CMEA Magazine FALL ISSUE 2019
VOLUME 73 â€¢ NUMBER 1
CMEA Quarterly Magazine
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The News Magazine of the California Music Educators Association FALL 2019 ISSUE • VOLUME 73 • NUMBER 1 CONTENTS
POSTMASTER CMEA Magazine (ISSN 1099–6710) is published quarterly (Fall, Winter, Spring, Summer) by CMEA. Mailing Address: 2417 N 11th Ave Hanford, CA 93230 Subscription price of $4.00 is included in the CMEA annual dues. Non-member subscription rate is $12.00 per year Single copies are $3.00 POSTMASTER: Send address changes to CMEA Magazine, 2417 N 11th Ave, Hanford, CA 93230 CMEA Magazine Graphic Designer Chile Nkwocha Editors Anne Fennell and Trish Adams Business Manager Trish Adams Mailing Address: 2417 N 11th Ave, Hanford, CA 93230 E-mail: email@example.com Rates and advertising information available at: www.calmusiced.com The Executive Board of CMEA serves as the Editorial Committee. The observations and opinions expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Association. CMEA does not necessarily endorse any product or service advertised in this magazine.
CMEA Administrative Office Mailing Address: 2417 North 11th Avenue Hanford, CA 93230 Office: 559 587–2632 Cell: 559 904–2002 E-mail: firstname.lastname@example.org Website: www.calmusiced.com
President’s Message: Here comes 2020! by CMEA President John Burn
Stand Up 4 Music – Call for Performance Ensembles by Jeremiah Jacks, Coordinator
Our Only Constant is Change
by Jeffrey Benson, Ph.D., California Choral Directors’ Association
Maintaining Graceful GrAttitude!
by Emma Joleen, CMEA Elementary Music Representative
Getting to Know our San José State University Collegiate NAfME Chapter by Anne Fennell, CMEA Vice-President
Bay Section Update
by Bruce Lengacher, President, CMEA Bay Section
5 5 9 10 12
Capitol Section Update
by Taylor Sabado, CMEA Capitol Section President
Central Section Update
by Steve McKeithen, CMEA Central Section President
Central Coast Section Update
by Maria Carney, CMEA Central Coast Section President
Southwestern Section Update
by Jessica Husselstein, CMEA Southwestern Section President
The Year to Come
by Holly MacDonell, CMEA North Coast Section President
Northern Section Update
by Todd Filpula, CMEA Northern Section President
14 14 15 15
New Year, New Officers, New Vision
by Ryan Duckworth, CMEA Southeastern Section President
Greetings from the Southern Border Section! by Jeff Malecki, CMEA Southern Border Section President
A Year of Reflection by Emilio Lopez Felix
16 17 19
Teacher Preparation: The Cornerstone of Success for All Learners by Angela E. Holmes, CMEA Special Learners Representative
2020 CMEA State Festivals, Presented by World Projects21 Marching Band in Los Angeles Unified by Ryan Gonzales
Practicing and Beyond by Joe Lizama
Hill Day - Collegiate by Jordan Espíritu
NAfME and CMEA 2020 Elections29 AD INDEX
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6 IBC IFC 18 BC 18
◆ Northern California Orff Schulwerk Association 7 ◆ University of Colorado Boulder IBC ◆ Willamette University 21 ◆ World Projects 8 ◆ Yamaha Musical Instruments 2
Please excuse the error in our June CMEA Magazine. The CMEA / Peripole General Music Educator Award was incorrectly listed in the Spring Issue of CMEA Magazine. CMEA is grateful to Peripole for the endowment of the annual award for our General Music Educator of the Year. Orchestrate Success in Your Career… JOIN CMEA+. Visit www.nafme.org. CMEA is a federated state association of the National Association for Music Education.
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Here comes 2020! by John Burn
hile relaxing summer days spent achieving a life/work balance, having time to study new scores (perhaps including a more diverse group of composers), and planning new units (perhaps targeting at greater cultural responsiveness and student empowerment) are behind us, there is nothing like seeing a new crew of smiling faces and untapped potential to energize us each Fall. NAfME is doing a self-study to take a hard look at where NAfME truly is with regard to inclusion, diversity, equity and access. At our last CMEA full board meeting, we adopted the following inclusion and diversity statement:
offices, we will also be voting on a CMEA bylaw change that would allow CMEA collegiate members to vote for CMEA state offices. Come to CASMEC 2020, February 20-23, 2020, in Fresno. CMEA and our partners CAJ, CBDA, CCDA and CODA have been meeting, reviewing applications and strategizing improvements to make CASMEC 2020 the biggest and best one yet. Two big changes are: We are moving honor ensemble students out of the headquarters hotel so there will be many more rooms available for attendees, thus essentially solving the shuttle bus issues; and featured performing ensembles will perform either in the beautiful Saroyan Theater or in the convention center, thus eliminating the long walk to the less-than-pristine venue of Warnors Theatre. Inclusiveness, Diversity, Equity, and Access are We are changing our Stand Up 4 Music Advocacy Day embedded in the mission, vision, and values of CMEA. at the state Capitol in Sacramento from May to March 24. CMEA promotes equitable practices for all stakeholders We know that May was a difficult time for student ensemwithin the music education community. bles to leave school to perform on the Capitol steps, and May was a difficult time for collegiate members as well. We must be proactive in our decisions at every level if March is Music in Our Schools Month so this works well. we want to see real change in making inclusive and cultur- Please consider joining us on this day and consider bringally responsive music classrooms taught by a teaching force ing an articulate and passionate parent or student as well. that will become more representative of the students in Other important events include: the NAfME National California. Conference and All National Honor Ensembles event, Here are some CMEA highlights to know about and November 7-10; the CMEA State Band & Orchestra look forward to as we boldly go into the next decade. Festival held at Soka University in Aliso Viejo, March This is an election year for CMEA and NAfME. Take 27; the CMEA State Choral Festival held at Sonoma a little time to read up on the well-qualified nominees for State University on April 9; and the CMEA State both CMEA and NAfME. The election starts in January Solo Ensemble Festivals, one in Sacramento and one in and concludes during CASMEC. The voter turnout for Southern California, both in May. the last election was dismal (only 7.96% of NAfME Have a great year doing your very best to inspire and Western Division members voted in the last NAfME hold accountable every one of your students. What we do election), so please take just a little time to make your truly prepares them for a successful, fulfilling life. voice heard this time around. In addition to elections for
Fall Issue 2019
CMEA State Council CMEA EXECUTIVE BOARD CMEA President John Burn email@example.com 408 522-2541
Armalyn De La O firstname.lastname@example.org 909 838-3716
CMEA Vice President
Anne Fennell email@example.com
Sandra Lewis firstname.lastname@example.org 408 806-5550
CMEA Immediate Past President
Scott Hedgecock email@example.com 714 626-3984
firstname.lastname@example.org 2417 North 11th Avenue Hanford, CA 93230 559 587-2632
CMEA Executive Administrator Trish Adams email@example.com 559 904-2002
CMEA Administrative Assistant Heather Adams firstname.lastname@example.org 559 410-2425
CMEA North Coast Section President
Holly MacDonell email@example.com 707 499-1399
CMEA Northern Section President CMEA Southeastern Section President
CMEA Public Relations Coordinator
Ryan DuckworthÂ Ryan_Duckworth@cjusd.net 909 856-5777
CMEA Southern Border Section President
Jeff Malecki firstname.lastname@example.org
CMEA Southwestern Section President
Jessica Husselstein email@example.com
NAfMEâ€ˆOFFICERS NAfME President
Kathleen Sanz 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768
NAfME Western Division President Sam Tsugawa firstname.lastname@example.org
COUNCIL OF REPRESENTATIVES CMEA CAJ Representative
SECTION PRESIDENTS CMEA Bay Section President
CMEA CASMEC Coordinator/CMEA Representative on the CBDA Board
CMEA Capitol Section President Taylor Sabado email@example.com
CMEA Central Section President Steve McKeithen firstname.lastname@example.org
CMEA Central Coast Section President
Maria Carney email@example.com
CMEA Advocacy Day Performance Coordinator
Jeremiah Jacks firstname.lastname@example.org 530 417-7021
Martha Zaragoza Diaz email@example.com
Bruce C. Lengacher firstname.lastname@example.org
Matthew Mulvaney email@example.com
Todd Filpula firstname.lastname@example.org
Barbara Shinaver email@example.com 559 451-4320
CMEA Legislative Advocate
CMEA CODA Representative
Joseph Cargill firstname.lastname@example.org 559 474-3064
CMEA CBDA Representative Phil Vallejo email@example.com
CMEA/CCDA Representative Dr. Rob Istad firstname.lastname@example.org 562 822-5952
CMEA/CCDA Choral Leadership Academy Coordinator John Sorber email@example.com
Mario Sebastian firstname.lastname@example.org
CMEA Advocacy Representative Russ Sperling email@example.com
CMEA Collegiate Council Chairperson
CMEA Music Supervisors Representative Michael Stone firstname.lastname@example.org 661 319-8218
CMEA Music Technology Representative
Chad Zullinger email@example.com 925 817-7757
CMEA Higher Education and Research Representative Dr. Ruth Brittin firstname.lastname@example.org 209 946-2408
CMEA Retired Members Representative
Leah Musker email@example.com
James Mazzaferro firstname.lastname@example.org 916 690-1992
CMEA Collegiate Representative
CMEA Rural Schools Representative
Dr. Dennis Siebenaler email@example.com 657 278-3510
CMEA Creating and Composition Representative
Dr. Lisa A.Crawford firstname.lastname@example.org 310 863-6422
CMEA CTA Liaison
James Benanti email@example.com
CMEA Elementary Representative Coralie Prince firstname.lastname@example.org
CMEA General Music Representative
Judi Scharnberg email@example.com
CMEA Special Learners Representative
Angela Holmes Holmesangie@yahoo.com
CMEA State Band and Orchestra Festival Coordinator Jim Kollias firstname.lastname@example.org
CMEA State Choral Festival Coordinator
Gail Bowers email@example.com
CMEA State Solo and Ensemble Festival Coordinator
Emma Joleen firstname.lastname@example.org
Cheryl Yee Glass email@example.com 925 552-3044
CMEA Innovations Representative
CMEA Tri-M Representative
Danielle Collins firstname.lastname@example.org 909 214-8527
CMEA Membership Chairperson
Ryan Clippinger Ryan_Clippinger@kernhigh.org 661 854-5561 x70701
CMEA Mentorship Program Chairperson
Mark Nicholson email@example.com 858 256-2702
Troy Trimble firstname.lastname@example.org 714 626-3975
CMEA Urban Schools Representative
Zack Pitt-Smith email@example.com
CMEA World Music Representative Dr. Lily Chen-Hafteck firstname.lastname@example.org 310 825-4668
Call for Performance Ensembles
Stand Up 4 Music – March 24, 2020 by Jeremiah Jacks, Coordinator
t has been wonderful to see SU4M continue to grow and expand in approach and intent over the years. I feel fortunate to be a part of the process, and am excited to see our SU4M Day Performances continue to evolve as well. This year, rather than using an audition process, we will be inviting ensembles to share their music with our community and state leaders throughout the day. With a good deal of change around SU4M this year, I will be inviting ensembles to join us once we have other details of the day confirmed. I am very excited about our date
Our Only Constant is Change by Jeffrey Benson, Ph.D. President, California Choral Directors’ Association Director of Choral Activities, San Jose State University
elcome back to the new academic year! I am thrilled to begin my term and serve as your new president of CCDA. As the seasons slowly start to change, I hope you’re still reminded of your summer time of relaxation, reflection, and rejuvenation. Under the recent presidency of Rob Istad, CCDA became its own non-profit organization. The Board of Directors for CCDA has spent the past 2 years creating our mission, vision, and strategic plan--a truly daunting and thrilling task! Thank you to Rob, Lou De La Rosa, and Kathleen Preston for their tremendous leadership in guiding us through this process. I’m quite proud of and grateful for the work of our Board and am thrilled to remind us all of our mission statement: “California Choral Directors’ Association empowers choral musicians to create transformative experiences for California’s diverse communities.”
change to March 24th, 2020, and hope that this will allow a higher participation in the event. I highly encourage you, my friends and colleagues, even if you are not performing that day, bring your students to see advocacy in action, to take a tour of the capital and take the opportunity to discuss with your students at this event the importance of an equal access to quality public music education for ALL students, and how we might effect that change. Let’s flood the capital with young musicians, and show our legislators just how important a public music education is, for our students and for our community. If you would like one of your ensembles to join us in this adventure, please email me at email@example.com or call me at (530) 417-7021 so I can keep your ensemble in mind as I plan out the performances for the day. I look forward to seeing everyone in February at CASMEC!
This statement hits at our core values as conductors, teachers, and mentors. On a daily basis, we strive to create transformative experiences for our choir members. However, are we helping create these experiences for ourselves? Summer break cannot last all year, but we can stay engaged in our professional communities and continue to reflect and rejuvenate throughout the school year. CCDA provides many opportunities for all of us to transform ourselves and grow as musicians and humans! If you haven’t marked your calendars already, February 20-22, 2020, will be an exciting weekend for you to connect with colleagues, bring your students to one of our All-State choirs, and attend fabulous performances or interest sessions at the California All-State Music Education Conference (CASMEC) in Fresno. Kristina Nakagawa and Molly Peters have been working tirelessly to plan a transformative conference for conductors and students, as we improve and change our joint conference with CMEA, CBDA, CAJ, and CODA. Please consider joining us in Fresno! I hope this final few weeks of “time off ” provides you with as much inspiration as you need to carry you through the start of your school year!
CMEA State Awards 2019 Addition
REGISTER NOW FOR CASMEC 2020
Dean Nordby receives The 2019 CMEA Northern Section Outstanding Music Educator Award.
Pictured from left to right: Dr Rob Leri - TTUSD Superintendent, Dean Nordby - Outstanding Music Educator Award Recipient, Randy Humphreys - CMEA Northern Section President Elect
Fall Issue 2019
This resource bridges the gap between method books and performance music, preparing students for numerous scenarios by isolating specific ensemble performance skills and providing many exercises to develop them. The chorales are beautiful, lyrical selections designed to incorporate the isolated skills, promoting critical listening for tone, tuning, balance, rhythm, and more, and are written by many of today’s most performed composers. Three levels are available for young through advanced band.
The Ensemble Development books have been great in helping us prepare for solo and ensemble festival. My students have grown tremendously with the different skills provided in the exercises. The wide variety of chorales are a blessing to have, as I’m always looking to expose my group to a better sound. The structure of the book is the best part of it. It makes lesson planning very easy.
Each book contains over 100 exercises and chorales grouped by key, providing plenty of source material for learning how to balance and create a rich, full sound.
Irone Roussell Director of Bands Scotlandville Magnet High School
Learn more at alfred.com/SI-Band.
CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award
Judi Scharnburg, 2019; Jeri Webb, 2019
CMEA Past Presidents Clarence Heagy 1949–1951
Elwyn Schwartz 1951–1953
George F. Barr 1953–1955
Fred Ohlendorf Long Beach
Harold Youngberg Oakland
Joseph W. Landon Fullerton
Douglas Kidd 1962–1964
Gibson Walters San José
Keith D. Snyder Davis
Kenneth D. Owens 1968–1970
Dennis L. Johnson Salinas
Dean Hickman, 2018; Dr. Lawrence Stoffel, 2018; Dr. Michael Corrigan, 2017;
Dr. Edward Harris, 2017; James Mazzaferro, 2017; Dr. Robert Halseth, 2016;
Mary C. Reed Elk Grove
Henry Avila Monterey
Charles L. Freebern San Diego
David S. Goedecke Stockton
Vivian M. Hofstetter Bakersfield
John L. Larrieu Portola
L. Leroy Roach Walnut Creek 1990–1992
Carolynn A. Lindeman
Anthony L. Campagna Foster City
Jay D. Zorn
Bill Adam Roseville
George DeGraffenreid Fresno
Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015; Dr. Thomas Lee, 2015; Jon Christian, 2014;
Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012;
Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010;
Robert W. Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009;
Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007;
Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007;
Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006;
Frances Benedict, 2005; L. Leroy Roach, 2005; Silvester McElroy, 2005;
Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004;
Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003;
Larry Johnson, 2002; Mary Louise Reilly, 2002; W illiam Hill, 2001;
Helynn Manning, 2001; Wesley “Colonel” Moore, 2001;
Vivian Hoffstetter, 2000; F. John Pylman, 2000; Lawrence Sutherland, 1999;
Chuck Schroeder, 1998; Dean Semple, 1997; Burl Walter Jr., 1996;
Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991;
Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983;
Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977;
Cheryl Yee Glass
Michael D. Stone
Russell Howland, 1975.
Fall Issue 2019
Maintaining Graceful GrAttitude! by Emma Joleen CMEA Elementary Music Representative
Dear General Music Community,
write to you as a fellow teacher and friend. As I excitedly watch families prepare for the new school year, I reflect upon the wonderful opportunities that have arisen from a career in education. This summer I attended the NAfME Leadership Summit held at the Golden Nugget in Las Vegas. It was with a graceful attitude of gratitude that I embarked upon a journey of discovery with the Western Division attendees. Not only did I make new friends and have loads of fun, but I learned that having a philosophy of “can-do” permeates as Edwin Gordon’s audiation does to an ensemble. At the end of a quarter, semester or year, teachers often feel exhausted and are looking forward to the next holiday or vacation. What is the remedy? Here’s a thought: daily SocialEmotional-Learning for yourself. Teachers are by nature nurturers, feeding the souls of students. Cultivating something for yourself on a daily basis, whether you incorporate Mindfulness, Council, Conscious Discipline or improved classroom management strategies, facilities a teacher’s overall health and wellbeing. Staying in touch with your NAfME community is easy with AMPLIFY. Teachers created AMPLIFY for teachers to connect online. AMPLIFY is a great way to communicate in a private forum, rather than on FaceBook. AMPLIFY operates in a similar fashion to any social media platform where you create your own profile, post questions, and receive advice from highly experienced educators in all fields of arts education - again, this is better than receiving random opinions on FaceBook. AMPLIFY is also about music advocacy and how teachers may help students keep arts education alive worldwide. The NAfME Leadership Summit enlightened me about the status of arts education in California. That is the reason CREATE CA offers a coalition dedicated to the rights of all students to equity in arts learning. As a teacher, it benefits the overall industry to collaborate for improved arts education, thereby promoting creativity and the arts as a workforce skill. For General Music and Elementary teachers interested in having students perform at an “All-State General Music Ensemble,” please connect with your local General Music and Elementary Music Representative. Such an ensemble will be comprised of musicians selected by teachers to perform in an ensemble that meets the needs of current music students in an elementary and general music setting. This will look like a fusion of Orff and Kodaly concepts bridging the gap between
Fall Issue 2019
vocal and instrumental ensembles. The future is bright for teachers keen to champion such endeavors at CASMEC#2020. Information to serve as part of the committee is being shared with your local representatives. Finally, I will conclude this letter with one of the most inspiring anecdotes I heard this year. “There’s no such thing as you’re just a teacher. No. You’re just like a surgeon who opens up a body as you would open a classroom door. Each day you discover something new and possibly entirely different from the x-ray or MRI. Things are not always as they seem in the classroom or in the emergency room. Teachers have the skill to improvise as a surgeon does because of a strong knowledge base. Just as a surgeon operates on patients, a teacher operates on students. Students evolve because of teachers.” (Thanks to Quaver’s Graham Hepburn for allowing me to use his quote). But wait, there’s more….. Some students spend more time with teachers than they do their own families. It’s important to remember the impact and power teachers have to influence students because the ramifications are lifelong. As students enter the classroom, consider greeting each student individually using tools from “Conscious Discipline” for Loving Guidance. Developing the skills of empathy, love and compassion are becoming more important as evidence-based research demonstrates the use of mobile technology is destroying emotional intelligence. SEL (Social and Emotional Learning) programs are popping up all over the place (see below for resources). Now is the time, more than ever, to invent.
Links to suggested resources: AMPLIFY https://community.nafme.org/home CREATE CA www.createca.net Mindfulness https://www.mindfulschools.org/ about-mindfulness/mindfulness-in-education/ Council https://www.centerforcouncil.org/ Conscious Discipline https://consciousdiscipline.com/ Classroom Management - Michael Grinder Technologies https://www.michaelgrinder.com/ free-resources-and-downloads/ A new approach for teaching SEL - transforming students through social and emotional learning https://www.quaversel.com/info/
Getting to Know our San José State University Collegiate NAfME Chapter by Anne Fennell CMEA Vice-President
he SJSU NAFME Collegiate Chapter is one of 700 collegiate chapters in the United States. As an active chapter, the group supports the annual CMEA Bay Section Conference in January and the CASMEC Conference each February. SJSU Collegiate brings guest speakers to address music education students and supports special projects on and off campus, promoting music education at all age levels.
elle Dora Isab n
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Update from SJSU Collegiate NAfME Chapter Advisor, Dr. Diana Hollinger: One of the things I love most about being the San José State University Collegiate NAfME advisor is watching our students grow into their own successes, both within the program and over the years as they develop their professional lives. I am consistently inspired by my students, and I consider them change-makers, which makes me hopeful for our future. San José State University is built on a history of social justice. It was the first public teacher-training institution, is the oldest public university on the west coast, and is ranked as one of the top five “most transformative colleges” by Money Magazine. Outside my office window is the “Arch of Dignity, Equality, and Justice,” a monument that honors the work of Cesar Chavez. In the center of campus lies the “Black Power Statue,” which honors SJSU student-athletes Tommie Smith and John Carlos for their activism during the 1968 Olympics. This unique history of activism, service to first-generation student populations, our diverse student body, and our location in the vibrant cultural and economic hub that is Silicon Valley creates a rare musical and educational space. The students who come make it vibrant and ever-changing, and I am surrounded by their joy, ideas, hopes, and dreams--what could be better than that? - Dr. Diana Hollinger, Coordinator of Music Education, SJSU
SJSU NAfME Collegiate Chapter Officers: President – René Canto-Adams Vice President – Isabelle Doran Secretary – AJ Gonzales Treasurer - Dominic Samuels Bay Section Conference Coordinator - Jackson Baker 10
minic Samue Do ls
son Bak Jack er
SJSU NAfME Collegiate Member Reflections The SJSU Collegiate Council members answered a few questions and their answers are inspiring. Read on! Why did you become a member of the San José Collegiate NAfME Chapter? I sought to help foster a greater sense of community and inclusivity throughout the School of Music and Dance. As students, our greatest asset is our peers; we motivate and support one another to continually progress not just as individuals, but as a collective. René Canto-Adams, President I became a member because I wanted to be more involved in the music building, and also be able to network with the people. Getting out and meeting new people is really important and also having the ability to learn some more about what I could do to be a better educator, and NAfME is the perfect way to do that. Isabelle Doran, Vice President I became a member of SJSU’s NAfME chapter because I wanted to become more involved with the educational community here in San Jose. I saw the resources for students that our NAfME chapter provides, and as a result I felt that joining would be beneficial to me as a future music educator. Dominic Samuels, Treasurer What are you looking forward to, once you graduate with your music education degree? I’m most looking forward to applying the lessons I’ve learned throughout my schooling and mentorship to my future ensembles. Showcasing the beauty of music to all my students while CMEA Magazine
learning and adapting to being a brand-new educator seems daunting, but is what I look forward to encounter. AJ Gonzales, Secretary I’m looking to continue performing as well as getting my credential and moving into the classroom. I think it is very important for educators to keep performing and teaching full time so that they not only stay active in the “music scene”; but I think giving your students the opportunity to see you perform at a high level will inspire them to perform at their highest level. Jackson Baker, Bay Section Conference Coordinator
Bringing in a local teacher who had instilled a strong music culture in a local Title I school was one of the most impactful projects for me, because it was the one I related to the most. It was inspiring because it helped show the possibilities of what an underfunded program can do. Dominic Samuels, Treasurer
Since being a member of our chapter, I have helped streamline and refine a committee board specifically for recruitment. This entails members reaching out to students within the music education department to join our chapter via events, networking, and showcasing the chapter through social media. It has helped me realize the importance of communication and how After graduating, I look forward to giving back to my commu- powerful one voice can have to many. Applying small lessons nity by bringing my skills to a Title 1 school. I come from a like this to the chapter and my own life has made a major community that has had its own struggles, so it has always impact on me as a future music educator. been a goal of mine to provide an outlet for the youth. AJ Gonzales, Secretary Dominic Samuels, Treasurer Giving back the gifts that have been given to me. Without the support and guidance of phenomenal mentors, I would not be where I am today. Through mindful performance and education, I hope to share the joy and beauty of music with students as well as the communities that they come from. René Canto-Adams, President How does/will the San José Collegiate NAfME Chapter help you achieve your goal to become a music educator? The NAfME chapter at SJSU has organized many events (i.e., CMEA Bay Section, guest speakers) that have helped reinforce the concepts we learn in the classroom, as well as introduce new ones and how we can apply them to our own teaching styles. Jackson Baker, Bay Section Conference Coordinator Just based on what I’ve learned so far, having some sort of network is extremely helpful as a music teacher. I know that the connections I make now will be extremely helpful in the future. I can also learn from my peers about what they value or where they want to go in their careers, which will also be helpful at taking a look at what I want to do. Isabelle Doran, Vice President What is one of the projects you have done as a member that has made an impact on you as an aspiring music educator? This past year, CASMEC moved from San Jose back to Fresno. Concerned about SJSU students losing the ability to attend their state conference due to increased costs, our chapter fundraised to provide a significant number of registration and lodging scholarships. Through our efforts, we were able to help send over twenty students to the conference. Maintaining access to incredible resources like CASMEC is invaluable to the preparation and success of aspiring educators. René Canto-Adams, President
Fall Issue 2019
What is the value of the San José Collegiate NAfME Chapter to your school? Many first-year teachers struggle due to an often-overwhelming feeling of isolation. At SJSU, we work to remedy this by providing a support structure of similarly determined peers that help each other get through their pivotal first few years of teaching. It all begins with our NAfME chapter. Students get involved as undergrads, becoming a part of our community. As they graduate and transition into credential work, eventually getting their own jobs, they may be less involved with the chapter and university, but they are still strongly connected to their network of peers. We look out for one another because we care about one another. René Canto-Adams, President SJSU has a strong Music Education program, so there’s a lot of room to reach out to the students in the building and help them out and support them with what they may need. To be able to have a group in the music building that has some pretty killer musicians and educators I think is pretty powerful. Isabelle Doran, Vice President The SJSU Collegiate chapter “provides many opportunities for professional development, but it also provides a central place and group of people that we are able to compare ideas and share resources.” Jackson Baker, Bay Section Conference Coordinator If you would like to create or join a NAfME Collegiate Chapter near you, email collegiate@nafme. org or firstname.lastname@example.org. Scan this QR code to learn more about CMEA Collegiate Chapters.
who are taking on new roles. Randy Porter is on Friday and one on Saturday. In addition, at our incoming Jazz Rep, Angelina Fitzhugh the General Session on Friday after lunch, we was elected to a second term as Choral Rep, are excited to have NAfME President Elect and Dr. Kara D’Ambrosio Ireland will be Mackie Spradley as our Keynote speaker! serving another term as Higher Ed Rep. Joe CMEA Bay Section is excited to work again Murphy will be taking over as Medal Rep for with our Conference Site Host, Dr. David Jenny Anderson who is our new Tempo Editor. Vickerman, and the NAfME student chapShelly Durbin will be moving from Area ter from SJSU. Last year we adjusted the score ranges of Rep to serve as the Assistant Large Festival Coordinator, and we welcome René Canto- the adjudication score sheets for all Large Adams who will be serving as a Collegiate Festivals. This seems to have had the desired Rep with Arnie Co. I would like to thank Troy effect of evening out the distribution of scores. Davis for his two years of service as Jazz Rep, We adopted 30-minute time slots for Choral Danna Mitchell Carter who is stepping down Festivals and now everyone gets a clinic on as Solo and Ensemble Rep, Tiffany Barry for stage after they perform. The number of her service as General Music Rep and Matt ensembles sight reading increased and we’re by Bruce Lengacher Ferriera for his service as the Tempo Editor. hoping that everyone will sight read. We will CMEA Bay Section President Past President Rita Zigas Brown will expand our pilot program of using smarthope that your school year has started continue to oversee the Outreach Program. phones or iPads and Airdrop for adjudicator off with rewarding music making! Last We had our first CMEA in the classroom comments at one festival in each region to year, in the Bay Section, we experienced visits and we hope to see that grow even see if this is a viable and more efficient way an 85% turnover on the Bay Section Board. more this year. This is available to any Title to collect judges’ comments. We will also With that big of a change, we had some grow- I program that would like a free clinic with a continue to pilot the new judging configuing pains. The void of institutional memory CMEA Bay Section Adjudicator at no cost ration that was piloted at El Cerrito’s Band in many positions caused a few bumps in the to the school or program. We will continue Festival last year. road. As a result, the Executive Board worked to provide scholarships to students in Title I am looking forward to my second year this summer on establishing some procedures I schools so that they can participate in the as President of CMEA Bay Section. I will be and timelines for festivals and Conference Conference Honor Ensembles. There are 10 focusing on continuing to work on sustainHonor Ensembles to be implemented this slots available in each ensemble. Title I school ability for Bay Section and on involving year. The purpose of these changes is to insure directors can attend the conference free of younger teachers in our section. Hope you the sustainability of Bay Section and to have charge as well. have a great start to your school year. Onward! systems in place that provide the best possible At our Winter Conference, January 10 and support and services for our members. 11, 2020, at San Jose State University, we are We’re pleased to welcome some new board excited to welcome the Casting a Wider Net members and some current board members folks. They will be presenting two sessions, one
CMEA Bay Section Update
G CMEA Capitol Section Update by Taylor Sabado CMEA Capitol Section President 12
reetings, Colleagues! I hope your school year has been off to a great start. My name is Taylor Sabado and I am happy to join the state board this year as the new President for CMEA Capitol Section. A little about me: I am entering my fifth year of teaching as the band director at Ponderosa High School in Shingle Springs, El Dorado County. I graduated with my BM in Music Ed and Bassoon Performance from Sacramento State where I also received my Single Subject Credential. I am currently working on my MA in Music Ed through the summer graduate program at San Jose State University. I look forward to getting to know more of you personally! Capitol Section once again offered professional development in September via our Fall In-Service at Sacramento State. All interested music educators and collegiates were invited to attend. Clinics were conducted on a variety
of topics in order to serve the various needs and assignments of our local educators, from elementary to high school, and all manner of related topics in between. We are grateful to former section president Brad North for enthusiastically taking on this project in his first year of retirement. In the works right now is the first phase of our section’s goal to combine our honor ensembles with a weekend of professional development opportunities for teachers--“mini-CASMEC,” as I like to think of it. We are grateful to our board representatives who work so hard throughout each year to put these honor groups together, and also to the faculty and staff in the music department at Sacramento State for their support in working to make it happen. This January 2020 we will be holding all band, choir, and orchestra honor ensemble performances on the same weekend. In 2021 we will add clinics, something similar CMEA Magazine
If you are part of a minority demographic, you likely know the impact of what seeing someone “like you” can have on your own empowerment. If you’re not, you can still be a facilitator of empowerment. Representation is a good first step. If you teach a large ensemble, the Composer Diversity Database online is a great place to start. Let me know if you’re up for the challenge and how it’s going for you and your students. If you find a great resource, share it! And if you need more resources yourself, I’m happy to share what I’ve found so far. I wish you all a great school year, and I look forward to seeing you locals at the Cap Section Fall In-Service, and the rest of you at CASMEC! Happy musicking!
in concept to our Fall In-Service, to create the invite you to dig a little deeper than maybe first ever Capitol Section Conference, one you’re used to. Start small if this is new for of what we hope will be many more to come. you, maybe one new piece per concert or unit Before I conclude, I’d like to pose a that embraces a typically underrepresented personal challenge to all of you, my colleagues. demographic--women, people of color, trans This past year I undertook a unique project: composers, etc. If it’s not new to you, that’s programming music by all female compos- awesome, keep it up! ers for each of my large ensembles (jazz band, As you plan, consider what effect your symphonic band, concert band). There were curriculum has on your students. Are they certainly challenges to this endeavor, a big one seeing a diversity of people that are at least being that I very quickly ran out of money! representative of themselves and their Thank goodness for grants and music loans community? “Vicarious experience” is one from colleagues! It did, however, affirm one of the aspects of self-efficacy as defined by very positive effect that I had hoped it would psychologist Albert Bandura, which means have: It forced me to dig deeper and find more if we want to empower our students, we have resources than I ever would have looked for to show them people they can identify with. before. As you consider what new music or resources As you search for curriculum, compos- to spend your precious budget on, my chalers, and pieces for your students this year, I lenge is that you choose to invest in diversity.
CMEA Central Section Update
Fresno and Bakersfield, the majority of our national standards, the demonstrated skill of programs are located in the vast rural areas sight-reading. of the Central Valley, serving students that Lastly, and on a more personal note, I have an immense need for music in their lives. experienced a reminder this summer about by Steve McKeithen We are fortunate to have so many wonderful feeling nervous, as so many of our new teachmusic educators at all levels, which provide ers will feel this year. What is funny, though, CMEA Central Section President students with the vital experience of music. is the older I become, my sense of nervousy name Steve McKeithen and it Over the last year, we in the Central ness and uncertainty that I can recall from is an honor and privilege to begin Section have enjoyed exceptional growth and my early years of public school teaching is my service as the CMEA Central success along many different fronts. Thanks largely out of my system. I was reminded of Section President while I start my sixth year as to the efforts and leadership of our General that nervous feeling this summer when I took Associate Director of Bands and Director of Music representative, Dr. Emily Mason, we a literal leap of faith in joining my stepson the Bulldog Marching Band at Fresno State. have experienced new energy in our elemen- in his graduation present. We both jumped There have been so many incredible educators tary programs through her advocacy and the out of a perfectly good airplane at 13,000 feet. in this position and I have had the privilege to wonderful training programs she has offered The first 90 seconds were absolutely intense as closely examine the wonderful contributions to our educators. We have also seen tremen- my brain and eyes were constantly calculating of my predecessor, immediate past president dous growth in our festivals. With over 26 what was happening to me. I was able to feel Bill Wilkinson, whose wisdom and vision for separate and unique opportunities in place a very real sense of no control, very much like the betterment of Central Section has proven for the 2019-2020 school year, our student our new teachers coming in to their first job. to be extraordinary. We are indeed fortunate musicians and directors strive to measure their Fortunately for me, I had an awesome instructo have had his leadership and I am honored understanding and artistic endeavors in vocal, tor with me every foot of that descent, telling that Bill brought me in to join a board full instrumental, and solo performance. These me what the next step would be, remindof tremendous educators, talented musicians, festivals would not be possible without the ing me of the technique I needed to engage, and incredible people. Thank you, Bill! incredible leadership and coordinating prow- and encouraging me all the way to a smooth The Central Valley is a wonderfully ess of our dynamic duo of Peggy Biller and landing. As the new school year begins, I am diverse area that has a tremendous history, as Rob Bentley. reminded of my role as an experienced and well as pride, in our school music programs. On the topic of ensemble festivals, the seasoned music educator - to actively particStretching from Merced County in the Central Section has invested significant time ipate in the success of our new teachers and northern region of the valley to the southern and effort to revamp our policies and proce- directors. I encourage all of you to seek out reaches of Kern County, the Central Section dures regarding the sight-reading aspect of new teachers in your area and make real is home to an extraordinary array of programs festival performance. Starting in the spring connections with them. Our profession will that humbly serve our students and commuof 2020, all of our vocal and instrumen- strengthen by freely giving and supporting our nities by teaching the art, and fostering a tal ensembles will embark on a new path to young teachers, so please be a mentor! love of music. Outside our metropolises of embrace one of the most important state and
Fall Issue 2019
CENTRAL COAST SECTION
CMEA Central Coast Section Update
by Maria Carney CMEA Central Coast Section President
nother year of great events is underway in the Central Coast Section. Audition materials are live for our honors ensembles, which will perform early next year, and we’re looking forward to another successful year with the Young Ensemble Showcase (YES!). YES is a festival that showcases
CMEA Southwestern Section Update by Jessica Husselstein CMEA Southwestern Section President
reetings from the sunny Southwestern Section! We hope this summer has been filled with the rest, relaxation, and recharging that you all needed. On September 28, we held our wonderful conference at Azusa Pacific University. Music educators from all over the Southwestern Section gathered for a day of excellent presentations, great music, and, as always, our fantastic networking lunch. On October 26th, please join us for a composition workshop for teachers and students with Dr. Alexander Koops and Dr. Lisa Crawford. Bringing composition into your classes is easier than you think. Register on our website and give these awesome techniques a try in your next composition unit. This event is open to all music educators and their students, so register and bring a friend!
elementary ensembles including recorders, Orff ensembles, traditional ensembles, and any other group our local elementary and middle schools happen to have. Attending the event is a wonderful way to see the great work that our elementary music teachers and students do. For those looking for additional professional development opportunities, or a way to share their expertise, our Newsletter, The Sonata, is published online three times a year. This year’s exposition edition went online in early September. Article submissions for November’s development edition are due by November 9th. New this year is the Monterey Bay festival, which will take place on March 4th at Monterey Peninsula College. CMEA members are encouraged to register for our festivals early. Festivals can fill up, and preferred performance times go to those who register first. Visit the Central Coast Section website (ccsmusic.org) for more information on dates and locations.
Upcoming Dates in the Central Coast Section: November 4 Honor Band and Orchestra Paperwork Postmark Deadline November 25 Sonata Published Online
We are making progress in providing educational performance opportunities for your students. We would like to find at least two more directors, or teams of directors, willing to host a solo and ensemble festival or large ensemble festival. We have a Northern Santa Barbara County local level solo and ensemble festival, and will add a local level solo and ensemble in the southern part of our region as well. (The state level Solo and Ensemble Festival will be held in San Bernardino this year.) We would like to see the students in the central part of our section have access to a nearby local level festival as well. Our large ensemble festival concepts are developing nicely. Our focus will be building the musicianship and confidence of our student musicians in an educational, non-competitive environment. Our festivals will be a platform for all kinds of ensembles to experience the benefits of professional feedback, regardless of your instrumentation or set list. How we go about the SWS brand of festival will be based on the input of the directors who participate. We want to tailor the feedback to the needs of the groups that will be performing. I hope that we will see many members come forward to help develop this exciting new adventure for our section. The SWS is open ground for establishing these events, especially in the northern areas that haven’t had access to nearby festivals for years. We had our seedling discussions on this topic at a few of our tables at lunch during the fall conference. Our next opportunity for gathering together will be at CASMEC. Please watch your email for information about an SWS general meeting. You are welcome to join future committee meetings as we progress. If you would like to contribute to the conversation, join us, reach out on Facebook, or email email@example.com CMEA Magazine
by Holly MacDonell CMEA North Coast Section President
s I write this, I am in the midst of a relaxing, yet exciting and full summer of activities and achievements. But I’m trying to send my mind to the future, to the start of the school year and beyond, as this issue won’t be out until we are deep into the fall term. I’ve been planting seeds and amending soil. I’ve been enjoying long, quiet moments with my large pack of small dogs. I’ve been reveling in all the chamber music I can play locally, for fun, when I don’t have non-stop obligations from 7am to 7pm, or later, each day.
NORTH COAST SECTION
The Year to Come
But I’ve also been thinking about planting other types of seeds, enjoying the not-so-quiet moments, and reveling in the music I can hear, every day, in my classroom. As North Coast Section President, I also want to keep members feeling like they are a real part of CMEA. I am seeing younger members step forward, willing to take on the challenge of service, and I hope to see that continue. I’ve watched a couple of exciting things happen in my section in the last couple of years, and I’m pleased to see my section’s members coming up with more ways to engage students and community. By the time this issue is out, the North Coast Section will have had a fall meeting and be getting ready for the October Professional Development Day, which is shaping up to be full of a variety of sessions. The usual festivals are on track (Solo and Ensemble, All County, Jazz, Choral, Instrumental, the Honor Orff Youth Ensemble we started last year, and a Middle School Instrumental Workshop) and are, mostly, set to be in great performing venues, rather than gyms. Hopefully your year has had a great start and you are, by now, deep into what the year holds. While summer is a nice rest from the routine of the school year, as educators, the mindset of the school year (planning, inspiration, excitement) is always with us, as is the desire to grow our program, our classes, and our students’ experiences.
CMEA Northern Section Update
Fall Issue 2019
conference February 19-23, 2020) should also be on the agenda. Each year CASMEC provides an excellent opportunity to meet and collaborate with colleagues; gather information on new arts initiatives and proposals; and amass ideas and strategies to revitalize and energize curriculum/lesson plans. If you have been to CASMEC, you know how important it is both professionally and emotionally. If you have not yet attended, this should be the year! For newer teachers, CASMEC affords a great occasion to connect with colleagues from around the State, but more importantly, from your immediate geographic area--these interactions can prove incredibly valuable! Undoubtedly, you will come away rejuvenated and full of new ideas to help your program grow and achieve its true potential! Also on the horizon is the 2020 High School Honor Band, scheduled for January 10th and 11th at Chico State University. We are incredibly fortunate to have Leonard Ingrande from by Todd Filpula Sheldon High School in Modesto as our guest conductor. He is truly an exceptional adjudicator, educator, and artist! In addition, CMEA Northern Section President the 2020 Junior High School Honor Band and Select Choir will Dear Colleagues, be held on January 17th and 18th, also at Chico State. Details s you read this message, you are probably in the longest for both of these events can be found on the CMEA Northern stretch of teaching without a three-day weekend in the website. school year—yikes! We are undoubtedly all exceedingly As always, if you have any questions please feel free to contact busy, but remember to take a moment to breathe, put day-to-day me at firstname.lastname@example.org. Continued kudos to all of you challenges in perspective, and reflect upon the bigger picture and for the incredible part you play in championing a love and apprethe importance of our roles as music educators and arts ambassadors. ciation for music! January and February may seem like they are an eternity away, but Yours educationally, now is the time to initiate conversations with administrators regardTodd Filpula ing student attendance at this year’s honor bands and choirs (junior Music Teacher, Chico Junior High School and senior high) in January. Funding for CASMEC (our State President, CMEA Northern Section
“Tune Up Festivals”
The CMEA-SES “Tune Up” is a new kind of festival that celebrates the process of learning to perform instead of only focusing on the product. Bring your ensembles with their “works-in-progress” to share where they are in learning their literature and get valuable feedback from a clinician that will help you in moving your ensemble to the next level. These festivals are specifically scheduled early in the semester so that your students can benefit from the clinician’s suggestions while still refining their performances. Dates will be announced soon for Choral and Band Tune-Ups. If you would like to host an additional “Tune Up,” please contact us.
“Mobile Elementary Band Clinic”
New Year, New Officers, New Vision by Ryan Duckworth CMEA Southeastern Section President
n June 24, 2019, our section’s leadership team and a group of music educators and music education leaders from across our section gathered in a classroom at CSU San Bernardino to begin a very important conversation about the direction our section will be taking for the next few years. In my opinion it was a day well spent. We began with an honest conversation about the reasons people join and don’t join our association. Then we broke into groups based on geography and started a “needs assessment” for each major county area in our section. We stopped the conversation so that we could learn from Russ Sperling (via Zoom) about CMEA and Advocacy and then broke into groups based on our primary area of focus and listed more areas where our teachers need help and support. While no major decisions were made, some themes did begin to emerge, and our leadership team will use those themes to help develop more events and experiences for our members and their students in the years ahead. After our brainstorming session, our leadership team remained to hold our official “on-boarding” meeting to begin a new term in our section. I am honored to have been given the opportunity by you to return for two more years as president of our section. I am joined on the board by our returning officers: Brad Van Patten as secretary and Stacy Harris as treasurer. Also joining us in the office of vice president is our newest board member: Emma Joleen. Emma has been serving our section as our web-designer for the past year. We would also like to thank Ray Llewellyn for his service as he just completed his term as vice president of our section. Now we turn our focus to this coming year. Here is some of what you can expect:
We bring the clinic experience to you. Most elementary band programs lack the budgets to put entire ensembles on a bus and take them to a festival, but that shouldn’t keep you from allowing your students to have the experience of learning from an expert clinician. To learn more about this opportunity available to ALL elementary band teachers in our region (not just members), visit our website www.cmeasoutheast.org and click on the “Events & News” page. Elementary Band Mobile Clinics are available by special arrangement from March-May each year. Some restrictions apply. Please register at least a month in advance of your desired date.
“Solo & Ensemble” Encourage your students to embrace individual musicianship by having them perform solos or in small ensembles. Solo and Ensemble Festivals occur throughout the state at various times of year. Students that earn unanimous superiors at a local event earn the privilege of applying to the All-State Solo & Ensemble event held in May each year in both northern and southern California. At this time, CMEA-SES is calling for volunteers, especially colleges and universities, to host local Solo & Ensemble events.
“Sharing Chats” After the success of our planning day in June, we would like to keep the conversation going. We hope to have at least two more events where music educators can meet and tell us what they need from their local section and at the same time receive some additional training in topics like advocacy. If you would like to host a chat, please contact us. I look forward to seeing you all at one of our evets this year, or perhaps at CASMEC. I am always interested in hearing from our section members. If you have a “crazy idea” about something you would like to see CMEA-SES consider, give me a call or send me an e-mail. Our most up-to-date information will be available on our Facebook page and our website: www.cmeasoutheast.org
by Jeff Malecki CMEA Southern Border Section President
am very happy to accept a leadership role in CMEA-SBS after teaching grades 6-12 going on fourteen years, the last four of which have been starting the formal band and music education programs at the University of San Diego. It is wonderful to be teaching music in Southern California! We look forward to sustaining and improving many of the outstanding programs happening in the bottom of the state. Partnering with the San Diego County Office of Education and many other arts organizations, we are in the planning stages for the annual Arts Empower Mega Conference. This truly collaborative and unique event brings together speakers from all arts disciplines, not just music, as we take over our city’s gorgeous Balboa Park on October 17. Consider attending and/or presenting in the future! Thanks to an extremely motivated and organized SBS board, the festivals and honors groups that have earned the reputation for excellence will continue to thrive. Some goals for the future include an increase in membership, an examination of what additional festivals/honors groups could benefit the membership, more rigorous vocal music advocacy, updating our by-laws, and more diversity on the board both geographically (Imperial county, we want more of you!) and in general. I’d also like to discuss something that makes us unique, a word in our SBS region that we may sometimes skip over: “Border.” Walking around the Gaslamp District downtown or laying on one of our sunny beaches, it often escapes our thought that just 25 minutes south lies a different country, with a turbulent and poignant role in our current society. (Disclaimer: we will be staying 100% apolitical to the best of my abilities!) I had been apprehensive of visiting Tijuana. There are stories, good and bad. I don’t speak Spanish (and surprisingly I found a small number of Tijuana residents speak English). What if I forget to NOT drink the water?? But how can I be
Fall Issue 2019
SOUTHERN BORDER SECTION
Greetings from the Southern Border Section!
an informed educator and citizen with this opportunity, and not take advantage? Luckily, my first time was accompanied by my choir colleague who has done incredible musical work across the border. Her work with Common Ground Voices / La Frontera literally uses music to transcend the border, with choir members performing on both sides of the wall simultaneously. The section of the border wall closest to the ocean is called Friendship Park. The US side is militarized and fairly barren. The Mexican side, however, seems to be in a constant state of fiesta. The slats in the wall are at a 45-degree angle, with continuously changing art instillations. Looking left reveals a completely different work of art than looking right at the same section, bright celebratory colors contrasting with the names of departed US veterans. In roughly thirty minutes, the music progressed from a rustic marimba band to a Danza de los Viejitos, with costumed children dancing like old men. The entire beach area was almost the same as what we would see on the California coast, but even more festive with strolling vendors and mobile mariachis and bandas. Above border politics, this average weekday was an exuberant celebration. We also went to a demonstration at a migrant shelter. The women and children were asylum seekers from countries further south, and deported dreamers and their mothers. Also in attendance were members of a nearby LGBTQ migrant shelter speaking in support. It was a large, hot room, clean and very simple. An art mural had been started on one wall, and next to some old couches was a small shelf with children’s books. A handful of adults were leading a dozen children in familiar games, and there were songs and laughter. The shelter had mentioned their interest in acquiring a small electric keyboard for the children. It seems stark to go from such a vibrant musical and artistic culture near the beach, to a temporary glimmer of joy for humans who are experiencing major strife. Could the Southern Border Section make a keyboard a reality? Undoubtedly. Could we think larger, providing more instruments, and a combination of enthusiastic music education students and local teachers to actually explore the musical possibilities together? I think so. Of course, we have local goals, but as we have been hearing occasionally in the news, can we walk and chew gum at the same time? Or is it stretching our resources too thin? Starting the conversation with our neighbors and fellow world citizens about the power of music that can transcend borders may be just the conversation to have.
Photo Credit: Rob Davidson
Photo Credit: Rob Davidson Photography
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9/18/19 5:23 PM
A Year of Reflection by Emilio Lopez Felix
expected college to be hard but not brutal. This was my response when people asked me how my first year of college was. My fall semester was the most challenging part of the year compared to my spring semester because I did not know what I was doing. Moving away from home for college was arguably one of the best decisions I have made in my life because I learned a great deal about myself while I endured the lowest point of my life. This past school year taught me so much in such a small amount of time learning about my independence, social life, and passion. When I lived at my mom’s house, my mom babied me. She would do my laundry, feed me, and care for me. I always came home from school with food on the table, but now I come home to nothing. I decided to live off campus for my Freshman Year of college, which meant I did not have access to a cafeteria; I had to purchase groceries and learn how to cook. I had to worry about paying rent and finding a job. Suddenly being thrown into this made me frantically stress. I was not working at the beginning of the school year, so my financial aid money was strictly for rent. I resorted to the stereotypical “college kid” diet. I ate Hot Pockets and Cup Noodles for most of the fall semester. My hair was falling out, and I was becoming thin. This was the lowest point of my life, and I was the most stressed I have ever been. There would be days I would cry to my mom over the phone because of how much I missed her. One day, I went home for Thanksgiving break, and my mom made me question whether I should return to Cal State Fullerton. She told me I didn’t have to go back, and she had a point. It was my decision that determined if I returned for school. Eventually, I made my decision during winter break when I saw my high school choir teacher, Christopher Borges. We were having lunch when I told him everything that I was going through, and he reminded me why I was going to Cal State Fullerton. He told me I worked hard to get to where I am, and I couldn’t throw that away. That gave me the yearning motivation that I lost. The spring semester was phenomenal because I knew what to expect, having experienced a semester of college. I was not as stressed anymore because I had two jobs during the Spring. I was honing my musicianship skills weekly at my church choir job in Irvine, and I was able to work with elementary school students in the Buena Park School District as a tutor. My social life improved because I had finally opened up more to my colleagues and started to make friends. The biggest issue I had with making friends was how I waited for someone to make plans with me rather than me making plans with them. I was not proactive in building relationships with people. Being involved in opera also aided in building friendships. I was with the same group of people two to three times a week for hours and going through tech week glued my friendships with the cast.
Fall Issue 2019
After closing opera scenes in the fall, I debated if I should audition for the spring opera because I knew it would consume most of my time, but a friend told me that CSUF was doing The Magic Flute, and I should not miss that opportunity. The director cast me as a slave and a bear, and I had a thrilling experience. I enjoyed playing those roles because I acted as something and someone I am not, and I discovered a passion for acting that I did not know I had. I could not have moved away from home and experienced all of this without the help of scholarships and other forms of financial aid, and I am sincerely grateful for the Dr. Randi Carp Choral Music Education Scholarship for the immense help because I was able to get my foot out of Bakersfield and start a new chapter of my life in southern California. It planted a seed for success in me in a musically rich and competitive environment. When family and friends ask me if it was worth moving out of town for school, I always respond with yes. I feel like a completely different person comparing myself from August to now. Never would I have imagined seeing myself experience everything that I went through in college after high school graduation. I am eager to start the new school year because I have set goals for myself. I want to help the incoming Freshmen transition better than I did, and I want to take advantage of every opportunity and make the most out of every day I have at Cal State Fullerton. Introducing the 20192020 Dr. Randi Carp Choral Music Education Scholarship Recipient
Abigail is attending California State University, Fullerton, as a music major with a choral music emphasis.
“I wholeheartedly look forward to continuing Dr. Carp’s legacy of amazing music education. I also look forward to promoting CMEA and the wonderful work that they do for the students and music educators of California. I know that my future as an educator will continue to be shaped and guided by this fantastic association. Thank you so much!” 19
Teacher Preparation: The Cornerstone of Success for All Learners by Angela E. Holmes CMEA Special Learners Representative
he information within this article is presented as an annual review of what educators need to know when they meet their new and returning students who are identified as special learners. A teacher should receive their list of students who have special needs BEFORE the semester begins. So, here it begins, using titles and labels such as ‘special learners’ and ‘special needs.’ You may hear them both. You may also hear, “Oh, you mean that special ed kid?” Let’s break this down a bit before we get to the reminder list. • Special – “distinguished by some unusual quality: being in some way superior” Every student has a positive quality. EVERY STUDENT HAS A POSITIVE QUALITY. Find it. Use that knowledge as you prepare to teach that student. • Special Needs – “any of various difficulties (such as physical, emotional, behavioral, learning disability, impairment) that causes an individual to require additional or specialized services or accommodations” As a credentialed teacher, you have legal access to the special education files of your students. (Student teachers can view the material with the guidance and presence of their master teacher or a special education teacher/case carrier.) Read it and refresh your knowledge of the category of special need that qualifies them for additional educational support, which is usually special education, and perhaps with other providers. Start your preparation by reading the entire IEP! • Special Education – “classes or instruction designed for students with special education needs” Find out who the case carrier is for each student. That person becomes the educator who you will collaborate with all year to further understand the needs of your student(s) and who should inform you about IEP meetings. • Learner – “a person who gains knowledge or understanding of a skill by study, instruction or experience” Believe this, “Every student wants to learn, especially in a music class if they have chose to be there.” Gain the knowledge of how each of your students learns best. Is direct instruction best? Is it exploratory learning or a combination of strategies? When you find this out, try to provide those opportunities in class every day. You can find out through observation, interviews with the student, parent, previous teachers, reading the file, etc.
Fall Reminders: 1. Know the case carrier for each student. That teacher becomes your academic, behavioral and emotional link to each student. AND, always share any success in the classroom as the year progresses, not just the missteps. Try to meet with them once a quarter. 2. Read the entire IEP. Take notes as you read. What does that mean? Did that work? Did they try___? There may be a need to clarify questions with the case carrier or use information during a student or parent conference. 3. Information you need to know from the IEP; – Student strengths – Parent comments – Student interests – Behavior considerations: if there is a Behavior Intervention Plan, read carefully and follow the behavioral plan – Current goals – Academic objectives – Note any comment about music. If there is an accommodation listed for music, it should be implemented in your classroom. If you discover that the child requires an accommodation in music class, determine, with the case carrier, if it needs to be added to the IEP. – Next annual and/or triannual review – What comments were made at the last meeting. – Present level of academic functioning. – Comments by previous teachers. – English Language ability – Attendance history 4. Start a file for each student who has an IEP or 405 plan. Drop progress notes (positive and negative) in the file as often as needed. 5. Initiate a conference with the parent or legal guardian. Establish a communication system. 6. Initiate a conference with the student to review your expectations and listen to the concerns and expectations of the student. “Touch base” regularly with every special learner assigned to you. 7. Attend IEP meetings whether invited or not. There may be something needed for music instruction that has not been included in the IEP and is vital to the successful participation of the student.
Hopefully, this review will assist you in looking at your students from an Preparation is the cornerstone of a successful experience for the angle designed to emphasize the illumination of their potential, rather student and teacher. Embracing a proactive approach with special than receiving the list of students with the more common response of a learners will yield the joy of watching the emergence of the music huge sigh that echoes the words, “Oh, let’s see how many I have this year.”
each student has within them be expressed in your classroom, and the satisfaction educators can derive from their professional commitment to all learners, which further deepens the belief that all children can learn!
2020 CMEA State Festivals, Presented by World Projects 2020 CMEA State Choral Festival Presented by World Projects April 9, 2020 Weill Hall at the Green Music Center Sonoma State University, Rohnert Park, CA Adjudicators:
2020 CMEA State Band and Orchestra Festival Presented by World Projects March 27, 2020 Soka Performing Arts Center Soka University, Aliso Viejo, CA Adjudicators:
Dr. Jenny Bent, Sonoma State University Jody Beneke, Santa Rosa Junior College
Daniel Wachs, Chapman University
Dr. Jeffrey Benson, San Jose State University
Georgia Ekonomou, Atlanta Junior Chamber Orchestra Dr. Emily Moss, Cal State Los Angeles Dr. Greg Whitmore, Irvine Valley College and Pacific Symphony Youth Wind Ensemble
Sponsored by J.W. Pepper
Make Music Live!
Four-year music scholarships awarded for majors and non-majors
Learn more about scholarship audition dates at:
Degree Programs BA in Music Minor in Music
Marching Band in Los Angeles Unified by Ryan Gonzales
love marching band. I love what it can do for my students, my school, and our community. Marching band has the potential to be a vehicle for great change in the life of a student. There is nothing like marching band on campus; it is able to bring band students, cheerleaders, and football players together. However, the toll that marching band takes on the music department resources is tremendous. As a young teacher (I am currently in my sixth year of teaching), I could not help but wonder if other directors felt this same way. Do other directors spend a majority of their budget on marching band? Do they spend an inordinate amount of time on marching band? I am also curious when other directors are teaching marching band. Should we be spending our valuable resources on marching band? Is this a good direction and model for LAUSD band programs? These are just some of the questions regarding marching band that I was hoping to shed some light on.
Background Information The Los Angeles Unified School District is now the largest school district in the country.1 There are currently over 694,000 students enrolled in Los Angeles Unified and 9th - 12th enrollment is 166,000.2 There are 94 high schools, 203 K-12 charters on regular campus, and 216 independent charters.3 According to Tony White with Beyond the Bell Music and Entertainment Education, there are approximately 42 high schools in LAUSD who have a marching band.4 With the help of Beyond the Bell Music and Entertainment Education Branch, we were able to survey the marching band directors from LAUSD in order to provide a little more information on the status of marching band in our district. The information that follows reflects the input given by 23 of those directors.
47% of the directors surveyed stated that they compete in four or more marching band competitions a season.7 This number does not account for all the other performances marching bands participate in during the season. With football games, pep rallies, and recruiting events, there are almost thirty performances in the fall semester for marching band. Why do we compete in competitions? Is it for student and director growth? Should we be going to fewer competitions? Are we spending too much of our resources competing and performing? On paper, four competitions does not seem like a lot, but we must consider the cost of each competition. Every district is different and every school has different funding, but the cost of attending a competition can be quite high. I know for my own program the cost per competition is over $1,000 each. The cost of the bus can range from $500 - $750, entrance fees range from $200 - $300, as well as the cost of the U-Haul truck we have to rent ($200), and gas for the truck. Additionally, because my school is a 100% Title 1 school, every student must be provided a meal when we travel, which can lead to extra cost.
Over half of the directors surveyed said that they spend more than 60% of their yearly budget on marching band.8 Marching band season can be quite costly when you add up the cost of costumes, drill, music, competition fees, busses, and staff. Should we all be spending so much of our budget on marching band? Is this healthy for our programs in the long run? Is this spending sustainable? Marching band is very visible, and oftentimes is the face of a music department, so it makes sense to spend money on marching band. 82% of directors stated that marching band is the most visible ensemble that they have. Should it be, though? Survey Results I know when my principal thinks of my music program, the Currently, 73% of the marching band directors surveyed first thing that comes to mind is marching band. I do not are teaching concert band in the spring semester only.5 78% of think he knows how good my wind ensemble is. Alternatively, directors teach marching band during the regular school day that the string part of my program is starting to really grow. as well as before or after school.6 With marching band taking However, whose fault is that? Isn’t it my responsibility as the up the entire fall semester, as well as before and after school, music educator on my campus to inform the community, staff, I cannot help but ask, is this a good model for our students? and administration about what is going on with my program? Why does marching band take up so much of our school year? Isn’t it my job to control the narrative about my own program? If so, then I cannot use the “visibility argument” to justify allowing marching band to take up so much of my yearly budget. 1 “2019 Largest School Districts in America,” Niche.com, April 2019, https://www.niche.com/k12/search/largest-school-districts/. 2 “Fingertip Facts for L.A. Unified,” LAUSD.net, April 2019, https:// achieve.lausd.net/Page/362. 3 Ibid. 4 Gonzales with White 5 White, Anthony “LAUSD Beyond the Bell Music and Entertainment Education Marching Band Survey”. Questionnaire. April 1, 2019. 6 Ibid.
The Hub of Our Programs 56% of directors stated that marching band is the hub of their music program.9 Interestingly enough, 30% said marching 7 Ibid. 8 Ibid. 9 Ibid. CMEA Magazine
band should be the hub of their program.10 My question is, why do so many of us establish marching band as the most important group we have? More directors believe concert band should be the hub of their program than marching band, but do not have their programs set up that way. Why is it that marching band is such a central focus for the majority of us? Is it the performance expectations that we feel as directors? Or is it something more? Do our egos come into play? Is it because of the exposure that the group receives? When my band performs at a pep rally and they do not sound their best, I am often times insecure about what others will say or think of me as a director. Right or wrong, I know my own ego does come into play. I take great joy when my marching band scores well at a competition, and feel disappointed when they do not.
the occasional weekday competition, to try to better serve our students, or is it something more?
Why is it so important to focus on concert band? For me, the answer is easy. The majority of my students started playing their instrument in 7th or 8th grade and some started in high school with me. Having those students lose instructional time to marching instruction has a large impact on their growth as musicians. I know I cannot be the only one with this same issue. Elementary music is not happening in my area, and it means that students are starting their musical journey later than they should have. Because these students are already behind, shouldn’t we meet them where they are? Shouldn’t we adjust our priorities to meet the needs of our students? If so, then it means less of a focus on marching band, and more The Other Side of the Coin on concert band. As much support for marching band as there is, there is My first three years as a director, marching band was taught also critique. Some view marching band as leaning towards in the fall and concert band in the spring. Now, concert band entertainment more than art. Dr. David Whitwell, musicol- is year round and marching band is being taught before and ogist, band director, and author, states that, “marching band after school only. I do not know if this is the right model for exists for the sole purpose of entertainment.11 Whether one my program. I do know that since we have been focusing on agrees with this statement or not, you must admit there is a concert band year round, we have received better results for great degree of entertainment involved in marching band. Is both marching band and concert band. However, like all direcmarching band primarily entertainment? If so, is it also art? tors, I am searching for the best model for my program. Are the two mutually exclusive? As the largest school district in the country, it is our obliAnother quote from Dr. Whitwell comes from his contro- gation to consider what kind of message we are sending as versial letter that he sent out in 1991 to every high school band LAUSD music educators. The majority of LAUSD band director in Southern California. Whitwell states, “Concert directors teach concert band for only half of the school year. band is dying, and the answer isn’t more trophies.”12 I cannot We are clearly focused on marching band. I am not saying that help but wonder if Dr. Whitwell is correct. If, as mentioned we should not focus on marching band, but I would ask, should previously, 73% of LAUSD band directors are only teaching we be focusing on marching band this much? Are concert concert band in the spring, then maybe Whitwell is correct. bands flourishing in LAUSD? Are our music programs the Another item to point out is in his book Teaching Music: pride of Los Angeles? On the other hand, is there room for Managing the Successful Music Program, Darwin E. Walker, growth? Is there a different model to consider? We cannot music educator and author, states, “Three competitions in any focus our attention on the ensembles that focus primarily on one school year can be considered a maximum number for any entertainment and call ourselves arts educators. We can call marching band. More than three appearances at competitive ourselves entertainment educators but not arts educators. We or noncompetitive events on an annual basis approaches abuse need to consider what the focus of our programs should be, of the program”.13 Given the volume of total performances in and then establish our programs in this way. a marching band season, I cannot help thinking that Walker may be onto something. Is there such a thing as too many performances? Are we competing too much? Do we place too much emphasis on performance and competition? Do we as directors go to four or five competitions or more a year, with 10 Ibid. 11 Ernest B. Ryder, David Whitwell and LaMar K. Jensen, William E. Bissell, “A Marching Band Symposium,” Music Educators Journal 52, no. 3 ( January 1966): 64-65. 12 David Whitwell, Essays on the Modern Wind Band, ed. Craig Dabelstein (Texas: Whitwell Books, 2011): 142-144. 13 Darwin Walker, Teaching Music: Managing the Successful Music Program (New York: Schirmer Books, 1998), 222. Fall Issue 2019
Practicing and Beyond by Joe Lizama
s a student, teacher and professional percussionist, I have gathered some tips that help me. Some are pointed directly toward percussionists, but most are general enough to also be beneficial to musicians at any age and at any level. At the college where I teach, we have a class geared toward helping music students to be successful. It is there that these ideas became clear enough for me to write them down. I hope you will find some of these ideas helpful.
difficult the music is, when the music is likely to be rehearsed and when the music is likely to be performed. Estimate your available practice time and establish a priority. The most difficult music and the music with the nearest performance or rehearsal time (date) will need to be practiced first. A piece that is difficult will require the most practice time and should receive a high priority. A piece that needs to be performed today or right away should receive a high priority. A piece on which you are the soloist or have a high degree of TIME MANAGEMENT solos should receive a higher priority. Use your time efficiently throughout the Use goal-oriented practicing. When day. Assign a high priority to practicing, in you practice, have a goal in mind. Example: addition to studying for tests and quizzes, I have only 10 minutes to practice, but I completing homework assignments, being want to move this difficult passage forward on time for appointments, classes and work. in terms of progress. If you have time for sitting and doing nothing, playing video games, watching TV, FIRST READING browsing social media, surfing the internet When practicing a piece for the first without a specific purpose, chatting about time, read through the piece at a tempo at nothing in particular, strolling, then you which you can get most of the notes correct. have an abundance of time. You should use As a percussionist, I need to take note of this time efficiently for practicing, studying, whether the piece requires any sticks or completing necessary tasks, or sleeping, if mallets and if so, make the correct choice. necessary (if you are sleep deprived). Some percussion instruments don’t require sticks or mallets. (Some percussion instruSIGHTREADING ments are played only with the hands.) When you first get a new piece of music, Some pieces require a special implement quickly scan the music to notice the key such as a coin, a bow or brushes. signature, the time signature and the road On first reading, a percussionist should map. Is there a D.C or D.S.? Is there a make note of passages that need special coda? Where is the coda sign? Is there attention as far as sticking. Should you a fine ending? Are there multiple repeat start the passage with the right or left endings? If the music is part of an ensem- hand? Should you alternate hands or do ble, are there any apparent solos? What is you need to double-stick at some point? the tempo indication? Is there a metro- Are two mallets enough or do you need nome marking or just a word indicating more? You should mark in pencil any parts the approximate tempo? Is there an indi- that require or benefit from a particular cation of what style the piece is in? Quickly sticking. Make those choices early so that scan the part for any difficult rhythms or you can benefit from that choice each time passages. Are there any key changes or you read the part. If you need to change tempo changes? For a timpanist, what the sticking because your first choice isn’t pitches do you need? Do the pitches working, the sooner you discover that, the change during the piece? If this is part of better. an ensemble rehearsal, just get through the Make note of the most difficult parts in first reading as best you can with as few the music. Those parts are going to require mistakes as possible. the most practice time. Note the bar numbers of the difficult sections and write PRACTICE those bar numbers at the top of the first In your own private practice time, take page so that you make certain to practice an inventory of what music you have, how them first and most often. You don’t need 24
to practice the parts that you can already play. You need to practice the parts that are the most difficult so that they become easier. I have heard of one jazz band director who would have his students find the most difficult parts of the music, photocopy those parts, cut them out and tape them onto one page to be practiced the most.
DIFFICULT PASSAGES For difficult passages, always practice slowly and perfectly. Find the tempo at which you can play the passage perfectly and slowly. Use a metronome. Play the passage slowly and perfectly as many times as necessary in order to feel confident. This may be a few times, but it also might be 21 times or more. It depends on the musician and the passages being practiced. Once you are confident that you can play the passage slowly without error multiple times in a row, then take the passage slightly faster, continuing to use a metronome and continuing to play perfectly. Continue this process for as long as it takes until you get the passage up to performance tempo playing the passage perfectly multiple times in a row. This process may or may not be completed in one practice session. You may need to pick up where you last left off during your last practice session, so document your progress. The saying “practice makes perfect” should be amended to read, “perfect practice makes perfect.” If you practice a passage by stopping and starting frequently after making the same mistake over and over, you are training yourself to make mistakes and to stop and start frequently, something that you are likely to replicate in the actual performance. If you try to play a passage faster than you can execute the passage, you are going to either make mistakes or stop and start frequently. Don’t do it. That’s how bad habits are learned. Always practice slowly and perfectly. Take note of the tempo at which you can play a passage perfectly so that the next time that you practice the passage you will already have a benchmark. You can either start at that tempo or slightly slower to see if you can still perform the passage perfectly. If you can’t perform the passage perfectly, then you need to slow it down to CMEA Magazine
the point where you can play it perfectly and repeat the entire process.
Printed music should be organized on paper into sections so that it looks like it sounds. Phrases are typically organized COORDINATION ON DRUM in even numbers, often in four- or eightSET bar sections; however, this is certainly not Drum set parts can require a high always the case. Phrases should be orgadegree of coordination because you some- nized to be readily apparent. There was a times have four limbs functioning at once, period during the 20th century when some each doing something different. If you are composers organized their music in fivea drum set player who also sings, then this bar sections even though that ran contrary is a fifth task. This can all be practiced and to the musical phrases. This practice was learned if you build up to it slowly. not particularly helpful to the musician First of all, make certain that you can reading and playing that music. It was read and understand all the rhythms to be really quite a disservice. It often made the executed. Make certain that each limb can music more difficult to read and follow. play each separate part by itself. Play one This can get confusing if you have multilimb at a time. Gradually combine two ple measure rests organized in groups of limbs, making certain that you can execute five. Helpful marking might mean indicatthe different combinations of two limbs ing where musical phrases start, or adding flawlessly slowly: 1) right and left hands; important cues from other instruments. 2) right hand and right foot; 3) right and Find the bars that are the most difficult left feet; 4) left hand and left foot; 5) right and write those bar numbers at the top of hand and left foot; 6) left hand and right the first page so that those sections are easy foot. to locate when you have practice time. Next, combine three limbs at a time in different combinations. Finally, add the PRACTICING AWAY FROM fourth limb practicing slowly and perfectly. YOUR INSTRUMENT If you are going to sing as well, you might It might be helpful to spend time pracneed to simplify the drum part. ticing music without your instrument. This could be done because it is not practical MARKING PARTS for you to have your instrument with you When necessary, mark your part neatly, at all times, because you are in a location clearly and efficiently. Mark your part in a not conducive to loud practicing or because manner that is going to help you to always you choose to do this. In this case, look at perform the music at your best. In some the music and imagine yourself physically cases that might mean placing an acci- practicing the music on your instrument. dental above the note to remind you. In Try to memorize difficult passages accusome cases that might mean clearly indi- rately away from your instrument. Focus cating where the beats fall. In some cases and run through sections of the music just that might mean spelling out exactly what as if you were carefully practicing with the rhythm is using syllables to count your instrument. Run over these passages the rhythm (1 e + a, 2 e + a, etc.). That in your mind as the last thing before you might mean indicating how many times fall asleep or as the first thing when you a repeated phrase gets played. That might awaken. Run through these passages when mean calling attention to a tempo alter- you have spare minutes during the day. ation. For percussionists, that might mean starting with a particular hand. For timpa- RECORDINGS nists that might mean indicating places Find recordings of the piece that you where you need to change pitches. If are working on in order to absorb the necessary during a rehearsal due to time music through listening. Find and listen constraints, mark the part quickly and not to recordings of the piece being played well. too dark, then come back later in your prac- Don’t listen to recordings of the piece being tice time and clean up marks that you made played poorly. Play your part along with quickly that might not be neat, clear and the recording. You can get more familiar efficient. You may need to indicate when with the piece through “osmosis,” listenyou need a certain mute, when you change ing to the music often. In extreme cases, to a different instrument, stick or mallet. take every opportunity to listen to the Fall Issue 2019
music. When possible, make that music the only thing that you allow yourself to absorb through listening. Play the music for yourself constantly at home, in the car, everywhere. Don’t watch TV; don’t listen to the radio; don’t absorb input from any other means; listen to the music that you need to get familiar with. Record yourself. Record the rehearsals. You can learn a lot from listening to recordings of your rehearsals. You can get more familiar with the music by listening to the rehearsals and take note of passages that you can improve upon. Make notes in your music of helpful cues played by other instruments.
DISCOVERY Discover everything that you can about the music. Be able to write the form of the piece. What are the different sections? How long are the sections? Are there any odd numbered phrases? What is the tonal center? What is the root movement? For jazz, what are the changes? How do the chord changes progress? Do the chord changes progress similarly in different sections? Memorize the changes. Practice the piece so much that you memorize the piece without even trying. Find out about the composer. Find out about the history of the piece. Was there a particular reason why this piece was written? If there are lyrics, learn the lyrics. Don’t leave anything undiscovered.
SHOULD I MEMORIZE THE PART OR READ THE PART? Should a part be memorized? This will depend somewhat on the individual and whether or not memorization is a requirement for the performance. If you know a piece of music well enough to have it memorized, then you can devote more effort to musicality and expression. One should always learn to read the part. One should be able to read every aspect and element of the music as it exists on the written part. One should memorize the part if it is going to improve the performance of the music. For percussionists, if the music is of such a difficult level that the execution would be improved by looking at the instrument, then it is fine to memorize as long as you never blank out, never forget some part of the passage and never get lost. If you find yourself in that middle 25
zone where you have the music memorized, but you sometimes blank out, you sometimes get lost, you would be better off to read the music and have a small percentage of missed notes as opposed to playing by memory and blanking out causing a catastrophic failure. Given enough time, one should usually practice a piece of music so much that it becomes memorized as a by-product of practicing without really trying to memorize. Ultimately, the performer needs to decide whether the final result will be better if a piece of music is played from memory. It is a good idea to play the piece publicly a few times to see how you and your memory will react when placed under the pressure of a live public performance. That is really the true test. Passages that are so difficult that they require you to look at the instrument should also be practiced to such a high degree that you figure out how to play them well even when not looking at the instrument with more than your peripheral vision.
• If you practice 1 hour per day, every day for 27 years and 165 days (27 years, 5 ½ months), that will equal 10,000 hours. Someone majoring in music should practice a minimum of two hours every day or fourteen hours a week. If you miss a day then you should make that up. It is more difficult in the long run if you skip a day or more of practice. It is easier to just keep the daily routine without skipping. Does that mean that you should stop practicing once you have reached 10,000 hours? No, you should keep practicing to maintain and to improve your skills. There is always room to improve.
RECOPYING THE MUSIC
have loose single pages that are prone to getting separated from one another, out of order, lost or upside down. Loose pages are more likely to fall from a music stand or get blown off by wind, air conditioning or someone walking past. Pages that are taped together are one fewer potential hazard to deal with, allow you to stay better organized and save time in the long run. Learn how to properly tape pages together. Pages should be taped in an “accordion style” so that the tape is on the front, then on the back of every two pages alternately. Allow a tiny amount of space between pages to “close the door” without the pages binding. Use one long single piece of tape running the entire length of the page from top to bottom. Should you use clear plastic Magic Mending tape, ¾” masking tape or something else? You need to weigh the advantages and disadvantages. Clear plastic Magic Mending is more difficult to use due to static electricity. Clear plastic Magic Mending tape will soon split with usage leaving you with orphan pages that need to be re-taped. Masking tape is easier to work with and will last longer even with considerable usage, but may obscure some elements at the very edge of the page. This is usually not a problem. In most cases you can still see through the masking tape enough to comprehend the slightly obscured element on the page. Ideally, pages should have sufficient border space to allow you to use masking tape. Several pages taped together using masking tape will be thicker at the edges when stacked one on top of the other. If you make a mistake using masking tape, masking tape can easily be removed and the mistake corrected. This becomes slightly more difficult the longer you wait to correct the mistake. After a few years of heavy use, masking tape might split at the seams. It is very easy to re-tape over the split. After several years, masking tape might dry out and fall away from the pages, at which point it is very easy to simply re-tape the pages.
Don’t let anything stand in your way when it comes to giving the best possible performance. In some cases the copy of the music that you are reading from may make it more difficult than necessary to play the music. If you detect that your copy of the music is creating a problem that doesn’t allow you to execute the music as well as HOW MUCH SHOULD I you are capable of doing, then you need PRACTICE? to fix that situation. In some cases that Practice until you master the passage means recopying the music to make it or until you master your instrument. How clearer. Perhaps the manuscript is messy long does it take to master your instruor the bars are not organized into logical ment? How long does it take to master phrases, or there are not enough musical anything? Common wisdom says that it cues, or there are other unnecessary instrutakes at least 10,000 hours (or 10 years) of mental parts on the page, or there is a bad focused, goal-oriented practice to become page turn, or the rhythms are written in an a master at anything. How can you reach odd manner, or there is not enough infor10,000 hours? How soon do you want to mation on the page. Whatever the problem get there? with the music displayed on the page, if you Do you want to get there in less than 4 can eliminate the problem by recopying years? In 10 years? In under 28 years? the music, then make time to accomplish that task. • If you practice eight hours a day every day for 1250 days (three years and 155 PAGES TAPED TOGETHER days), that will equal 10,000 hours. Photocopying parts allows us to safely • If you practice 9.59 hours per day, 2 keep the originals stored in a file in case days a week for ten years, that will equal we ever accidentally misplace the music. 10,000 hours. With the prevalent use of photocopiers • If you practice 3.84 hours per day, 5 in today’s world, we often find ourselves days a week for ten years, that will equal reading music from pages that have been 10,000 hours. photocopied and may not have been taped • If you practice 3.2 hours per day, 6 days together. If you recopy the music, you a week for ten years, that will equal will need to tape the pages together. As MAKING GOOD DECISIONS 10,000 hours. a percussionist I like to eliminate as many • If you practice 2.74 hours per day, every Sometimes we don’t make the best decipotential hazards as possible. It is my expeday for ten years, that will equal 10,000 sion. We then have to live with the result rience that anything that can go wrong will hours. of our bad decision. If your decisions are go wrong eventually. When I grab a piece causing you to not have enough time for of music from my folder, I don’t want to everything, to not fulfill your goals, to not 26
carry out your responsibilities, to not hold up your end of an agreement, to let others down, to perform poorly, to be unprepared, to be late, to be absent, to miss important events, then you need to change something. Sometimes this involves tough decisions. You may need to ask yourself, is this choice a want or a need? You can live without your wants. You can’t live without water, oxygen, food or sleep. What is the worst that could possibly happen? If the worst did happen, would that be a choice that you could live with or would you rather have made a different choice? It is easier to make that tough decision or that other choice in the present rather than to have to live with an undesirable outcome from having made a poor choice.
amount of practice time before a class, set a timer to allow yourself to get to class on time. Have a goal. Practice until the timer goes off, then go to class. Set a timer to remind you to do certain things throughout the day, things that you needed to do, but would have forgotten without a reminder. Metronome Practice with a metronome. Be sure to know at what tempo a passage should be played. Don’t practice a passage faster than you can play it. Work up to the desired tempo. Tuner Many musicians keep a small tuner on their music stands during rehearsals and performances to monitor their intonation from time to time.
Music Folder A music folder keeps your music in nearly Ask yourself regarding any task, “Is this pristine condition. Music should not an example of the best that I can possibe wrinkled, folded, dog-eared, torn, or bly do?” If it isn’t an example of the best stained. Pages for each piece should be that you can possibly do, then you probably taped together, titles facing forward, right need to re-do the task. side up, in alphabetical order. In most cases Always be on time. Always be prepared. you can start with the first word after the Always get along with others. Always be definite article (the) or indefinite article in a good mood. Always be helpful. Dress, (a, an). What is important here is that you act and look like a professional. are able to quickly find any piece of music in your folder. BEING ORGANIZED Digital Recorder Your part in an ensemble should improve between rehearsals so that the next time that you play a piece of music in a rehearsal it will sound better than the last time you rehearsed that piece. Recording rehearsals can help a great deal. Listening to the recording can motivate you to improve on parts that you may have played poorly. It can make practicing more fun because Pencil playing to the recording feels a lot like Always have a pencil at every rehearsal. performing the piece. You hear the other You need a pencil to mark orchestral cues, parts. You get a sense of the tempo. You elements that are not in the music but need hear what comes right before the part that to be performed, changes to the written you played poorly. The music makes more part, places where you tend to make a sense as a whole. It gives you more time to mistake, or the date and time of some other make additional helpful markings; perhaps related rehearsal or gig. write in some additional cues. You can also record lectures. Some Clock or watch professors test based on their lectures You need to have some method of knowing and not so much out of the book. If you what time it is so that you will be on time. get sleepy during class, having a recordTimer ing of the lecture can be a lifesaver. The You should always use your time efficiently. audio from lectures can be downloaded A timer can help. When you have a small and edited for free on a computer using Calendar Maintain a calendar. This can be written, electronic or both. If your electronic calendar crashes, having a backup would be a good idea. All rehearsals, concerts, appointments, gigs, important classes should be on your calendar. Anything that you need to remember associated to a time or date should be on your calendar.
Fall Issue 2019
Audacity. If necessary, you can save every lecture and every rehearsal onto an external hard drive for review at a later date. One, two, three and five terabyte hard drives have never been cheaper. Rechargeable Batteries If you use a digital recorder regularly, you will use a lot of batteries. Rechargeable batteries can save you a lot of money in the long run, but you must be diligent when it comes to recharging them so that they are ready the next time that you want to record. Make A List Lists are helpful. Make a list of what you need to do. Make a list of what you need to bring. Don’t depend on only your memory: make a list.
EQUIPMENT Buy the best quality instrument that you can, even if it means saving money for years. Music is all about the sound. Why purchase an inferior sounding instrument? It makes you sound bad. It makes the ensemble sound bad. Purchase a professional music stand and light for professional gigs. Don’t bring a wire music stand to a professional gig. Carry an extension cord and outlet strip to gigs in your vehicle just in case. Purchase a piece of plexiglass large enough to cover your music on a music stand for those outdoor gigs. Bring anything that you require in order to do the best job possible. You can purchase small pieces of clear plastic at plastic distributors. Here is one near me. Precision Plastics 998 N. Temperance Ave. Clovis, CA 93611 (559) 323-9595 For drumset players, keep a small extra stick bag in your car at all times with a drum key, brushes, mallets and a few pair of sticks. This has saved me on more than one occasion. In closing, I hope that you have found something useful in this article. I use many of these ideas on a daily basis and find them invaluable. Joe Lizama teaches percussion at Fresno City College, has performed as a percussionist for symphony orchestras and shows for more than 40 years and has been the touring drummer for Johnny Mathis for 36 years. 27
Hill Day - Collegiate by Jordan Espíritu
y time in Washington, D.C., partnering with the National Association for Music Education (NAfME) was nothing short of amazing. My journey began the year leading up to the 2019 Hill Day. The journey was divided into three sections: Collegiate Summit, Hill Day, and National Leadership Assembly. The Collegiate Summit brought 140 NAfME Collegiate Members from 37 states to Washington, D. C. The summit acted as a preparation conference for the advocacy work happening on the coming Wednesday. The first day was a welcoming for the collegiate NAfME members. Sporting my CSU Bakersfield gear, I was ready to meet the passionate collegiates ready to change the world. Our meet-and-greet ended with a group picture at the Washington Monument and an evening open for exploration and adventure in our nation’s capital. During the Collegiate Summit, collegiates and leadership from other states’ Music Education Associations (MEAs) received specialized training for our advocacy on the Hill. Our agenda for the day was filled with sessions geared toward bringing the collegiate members of NAfME into the fold and updating us on what “Big NAfME” is doing. We had breakfast with the presidents of NAfME, current president Kathleen Sanz, and president-elect Mackie Spradley. After our presidents gave us some words of encouragement, we were presented with an opportunity to ask them questions, and I did. I asked, “What does diversity mean to you and how are you and NAfME leadership achieving that vision?” Dr. Spradley was enthusiastically ready to answer. To paraphrase her response, as president-elect, Dr. Spradley is working to ensure a diverse and inclusive environment beginning at the highest level of NAfME and trickling down to the collegiate chapters. This was an answer I was happy with. As a queer person of color, it was crucial for me to know exactly what my leadership, both state side and nationally, is doing to advocate for students and educators that look and love like I do. The biggest day of the week was Hill Day, the day collegiates and leadership join together to advocate to members of Congress about the significance of music education, as well as how the lives of students throughout this nation are shaped by music. After a morning rally, the California Delegation was off to change the world. The California Delegation met with our Congressional representatives and advocated for the fully authorized funding of Title I-A, Title II-A, and Title IV-A monies so that the Every Student Succeeds Act, Guaranteed Access to Arts and Music Education Act, and Higher Education Act could have resources to have music education for all students. Whenever I saw a fellow collegiate on the Hill, I made sure to stop and check in with how their day was going and left them with the phrase, “Let’s change the world today!” With this energy, the California Delegation met with the offices of seven members of Congress, saw three
and talked to two of them. Our work that day was important because the House of Representatives was voting on bills where the Title I-A and Title II-A funding were on the table. More importantly, that very bill was passed by the House! This means that students across this nation are closer to having music education in their lives in a better capacity than before. This victory does not mean our work on the Hill is over; the focus shifts to the Senate. The success of our hard work on the Hill led into the National Leadership Assembly. During this portion of the week, the leadership of the MEAs learned how to become better leaders and advocates. This was open for all members of NAfME to attend, meaning collegiates had the opportunity to participate in the conference alongside the leadership of our association. I grew alongside the leadership of MEAs nationwide! I was able to learn more about how President-Elect Mackie Spradley is going to bring Diversity, Inclusion, Equity and Access into NAfME leadership and how other MEAs can do the same. This session brought me to tears, seeing how enthusiastic leadership is about creating healthy learning environments for ALL of their students. The week of Hill Day was by far the best experience I have had in my life to date. I met passionate like-minded collegiates who became some of my dearest friends. I was able to meet Representatives TJ Cox (CA-21) and Susan Davis (CA-53) and share my story and advocate for music education. The very issues we asked of them were voted on and passed in the same day! The leadership of the national association is determined to better itself for the benefit of the students. I was able to commune and grow with the highly respected California leadership. I left with many friends and many more heartfelt memories. Our leadership is for us, California. Our leadership knows where it is falling short and is working to bring us back up. Our leadership values all levels of music education and music educators: from the retired teacher to the enthusiastic collegiate. Our work is not done yet. To my friends in the collegiate chapters, California has sent delegates three years in a row: we must keep this trend going. Passion speaks dynamics louder than anything, so if you want a better world for music education in our state and our nation, I am talking to you. Save and go! CMEA has the Future Leadership Scholarship set aside for this specific purpose. I was able to attend thanks to this, as well as CMEA Central Section’s assistance. To my friends who are educators, thank you for your continued work and energy for students like me. I value your dedication and passion. To my friends in CMEA and NAfME leadership, thank you for changing the world with me. Thank you for your guidance and friendship. Thank you for taking me under your wing and making this collegiate feel right at home. So, California, are you ready to change the world?
NAfME and CMEA 2020 ELECTIONS As a NAfME/CMEA member, you have the opportunity, right, and responsibility to participate in the elections process. In early 2020 you will be voting twice, as both the NAfME National and Division elections and the CMEA State elections will be decided.
Please follow the links to research the candidates and ballot issues. Both NAfME and CMEA are working hard to present all Elections 2020 information in a timely manner to assist our membership in making voting decisions and are prepared when the emails with the voting links arrive.
Please use the provided links or scan the QR codes below to read about each candidate and their goals for NAfME and CMEA
A recent study by NAfME has indicated that only a small percentage of membership 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!
NAfME National Elections for National President-Elect and Division Presidents • Email from NAfME with link to online ballot in early January 2020 • Voting Window: January 14-February 12, 2020 • https://nafme.org/about/2020-nafme-elections/
CMEA State Board Elections for President-Elect, Vice President, and Secretary • Email from CMEA with link to online ballot in January 2020 • Voting Window: February 1-February 22, 2020 • http://calmusiced.com/index.php/cmea/cmea-election-2020
n o i s i v i t D c e n l r e t E s e t n W Preside Scott Hedgecock
Upon completion of his Bachelor of Arts and California Teaching Credential (Life), Scott Hedgecock began his career as a Music Educator that has spanned nearly four decades and included directing Choral Music ensembles along with teaching voice, piano/keyboard, music theory, musical theatre, and International Baccalaureate Music at the Jr. High/Middle School and High School levels. He earned his Master of Arts degree in 1995 in Teaching English to Speakers of other Languages (Arts emphasis) in order to better facilitate his work in a multi-cultural and diverse language state. Landing at Fullerton Union High School in 1990, he created an award-winning Choral Music and Vocal Studies Program, served as the Founding Director of the Fullerton Academy of the Arts, and led the Performing Arts Department for twenty-two years. Recently retiring from secondary education in May of 2019, Scott Hedgecock is also a member of the Adjunct Faculty of the Bob Cole Conservatory of Music at California State University, Long Beach, where he is Lecturer and Supervisor in the area of Music Education.
Rhonda Rhodes After receiving a BA degree in Music Education from Utah State University in 1987, Rhonda Rhodes taught instrumental music in the Washington County School District in Southern Utah, for 25 years. Concurrently, she taught Woodwind courses and ensembles at Dixie State University in St. George, Utah, as an adjunct and part-time instructor. After one year of directing band and choir programs at Utah State University-Eastern in Price, Utah, she became full-time faculty at Dixie State University where she is currently an Assistant Professor of Woodwinds and Music Education. Dr. Rhodes Fall Issue 2019
Another new dimension to the elections for 2020 is that candidates will be allowed to campaign. This decision from NAfME will make it even easier for our members to learn more about the candidates. All candidates are aware of the rules and guidelines as set forth by NAfME, and CMEA is following in a similar manner. Be watching social media for more ways to learn about the candidates as the 2020 ELECTIONS approach! Thank you for your interest in the future leadership of NAfME and CMEA, and please participate in the process in early 2020!
Scott Hedgecock has been in Service Leadership to his colleagues and the students of California for over 27 years. As a Past President of the Southern California Vocal Association (SCVA), Scott Hedgecock served as the Chairperson for Choral Festivals, the Vocal Solo Festival, as Vice-President, and as President during the 1998-2000 term. Scott Hedgecock has served NAfME and CMEA for over sixteen years and his service has included leadership as Choral Representative, PresidentElect, and President for the former Southern Section, and has served on the CMEA Executive Board as Vice President (two terms), PresidentElect, President, and is now the Immediate Past President through the 2020 election cycle. During his tenure in CMEA leadership, Scott Hedgecock has been part of the restructuring of CMEA including two Strategic Plans, and has been part of the continued growth of the Western Division during the “Bringing NAfME West” and “Shortening the Distance” eras, two important areas of focus that he believes should be sustained in the future of the Western Division of NAfME.
holds an M.M.in Instrumental Conducting from Northern Arizona University and a D.M.A. in Music Education from Boston University. Specializing in woodwind doubling, Dr. Rhodes plays saxophone, oboe, english horn, clarinet and flute. Dr. Rhodes is an active adjudicator and honor band clinician in Utah. Highly involved in the Utah Music Educators Association (UMEA) throughout her career, she has served as a Region Music Chair, State Solo & Ensemble Festival Scheduler, Jazz Vice-President, Business Manager and UMEA President. She is currently serving as Immediate Past-President through July 2021. Dr. Rhodes is faculty advisor to the Dixie State University Collegiate Chapter of the National Association for Music Education (NAfME). 29
s n o i t c e l E r e Offic t c e l E t Presiden
nne Fennell is the current Vice President of CMEA, the NAfME Innovations Council Chair, and the K-12 Music Program Manager for San Diego Unified School District in San Diego, CA. She holds a Bachelor’s in Music Education, a Masters in Leadership Studies, Orff -Schulwerk certification Levels: I-IIIII and over 90 graduate hours in music and education coursework. Her experiences include 32 years of teaching music composition and steel drum ensembles in grades 9-12, K-8 integrated arts and music through Orff Schulwerk, and leading both vocal and instrumental ensembles in civic and professional performances as well as national conferences. She is a published author through Pearson Education, the GRAMMY Foundation, The Percussion
B Bill Wilkinson
ill Wilkinson is in his 23rd year of teaching and has taught most of his career in the Hanford Elementary School District as a junior high and elementary band director. For the past nine years he has served as band director at Woodrow Wilson Jr. High School, where he was once a member of the school’s band decades earlier. The Woodrow Wilson Band program has steadily grown in both size and stature under his leadership. Mr. Wilkinson has also taught in the Lemoore and Strathmore Elementary School Districts. In 2006 he was named the Liberty Middle School (Lemoore) Teacher of the Year and was named the 2015 Best Professional by the Hanford Elementary Teachers Association.
Marketing Council, as well as Disney’s Little/ Baby Einsteins. She presents nationally and internationally, including the national AOSA and NAfME conferences, China music education conferences through the support of NAMM, ISME, and with the OECD in Paris, France. She has received numerous local and national awards, including the 2013 CMEA Illuminating Culture Award, 2015 Outstanding Educator & Classroom Hero, San Diego County, 2017 National Teacher of the Year for Magnet Schools of America, top 10 GRAMMY Music Educator Finalist for 2016, and top 3 Music Educator National Award for Music & Arts in 2015. Anne believes in the power of music education for all students and supporting music educators and programs to be models of educational excellence.
Throughout his career Mr. Wilkinson has been actively serving with CMEA at both the state and local level. He most recently served as President of CMEA Central Section from 2017-2019. Central Section thrived under Bill’s guidance as the section adhered to its mission empowering educators to inspire students through music education. Bill also served as CASMEC Logistics Coordinator for CMEA from 2012-2017 and was honored with the 2016 CMEA Presidents Award for his efforts. He is a Past President of the Tulare-Kings Music Educators Association where he served from 2007-2009. Bill has actively served with CBDA as well, serving two terms as CBDA’s Vice President from 2005-2009.
t n e d i s e r Vice P
ruce Lengacher received his Bachelor of Music Education and a Master of Arts in Education from San Francisco State University. He is in his twentieth year as the Director of Choral Activities at Acalanes High School in Lafayette, CA. Bruce has served as the General / Classroom Music and the Choral Representative for the Bay Section of the California Music Educators Association and is presently the CMEA Bay Section President. He
C Chad Zullinger
Fall Issue 2019
had Zullinger is a professor in the Music Education department at California State University, East Bay, and the Music Technology Representative on the California Music Educators Association Board. He earned his M.M. in Choral Conducting from the University of Delaware and a B.M. in Composition at San Francisco State University. Throughout his career, Mr. Zullinger has worked to create spaces so that students can develop, produce and direct their own learning experiences in the language of music. He has
is a member of the American Choral Directors Association and the National Association for Music Education. Bruce has worked with Ragazzi Boys Chorus, the Peninsula Girls Chorus, Chanticleer and Piedmont East Bay Childrenâ€™s Choirs and studied with Robert Shaw, Rodney Eichenberger, and Byron Macgilvray. He is a composer/arranger, a clinician, and a founding member of the Choral Project. He lives in El Cerrito, California, with his wife, Leslie.
demonstrated success in choral music education, preparing ensembles that have consistently earned Unanimous Superior (and equivalent) ratings at festivals and contests, both regionally and abroad. Most recently, he has presented and engaged with numerous NAfME State organizations around the country about 21st century innovation and pedagogy for music educators and students. In this capacity, Mr. Zullinger strives to reinforce the idea that skills such as collaboration, creativity, critical thinking, and problem solving are integral components to a 21st century music education.
y r a t e r c e S Dr. Lisa Crawford
r. Crawford teaches music composition, choral arts, songwriting, and rock band for Geffen Academy at UCLA and currently serves at the state level as the California Music Educators Association (CMEA) Creating and Composition Representative. As the founding president of CMEA Southwestern Section (2013-2016), Crawford currently serves on the founding committee of the new California music education conference, Casting a Wider Net. Crawford is dedicated to the ongoing evolution of state-wide focus toward music education programs. Crawford has taught music composition and songwriting in a variety of public, private, K-12 and university environments. She began playing the piano at age 3, composing music at age 6, and teaching piano at age 12. Early career, Dr. Crawford produced music for film and media, developed and promoted new
L Laura Smith Schiavo
aura Smith Schiavo is a violinist who whole-heartedly believes in the power of arts education, and is in her twelfth year of teaching in the San Diego Unified School District. She currently teaches orchestra at Creative Performing Media Arts Magnet Middle School in a booming arts program in the heart of the Clairemont community of San Diego. Throughout her career, Laura has taught orchestra at both the elementary and middle school levels. Laura has a BA in Music from Point Loma Nazarene University with a concentration in Music Education, and an MA in Educational Leadership and Administration from Brandman University. She holds California Single Subject Teaching Credentials in both Music and Foundational Level Mathematics, as well as an Administrative Credential. In 2012, Laura received the Schuchman Award for Excellence in Music Education from SDUSD and also received the CMEA Elementary Music Specialist Award. She has been a teacher leader in music education with the California Arts Project since 2013, continuously working with other arts educators across the state. Laura has
artists, built media and tech companies and startups, and represented composers for film and television. A presenter at state, national, and international conferences, Crawfordâ€™s research focuses on creating music, composing, songwriting, foundational learning, and singing. Crawford is published by the International Society of Music Education, CMEA Magazine and as a member of the Canadian research team, Advancing Interdisciplinary Research in Singing (AIRS), is co-author of an upcoming book chapter considering elder memory and singing. Dr. Crawford completed her undergraduate degree in composition at University of Oregon, two masters degrees and California teaching credential at University of the Pacific, and earned her doctorate at University of Southern California.
also mentored new teachers in her district for the past seven years, and has been part of her districtâ€™s mentoring program for new educators working on clearing their credential and improving and reflecting upon their own teaching practice. She has presented at many local conferences, as well as CASMEC. Laura loves advocating for music education and loves working with the changing landscape and curriculums in music education. In 2017, Laura traveled to Washington, D.C., to be on a team of teachers working with NAfME and the Library of Congress, and she became a Teaching with Primary Sources Curriculum Writer, and her curriculum can now be found on the NAfME website. She was a member of the 2018 California Department of Education Visual and Performing Arts Standards Advisory Committee as the standards were revised, and are now the adopted California Arts Standards. Laura has served on the executive board of CMEA-SBS for the past eleven years in various roles, including Treasurer, Vice President of Strings, President, and is now their current Past President.
Giving Opportunities California Music Education Foundation
Earn more than a music degree in the foothills of the Rockies. Professional-level experiences, diverse opportunities for collaboration and dedicated instruction from renowned performers, composers and scholars await you at the University of Colorado Boulder College of Music. Work with leaders in the field to develop your talents and refine your passions as you experience The College of Music Advantage.
Supporting the professional development of our members and future leaders.
CMEF Foundation Programs
Undergraduate Applications due February 1. Auditions held February 1, 8, and 15 Apply for the Summer MME program by March 5th!
Future Leaders Scholarship Dr. Randi Carp Choral Music Education Scholarship Don Schmeer Memorial Scholarship Fund CMEA Annual State Awards Endowments
Emilio Lopez Felix First recipient, 2018, of the Dr. Randi Carp Choral Music Education Scholarship, with Michael D. Stone, CMEA Past President. Emilio is a freshman at California State University, Fullerton and a Music Major/Vocal Music Education.
we do with the money and state the mission statement.
Imig Music Building 301 UCB Boulder, CO 80309 303.492.6352 email@example.com colorado.edu/music
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