a community member, Nick Rail, and his wife Lisa Rail have given back to the schools in ways that some districts could only dream of. They have donated an extreme amount of money and have purchased brand new instruments for every single school site in this district. It was incredible, moving, and made a huge impact on our community. They have even advocated for a performing arts center to be built in town. It gained so much attention that even Mike McGuire donated a check to help pay for the construction. Very surreal and exciting.

What excites you about teaching music?

I have the best job in my school. I get the most dedicated students and I get to create a 3-year-long relationship with most of them. Not all teachers can say that. I have the chance to make a huge positive impact in their lives and that is one of the most exciting things about teaching music. Not only do I get to watch them grow through their awkward phase in life, but I can also see what life path they choose as they navigate their young adult world. I’ve only been teaching for almost 5 years, but in that time I have seen students leave my classroom and become absolutely amazing human beings. I’ve had students move out of state and email me and call me to give me an update in their lives and just to be able to experience that is one of the most exciting things about teaching.

Northern Section Update

Tanner

Johns

Northern Section President

Upcoming North-Section Events:

1/12 - 13/24: Jr. High School Honor Band and Select Choir at CSU, Chico

3/8/24: Choir Festival at Butte College

3/14 - 15/24: Band Festival at Butte College

4/5/24: Solo and Ensemble Festival at Butte College

The following comes from my long-time friend and colleague, Austin King. Austin is a teacher at Marsh Jr. High School and recently shared his innovative approach to beginning instrumental band using Kodály best practices with a group of north state educators. It was an incredible experience that left a group of both young and experienced teachers excited to teach their beginning band. I asked Austin to write this article for the magazine. I hope you find the approach interesting.

I recently had the privilege of sharing a master’s degree project I have been working on with our Northern Section’s week-long Kodály Seminar attendees. This incredible seminar was organized by Nora Hunter and the CMEA Northern Section, and was attended by retired, current, and future music educators.

Tanner Johns

Bidwell Jr. High School Music Teacher

CMEA-NS

President

tjohns@chicousd.org

***

I have been heavily influenced by Kodály methodology since before I began teaching thanks to the example set by my university band director, Dr. Royce Tevis (CSU Chico) as well as my subsequent level-1 training at Holy Names University.

Since my career began in 2010, I have attempted to implement the tools and strategies of Kodály methodology in my band instruction, but have found it clunky or confusing for students when using these strategies in conjunction with our beginning band method books. My frustration with the challenge of melding these strategies into existing methods led me to organize my own method book for beginning band students based around the philosophy and sequencing of Kodály-style pedagogy.

Without getting bogged down in the details, here are the key facets of this method:

1. My students sing everything and they sing every day. I teach them folk songs (with lyrics), usually by rote. We clap rhythms for every song and sing every song using movable Do solfege (with Curwen hand signs).

2. Rhythmic concepts are introduced as they are encountered in the songs. This leads to earlier introduction of more complex rhythmic material in an intuitive setting.

3. The simplest songs are often reintroduced in new keys in order to develop a concept of key centers and/or introduce new pitches.

Using this method, my beginning band learns every concept they would normally in our previous beginning band method book plus many more, and with a deeper understanding. This method also allows us to approach our repertoire in new ways, such as having students sing/solfege important or tricky phrases to more easily understand them when they pick up their instrument.

If nothing else, finding consistent ways for my students to practice singing has led to the development of more sensitive and tuneful musicians.

If you are interested in any of these ideas, or have questions about this method, please feel free to reach out, as I would love the opportunity to chat.

Austin King Marsh Jr. High School Music Teacher aking@chicousd.org

Southeastern Section Update

Dr. David Betancourt Southeastern Section President

I think we all love stories. When you think about it, our lives are stories intertwined with other stories. For educators, they often help to remind us of why we work so hard, day in and day out, and even over the summer.

Small acts can have a huge impact.

I still vividly remember my undergrad years. The struggle to find a way to pay for college. I had to support myself because I was told that being a music teacher wasn’t a real job, so good luck with that. Sound familiar? I had enough money for two years. I was getting toward the end of my second year and I had no idea how I would continue. The financial aid office knew me by sight and first name. I was always looking for resources; money. It was stressful! Then one day a counselor saw me coming and told me I should apply to a new grant that had just come out. She helped me fill out the form. I got it! The grant paid for my remaining time, plus a tiny bit extra. I would have never finished my undergrad degree without the help of that counselor. At the time, I wasn’t paying attention to what I was receiving and was too underwater to really understand the forces at play. Only years later was I able to look back and

realize just how important that grant was to me. You see, I was one of the first recipients of the Christa McAuliffe Grant. Many of you may remember her as the teacher that went up in the Challenger in 1986. For years, I have been wanting to find that counselor and thank her. I have yet to find her. Then I watched the documentary on the Challenger last year and there was my answer - a full-blown interview with Christa McAuliffe’s sister. Could this be my chance to share and thank? I looked her up and gave her a call. We spoke, for about an hour, about her sister, her career, my career, teaching, the impact Christa has had on the lives of so many she never even met. And the thing we kept returning to was that it was because of her grant that I was able to continue on my path as a teacher and strive toward touching the lives of others, now, and in the future. I was finally able to thank Christa. It is amazing how that works.

We make a difference that extends into the

And as far as the CMEA Southeastern Section activities, we have a host of events that are geared toward serving the needs of our members and their students and communities. Here is a sample:

• Modern Band Festival (October/November)

• Leadership Symposium (January)

• Section Social (January at CASMEC)

• Choral Festival (February)

• Mariachi Showcase (May)

• CMEA Band and Orchestra State Festival (April)

• Band and Orchestra Festival (Spring)

• CMEA Solo and Ensemble State Festival (May)

future.

Keep taking care of yourselves. If you want the students to have your best self, take care of you!

Southern Border Section Update

Emma Jean Schopler Southern Border Section President

The Power of Collaboration

Imagine a festival that is inclusive, accessible, diverse and equitable for all students. A musical haven where students don’t have the pressure of auditioning to attend, and teachers are not spending hours before or after school preparing their students for an honor performance. How is this possible? Collaboration. As we reflect on the past year and plan for the future, building bridges across multiple consortiums enabled our section to create an enterprise for unduplicated elementary aged children in grades 2, 3, 4, 5, and 6. This FREE event, Kids Create Music Festival, sent positive ripple effects across the southern border of California. One of the many comments received included, “It was amazing, my daughter had a great time, and she wants to do it again! Thank you so much for

everything! I know it takes a lot of work and everyone enjoyed the show. You guys had so many great volunteers! Amazing event!”

Based on Michael Fullan’s Coherence Framework (Fullan & Quinn, 2015), collaborating is not just about creating a place where people feel valued, but should also cultivate the expertise of everyone to be focused on a collective purpose. When students, teachers, parents, families, and high school volunteers came together with the purpose of learning music and performing repertoire in one day, it was the perfect example of deep learning with laser-like focus. The energy was electric as an intergenerational day of education came to fruition because of everyone who donated their time. It was the epitome of “teamwork makes the dream work.”

Want to know more? Read Fullan and Edwards’ book, Spirit Work and the Science of Collaboration (2021) which suggests collaboration is underpinned by spirit work - the care and love of students as learners, which is the essence of character and humanity. How do we as teachers empower others? Free access to education. Hence, the need to build capacity and ownership across multiple leaders and educators to focus on a common goal. Because our goals were in alignment, the festival was a success for all involved.

Prior to the event, we received this email message from a Military family:

“Hello! Our 12 year old son is a Military kiddo, and has moved all over the United States and has been trying to maintain some sort of consistency in his music training. He is a sixth grader in the local elementary school and plays the piano. He began learning trumpet just the end of last year and now loves to perform; something, years ago, he adamantly swore he’d never do. We look forward to your music day!”

Southwestern Section Update

Dr. Tamara Thies

Southwestern Section President

CMEA Southwestern Section Conference 2023: Thriving as Pre-Service and Early Career Music Teachers

The CMEA Southwestern Section will be hosting their fall conference for pre-service and early career music teachers on Saturday, November 4, 2023, from 8:30 a.m. – 12:30 p.m. at the Barack Obama Global Preparation Academy, Los Angeles Unified School District. There will be learning sessions that offer insights into résumé writing, interview skills, teaching strategies and techniques for differing music classes (i.e., instrumental,

choral, general music), school district processes and expectations, mentoring, as well as insights from early career music educators. A unique event will be opportunities to meet Southern California school districts at the conference. Several school districts with their VAPA coordinators and TOSA representatives will be available for you to meet and share your teaching interests. With the implementation of Prop 28, many school districts have open positions and are wishing to fill those positions with great candidates. This is a wonderful opportunity for you to network and, potentially, open a door to your future music teaching position. Please watch the accompanying video for more details about the conference. Registration is open, so please navigate to CMEA Southwestern Section Conference 2023 and join us for a full morning of learning, interacting, and networking. We look forward to meeting and engaging with the future teacher-leaders of music education!

A Year’s Worth of Mentorship Conversation Topics…

Fall into Winter

• School Schedules and Procedures

• Parent-Teacher Conferences

• Standards, Lesson Planning, and Grading

• Student, Professional and Community Relationships

• Distributing and monitoring instruments and supplies

• Creating effective programs

• Concert logistics

Spring into Summer

• Observing other teachers

• Reflecting on goals and growth

Winter into Spring

• Analyzing student work

• Preparing students for auditions

• Finals

• Recruiting and Registration Procedures

• Building budgets

• Instrument maintenance & Purchase

• Preparing for festivals

• Trips

• Revisit Student, Professional and Community Relationships

• Year-end duties, activities, and procedures

• Collecting and storing instruments and supplies

• Professional growth and development

• Looking ahead to another year

All-State Jazz Audition Music is posted!

Auditions are due November 1st, 2023. Go here for info.

Meet our 2024 All-State Conductors for CASMEC!

Music Supervisor’s Report

by Brad Van Patten CMEA Music Supervisor’s Representative

I hope you had a summer to reconnect and rejuvenate. On a quick personal note, thank you so much for all the well wishes regarding my retirement in June. Even though I have a new role as an unemployed administrator, I am excited to support the tremendous work you all are doing in your districts.

Based upon the recommendations of our last meeting, this year’s Music/Arts Leaders Seminar will be held in two locations with the same content to help make your travel more convenient. Take advantage of the expertise from dozens of fellow program leaders and arts administrative experts in preparing for the new renaissance of arts education that is on the horizon for all California Schools.

Also, there will be special session for new arts leaders to assist in the transition to new responsibilities and work environments. We will discuss developing high-impact leadership capacities, strategizing your workday, and identifying a support network.

October 19 and 20 - CMEA Arts Leadership Southern California Gathering @ Segerstrom Center for the Performing Arts

600 Town Center Dr. Costa Mesa, CA 92626

• October 19, 2023 – New Leaders Seminar –1:00 PM - 4:00 PM

Have a great year, everyone! Let us know how we can help. Check out our: Tune Up Festivals

Hall of Fame Podcasts and much more!

cajazz.org

• October 20, 2023 – Arts Leadership Gathering –9:00 AM - 3:00 PM

November 16 and 17 - CMEA Arts Leadership Northern California Gathering @ Lesher Center for the Arts 1601 Civic Drive, Walnut Creek, California 94596

• November 16, 2023 – New Leaders Seminar –1:00PM - 4:00 PM

• November 17 – Arts Leadership Gathering –9:00 AM - 3:00 PM

Costs: (Light breakfast, lunch, materials, and parking included) $50 for CMEA/NAfME Members $75 for non-members

Register Here

Learn more at https://calmusiced.com/membership-services/musicsupervisors/.

Should you have any questions, please contact Brad Van Patten at bvanpatt@icloud.com or 949-351-9701.

Patrick Langham HS Honor Jazz

Kim Nazarian HS Vocal Honor Jazz

Robert Harrell JHS Honor Jazz

Donate to our BLM Scholarship

Purpose, Quality, and Community: Looking to our History to Shape our Present and Future

by David Green

CBDA Director of Communications

For many music directors, the start of the fall semester is filled with both anxious anticipation and excitement. Whether it be the first sight-read through that term’s concert literature, the first pages of drill set for a field show, or the first five notes out of the instrument, band directors (and music directors as a whole) are some of the most eager people in the education profession to come off of summer break and get started on the new year. As is the case every year, new school years come with new students, and new students come with a host of challenges for the director. Whether it be educational needs, social-emotional needs, or the overall community-building of a music program, balancing all of these considerations for a director might seem like a cross between spinning multiple plates in the air and being forced to make compromises between the two. However, a look into America’s music education origins reveals that achieving high musical goals alongside the social aspects that come with a music program can be done without making sacrifices or compromises.

The Early American Singing Schools

We would be wise to look at the early American singing schools that were formed in colonial and post-colonial America as examples of combining musical excellence with community-building.

Whether it be The Stoughton Musical Society in Massachusetts, The Boston Academy of Music, or the temporary schools that were formed by itinerant singing teachers, these early music education programs laid the foundation for what would become our modernday instrumental, choral, and general music classrooms. Their success was based on several factors:

A Specific Purpose Within The Community: The early singing schools were often established in rural communities to teach

congregational singing. As the communities of that time focused much around the local church and worship services, there was a real community need to teach fundamental music literacy and performance skills to enhance congregational singing. Having a true “purpose” within the community helped encourage participation from the community, and the community as a whole supported the movement.

High-Quality Teachers: The early American singing schools were led by qualified singers who were skilled vocalists and who were capable of teaching both basic singing techniques as well as basic music theory. Further, they were trained to teach notation (often using the shape-note system) so their students could become musically literate. William Billings, Lowell Mason, and William Walker come from this tradition.

Community-Building Within The Ensemble: As students gathered to pursue the goals outlined by the community at large, students began to foster close relationships and friendships within the music ensemble. The bonds formed within these schools encouraged others to join, and due to the newness of the country, helped form a national identity for the young country.

The School Music Ensemble In 2023

It is with history in mind that we can look at our music classes in 2023 and provide a framework of what they should look like. Yes, America in 2023 looks drastically different than it did in the late 18th/early 19th century, but that does not mean we can’t look at certain aspects of the past as a way of modeling what we should look like in the present. Between the vision held by the director, the administration of a particular school, and the great work done by professional organizations (NAFME, CMEA, CBDA, etc.,)

crafting a purpose and vision for any program is a crucial factor to the success of any program. Further, having high-quality instruction matters. Not only should we as professional organizations strive to have the highest standards for our educators, we should be constantly in a state of learning and evolution. The greatest teachers are life-long learners, and we should not neglect the pursuit of improvement. Finally, the community-building aspect; we have known for years that students involved in music education programs form extremely close bonds with their classmates. While the specifics of how to accomplish this vary depending on age and type of ensemble, directors can serve their programs best by keeping the community-building elements at the forefront of their minds rather than treating them as ancillary benefits to the musical product.

The Role of CMEA & Other Professional Organizations

It is with the idea of purpose, quality, and excellence that we should encourage teachers to join professional organizations such as CMEA, as well as the CASMEC member organization(s) that they most identify with in their music teaching careers. Membership in these groups is much, much more than allowing your ensembles to perform at festivals or your students to audition for an all-state ensemble. Joining organizations like these means you are a member

Elementary Music Educators!

I look forward to hearing from each of you and supporting your elementary music needs in the state! Please take a minute to answer this short survey.

of a community of educators who are striving to do what is best for our students and support their fellow music educators in and out of the classroom. It allows you to be a part of the group that is creating teaching tools that will help the quality of performance of our students and increase the instruction given by educators. Membership also means you are supporting (both financially and in name) a group that longs to advocate for the existence of music education, regardless of whatever political challenges come its way. Lastly, it means you are a member of a family of educators who believe the same things: Music matters, it belongs in schools, it should be of the highest quality possible, and it should be accessible to every single student regardless of the circumstances of that child’s life. Let that be the focus of our professional membership in CMEA, not only as we begin the 2023/2024 school year, but throughout our whole careers.

- Sal Rios, CMEA Elementary Music Representative

CALLING ALL RETIRED MEMBERS

Greetings fellow retired members! I would love to provide an opportunity for us to meet for lunch at CASMEC in Sacramento on Friday, February 2, 2024 at 12:30 at the Public Market Bar (PMB) on the ground floor of the Sheraton Grand Hotel. Let’s meet, talk, and compare notes on the glory of retirement and the activities that are currently keeping us busy! We’ll pose for a photo either at the table, or immediately following lunch. Please fill out this Google form and submit it by January 12, 2024, so that I have ample time to coordinate our headcount with the restaurant.

I look forward to seeing you!

Cheers, Rita Zigas-Brown, CMEA Retired Members Rep

Phone: 415-497-2913

Email: rzigas.brown@gmail.com

CMEA: Where Music Educators Inspire, Connect, and Build Community by Amy Lui

Welcome to another school year dedicated to the transformative power of music! As you prepare for the months ahead, it is imperative to reflect on your vision, mission, and teaching philosophy, as these elements will serve as your guiding light on this educational journey.

Your vision should paint a vivid picture of what you aim to achieve in your classroom and the potential impact on your students’ lives. It is the wellspring of your enthusiasm and dedication. Your mission is the roadmap, outlining the steps to realize your vision and keeping you focused throughout the year. Your teaching philosophy shapes your approach, influencing methods and connections with students and ensuring a holistic learning experience.

Now, as you consider your personal goals, it is important to recognize that you are not alone in this endeavor. At the heart of CMEA lies a community of passionate educators who share your vision for music’s profound influence. Our mission is personal: to ignite a love for music in every student. We empower teachers with resources and support, firmly believing in music’s power to transform lives. Our vision is inclusive, aiming for a California where all students have access to top-tier music education. We champion teaching excellence, pioneer curricula, and passionately advocate for ensuring equal access to music education for all students.

But that’s not all! We invite you to join our vibrant community and become a part of the CMEA family. Consider attending our upcoming CASMEC conference in Sacramento, where you can connect with fellow educators, gain valuable insights, and further enhance your mission to enrich young minds through the power of music. Here’s what you can expect when you attend CASMEC:

Learn from the best. CASMEC features a wide variety of workshops and presentations from leading experts in music

education. This is a great opportunity to learn new teaching techniques, get inspired by new ideas, and network with other music educators.

Connect with colleagues. CASMEC is a great place to connect with other music educators from all over the state. This is a great opportunity to share ideas, collaborate on projects, and build relationships.

Get inspired. CASMEC is a great place to be inspired by the music and the people. You will have the opportunity to see performances by some of the best musicians in the state, and you will be surrounded by people who are passionate about music education.

Get resources. CASMEC is a great place to get resources for your music program. There are exhibits from vendors of music supplies, instruments, and software. You can also get information about grants and scholarships.

Have fun! CASMEC is a great place to have fun and relax. There are social events, performances, and opportunities to just enjoy the company of other music lovers.

Together, let’s shape a brighter future for music education in California. Join us at CASMEC and embark on a journey of inspiration, collaboration, and personal growth that will benefit you and your students alike.

CMEA Secondary Music 6-12 Representative

In Memorium: Dr. Barbara Reeder Lundquist by Dr. Will Copola

CMEA’s Global Music Division remembers Dr. Barbara Reeder Lundquist, a pioneering ethnomusicologist and world music educator who changed the face of the field with her work in global music studies, the sociology of music education, and the intersections between music education and ethnomusicology. The following statement was written by Dr. Patricia Shehan Campbell, professor emeritus at the University of Washington:

Dr. Barbara Reeder Lundquist, ethnomusicologist, world music educator, and co-founder of Chamwino Connect, passed away peacefully on Thursday, August 17, in Seattle, Washington. She had served on the board of Chamwino Connect, a 501c3 organization that she co-founded with Dr. Kedmon Mapana, from its founding in 2012 as a charity in support of the music, arts, culture of Tanzania’s Gogo people. Barbara’s professional work was as a music educator and supervisor in the Seattle Public Schools, and a professor of music education at the University of Washington, where she engaged her students in the co-creative process of musicmaking through song, instrumental play, and dance. She was 89 years old, involved to the end in music and music education, and with a particular interest in the integration of Sub-Saharan African music into American school music programs.

Barbara will be remembered for her non-stop energy, good humor, compassion, and enthusiastic support of the people of Chamwino, Tanzania, to sustain and celebrate their cultural identity. Her legacy will live on in the world of Chamwino Connect, in American music education programs where diversity is key, and in the lives of her family, friends, students, and colleagues here in Seattle, across North America and internationally, and in the land of the Gogo (Ugogo). Remembrances of Dr. Barbara Reeder Lundquist can be received as donations to Chamwino Connect (a 501c3 charity) at https://www.chamwinoconnect.org. Chamwino Connect supports projects in music, the arts, and education for the people of the Gogo community, from young children to elders, with special attention to the empowerment of youth through the arts.

CMEA Global Music Education Representative

Innovation. Part II.

by Dr. Megan Foley

CMEA Innovations Rep

I don’t know about you, but last year was challenging in ways that I was not ready for. Musically, there were some great moments: students brought in and took ownership of tunes, stepped up in leadership roles in rehearsal, and learned valuable lessons about preparing for performances. It was a year of lots of growth for us all. For me, the biggest challenge was learning how to better understand students who were struggling socially. Often those struggles manifested in negative classroom behavior. While students displaying poor behavior choices is not new, some students were not acknowledging (or understanding) my repeated directions, disrupted class in new and strange ways, and some seemed to have little to no understanding of social cues or norms. They were not understanding why they were being corrected or appeared not the least bit interested in wanting to understand. Additionally, these students could not discern how their behavior was making it tough for everyone to learn. Even with multiple visits to the dean, and a few apologies, there was little change in behavior, even by the end of the year.

It was very frustrating and just…weird. And when things aren’t going well, I tend to look in the mirror first. What was I missing? What can I do better? What is happening?

I talked to colleagues, many of whom reported similar issues, including battling lower enrollment in their ensembles. Some students were opting for other activities over music, while others just stopped playing altogether. Why? We talked about some students who were no longer up for the challenge of playing their instrument. Was the social currency of being in band, orchestra or choir losing its value to other groups? Was the allure of sports or debate, where winning and losing were immediately quantifiable, simply more enticing? Trying to make sense of it all was incredibly difficult. While we could not point to a discernible “one thing” that was the issue, a common thought was that these kids were still adjusting after the COVID shutdown. They were just doing it in ways that we were not expecting or had experience with. I also reviewed some resources. If we consider the residue of COVID in the arena of trauma, the book Trauma and Resilience in Music

Education: Haunted Melodies, Deborah Bradley and Juiet Hess, editors may be a valuable resource. Another is Lost and Found by Ross Greene, PhD. This book follows a unique method for building relationships with students who challenge us, similar to restorative justice. After doing some reading and thinking, it became clear I had to step back and – once again – view my program with a broad lens. I decided to lean into two questions from my last article for the CMEA magazine:

1) Is my curriculum malleable? Yes, but I felt I needed to make it more so, to make sure I was providing space for everyone. I tried investing more time in learning about the kids individually. For example, I continued to meet my 6th graders at the door each day, but I added a “question of the day” that each student had to answer. Some questions were light, others a little more pointed: “Who is your favorite superhero?” “Pancakes or waffles?”, or “What do you do to cheer up someone else?” If they could not (or did not want to) answer right then, they could let me know at the end of class or email me later. That small check-in proved to be really valuable and sometimes the students’ answers made their way into class: “let’s play this like butter sliding down a stack of hot pancakes!” Or, sometimes as a short composition prompt (“play how you are feeling right now” or “how can we make the sound of eggs frying on our instrument?”). At the least, I got to know the kids better and laugh more!

2) Do students have a voice? Students submitted designs for ensemble t-shirts for the middle school orchestra and gave me a lot of suggestions for repertoire! Of the music we worked on, three tunes were ones suggested by students. Though a small group, they were dedicated and seemed more invested in the music because they had some say. Even though they might not have liked all of the music we played, they understood that supporting choice was a way to support each other, an obvious and important part of playing music together. We played a wide variety of music that challenged them in multiple ways. We learned about how to play triplet rhythms in a tango, how to feel 2 and 4 in a pop tune, and how to bring out programmatic elements to sound like birds! My

high school jazz students brought in tunes, (one student taught the group how to play an entire tune by ear and then they arranged it together), talked about the music they liked, and then incorporated some licks they learned and figured out how to add to a solo. While it took some time, leadership roles emerged. I like to give my high school ensembles lots of autonomy because, as I tell them, “it is your band/orchestra, not mine.”

Did it all go smoothly? No! Anytime we try things, there is lots of trial and error, and this year was no exception. Some music never got the traction that I had hoped for, some things had to be shelved altogether, but leaning into both of these questions did help with some of the behavior issues, and I will take that. In the end, innovation is simply about trying something.

Peer Innovators!

In an effort to inspire you, one of our peers is bringing some very cool innovation to his classroom and school. Max Berland, band director at Villegas Middle School in Riverside, has created a class for his 7/8th grades called “Creative Band,” in which students are able to choose their instruments (they must choose at least 3 and up to 6!) and spend time composing their own music. Born out of a realization that there was a need to serve students who wanted more say in their music education, students now have the opportunity to take Creative Band in addition to Advanced Band. Max described how he explains the difference to students: “Advanced band is what I want, Creative Band is about what you want; you decide the

direction and give feedback.” Here is a link to a very cool lesson plan that Max developed. Another idea that he hopes to realize is a composition open house, similar to an art fair, where the students can present and share their work if they so choose. Here is another lesson plan that incorporates Soundtrap to challenge students to compose based on a visual representation. When I spoke with Max, the excitement he had for these lessons was palpable; clearly, he is invested in his students and he shows this by balancing a traditional band model with an innovative one. In this way, he feels he is best able to serve the students in his community.

In Closing

I wish you all the best as you begin this year! Please reach out to me if you need any support.

California Department of Education - Prop 28 Funding

https://www.cde.ca.gov/eo/in/prop28artsandmusicedfunding.asp

California Department of Education - Prop 28 FAQ

https://www.cde.ca.gov/eo/in/prop28artsandmusicedfundingfaq.asp

California Commission on Teacher Credentialing - Prop 28, Arts and Music in Schools

https://www.ctc.ca.gov/credentials/assignment-resources/prop-28--arts-and-music-in-schools

Proposition 28 - CMEA’s Q & A open Google Doc

https://docs.google.com/document/d/1aJzOKW7AT8YlnU3M2d839z-_5JNh2lGOv3FRjrPZIvQ/edit

Fall Update

by Tiffany Ou-Ponticelli, CODA President

We hope your school year is off to a great start! Please see the below updates from the California Orchestra Directors Association (CODA).

Memberships 2023-2024

It’s time to renew your CODA Membership! Become a member today (2023-24 memberships begin on July 1st) and help take an active role in supporting students, educators, and school orchestra programs across the state of California.

Click here to view membership class information and here to join the organization or renew your membership.

CODA December Honor Orchestra 2023

This year’s CODA December Honor Orchestra will take place at Stanford University on Dec 1-2, 2023. The performance will take place in Stanford’s beautiful Bing Concert Hall, and will feature the CODA Honor Symphony Orchestra and the CODA Honor String Orchestra. This opportunity is open to high school students enrolled in their school’s band or orchestra program. Recording and submission instructions for directors and students can be found here. CODA Honor Orchestra audition materials are due online on October 9th, 2023. Please encourage your students to apply!

All-State Orchestras at CASMEC

CASMEC will run from January 31 – February 4, 2024, in Sacramento, CA. Please note the change in location, and the earlier date! All-State Orchestra audition materials are due online on November 1st, 2023

CODA offers four all-state honor orchestras at the CASMEC Conference: the All-State High School Symphony Orchestra, the All-State High School String Orchestra, and the All-State Junior High School String and Concert Orchestras. Learn more at these links for High School All-State and Junior High All-State!

Follow us on Facebook and Instagram @calorchestradirectors! Have a great start to the year!

Higher Ed Music Education

by Dr. Kara Ireland D’Ambrosio

CMEA Higher Education Representative

CalTPA Support

The CalTPA is the high-stakes test our credential students in music education need to pass (Cycle 1 and 2) in order to earn a music credential. While music education faculty work to weave CalTPA practices into classes with assessments and activities that are aligned with the CalTPA requirements to help our students prepare and think, the teacher candidate can best prepare for the exams by working with their peers. Peers can read one another’s work, watch their teaching videos and give full feedback to learn from one another. The practice of self-assessment is closely connected with peer assessment. I also recommend these hints:

1. READ the assessment guide (don’t read about CalTPA or look at screen shots).

2. CLICK on all links (and read those pages) in the assessment guide.

3. READ and BRAINSTORM the questions in STEP 3 and 4 first- then backward-plan your lesson plan (C1) or Unit (C2)

4. Video all your teaching (get video permission slips completed quickly) and try different angles to find the one that shows you teaching (clearly) and as many students as possible.

5. Plan your schedule ahead of time and give yourself a solid three weeks of writing step 3 and 4 (after you have chosen your videos).

6. Video annotations - write about one per minute and explain what’s happening inside your mind and spell out your teaching rationale.

7. Share with a peer who is also completing CalTPA and other support providers at least 2 weeks before deadline so they have time to give feedback and you have time to apply feedback.

8. Upload the day before the deadline

9. Remember, you’ve got this!

10. Welcome to an amazing career – Music Teaching!

YOUR SOUND YOUR SCHOOL

ON-CAMPUS AUDITION DATES

ON-CAMPUS AUDITION DATES

November 4, 2023

November 4, 2023

January 27, 2024

January 27, 2024

DEGREE PROGRAMS:

DEGREE PROGRAMS:

February 17, 2024

February 17, 2024

March 2, 2024

March 2, 2024

Bachelor of Music in Music Education (Pre-Certification)

Bachelor of Music in Performance

Bachelor of Music in Music Education (Pre-Certification)

Bachelor of Music in Jazz Studies

Bachelor of Music in Performance

Bachelor of Music in Composition

Bachelor of Music in Jazz Studies

Bachelor of Arts in Music

Bachelor of Music in Composition

Minor in Music Liberal Arts

Bachelor of Arts in Music

Minor in Music Jazz Studies

Minor in Music Liberal Arts

Minor in Music Jazz Studies