CMEA Magazine Fall 2015

California Music Educators Association

CMEA Magazine

The News Magazine of the California Music Educators Association Fall 2015 Issue • Volume 69 • Number 1

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Th e News M aga zine o f th e C alifo rnia Mu sic E duca to rs Asso cia tion FAL L IS SU E 2 015 • IN SI DE TH IS I S SUE

POSTMASTER

CMEA Magazine (ISSN 1099–6710) is published quarterly (Fall, Winter, Spring, Summer)

by CMEA. Mailing Address: 9923 Hirondelle Lane, Tujunga, CA 91042–2605.

Periodical postage paid at Tujunga, CA and at additional mailing offices.

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, 9923 Hirondelle Lane, Tujunga, CA 91042–2605 CMEA Magazine Art Director/Business Manager: Allen Petrinka Mailing Address: 9923 Hirondelle Lane Tujunga, CA 91042–2605 Voice: 818 353–3356 E-mail: cmeamagazine@dslextreme.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: cmea@calmusiced.com Website: www.calmusiced.com

CONTENTS • President’s Message: Millennials Can Lead Music Education to New Heights

by CMEA President Michael D. Stone

3

• CMEA 2014-15 Financial Report and 2015-16 Budget

7

• CMEA Members Attend First NAfME Western Division Leadership Seminar

by Russ Sperling, NAfME Western Division President-Elect and CMEA Immediate Past President

9

• Southern Border Section Conducts Mega Arts Conference

by Marc Dwyer, CMEA Southern Border Section President

11

• Do You Have Ukes In Your Toolbox?

by Richard Lawton, CMEA General Music Representative

13

• New Beginnings!

by Donna Harrison, CODA President and CMEA CODA Representative

17

• Performance Opportunities at the Stand Up 4 Music Advocacy Day

by Nicholas A. Cooper, CMEA Advocacy Day Performance Coordinator

18

• Every Child in Every School: Announcing the 5th Annual SU4M Advocacy Day

by Scott Hedgecock, CMEA President-Elect

19

• 2016 CMEA Stand Up 4 Music Advocacy Day Application for Performance

20

• Looking to the Future

by John Eros, Ph.D. CMEA Collegiate Representative

21

• Greetings and Welcome to Another School Year in Jazz

by Mike Galisatus, CMEA CAJ Representative

22

• Teaching that Fosters Individuality and Creative Thinking

by Willow Manspeaker, CMEA Central Coast Section President

23

• Senate Bill 725 Becomes Urgency Bill to Solve CAHSEE Crisis

by CMEA President Michael D. Stone

25

• CMEA’s Membership Campaign

by Regina Pryor, CMEA Membership Chairperson

27

• United States Postal Service Form 3526 Statement of Ownership, Management and Circulation

28

• Local Control Accountability Plan and Music Education

by Steve Venz, CMEA Advocacy Representative

29

• Higher Education Happenings

by Dr. Lawrence F. Stoffel, CMEA Higher Education Representative

31

On the cover: An album cover in the style of the iconic Blue Note jazz records of the 1950s and 1960s featuring the Rowland USD Elementary Jazz Band, under the direction of Laura Tovar, performing at the 2009 CMEA Conference in Ontario, California. Photo by Gary Glass

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26 IFC 16 24 BC 10 27 8 12

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Orchestrate Success in Your Career… JOIN CMEA+NAfME. Visit www.nafme.org CMEA is a federated state association of the National Association for Music Education

Fall Issue 2015

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CMEA Magazine

President’s Message

Millennials Can Lead Music Education to New Heights

by Michael D. Stone CMEA President

A

s the new school year begins, I realize that this is the 27th start of school I’ve experienced as a professional music educator. The years move so quickly. I often look around me and realize that many of my closest personal friends are also music educators. The camaraderie and passion shared by music educators is infectious and impacts our personal lives as well.

Professional music educators are some of the most productive, engaged, and imaginative citizens of our nation.

As you begin the next school year, whether it’s your first year in the profession or retirement looms near, remember that the California Music Educators Association (CMEA) is your professional organization. Consider how you can better serve your students through participation in the many activities of the association. CMEA’s nine section presidents are listed on the masthead of the CMEA Magazine. Reach out to them to see how you can get more involved in our work.

This past summer I had the pleasure of participating in the National Association for Music Education (NAf ME) Western Division Leadership Seminar organized by CMEA Immediate Past President and NAf ME Western Division President-Elect Russ Sperling. Kudos to Russ, and NAf ME Western Division past presidents Marsha Neal and Martha O’Neill, for a successful event. The CMEA Strategic Plan includes leadership training as a top priority. California had a large turnout from each of its sections as we converged in Las Vegas to learn about governance, strategic planning, goal setting, communication, and various other topics in the area of leadership.

What impressed me most over the course of the three days was the varying ways in which the various generations in attendance view our profession and the work we do through our

Fall Issue 2015

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professional organization. I left Las Vegas believing that each generation has many talents and gifts which must be utilized in order for CMEA to have maximum relevance in supporting California music education. Furthermore, I believe that we have the opportunity to carry music edu-

cation to new heights as Millennials begin entering the ranks of leadership within our organization.

I was first exposed to the idea of generational groupings in the profession a few years ago when NAf ME Executive Director Michael Butera did a presentation

where he addressed each generation’s view of membership and joining groups like CMEA. If you are unfamiliar with the terms used to identify the primary generational groups in the workforce today, here’s a quick reference: • Baby Boomers (people born 1946-1964)

CMEA State Council 2015-2016 CMEA EXECUTIVE BOARD CMEA President Michael D. Stone E-mail: stonem@bcsd.com Work: 661 631-4810 CMEA President-Elect Scott Hedgecock E-mail: scotchdir@aol.com Work: 714 626-3984 CMEA Vice President Steven Hendee E-mail: sjhendee@sbcglobal.net CMEA Secretary Duane Otani E-mail: Dotani916@yahoo.com Work: 858 485-4800 CMEA Immediate Past President Russ Sperling E-mail: rsperli@cox.net Work: 858 292-3547 CMEA OFFICE E-mail: cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 CMEA Executive Administrator Trish Adams Work: 559 587-2632 Cell: 559 904-2002 SECTION PRESIDENTS CMEA Bay Section President Todd Summers E-mail: tsummers@pausd.org Work: 650 354-8264 CMEA Capitol Section President Santiago Sabado E-mail: ssabado@pioneer.k12.ca.us CMEA Central Section President Kirk Clague E-mail: clague_cmeacentral@icloud.com Work: 55) 592-2127 x391 CMEA Central Coast Section President Willow Manspeaker E-mail: wmanspeaker@ stevensonschool.org Work: 831 625-8339

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CMEA North Coast Section President Dan Sedgwick E-mail: dsedgwick@yahoo.com Work: 707 4645-0274

CMEA CBDA Representative Norm Dea E-mail: normdea@yahoo.com Work: 925 280-3970 x7327

CMEA Northern Section President Todd A. Filpula E-mail: tfilpula@chicousd.org Work: 530 891-3026 x 321

CMEA CODA Representative Donna Harrison E-mail: Harrison.donna3@gmail.com Work: 408 535-6300 x 29159

CMEA Southeastern Section President Armalyn De La O E-mail: adelao@csusb.edu Work: 909 537-5938

CMEA CASMEC Coordinator/ CMEA Representative on the CBDA Board Bill Wilkinson E-mail: bwilkinsoncmea@gmail.com Work: 559 585-3870

CMEA Southern Border Section President Marc Dwyer E-mail: mdwyer@sandi.net Work: 619 222-0476 CMEA Southwestern Section President Lisa A. Crawford E-mail: lisa.crawford@usc.edu Work: 213 740-6935 NAfME OFFICERS NAfME President Dr. Glenn E. Nierman 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768

CMEA General Music Representative Richard Lawton E-mail: richard@ richardlawtonmusic.com Work: 323 654-4401 CMEA Music Technology Representative James Knight E-mail: jamesknight@mac.com Work: 714 536-2514 x 4116 CMEA Advocacy Representative Steve Venz E-mail: stevenvenz@yahoo.com Work: 714 966-4000

NAfME Western Division President Dr. David C. Fullmer Orem, UT 84058

CMEA State Band and Orchestra Festival Chairperson Jim Mazzaferro E-mail: jmazzafe@egusd.net Work: 916 681-7500

COUNCIL OF REPRESENTATIVES CMEA CA ACDA Representative Willow Manspeaker E-mail: wmanspeaker@stevensonschool.org Work: 831 625-8339

CMEA State Solo and Ensemble Festival Chairperson Cheryl Yee Glass E-mail: cglass@srvhs.org Work: 925 552-3044

CMEA CAJ Representative Michael Galisatus E-mail: galisatus@comcast.net and galisatusm@smccd.edu Work: 650 574-6163

CMEA Membership Chairperson Regina Pryor E-mail: reginapryor78@gmail.com Work: 661 831-8331

CMEA Music Supervisors Representative Fillmore Rydeen E-mail: fillmore.rydeen@ousd.k12.ca.us Work: 510 336-7609 CMEA Collegiate Representative Dr. John Eros E-mail: john.eros@csueastbay.edu Work: 510 885-3135 CMEA Tri-M Representative Troy Trimble E-mail: troyatrimble@gmail.com Work: 714 626-3975 CMEA Higher Education Representative Dr. Lawrence Stoffel E-mail: stoffel@csun.edu Work: 818 677-3160 CMEA Research/Special Learners Representative Dr. Ruth Brittin E-mail: rbrittin@pacific.edu Work: 209 946-2408 CMEA World Music Representative Dr. Lily Chen-Hafteck E-mail: lhafteck@ucla.edu Work: 310 825-4668 CMEA Retired Members Representative Jon Christian E-mail: jonchristian41@gmail.com CMEA Advocacy Day Performance Coordinator Nicholas A. Cooper E-mail: mrcoopermusic@gmail.com Work: 925 609-9341 CMEA CTA Liaison Nora Allstedt E-mail: nallstedt@msn.com Work: 559 592-2144 x2200

CMEA Mentorship Program Chairperson Mark Nicholson E-mail: mnicholson@sandi.net Work: 858 256-2702

CMEA Magazine

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• Generation Xers (people born 19651979) • Millennials (people born 1980-1995) The characteristics of Baby Boomers, Generation Xers, and Millennials are very different. Baby Boomers make up the majority of the job market today, but are retiring in large numbers each day.

What are the characteristics of each group?

Baby Boomers, in general, are joiners.

They believe that everyone should be a member of a given organization because it’s just what you do. They are also a little self-absorbed in things that interest them.

They like teamwork and group harmony.

Baby Boomers are in charge of the world today.

Generation Xers, on the other hand, want to get something if they join. They are independent-minded and uninhibited by authority. Generation Xers definitely thrive on getting results.

Millennials, sometimes referred to as Generation Y, were born into a world with ever-changing technology and a fast pace world. This generation does not necessarily feel the need to join groups. But, they are impassioned with the idea of saving the world. They are also very generous in their giving, especially when they believe in the cause.

It’s important to note that individuals often cross categories or have characteristics of more than one group, depending upon when they were born.

So, what does all this mean for CMEA and its work?

I’ve come to the conclusion that CMEA’s success in reaching all of California’s 7,200-plus music educators is found in a multifaceted approach of marketing the value of membership to all of these three generations of music educators. It’s not a one-size-fits-all world anymore when it comes to membership.

Members today want a diversity of information, multiple delivery systems, and a variety of membership services. Our organizational infrastructure must meet all the needs of potential members, not just those in leadership positions today. We must be forward thinking. CMEA cannot truly maximize the impact of its work until all California music educators stand together as active CMEA Members. So, our solution is bringing relevance to our work so that all California music educators will see value in membership.

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CMEA must serve Baby Boomers, Generation Xers, and Millennials, all while keeping our focus on the single vision of providing all of California’s students with a first-class education in music.

In a practical sense, as CMEA president, I have faced our organizational challenges with the idea of engaging with all three generations of California music educators.

A Baby Boomer might be willing to pay a CMEA membership fee no matter what, but a Generation Xer will want to know what he/she gets for joining. The Millennial music teacher will join CMEA if he or she can see work of the organization being important and relevant, and if he/she can be effectively engaged in that work.

Generational differences effect how CMEA communicates with potential members as well. Millennials thrive on small soundbites of information that they can reach through social media sites like Facebook, Twitter, Instagram, etc, throughout the day. Baby Boomers may primarily receive their news from websites or traditional publications. Generation Xers may subscribe to specific websites so that they can get a more narrow view of a topic in which they have interest. So, CMEA must communicate in a variety of ways: Internet, social media and print publications.

This past summer, Mike Blakeslee, NAf ME’s chief operating officer, called me and asked if I would co-facilitate a presentation for state music education leaders on the topic of “Marketing the Music Cause” at the 2015 NAf ME National Assembly. After agreeing to do so, I realized that I wasn’t so sure that the topic was that which I initially understood it to be. Were we looking at marketing the importance of music education, or marketing the importance of joining the state MEA’s? I quickly realized that the answer included both ideas. Providing all California students with access to a first-class education in music requires that we effectively communicate the value of music education to the public, but have a unified voice through our professional organization. These goals are not mutually exclusive.

During the presentation, I learned that other state leaders across the nation are also facing challenges of connecting the dots with regards to generational differences. The solution seems to be built

around a multifaceted approach to provide what potential members need and want.

One of California’s up and coming young music education leaders is Santiago Sabado, CMEA Capitol Section’s new president. I always enjoy speaking to Santiago since he is very enthusiastic about music education, has a clear vision for his school’s music program, and understands the importance of asking lots of questions of colleagues. CMEA Capitol Section sent four Millennials to the NAf ME Leadership Seminar: Santiago Sabado, Lindsay Dow, Taylor Haugland, and Joshua Ludtke. While in Las Vegas, I asked these four CMEA Capitol Section board members about the topic of generational considerations. Their responses were very interesting. Apparently, Millennials are just as frustrated with a world of information bombardment as the rest of us. An e-mail inbox with 150 e-mails a day is not uncommon in 2015. President Sabado suggested that in the area of communications, CMEA could help young music teachers by organizing and filtering solid information on teaching, pedagogy, and even advocacy. Nobody has time to Google search everything that comes our way. CMEA will look at Santiago’s idea of focusing access to information for its Millennials on the CMEA website and elsewhere within our communications infrastructure.

I also took away another idea from this group of young leaders. When I asked them how to best engage Millennials in serving CMEA, they suggested finding specific, small tasks that need to be accomplished and asking young teachers to serve in that way. Although a young music educator might not want to take on the leadership of an entire project, he/she might be willing to do a specific task to help with the greater cause.

Such amazing advice from the California’s upcoming music education leaders.

As we begin the 2015–2016 school year, please take a moment to connect with music educators outside of your generation. The conversations will be enlightening. I know that you will learn and grow from such interactions.

I hope that you will have an exciting year of music education. Thank you for all that you do to inspire students through your work in our profession. Here’s to a fabulous year of music making!

CMEA Magazine

CMEA 2014-15 Financial Report and 2015-16 Budget

Fall Issue 2015

7

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CMEA Past Presidents

1947–1949

1966–1968

1982–1984

1998–2000

Clarence Heagy

Kenneth D. Owens

David S. Goedecke

Dennis L. Johnson

Stockton

Salinas

Fresno 1968–1970

CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award Dale Anderson, 2015; Ann Marie Haney, 2015; Dr. Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013; Gerald E. Anderson, 2012;

1949–1951

Judd Chew

1984–1986

2000–2002

Elwyn Schwartz

Sacramento

Vivian M. Hofstetter

George DeGraffenreid

Gayanne Korkmazian, 2012; Dr. David Whitwell,

Bakersfield

Fresno

2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W. Lutt, 2009; Kem F. Martinez,

1951–1953

1970–1972

George F. Barr

Anthony L. Campagna

1986–1988

2002–2004

Foster City

John L. Larrieu

Sam Gronseth

Portola

Paradise

1953–1955

2009; Carl W. Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram,

Fred Ohlendorf

1972–1974

Long Beach

Louis Nash

1988–1990

2004–2006

La Crescenta

L. Leroy Roach

Rob Klevan

Lindeman, 2006; Joe Foster, 2006; Paul

Walnut Creek

Pacific Grove

Shaghoian, 2006; Frances Benedict, 2005;

1955–1957

2007; Mary Val Marsh, 2007; Carolynn A.

Harold Youngberg

1974–1976

Oakland

Marlow Earle

1990–1992

2006–2008

Lakewood

Carolynn A. Lindeman

Cheryl Yee Glass

Jerry Kirkpatrick, 2005; Robert Greenwood,

Greenbrae

Danville

2004; Arthur Huff, 2004; Lyle Stubson, 2004;

1957–1960

L. Leroy Roach, 2005; Silvester McElroy, 2005;

Joseph W. Landon

1976–1978

Fullerton

Mary C. Reed

1992–1994

2008–2010

Thomas Eagan, 2003; Larry Johnson, 2002;

Elk Grove

Bill Adam

Jeff Jenkins

Mary Louise Reilly, 2002; William Hill, 2001;

Roseville

Chula Vista

Henry Avila

1994–1996

2010–2012

Monterey

Don Doyle

Norman Dea

Pylman, 2000; Lawrence Sutherland, 1999;

Pasadena

Walnut Creek

Chuck Schroeder, 1998; Dean Semple, 1997;

Charles L. Freebern

1996–1998

2012–2014

San Diego

Jay D. Zorn

Russ Sperling

La Crescenta

San Diego

1960–1962

Douglas Kidd 1962–1964

1978–1980

Gibson Walters San José 1964–1966

Keith D. Snyder Davis

Lois Vidt, 2004; John Farr, 2003;

1980–1982

Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F. John

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; Russell Howland, 1975.

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CMEA Magazine

CMEA Members Attend First NAfME Western Division Leadership Seminar

by Russ Sperling NAfME Western Division President-Elect and CMEA Immediate Past President

he CMEA Strategic Plan calls for professional development for up and coming leaders, and this is not an issue unique to California. Since the NAf ME Western Division state MEA’s (Arizona, California, Hawaii, Nevada and Utah) also consider the cultivating of future association leaders as a priority, the division leadership came together to host such a professional learning opportunity. This event, the first of its kind in our division, was held at the Golden Nugget Hotel and Casino in Las Vegas in June and was attended by about twenty Californians and other state leaders.

The event’s statement of purpose was: “For the survival of music education in our schools, it is essential for strong and active professional music education associations to thrive. Critical to the power of our associations is strong leadership, especially at a time when the work required is more complex than ever before. Much has been done to build robust music education associations in the western states, but our organizations will not be sustained without a conscientious effort to develop future leaders.”

CMEA attendees came away feeling invigorated and more prepared to take on leadership duties in their sections. The post-seminar survey revealed that 100 percent of attendees would recommend this learning opportunity to other music educators. One attendee said, “leaders often ignore their own personal development and this seminar was a great forum to learn, reflect and grow.” and another stated “I am certainly glad I was able to come and I would love to come again.”

At the fall western division meeting, division and state leaders will discuss when and where the next seminar will be offered.

T

Sitting, left to right: Martha O’Neill, Russ Sperling, Marcia Neel. Standing, left to right: Christy Latham, Maureen Blinn, Marc Dwyer, Willow Manspeaker, Bruce Lengacher, Julie Yaeger, Lindsay Dow, Michael Phenicie, Stephanie Adney, Santiago Sabado, Michael D. Stone, Laura Smith, Phil Mortensen, Elizabeth Robertson, Taylor Haugland, Troy Trimble, Josh Luedtke, Nichole Heglund, Scott Hedgecock, Kelly McCarley.

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CMEA Southern Border Section Conducts Mega Arts Conference

by Marc Dwyer CMEA Southern Border Section President

T

his past year has been a busy one of events and collaboration. We began the year with a return of our Mega Arts Conference. This year, more than 600 participants within the four disciplines of visual art, music, dance, and theater attended the conference. This makes the Mega Arts Conference the largest arts conference in the state of California. In the area of music, CMEASBS offered eighteen sessions with many being presented by nationally recognized professionals such as guitarist and educator Glen McCarthy, technology educator Dr. Jim Frankel, and advocacy expert Marcia Neel. Together with our local presenters, CMEA-SBS was able to provide an exceptional day of professional development. We again offered large group festivals for band, orchestra, choir and jazz as well as honor ensembles for band, choir, and orchestra. CMEA-SBS invites you to attend our 2015 conference on Thursday, October 8, at San Diego’s Balboa Park.

Please visit www.cmeasbs.com for more information.

The year saw much in event expansion as well. SBS added an orchestra makeover festival. This non-competitive activity allowed schools to perform and receive a clinic from San Diego State University Orchestra Director Michael Gerdes, and then work with professional musicians in instrument-specific sectionals. We also launched our first annual Guitar Ensemble Showcase bringing together over twelve schools to perform for each other in a noncompetitive environment.

CMEA-SBS continues to work collaboratively with other organizations in supporting and promoting music education for all. This past year we’ve offered events partnered with local radio station KSDS Jazz 88.3, and we’ve worked closely with

Fall Issue 2015

San Diego State University who provided top-notched directors/educators for our honor ensembles, orchestra makeover, and Mega Arts Conference. CMEA-SBS provided many professional development opportunities for our membership. We worked together with Arts Empower and the San Diego County Office of Education in bringing workshops pertaining to the National Core Arts Standards and this summer we worked with NAf ME and GAMA (Guitar and Accessories Merchants Association) in offering two sessions of the popular teaching guitar workshop.

As the new president for the southern border section of CMEA, I am honored to be taking the presidential baton from Immediate Past President Pauline Crooks.

I have big shoes to fill, but I look forward to continuing the momentum of growth the southern border section has seen over the past two years. I am occasionally asked the question: Why would I want to join CMEA? When I review our past year and reflect on what we offer our membership and their students, I can only answer with another question: Why would you not join CMEA? As we move into the next year, I encourage readers statewide to remain active in your local CMEA chapter.

Participate in the events, visit your regional website as well as www.calmusiced.com, and www.nafme.org. Collaborate and network, sharing your ideas and interests with your local board members. Even consider becoming active as a board member in your area. Your ideas and motivation will only lead to making CMEA a stronger organization, which ultimately benefits our most important asset: our students.

11

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teach music in a connected world 12

JOGP!NVTJDö STU DPN t .VTJD'JSTU DPN t 5PMM 'SFF CMEA Magazine

Do You Have Ukes In Your Toolbox?

by Richard Lawton CMEA General Music Representative

A

few years back one of the fifth-grade teachers at my school suggested Israel Kamakawiwo’ole’s version of Somewhere Over The Rainbow for one of our culmination songs. The wrinkle was that she wanted the kids to accompany themselves on ukuleles. I said what I usually say when one of my classroom colleagues is interested enough in our music program to make a suggestion – “I love it!” – despite the fact that the school didn’t own any ukuleles, and I did not play (I did have guitar skills).

We came up with money for ten ukes (turns out they’re pretty inexpensive), and a few weeks later the kids brought down the house with their ukulele-accompanied version of Somewhere Over The Rainbow partnered with Bob Dylan’s Forever Young.

Since then, those ten ukuleles, and twenty more I have added over time, have become central to how I teach general music, particularly in fourth and fifth grade. In addition to being affordable, these instruments are versatile, portable, easy to achieve success with, and unsurpassed for teaching triadic harmony and introducing the concept of chord changes.

As everybody knows, the ukulele (pronounced oo-koo-lay-lay) is a traditional Hawaiian instrument, albeit one with a fairly recent tradition. In 1879, Portuguese immigrants brought the braguinha, a small four-stringed chordophone similar to the charango or cuatro, to the islands. A woodworker named Manuel Nunes is credited with giving the ukulele its modern design – enlarging the resonator, simplifying the tuning, and replaced the steel strings with gut so that it could be played without a plectrum.1 Fall Issue 2015

The ukulele is central to music education in Hawaii, but it has also been very popular in Canada since the 1960s, where J. Chalmers Doane, a music educator from Halifax, Nova Scotia, has been promoting the ukulele as a central component of general music instruction.2 Doane’s efforts, and more recently those of former Doane student James Hill, have been so successful that when attending a ukulele jam anywhere in the United States, one will invariably encounter a large number of Canadian ex-pats, who learned to play in elementary school.

There are a several programs – Guitars in the Classroom comes to mind – that will come to your school and supply everything including instruments and instruction, but what about adding the ukulele on your own? Is it worth the time and trouble for a teacher in an existing Orff or Kodály-based music program to develop ukulele skills? I believe the answer is yes. In my Orff program ukuleles fit well, partly because the easiest chord to play on the ukulele – C – is the also the key in which much of the music for the Orff barred instruments is written. At the same time, ukes have a timbre that is not customarily part of the Orff sound, and this adds another sonic color to the palette of my young composers.

Additionally, like many small chordophones, ukuleles are primarily rhythm instruments, so they

present all sorts of ways to introduce or reinforce concepts of meter, durational value, and swing in particular.

In choral music, opportunities for students to accompany themselves on ukulele or other instruments are less frequent. Here, the value of the ukulele is as an accompanying tool for the instructor. My elementary school cannot afford a full-time accompanist, so when I am teaching chorus, the ukulele is a welcome alternative to running back and forth to the piano. Accompanying my students on ukulele allows me to make eye contact while listening to them sing, indeed, to stand right in front of them (and I haven’t whacked anyone with the headstock yet, which, I am sorry to say, is a hazard with a guitar). I have begun to use a uke to accompany warm ups, as well. Tuned as it is on Sol, Do, Mi, and La (aka “My Dog Has Fleas”) the use of ukulele creates teachable moments about those intervallic relationships and a better recognition of when instruments and voices are not in tune.

Guitar skills are helpful, but hardly indispensable, when picking up a uke for the first time. Actually, ukulele is much easier to play than guitar – four soft plastic

13

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14

CMEA Magazine

strings instead of six, no pick to lose inside the instrument. The standard tuning for a soprano uke is a C6 chord (see Figure 1). To produce C major hold the 1st string – “A” – down in the third fret box as shown, making it an octave C. (It follows that putting a finger in the second box produces a Cmaj7, and putting it in the first box makes a C7). By Adding the F chord (the IV chord in C) and a G chord, (the V), you are now ready to play any I-IV-V song from La Bamba to Figure 1

Wimoweh in C. C is not an ideal key for young singers, but having learned the I-IV-V chords in C, you already know two of the chords – F and C – needed to play I-IV-V in F. Simply add the IV chord

in F or Bb - using the fingering shown (see Figure 2). And if you add a D chord to your repertoire, you can play the I-IV-V progression in G (G-C-D), a very useful key for pairing with soprano recorders.

Mastering these five chords and accompanying strumming patterns, something easily achievable over a long weekend, will give you a more than adequate skill set to accompany your kids or to teach them to accompany themselves. The very simplicity and accessibility of the ukulele has often led to a lack of credibility for the instrument as a serious tool for music-making.3 Even if the goal of your music program is polished choral or orchestral performances, however, don’t be too quick to dismiss the uke. A growing number of music education theorists have begun to classify musical performance as being either presentational - those that align with the more formal, conservatory model – or participatory – more informal exercises in community music-making where musicians of varying levels of ability play together to please themselves.4 Ukuleles, with their amateur sensibility and adaptability to any venue or circumstances, fit in the participatory model very well.

At a time when community support

is increasingly important to sustain music education in elementary schools, giving parents and other community members a means to experience the joys of playing music along side the kids can be a smart idea, as well as a fun alternative to the winter and spring concerts. And while there is little doubt that formal music training produces a deep understanding of how to play individual instruments, including voice, participatory music encourages musical behavior, and in doing so, creates more transferable musical skills. For elementary school music teachers, what could be more essential than that?

• 1. Greenberg, M. (1992). “The Ukulele In Your Classroom.” Music Educators Journal. 79(3). p. 43.

2. ibid. p. 44.

3. Thibeault, M. & Evoy, J. (2011).

“Building Your Own Musical Community: How YouTube, Miley Cyrus and the Ukulele Can Create a New Kind of Ensemble.” General Music Today. 24(3). p. 48.

4. Turino, T. (2008). Music as Social Life: The Politics of Participation.

Chicago, IL: University of Chicago Press.

Figure 2

Fall Issue 2015

15

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16

CMEA Magazine

A New Beginnings!

by Donna Harrison California Orchestra Directors Association President and CMEA CODA Representative

Fall Issue 2015

new school year is a time to try new ideas.

This is a time to give your students exciting, new motivating music experiences. It is also a time for you to increase your collaboration with other music educators who want the best for their students. The California Orchestra Directors Association, or CODA, is the group that can help you and your instrumental music students achieve these goals. I would like to thank our outgoing president, Kate Francis for the outstanding leadership she has provided CODA the past three years. I also would like to thank our webmaster, Jason Aiello, for the new CODA website at codaorchestras.org that he has developed. It is easy to navigate even for a low tech like me. CODA provides free membership and has many benefits to you and your students. Please take a moment to join and become a part of this great organization CODA is providing two honor orchestra experiences this December 4–5, 2015 at San José State University.

A full symphony orchestra will be lead by Dr. Robert Taylor from the University of British Columbia. The symphony will give your talented wind, brass, and percussion musicians a chance to be soloists as this group performs major symphonic literature. Your string musicians will love being part of the symphonic experience as well. An honors string orchestra will be lead by fellow Californian Doris Fukawa from the Crowden Music Center. The string orchestra will give your string musicians a chance to perform alongside other talented string players from throughout California. All CODA members are welcome to observe rehearsals and learn from our outstanding guest conductors. Applications and further information can be found on the CODA website, codaorchestras.org. The deadline for all forms and fees must be received by September 25, 2015.

CODA is excited to announce an additional AllState High School String Orchestra that has been added to CASMEC in February 11–14, 2016 in San José. This addition will allow more outstanding string players the experience of performing in an all-state performing ensemble. The All-State High School String Orchestra will be lead by Soo Han from Carmel, Indiana. The All-State High School Symphony will be lead by Jung-Ho Pak from the Cape Symphony and the World Youth Symphony Orchestra.

String players in seventh and eighth grade have the opportunity to perform in the All-State Junior High String Orchestra lead by Bill Bitter from Gilbert, Arizona. All applications and auditions are to be postmarked by December 1, 2015. Again, all forms, audition music, and necessary instructions can be found on the CODA website, codaorchestras.org.

In conclusion, I would like to encourage you to inform your students about these opportunities that can have direct benefit not only to them but your program as a whole. I know from personal experience how participating in one of these honor orchestras raises the musicianship not only of the individual but the infectious enthusiasm of that experience rubs off on to the rest of your students. I hope to see you and your students at some of our CODA events this year.

17

A Call for Applications:

Performance Opportunities at CMEA’s Stand Up 4 Music Advocacy Day 2016

by Nicholas A. Cooper CMEA Advocacy Day Performance Coordinator

re you a CMEA music director? Do you have ensembles that are ‘pretty darn good’? Maybe you have a gem of a guitar ensemble. Or a madrigal choir that can sing Palestrina better than they can sing Pink. Or a Wind Ensemble that could chew through a Maslanka Symphony. Maybe you even have an awesome Peruvian nose flute band you’ve been hiding (I know someone in California does.).

Perhaps you have a sweet brass ensemble that would rival those of Chicago and Philadelphia. Perhaps… just perhaps you’d like to see that brass ensemble blow the doors off the California State capitol. If so, send us an application; we’ll give it a listen.

On May 21, 2015, music students had the opportunity to perform for some of California’s legislators and staff. Numerous members of the public and other performing ensembles also turned out to celebrate music education in California schools.

The events culminated in a noon press conference where students performed our national anthem and other patriotic selections. The event was hailed as a great success. Our legislators responded positively to the experience and the activities drew crowds who were interested in the beautiful sounds and excited by the event. A special thank you to Scott Smith for his successful organization of the performing ensembles and sincere congratulations to all those who performed:

A

Davis All-City String Orchestra, Kim Cole, director; Central Unified Flamenco/Classical Guitar Ensemble; Brian Garcia, director; Harvest Park Middle School Band, Paul Perazzo, director; Col-

lege Heights Elementary School Mariachi, Nick Olmos, director.

Clovis West High School Wind Symphony, John Lack, director; and Sheldon High School Vocal Ensemble, Stafford Herbert, director.

On the heels of last year’s success, we are expanding the availability of performance slots and the diversity of ensembles.

Two performance locations are being arranged: outside on the North Steps and inside at the Capitol rotunda (a beautiful venue suited to a cappella choir). Both locations have tremendous audience potential and loads of foot traffic from visitors, staff, and our legislators.

We are seeking a diverse selection of ensembles (elementary, middle, high, and collegiate levels) from across the state of California. This is an opportunity to highlight the musical variety in California schools and to underscore the level of talent of our California students and music educators. More importantly, it gives a face and a sound to our sometimes underrepresented, underappreciated, and always underfunded population.

Applications can be found on the CMEA website (www.calmusiced.com). Please submit applications with a recording of your ensemble to include two selections (one from this current school year and one from the previous year). If you have any questions, please do not hesitate to contact Nick Cooper at mrcoopermusic@gmail.com. For more information on California music education advocacy please visit www.standup4music.org.

College Heights Elementary School Mariachi, with Nick Olmos, director, performed at Advocacy Day this year.

18

Advocacy Day photos by Audrey Boyle

CMEA Magazine

Announcing the Fifth Annual Stand Up 4 Music Advocacy Day in Sacramento on May 19, 2016

Every Child in Every School

by Scott Hedgecock CMEA President-Elect

CMEA will continue to lead the Stand Up 4 Music Coalition in an Advocacy Day for Music Education at our state capitol in Sacramento, next year on Thursday, May 19, 2016. This annual event has helped to bring awareness to music education, focus on specific issues in music education, and fulfills a number of our strategic plan priorities for CMEA. Leaders from each of the twelve organizations that make up the SU4M Coalition, along with CMEA’s leadership, music educators, and parents from throughout the state, will all gather together on the steps of the capitol for a kickoff rally before spending the morning visiting their legislators to advocate on behalf of music education and share the CMEA vision of a “first-class music education for all students in California.” Meetings will also be held with key committee leaders in the arts and education areas of our state government.

A noontime press conference on the capitol steps brings everyone together and is covered by much of the local media in the greater Sacramento area. Recent years have also seen a key interest among many who work inside our capitol as they come out to listen and watch this event. CMEA and SU4M leaders are featured speakers along with key supporters from among our elected officials, outstanding music educators, and celebrity guests.

While all of this is going on we also highlight the reason we advocate for music education; our students. Performances by music ensembles from schools throughout the state are featured all day, so that anyone entering and exiting and working in the capitol can hear and see our talented young musicians. bands, orchestras, choirs, and many emerging musical ensembles will be featured. Please also see the article by Nicholas Cooper, the CMEA/SU4M Advocacy Day performance

coordinator, found on the previous page. Groups from all over the state are encouraged to apply to participate.

Does this sound like an interesting way to help advocate for what you do? Then come and join us.

Teachers, parents, and even students are welcome to join us in planning visits to your own elected officials and helping all of us to Stand Up 4 Music and advocate for music education in California on Thursday, May 19, 2016.

You can see videos of our previous SU4M Advocacy Days on both the CMEA and SU4M websites.

Watch for more information about this event in future issues of CMEA Magazine and on our social media platforms.

One of Your Choirs can be Part of History CMEA is proud to announce that a choral division will be added to our annual CMEA State Festival for 2016.

The Band and Orchestra State Festival has grown tremendously in just three years, and we look forward to the same growth in our new Choral State Festival.

The event will take place in the spring of 2016. Watch our social media for a full announcement of date, time, and location, as well as how you can have one of your choirs performing in the Inaugural

CMEA

State

Choral Festival.

Clovis West High School Wind Symphony, with John Lack, director (above), and Central High School Flamenco/Classical Guitar Ensemble, Brian Garcia, director (below) performed at CMEA’s Stand Up 4 Music Advocacy Day this year in Sacramento.

Fall Issue 2015

19

2016 CMEA SU4M Advocacy Day Application for Performance California State Capitol, North Steps May 19, 2016 School Name: ______________________________________________________________________________________ Name of Ensemble: _________________________________________________________________________________ Director’s Name: ___________________________________________________________________________________Director’s E-mail Address: ____________________________________________________________________________ School Mailing Address: _____________________________________________________________________________ School Telephone: _____________________________ Director’s Cell: ______________________________________ Number in Ensemble: __________

Ensemble:

Level:

____ Band

____ Elementary

____ Jazz Band

____ Junior High / Middle School

____ Choir (a cappella only)

____ High School

____ Orchestra (circle one: Full or String)

____ Collegiate

____ Other (please describe):___________________________________

Prerequisite Qualification: Please submit a recording of your ensemble which includes two selections (one from this current school year and one from the previous year). Recordings must be submitted along with your paper application by November 13, 2015. ____ I have enclosed the ensemble recording Performance Time Preference (check one): Morning _____

Afternoon _____

No Preference _____

The application and recordings are due November 13, 2015. We will confirm your participation no later than December 18, 2015. We ask that programs be limited to no more than 20 minutes excluding setup/warmup.

Program length may be changed depending upon number of ensembles selected.

Mail recording and application to: Nicholas Cooper 1240 Willow St. Martinez, CA 94553 mrcoopermusic@gmail.com Note: By signing below you agree that you and your students’ participation in this event is solely educational. While advocacy for music education will be taking place, you and your students are not participating in this component.

Your ensemble will be highlighted for their performance; their participation is only an opportunity to perform at the state capitol. After arriving, we ask that ensembles remain at the capitol in support of other performing ensembles.

All performing ensembles are expected to be present for the noon press conference. All choirs at the noon press conference will sing the national anthem (information to follow). Additionally, the director certifies he/she is a member in good standing of NAfME/CMEA and/or one of the coalition partner organizations in SU4M. Director’s Signature: _______________________________________________ Date: ___________________________ Administrator/ Principal’s Signature: ___________________________________Date: __________________________

20

CMEA Magazine

CMEA Collegiate:

Looking to the Future

by John Eros, Ph.D. CMEA Collegiate Representative

L

et me begin by extending my heartfelt congratulations to the music education students who have accepted the responsibility, and demonstrated the leadership, for being members of the first-ever CMEA Collegiate Council.

The council is named in the Spring 2015 CMEA Magazine, and is being led by Chairperson Kelly McCarley, a music education major from Cal State Northridge. I must also thank the members of the planning committee, which was comprised of representatives from all nine CMEA sections who worked hard to plan, recruit, and facilitate the formation of the council.

Opening the doors to collegiate members, and making the benefits of membership known to California’s preservice music teachers, are two of the reasons that CMEA launched its new Collegiate Council at CASMEC 2015. Since its first meeting, the Collegiate Council has been working hard on developing ways to increase membership and involvement for our CMEA collegiate members (current and as-of-yet undiscovered). We are seeking to both reactivate CMEA collegiate chapters that are no longer active and to create and support the growth of new collegiate chapters of CMEA. Another of the council’s main priorities is to oversee the presence of collegiate-focused offerings at CASMEC 2016. The Council is working to arrange for clinics and clinicians who will be able to address the topics that are front-and-center for current music education students. My CSUEB collegiate members have enjoyed the sessions that they’ve attended over the past couple of years at CASMEC, on topics such as conducting, string pedagogy, and the Orff approach. However, as collegiate members, what other topics would be of interest and, more im-

Fall Issue 2015

portantly, of need? Conversations with experienced mentor-teachers, as they look towards student teaching? Interviewing and the job hunt? Panel discussions with music teachers in the first few years of their careers? We have a golden opportunity to a) present our collegiate members with valuable resources now and b) begin building the habits of seeking out professional development after they enter the field.

On the topic of conferences, consider this question: is membership in CMEA valuable enough for college music students to take three days from the middle of the quarter or the middle of the semester in order to attend a conference? The answer this past February for eight music education students at Cal State East Bay was a resounding “yes.” The eight CSUEB students, most attending their first professional music education conference, came away with a much wider view of the profession of music education. They left the conference inspired, having gained practical knowledge, and having met many future colleagues. As a music teacher educator, this experience is significant to me for two reasons. The first reason is that it is powerful to see a new generation of music teachers enter into professional growth and dialogue. The second is that, and I believe that this is a common refrain in music education, they were receiving an experience that I did not take advantage of as an undergraduate music education student: membership in a professional organization.

The demands on preservice music teachers are myriad, and it is difficult to imagine emerging from a preparation program with everything that a new teacher will need in terms of skills, expertise, and experience. As I reflect upon on my undergraduate music education program one particular gap catches my attention: the lack

of membership in, and even awareness of, professional organizations in music education. Let’s be clear. Membership in CMEA is decidedly not “just one more thing” for collegiate music education students. We are not talking about yet one more item on the long list of requirements needed to complete undergraduate degrees and credentials. We are talking about shaping futures as professional music educators, building knowledge of the resources available, and developing the habits that will sustain professional development throughout careers as music educators.

I’d like to close by sharing an image with California’s music teacher educators and CMEA collegiate chapter advisors. Some months ago I was meeting with a new music education student for an advising meeting. I had several professional journals out on the table in my office (Teaching Music, Music Educators Journal, Kodály Envoy, etc.) and, as I went to check on program information, I handed him a journal to look through. I turned back around to find him completely absorbed. He left our meeting with two journals, and has since joined our student chapter of CMEA, as well as the national organization.

The expression “opening doors” is used frequently, as in actively making others aware of new opportunities and subsequently guiding them to take advantage of those opportunities. In the advising appointment above, however, I didn’t really need to open a door. I simply had to point out its presence.

Keep that in mind as we enter a new academic year. A significant and potentially career-long resource awaits our preservice music teachers. They might be only one experience, or one journal, away from adding it to the many other resources that they will need to succeed as music educators.

21

Greetings and Welcome to Another School Year in Jazz

by Mike Galisatus CMEA CAJ Representative

A

s we begin our new season, I would like to take a moment to welcome all of you who are embarking on your journey into music education. You are in for an incredible experience, as you will have the opportunity to make a real difference in the lives of many bright and talented young minds that will become our future leaders and innovators. You will meet some incredible individuals along the way that have blazed new paths through music education and are eager and willing to share their secrets and experiences in order to advance our profession.

Professional organizations such as the California Music Educators Association (CMEA), California Band Directors Association (CBDA), California Orchestra Directors Association (CODA), the California Chapter of the American Choral Directors Association (ACDA) exist to offer a platform for music educators to interact and exchange ideas into successful teaching and performance. One such organization that focuses on jazz education is the California Alliance for Jazz (CAJ).

The California Alliance for Jazz was established in 2008 to promote and facilitate the growth of jazz through education and performance of jazz music.

The purpose of the organization is to advance jazz education by fostering

and promoting the appreciation of jazz, and to provide assistance and guidance to vocal and instrumental jazz educators in the areas of curriculum development and pedagogy.

The CAJ board is comprised of elementary, secondary and collegiate jazz educators who have had many decades of classroom teaching experience, and are proven leaders in the field of jazz education. Each and every member of the CAJ board is committed to the advancement of jazz education and all are eager to provide assistance to jazz educators throughout California.

The activities of the California Alliance for Jazz include the administration and organization of the All-State Junior High and High School Jazz Bands and the All-State High School Vocal Jazz Ensemble. CAJ also provides jazz workshops and clinics at the annual California All-State Music Education Conference (CASMEC), and sponsors the annual CAJ Jazz Championships each spring. In addition, CAJ honors the contributions of retired jazz educators who have made a difference in our profession at the annual CAJ Hall of Fame Induction Ceremony.

The CAJ Jazz Championships is a “virtual” festival where your groups have the opportunity to receive feedback from some of the top educators and performers in the field today. One advantage of this festival is that the ad-

A Tr Tradition T radition of radition

Musical M usical Ex Excellence

Within W ithin a R Reno enowned eno wned College of L Liber iberal iber al A Arts rts Music Scholarships awarded annually to majors and non-majors

judicator can more succinctly, and in more detail address the needs of your ensemble. In one such instance during this past festival, trumpet artist and adjudicator Wayne Bergeron was able to not only offer suggestions to a young trumpeter on correct usage of a plunger mute, but was able to pause the recording and demonstrate with his trumpet and plunger mute exactly what he was conveying to the student.

Speaking of the CAJ Jazz Championships, congratulations to the following groups for achieving first place honors for the Spring 2015 festival: Folsom High Jazz Choir and Jazz Band (Curtis Gaesser), Admiral Akers Middle School (Michael Porter), Hanford West High School ‘B’ (Lisa Butts), Irvine High School (Bob Avzaradal), Long Beach Poly High School Jazz Band and Combo (Chris Stevens), Walnut Creek Intermediate School (Rita Zigas-Brown), and the College of the Canyons (KC Manji).

For more information on how you can be best served, please visit the CAJ (cajazz.org) and CMEA websites: www.calmusiced.com Welcome back to another fantastic school year, and do not hesitate to seek advice and guidance from colleagues and our professional organizations to help navigate your voyage through music education.

Degree Programs

Audition Dates

BA in Music BM in Performance BM in Composition BM in Music Education BM in Contemporary Improvisation Minor in Music Minor in Arts, Technology Technology & Multimedia

Oct. 12, 2015* Nov. 9, 2015* Jan. 30, 2015 * Must audition on these dates for priority early action funding.

willamette.edu/go/musicauditions 22

CMEA Magazine

Teaching that Fosters Individuality and Creative Thinking

by Willow Manspeaker CMEA Central Coast Section President

“When music teachers speak about democracy and education, there is always a bit of fear present in the conversation.” - Randall Everett Allsup

D

emocratic engagement in the music classroom has been shown to have many benefits for both student and teacher. However, the paradigm for music education in the United States has remained largely undemocratic since its inception.

This is one of the great paradoxes of music education: while rationales and standards have evolved to encourage the inclusion of democratic methods of student-teacher reciprocation, the teaching practices often do not reflect this call. A primary strand of the new National Core Music Standards (National Association for Music Education, 2014) focuses on the teaching of creativity, presumably through democratic and informal methods. For many of us, this will require a shift in our thinking. In order to authentically address the idea of student creativity we will need to transition from our current teacher-centered model, to a more student-centered, democratic approach.

A democratic approach to education, one that fosters individuality and creative thinking, places emphasis on an environment in which the students are able to take a more active role in their learning experience. In such a space, students are given a structure within which to work, but allowed the freedom to explore their Fall Issue 2015

individual creativity – a hybridized space, of sorts. To cultivate such a space, music educators are encouraged to: (a) truly listen to and incorporate into the curriculum students’ interest and desires; (b) shift from the role of director to that of facilitator; and (c) place less emphasis on outcome-based learning activities, such as concerts and festivals.

The challenges, however, are great. As student assessment, teacher accountability, and performance-driven curriculum have become the focus of much educational rhetoric, teachers may be increasingly drawn away from democratic principals, and instead hold steadfast to the comfort of the formal, teacher-centered classroom paradigm with which they are most familiar. Additionally, music educators may be hesitant to incorporate student-centered and democratic ideals, such as creativity through improvisation or songwriting, into the classroom because these methods are most clearly transferred through informal means. We, as teachers are most at ease when presenting subject matter that lies closest to our own ideals and values about music education. Because many teachers’ educational ideals and values were shaped by their own formal training, they are likely to encounter struggle as they attempt to shift from a teacher-directed model to a democratic model that more appropriately facilitates authentic student creativity.

With this struggle in mind, researchers sug-

23

gest that, “formal/informal should not be regarded as a dichotomy, but rather as the two poles of a continuum; in most learning situations, both these aspects of learning are in various degrees present and interacting” (Folkestad, 2006, p. 136).

Teachers are encouraged to develop a flexible pedagogical curriculum that would allow for interactions between students and teachers to flow in a more responsive rather than directive manner. This allows the teacher to transition to the role of facilitator, providing students “freedom and direction while remaining compassionate and resourceful leaders” (Rodriguez, 2012, p.125). There are models, outside of the United States, employing such hybridized approaches (see Musical Futures UK, www.musicalfutures.org), yet our practices here at home, for many reasons, are slow to shift.

Unfortunately, I cannot offer a catch-all solution (yet…see below). I can however, encourage that we critically reflect upon our current practices and how they have come to be. Reflection is the first step towards transformation. If we take the time to assess the increasingly individualized musical needs of our students, and assess how these needs do or do not align with our teaching practices, perhaps this will

lead us towards a more democratic approach to music education that facilitates the student creativity addressed in the new national standards.

Note from the author: I am currently developing a study, as my doctoral research project, that addresses the notion of teacher transformation toward democratic practices.

If this article ignites an interest in you, inspires you towards a critical reflection of your beliefs and practices, please contact me. You may be able help facilitate change.

References

Folkestad, G. (2006). Formal and informal learning situations of practices vs formal and informal ways of learning.

British Journal of Music Education, 23(2), 135–145. doi: 10.1017/S0265051706006887 National Association for Music Education (NAf ME). (2014). National core music education standards, www.nafme.org/my-classroom/standards/ (accessed June 30, 2015) Rodriguez, C. (2012). Informal learning in music: Emerging roles of teachers and students. In S. Karlsen, & L. Vakeva

(Eds.), Future Prospects for Music Education: Corroborating Informal Learning Pedagogy (pp. 117–127). Newcastle upon Tyne: Cambridge Scholars Publishing.

• Willow Manspeaker is the director of music at the Stevenson School in Pebble Beach. She directs three choirs, and teaches AP music theory, songwriting/music production, and group guitar. She also manages a large-scale private lessons program at Stevenson, and is the vocal director for the annual musical production. Willow holds bachelor of music and master of arts in music degrees from UC Santa Cruz, and is currently a doctoral student at Boston University where she is studying music education, and researching informal learning practices for her dissertation. She has been a member of the CMEA Central Coast Section Board of Directors for sixteen years, and has served as the CCS president as well as CMEA secretary. Willow also maintains a private vocal studio, and often acts as musical director for productions in the local community. She lives on the Stevenson campus with her daughter, Wyatt, and husband, Jon, who is also an educator.

Senate Bill 725 Becomes Urgency Bill to Solve CAHSEE Crisis

by Michael D. Stone CMEA President

enate Bill 725 (Hancock) was amended in August 2015 to deal with an urgent crisis regarding the California High School Exit Exam (CAHSEE). This decision was made by the legislative leadership and is something that regularly occurs during the last weeks of a legislative session.

Although the amendments to SB 725 mean that the bill no longer deals with Visual and Performing Arts (VAPA) Standards, the issue of Content Standards remains alive in the legislature and CMEA and the original bill’s author, Senator Loni Hancock, are committed to continuing the battle to update VAPA standards.

We know our standards are outdated and that our students deserve better. We will continue our efforts in the legislature to ensure new VAPA standards are passed as soon as possible.

The leadership of CMEA wishes to thank the membership and our coalition partners for all of your work on SB 725.

CMEA and the Stand Up 4 Music Coalition have taken positions on several bills for 2015 (see below). CMEA and the Coalition are also monitoring several items that may affect music education in California. Here’s a brief synopsis of some of CMEA’s work since the area of Advocacy since January.

S

2015 SU4M Legislative Priorities

Support AB 55, Nazarian – Arts Council Funding. Continuous Appropriation Equal to Revenue Generated by PolancoBates License Plates for the Arts and Private Donations. Full bill as of May 7, 2015: http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml? bill_id=201520160AB55.

Watch AB 189, Bloom – Arts Council: Cultural Arts Districts. Full bill as of May 7, 2015: http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill _id=201520160AB189.

Watch AB 740, Weber – Academic Content Standards: Schedule for Update of Adopted Standards. Full bill as of May 7, 2015: http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201520160AB740.

Watch SB 320, Lara – Pupil Fees: Complaint of Noncompliance: Regulations. Full bill as of May 7, 2015: http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill _id=201520160SB320.

2015 SU4M Policy Priorities

• Priority 1: Advocating for State adoption of the new arts standards, informed by the National Core Arts Standards for music, is the top priority for the Coalition in 2015. CMEA and the SU4M Coalition are working to introduce a bill that will require the State Board of Education to direct State Superintendent Tom Torlakson to have the California Department of Education enact new Visual and Performing Arts Fall Issue 2015

Standard by 2017. California’s current standards were adopted in 2001, fourteen years ago. California must lead in arts education, and new standards will provide better-alignment with teacher training at universities and colleges, and new curriculum development, thus positively impacting teaching and learning.

• Priority 2: Ensuring access to music education for all California students through compliance with the Education Code is the Coalition’s second priority in 2015. Each local governing board is responsible for compliancy with the Education Code that addresses arts education (i.e., Section 51210, music and the arts instruction is mandatory in Grades K–6; Section 51220, music and arts courses must be offered in Grades 7–12). CMEA and SU4M will look at launching a campaign to educate the public about the fact that music education is required in California’s public schools.

• Priority 3: Working to address the effects of AB 1575 is the third priority of the Coalition in 2015. Governor Brown signed a bill in 2012 that strictly regulates the collection of student fees in the public schools. While the bill ensures a “free and appropriate education” for all California students in accordance with California’s Constitution, many music programs have experienced difficulty in finding ways to fully fund music education activities and objectives as a result. CMEA and SU4M will work to support music educators with the implementation of AB 1575.

• Priority 4: Working to include music education in the new Academic Performance Index (API) is the fourth priority of CMEA and the SU4M Coalition in 2015. SB 1458, passed into law in 2012, requires that 40 percent of a high school’s API will need to consist of items outside of standardized testing by 2016. CMEA and SU4M will continue to advocate for including whether or not a school has a music education program as part of the new formula so as to hold schools accountable with Education Code compliance.

In addition to these policy priorities, the SU4M Coalition will monitor the following items: • Monitor: Local Control Funding Formula Implementation Local Control Funding Formula (LCFF) provides new state funding to school districts in alignment of eight state priorities. There is potential for K–12 students to benefit from these funds by increasing music education in schools. CMEA and SU4M will monitor the effects of the LCFF through anecdotal review of Local Control Accountability Plans (LCAP’s).

CMEA, in collaboration with other professional arts organizations, will contribute to the creation of an LCAP Template for credentialed arts educators in 2015.

• Monitor: Impending Music Teacher Shortage - CMEA and SU4M will work with the California Department of Educa25

tion and other members of the Education Coalition to address the teacher shortage in California Public Schools. The California Teachers Association projects the need for 100,000 new teachers in California over the next five years. California will need to recruit out-of-state teachers in the field of music education, as well as provide clear, concise information necessary to facilitate ease of access to the requirements necessary for completing the Single Subject Credential in Music.

• Monitor: Keep the Eight Priorities for the LCAP - The eight state priorities of the Local Control Funding Formula, or LCFF, give focus to specific ways in which arts education may be funded.

These are: student achievement, other student outcomes, course access, common core state standards, core services, student engagement, parent involvement, and school climate. There is a move to eliminate these priority areas, and such a decision would potentially narrow the focus of the LCFF, making it more difficult for music education to be funded via the eight state priorities. CMEA and SU4M will advocate for keeping the current structure in place for the LCAP.

• Monitor: Oppose a Teaching Artist Certification - The recommendation to create a Teaching Artist Certification is included in the recently-released CREATE Blueprint (http://createca.net/?page_id=15).

CMEA and Stand Up 4 Music oppose an alternative certification program for noncredentialed artists. The Single Subject Teaching Credential in Music ensures that California students receive quality music instruction from a highly skilled music educator. In order to retain a quality level of instruction without creating redundancy by developing a new credential, CMEA and SU4M believe that all who pursue a career in music education must attain a Single Subject Teaching Credential in Music.

• Monitor: Oppose a VAPA Umbrella Credential - CMEA and SU4M will continue to work to ensure that the CA Single Subject Credential in Music remains intact and the idea of a “VAPA” umbrella credential does not get implemented. In 2014, CMEA and SU4M put to rest the idea of a VAPA Credential when it opposed the idea with staff from the California Department of Education and the California Commission on Teacher Credentialing.

• Monitor: Support use of Title I funds for Music Education - Under current Federal Guidelines, Title I monies may be used to fund supplemental music and arts instruction supporting Elementary and Secondary Education Act, or ESEA, goals.

CMEA and SU4M will continue to support all school stakeholders, including students, music teachers, administrators, and parents, with gaining access to federal funds for music education to achieve their school’s Single Plan for Student Achievement (SPSA) goals.

• Monitor: Advocate for adequate funding for California Community Colleges Funding for music education at the California Community Colleges is limited.

New requirements make it difficult for students to access music education classes due to course repeatability issues and ramifications of the Associate Degree for Transfer, or ADT. CMEA and SU4M will work with the Music Association of the California Community Colleges to advocate for more funding for music programs at this level, improving the issues with course access being experienced by students.

CMEA’s Membership Campaign

by Regina Pryor CMEA Membership Chairperson

I

hope everyone has had a smooth beginning to their year. It’s that time to start thinking about recruiting some new members to CMEA. I am so proud of everyone who helped increase our membership by ten percent in the last two years. Now it’s time to really get serious and increase it this year by another ten percent. If you are reading this article, then I already know you are currently a member of CMEA. Keep up the good work.

Now I have a job for all of you members – go out and find that colleague that is not a member and encourage them to become one.

They will ask you the tough question – Why? Well, here are some of my favorite reasons: • • • • • •

By joining CMEA you get memberships in three organizations: CMEA section, CMEA state and NAf ME. CMEA works to ensure that all California students have equal access to a first-class education in music.

Get music advocacy resources from CMEA, Stand Up 4 Music, and NAf ME. Attend California’s collaborative state conference for all music educators: CASMEC 2016.

CMEA has a music education lobbyist in Sacramento that represents all levels of music.

As professional music educators, it is our responsibility to support CMEA. Our 2015 membership campaign began in August. Each section’s membership chair has identified every music teacher at every school in California. The next step is to contact every music teacher who is not a member of CMEA. This will take many volunteers to help out. If you would like to be a part of this exciting campaign, please e-mail me at reginapryor78@gmail.com and I will send your name and e-mail address to your section membership chair.

Together we can continue our upward swing and make CMEA the largest organization in NAf ME. There is power in numbers and I know if we all work together we can make it happen.

See you on the membership campaign trail.

Fundraise with Videos While fundraising may may be necessary to ensure there are enough uniforms and instruments, it isn’t always fun for anyone. This year ear,, try a fundraiser that gives parents memories, not candy bars. Upload a video of your marching band’s latest performance to FundT undTube ube, share with the kids’ parents and watch the donations come in.

Watch W atch the donations come in!

Fall Issue 2015

Visit us at www.FundTube.com to learn more or start your fundraiser toda oday! y!

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Tri-M 2015–2016 Academic Calendar Start your Chapter: August–September 2015 Select Student Officers: September 2015 *Optional Tri-M Inductions: September–October 2015 Create a Tri-M Chapter Website: September–October 2015 Giving Tuesday: Tuesday, December 1, 2015 National Tri-M Service Day: Monday, January 18, 2016 Music In Our Schools Month Service Project: March 1–31, 2016 Order Tri-M Graduation Regalia: April 2016 Recognition of Excellence: Friday, April 15, 2016 *Optional Tri-M Inductions: May 2015 Chapter of the Year: Deadline Friday, May 6th, 2016

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CMEA Magazine

Local Control Accountability Plan and Music Education

by Steve Venz CMEA Advocacy Representative

P

ublic education in California has gone through major changes within the past year, especially with the significant increase in state funding compared to the previous years. We went through a substantial budget crisis with many school boards making cuts so deep, every school, classroom, student and teacher was touched. And having weathered the storm, we are currently digging ourselves out of this disarray, which includes rebuilding music programs in school districts across the state.

With the Local Control Funding Formula (LCFF), many school districts are seeing monies flow from the state to help fund local educational priorities, particularly addressing the needs of those students who face challenges due to low socio-economic status, English learner status, foster care, etc. This is the most significant shift in funding for California schools in forty years.

And with this shift, school districts are to arrange meetings with the various participants in the school district (parents, teachers, administrators, and the latest addition this year, students) in order to develop or update their plan targeting those key areas designated by the state. Each district’s school board approved this plan, the Local Control Accountability Plan (LCAP), by the end of June 2014 and 2015. The 2015–16 LCAP for your school district is either an updated plan for the first LCAP (2014–15) or a completely new LCAP. In November 2014, CMEA President Michael D. Stone sent an e-mail to the CMEA member-

Fall Issue 2015

ship inquiring about possible increase in funding at schools for music education across the state due to the new Local Control Funding Formula.

Mike requested that all e-mails be sent to me, the CMEA advocacy representative, to organize the information and then report about these findings.

Within four weeks, I’d received many e-mails from colleagues and reviewed LCAP information from almost fifty school districts. As e-mails arrived, I downloaded and analyzed each district’s LCAP for evidence of an increase in music education with examples of a school district funding new elementary music teacher positions or schools receiving more funds to purchase instruments, sheet music or other items to support instruction. Many teachers who contacted me were also involved with the development of their district’s LCAP. Survey Findings from 2014–15 School District LCAPs

A total of forty-nine school districts across the entire state of California were analyzed based upon the responses from CMEA members. Of forty-nine California school districts as demonstrated by the graph: • Nine (18percent) school districts documented an increase of music and arts education in their 2014–15 LCAP and designated a specific dollar amount towards this effort.

• Twenty-five (51percent) school districts documented an increase of music and arts education in their 2014–15 LCAP but did not designate an amount of funding.

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• Fifteen (31percent) school districts did not address music and arts education in their 2014–15 LCAP. Ultimately, a total of thirty-four school districts (69percent) proposed to increase music and arts education in their 2014–15 Local Control Accountability Plans.

Those districts spending their 2014–15 funds to increase music education for their

(Remember, there hasn’t been a major educational funding change like this in California for 40 to 50 years, so this new LCAP process will continue to be finetuned in order to bring everyone up to the same standard. This has occurred during these past several months as school districts went through the process of updating their 2015–16 LCAP.) Next Steps

Total of 49 School Districts in Survey

So what does this all mean?

If you haven’t downloaded and Music/Arts in District LCAP reviewed your district’s current No Music/Arts & Designated in District LCAP 2015–16 LCAP, then do so by Funding 31% typing the name of your school 18% district along with “LCAP” in a web search engine such as Chrome, Firefox, etc. Your disMusic/Arts in trict’s LCAP should come up District LCAP with No in the results. Typically, the Designated LCAP is located on your Funding 51% school district’s website. Also make sure that it’s the current 2015–2016 LCAP, now that we are in the students spent this past year’s monies on second year of this process. increasing the number of music teachers, Here are additional recommendations purchasing new instruments, supplies, and regarding your school district’s current bussing transportation. For example, Twin LCAP status: River USD in Sacramento, Pajaro USD in 1. If your district has increased fundWatsonville, and Poway USD in San ing for music education, communicate to Diego used this past year’s funding to inyour parents, administrators, school board crease the number of music teachers members, and superintendent about the within their districts, and San Luis positive impact this increase in funding is Coastal USD along with a few other dismaking on your music students, and the tricts used the funding for transportation, positive impact the music program is new instruments and other supplies to making on the entire school community. support their music programs.

The more specific you can be with your Other school districts that did identify explanation, the more your audience will music and arts in their LCAP designated appreciate this information. a direct funding increase during the next two school years (2015–16 and 2016–17).

2. If your district has included music Regarding this point, there are two factors and arts into the LCAP but not the desigto consider: nated funding amounts, you may consider meeting with school district leaders, in1. The LCAP is a three-year plan, and cluding board members, who are responsisome districts analyzed the current status ble for implementing your district’s of their music and arts programs in the LCAP. Inquire about the funding status of district and developed a “district strategic LCAP goals and the current status of your arts education plan” to effectively align district’s strategic arts education plan. If new funding to have the most impact on your district does not have an arts plan, student access to learning. encourage your district leaders to develop 2. Because the LCFF/LCAP budgetone. Ultimately, the district LCAP is a ing process is new, many school districts guide that designates objectives and fundhad a challenging time developing and ing amounts to increase arts education but submitting their LCAP by June 2014. does not provide the specifics about doing So, when comparing LCAP’s, there are this work. A school district’s strategic arts extreme variations and inconsistencies education plan provides those thoughtful from one plan to the next, demonstrating details that guide the increase of arts eduthe challenges schools districts faced durcation. This will ensure the district’s ining that first year of developing a LCAP. vestment will guarantee that schools 30

increase access to sequential, standardsbased music education throughout your district. Also, participate with any LCAP stakeholder meetings that may occur during the fall or winter in order to update the 2016–17 LCAP.

3. If your district did not include any music and arts in their LCAP, meet with many stakeholders to build a coalition among those parents, teachers, administrators, and board members who are passionate about music education. If you’re teaching high school, you may consider including members of your student leadership to participate, considering that district LCAP meetings require student input. The goal is to inform district leadership about the benefits of music education to students and how it helps the district to achieve LCAP objectives. This will develop the will to include music education into your district’s LCAP update for 2016–17. Those music educators who have done this work and had success with their district started this process early, because it takes time.

It’s important to start this effort now, so that the music and arts coalition will be able to plan to attend this year’s district LCAP meetings and have time to develop recommendations to be provided at the meetings. When trying to develop solutions download other school district LCAP’s, particularly those districts previously mentioned in this article, and incorporate some of the language into your recommendations. As they say, there’s no need to recreate the wheel. Again it’s important to remember, that providing solutions to problems and concerns within the schools of your district will help district leaders make decisions about the budget to best support the needs of your students and to always provide those solutions in a positive manner.

Now that there is more funding going towards education, it’s important to ensure students in California have access to a quality, well-rounded education that will prepare them for college and career. Music and arts education uniquely develop a student’s ability to think critically and creatively while collaborating with fellow students, and every student in California should have access to this. If education is a 21st century civil rights issue, access to music and arts education is a school district’s litmus test.

CMEA Magazine

Higher Education Happenings A Sampling of the Many Music Education Activities Taking Place on our State’s College and University Campuses

by Dr. Lawrence F. Stoffel CMEA Higher Education Representative

California Polytechnic State University, San Luis Obispo The Cal Poly San Luis Obispo Performing Arts Center was awarded the top spot for Most Amazing Campus Arts Centers by College Degree Search (CDS), a website designed to assist potential and current college students. The PAC was recognized for its “breathtaking Sidney Harman Hall” and the Forbes Pipe Organ. The music department has presented many concerts in the PAC since it opened its doors in 1996. It’s also home to many community groups. Last year, the PAC hosted more than 170 public performances, attended by more than 87,000 patrons. www.calpoly.edu/~mu/newsletter/ California State Polytechnic University, Pomona In April 2015, Cal Poly Pomona became an All-Steinway School, by acquiring 29 new Steinway pianos. Steinway & Sons is dedicated to the ideal of making the finest pianos in the world, pianos with such superior sound and responsive touch that they enchant the most demanding pianists. Cal Poly Pomona is renowned for its tradition of excellence in hands-on education. Music is a vital part of our curriculum for students wanting to pursue careers in the arts and the music industry as well as those majoring in other disciplines, such as science, engineering, and business.

By being an All-Steinway School, Cal Poly Pomona takes its place in an elite category to which fewer than 170 conservatories, universities, and schools of music worldwide belong. Being an All-Steinway School means that students are taught exclusively on Steinways, the gold standard for pianos. As an All-Steinway School having 29 Steinway pianos, Cal Poly Pomona enhances its ability to: foster talent, build a legacy of excellence, attract elite musicians and educators, inspire future generations, and enrich the cultural environment of our region.

CSU Northridge Four CSUN music faculty are musicians in the Hollywood studio orchestra recording the soundtrack to Star Wars VII: The Force Awakens. They are Heather Clark, principal flute; Jon Lewis, principal trumpet; Phil Keene, trombone; and Allison Allport, harp.

After six previous film soundtracks being recorded in the UK with the London Symphony Orchestra, The Force Awakens marks the first Star Wars soundtrack to be recorded on American shores utilizing musicians from AFM Local 47.

Composer John Williams says he feels very privileged to be working with the freelance orchestra in Los Angeles, an ensemble he knows well. “This group is made up of a pool of freelancers in Southern California. I’ve worked with them for decades now on a variety of films, and I am friends with most of them.”

Trumpet player (and CSUN faculty) Jon Lewis is a member of the freelance orchestra. “The first trailer was the first time any of this music was recorded in LA,” says Lewis. “We had the pleasure of running the original Star Wars main titles for a ‘warm-up,’ as John (Williams) called it. What a thrill that was, and it was such an amazing sound to hear coming out of the Sony scoring stage that day.”

For flutist Heather Clark (also a member of the CSUN music faculty) the experience of working with Williams has an added element of pressure. “The amazing flutist Louise DiTullio has played principal flute for John Williams the past 40 years, and it’s an honor and a great responsibility to fill such big shoes on a huge movie playing for a legendary composer who continues to raise the bar on film music. It will be the experience of a lifetime.” www.internationalmusician.org/john-williams/

www.cpp.edu/~class/giving/what-to-support/music/ Fall Issue 2015

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Cogswell Polytechnical College The “Ultimate Electronic Music Production” class is a combination of research, practical learning, and great fun.

“The main focus of the class is to teach the ideology and culture behind electronic music, and not focus on any particular style. I wanted to create an overview of compositional and musical sound design approaches and processes, go beyond just sharing tips and tricks, and let students develop their own, original methods that they can apply to any electronic music project. Another major consideration was to give students some experience with using the tools of a working electronic music studio via various hands-on assignments,” said Julius Dobos, distinguished lecturer at Cogswell.

The class did spend time listening to musique concrete works, Jarre and Kraftwerk albums, followed by one of their assignments where students had to create a Kraftwerk sound-alike piece — not recreate a particular song, but apply the unique style to a brand new composition.

Kraftwerk was a German quartet that laid the groundwork for most electronic- and synth-based artists that followed them in the 1970s and 1980s and even today. Students started with a blank canvas, designed their own sounds, and used them to compose the music as a group.

The primary takeaway Dobos hopes students receive from this course is “the discovery of an unexpected diversity in this segment of musical art which we call electronic music.

It’s not a style, but an ever-evolving combination of compositional, musical sound design, and intellectual elements.

Understanding and recreating the approaches from historic to modern, learning about the evolution of music technology, and the pioneers of electronic music, including those lesser known in the United States, would greatly expand the creative horizon of any composer — not to mention Cogswell’s talented students with a particular interest in electronic music.” www.cogswell.edu/news/news080613.php

San José State University San José State University’s School of Music and Dance served as one of two host sites for the 2015 World Association for Symphonic Bands and Ensembles Conference on July 12–18, a gathering of the international wind band community for a week-long celebration of music and education. The World Association for Symphonic Bands and Ensembles (WASBE) is the only international organization of wind band conductors, composers, performers, publishers, teachers, instrument makers, and friends of wind music. It is the only organization completely dedicated to enhancing the quality of the wind band throughout the world and exposing its members to new worlds of repertoire, musical culture, people, and places. WASBE is a non-profit international association open to all individuals, institutions, and industries interested in symphonic wind bands and wind ensembles as serious and distinctive mediums of musical expression and cultural heritage. WASBE has a membership of more than 1,000 individuals and organizations in more than 50 countries from throughout the world.

The WASBE Youth Wind Orchestra (WYWO) is an integral part of every WASBE Conference. The ensemble was comprised of some of the finest young musicians from all around the globe who came together in San José to rehearse for the week and close the conference with a performance at the beautiful California Theatre. Seven collegiate students from California participated in the WYWO. www.wasbe2015.com

College of Marin Music from Marin Summer Festival 2015 returned to the College of Marin Fine Arts Gallery on the Kentfield Campus ( June 20 –28) and four other venues throughout Marin County presenting world-class performances of rarely heard chamber music and chamber operas in two separate programs celebrating great music of Vienna, past and present.

Music from Marin Chamber Players – Paul Smith, piano, Andrei Gorchov, flute, Susannah Barley, violin, and Anne Lerner-Wright, violoncello – performed orchestral works in chamber arrangements by Mozart’s teacher and Beethoven’s friend, Johann Nepomuk Hummel. Contemporary Opera Marin continued the theme with English language stagings of little known works of Beethoven and Gruber. www.marin.edu/performingarts/music/

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If you have an item for a future “Higher Education Happenings” column, please e-mail your item (in 200 words or less) to Larry Stoffel at stoffel@csun.edu.

Submissions will be included on a firstcome/space-available basis.

This column contains items received by submission as well as from culling the Internet.

CMEA Magazine

Join NAfME to help you keep step FOR YEARS TO COME.

When you become a member of National Association for Music Education (NAfME), you’re joining the largest and most active group of music educators in the country – addressing all aspects of music education and supporting quality instruction from elementary to college levels. With us, you’ll have access to a wide variety of programs, discounts and services to help orchestrate success in the classroom, raise your professional standards, and advocate for keeping music education in our schools.

Join today, visit www.NAfME.org/join.

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