CMEA Magazine Fall 2016

CMEA Magazine The News Magazine of the California Music Educators Association F a l l 2 0 16 I s s u e • Vo l u m e 7 0 • N u m b e r 1

MEE ET BRIAN ROSSICK YOUR R EPN TRA AVEL VEL PROFESSIONAL PROFESS SIONAL “It gives me great pleasure to hear that a program is growing ing in large part due to the annual spring trips that have become so popular.” opular.”

SSICK N RO A I R B i list pecia Tour S

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PERFORMANCE TOURS CUSTOM CLINICS

Brian has been a tour coordinator with EPN Traavel Services since 2003, and has been working with student groups for many any years. Brian spent the early years ЫТ his career as a tour director for school groups visiting the Orlando area. νХЯ past experiences gave him a ЧССЪ perspective on what it takes to plan a truly successful trip from start tart to finish. Brian’s

hobbies include coaching his son Robbie’s footbaall team, camping and helping neighbors in his community.

PARADES BOWL GAMES FESTIV VALS DISNEY PERFORMING ARTS

WHA AT DO YOU LIKE BEST ABOUT BOUT BEING A TOUR PLANNER? I always look ffoorward to the ffoollow up calls with m myy teachers and group leaders after their trip. We work very closely together throughout the year to be certain every aspect of their trip is simple and worry fr free.

Hearing that I helped create a memorable experience e fo for their students is the most rewarding part of being a tour plannerr.

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

T he N ew s Ma gaz ine o f the C alifo rn ia Mu sic Edu cato rs Asso ciatio n FAL L IS SU E 2 016 • IN SI DE TH IS I S SUE

CONTENTS • President’s Message: The IDEA Concept

by CMEA President Scott Hedgecock • CMEA Stand Up 4 Music 2017Advocacy Day and Application for Performance

by Phil Vallejo, CMEA Advocacy Day Performance Coordinator

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• Repetition: The Most Powerful Tool in Your Treasure Trove of Teaching Tactics

by Dr. Thomas Tatton • Each One Reach One: A Simple and Meaningful Challenge

by Ryan Clippinger, CMEA Membership Chairperson • CMEA Representation for Music Teachers in Urban and Rural School Districts

by Dr. Lawrence F. Stoffel, Special Representative to the CMEA President • CMEA Member Wins Emmy Award for Music Documentary Music Matters: L.A. Kids and their Music by Larry Newman • Choral Leadership Academy 2017

by Willow Manspeaker, CMEA CA ACDA Representative

13 15 17 21 22

• CMEA Southwestern Section Sets Goals

by Dr. Alexander Koops, CMEA Southwestern Section President

23

• Higher Education Happenings

by Dr. Lawrence F. Stoffel

27

• All-State Honor Orchestras at CASMEC 2017

by Donna Harrison, CMEA CODA Representative

29

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

32

On the cover: Surrounding this little bird of rhythm is the theme of the bird from Peter and the Wolf, Op. 67 by Sergei Prokofiev. This famous bird of music, Peter’s friend and sidekick, helps Peter capture the wolf and save the duck. Prokofiev wrote the story and the music for this musical tale, which also serves as an introduction to the instruments of the orchestra.

Photo by Allen Petrinka

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CMEA is a federated state association of the National Association for Music Education.

Fall Issue 2016

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President’s Message

The IDEA Concept

by Scott Hedgecock CMEA President

W

e all have ideas on a consistent basis. As music educators we are firing ideas in our brains at a rapid pace. But if we slow this process down, and use the word and its meaning to help us to focus on the greater good, the big picture, our long game, we can truly accomplish some great things.

At the CMEA State Board of Directors meeting in early August we began our meeting with the IDEA concept, using it to focus on the following aspects of music education: Inclusion Diversity Equity Access Your state board first took each word and defined it as a stand alone entity. Then we put our thoughts and beliefs about what it means as music educators into the mix. This led to some very rich discussion, numerous decisions, and became a driving force for the remainder of our two-day board meeting.

idea

noun: 1. a thought, plan, or suggestion about what to do. 2. an opinion or belief.

3. something that you imagine or picture in your mind.

As you read these words I would like for you to follow a similar process. Consider the word and it’s meaning – then consider what it means to you as a music educator. I believe you will find the results to be interesting, challenging, and ultimately empowering.

•

Inclusion The board came up with the following statements for the word: Everybody Acceptance of all in spite of labels And as music educators the board listed the following statements: The other 80 percent Anyone that has the desire and needs help Y’all come!

All participate Socioeconomic strata (do membership fees and event fees hinder this?)

We must be passionate about whatever students accomplish Making music education for students to be lifelong learners, consumers, and participants in and of the arts.

A welcoming environment

• • • •

Diversity The board came up with the following statements for the word: Variety and differences Difference is!

Culture and Background Spice of life!

• • • • • • • • •

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CMEA State Council CMEA EXECUTIVE BOARD CMEA President Scott Hedgecock shedgecock@calmusiced.com 714 626-3984

CMEA Northern Section President Michael Phenicie phenicie@frontiernet.net 530 458-21561

CMEA Advocacy Day Performance Coordinator Phil Vallejo philvallejo@gmail.com 559) 250-1412

CMEA President-Elect John Burn jburn@calmusiced.com 408 522-2541

CMEA Southeastern Section President Armalyn De La O adelao@csusb.edu 909 838-3716

CMEA Advocacy Day Public Relations Coordinator Mario Sebastian msebasti@egusd.net

CMEA Vice President Diana Hollinger dhollinger@calmusiced.com 408 924-4631 CMEA Secretary Sandra Lewis slewis@calmusiced.com 408 806-5550 CMEA Immediate Past President Michael D. Stone meuph@att.net 661 631-4810 CMEA OFFICE E-mail: cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632 CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002 CMEA Legislative Advocate Lynne Faulks consultLF@gmail.com SECTION PRESIDENTS CMEA Bay Section President Rita Zigas-Brown rzigas.brown@gmail.com 925 944-6840 x8622 CMEA Capitol Section President Santiago Sabado ssabado@eduhsd.net 530 350-6289 CMEA Central Section President Kirk Clague clague_cmeacentral@icloud.com 559 592-2127 x391 CMEA Central Coast Section President Christy Latham clatham@sccs.net CMEA North Coast Section President Dan Sedgwick dsedgwick@delnorte.k12.ca.us 707 4645-0274

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CMEA Southern Border Section President Marc Dwyer mdwyer@sandi.net 619 222-0476 CMEA Southwestern Section President Dr. Alexander Koops akoops@apu.edu 626 815-6000 x3583 NAfME OFFICERS NAfME President Denese Odegaard 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768 NAfME Western Division President Russ Sperling rsperli@cox.net COUNCIL OF REPRESENTATIVES CMEA CA ACDA Representative Willow Manspeaker wmanspeaker@stevensonschool.org 831 625-8339 CMEA CAJ Representative Barbara Shinaver barbshinaver@gmail.com 559 451-4320 CMEA CASMEC Coordinator/ CMEA Representative on the CBDA Board Bill Wilkinson bwilkinsoncmea@gmail.com 559 585-3881 CMEA CBDA Representative Adam Wilke awilke75@sbcglobal.net 510 471-2510 x60216 CMEA CODA Representative Donna Harrison harrison.donna3@gmail.com 209 613-8273

CMEA Advocacy Representative Steve Venz stevenvenz@yahoo.com 714 966-4000 CMEA Collegiate Representative Dr. Dennis Siebenaler dsiebenaler@fullerton.edu 657 278-3510 CMEA Creating and Composition Representative Dr. Lisa A.Crawford lisacrawfordmusic@gmail.com 310 863-6422 CMEA CTA Liaison Nora Allstedt nallstedt@gmail.com 559 592-9421 CMEA Elementary Representative Coralie Prince coralie.prince@gmail.com CMEA General Music Representative Richard Lawton richard@richardlawtonmusic.com 323 654-4401 CMEA Higher Education Representative Dr. Emily Moss Emily.Moss2@calstatela.edu 323 343-4086 CMEA IN-ovations Representative Anne Fennell annefennell@mac.com 760 310-2392

CMEA Music Supervisors Representative Phil Mortensen pmortensen@pylusd.org 714 986-7024 CMEA Music Technology Representative Tamara T. Thies, Ph.D. tamara.thies@csulb.edu CMEA Research Representative Dr. Ruth Brittin rbrittin@pacific.edu 209 946-2408 CMEA Retired Members Representative Position open as of June 9, 2016.

CMEA Special Learners Angela Holmes Holmesangie@yahoo.com CMEA Special Projects Representative Russ Sperling rsperli@cox.net CMEA State Band and Orchestra Festival Coordinator Keith Johnson keith@echsbands.com 510 231-1437 x26418 CMEA State Choral Festival Coordinator Nancy Ludwig nancyludwig6@gmail.com 626 443-6181 x5895 CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org 925 552-3044 CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com 714 626-3975

CMEA Membership Chairperson Ryan Clippinger Ryan_Clippinger@kernhigh.org 661 854-5561 x70701

CMEA Urban/Rural Schools Representative Dr. Lawerence F. Stoffel stoffel@csun.edu 818 677-3160

CMEA Mentorship Program Chairperson Mark Nicholson mnicholson@sandi.net 858 256-2702

CMEA World Music Representative Dr. Lily Chen-Hafteck lhafteck@ucla.edu 310 825-4668

CMEA Magazine

The CMEA State Board of Directors at their August meeting in Orange County, California: First row: Nora Allstedt, Christy Latham, Rita Zigas-Brown, Sandra Lewis, Santiago Sabado, Marc Dwyer, and Armalyn de la O. Second row: Scott Hedgecock, Kirk Clague, John Burn, Dan Sedgwick, Alexander Koops, Michael D. Stone, and Trish Adams.

• • • • • • • •

And as music educators the board listed the following statements: Our classes need to be safe places Culture and personal practices welcomed and embraced Not just race or ethnicity Race and ethnicity are easily recognized in diversity issues Respectful space Broad curriculum Challenges posed by IEP and 504 accommodations No judgement, just music Equity

• • •

The board came up with the following statements for the word: Equity ≠ equal Support for all to have the same opportunity Equal/Fairness/Balanced

• •

And as music educators the board listed the following statements: Supporting and promoting music education for all Students (and parents) from low socio-economic strata feel a lack of equity when it comes to music education Promoting and “pumping up” a music program so that all feel safe to try Encouraging diverse students to excel in school music and to pursue music in college Funding issues/equipment issues Master scheduling and counseling staff

• • • •

Access The board came up with the following statements for the word: Available to all “Get in (the door)” Every opportunity is available to me Everyone/impartial/open

• • • •

• • • • • • • •

And as Music Educators the board listed the following statements: All arts for all students every year All VAPA courses for ELL’s (English Language Learners) SpEd (Special Education) Reaching out with different curriculum Different types of music classes offered at all grade levels.

Make sure ensemble courses are accessible by all Cuts to budgets impede access Education “fads” hinder access Costs can hinder some students/families

Illustration: Connecticut Fair Housing Center Fall Issue 2016

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While the definitions and related issues to music education can continue to be discussed, and should be at all levels, there were some trends that came out of the work done by the state board. Further discussions produced the following: •

We must work harder to bring people of color and other diverse aspects into the forefront as music educators so that children can see themselves in those roles as they grow up.

•

We must find ways to get all children into our music classes.

•

We must expand our offerings to also include more non-traditional courses and ensembles in addition to the traditional band, orchestra, and choir models.

As we continued through our meeting, the task of revisiting and revising our CMEA Strategic Plan was undertaken.

This plan, written in 2012 and designed to lead us from 2013 through 2017, has been the driving force in the renaissance of CMEA in recent years.

As the board worked through the CMEA Strategic Plan document, they quickly realized that the IDEA concept 6

was found within the intent and subtext that already existed. To their credit, the board elected to make the IDEA concept more clearly visible within the document.

To finalize the revision of the CMEA Strategic Plan, the board is committed to working together over the next few months on the finite definitions of our mission statement goals of leadership, advocacy, membership services, and communication.

The revised CMEA Strategic Plan for 2017-2021 will be unveiled at CASMEC 2017 during the CMEA General Session.

Providing the groundwork for CMEA to have financial stability is also part of the work of the SBOD. They embraced their leadership roles and created a 2016–2017 budget that is one of the largest and healthiest of CMEA budgets in many years. We are a far cry from just six years ago when we were being bailed out by NAf ME (and without that support you would not be reading this right now).

The 2016–2017 budget is robust, visionary, and challenging, and is the right thing for us to be doing at this time. In addition, the CMEA reserves will be doubled in just one year.

Please review the CMEA Council of Representatives as found in the state council masthead of this and every issue of the CMEA Magazine. The Council of Representatives is your source to the specific areas of music education focus as listed by their titles. Please do not hesitate to reach out to them as a resource.

Our new membership campaign, “Each One Reach One,” is in full swing. Please watch for messages of encouragement from Ryan Clippinger, your CMEA Membership Representative. The direct person-to-person approach is the best way to promote and grow our CMEA membership with all of its benefits.

CASMEC 2017, once again in San José, will be bigger and better than ever.

More conference space, more hotel rooms and hotel choices, plus much more. Book your professional development now with your district and register for CASMEC 2017.

I wish everyone a great school year, and look forward to the times we will see each other during the year.

CMEA Magazine

CMEA Past Presidents 1947–1949

1972–1974

1994–1996

Clarence Heagy

Louis Nash

Don Doyle

Fresno

La Crescenta

Pasadena

1949–1951

1974–1976

1996–1998

Marlow Earle

Jay D. Zorn

Lakewood

La Crescenta

Elwyn Schwartz 1951–1953

George F. Barr 1953–1955

1998–2000

Dennis L. Johnson

Elk Grove

Salinas

Long Beach

1978–1980

2000–2002

Henry Avila

George DeGraffenreid

Harold Youngberg

Monterey

Oakland

1980–1982

1957–1960

Charles L. Freebern

Joseph W. Landon

San Diego

Fullerton

1982–1984

1960–1962

Douglas Kidd 1962–1964

Gibson Walters San José 1964–1966

Keith D. Snyder Davis 1966–1968

Kenneth D. Owens 1968–1970

Judd Chew Sacramento 1970–1972

Anthony L. Campagna Foster City

Dr. Robert Halseth, 2016; Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015;

1976–1978

Mary C. Reed

Fred Ohlendorf 1955–1957

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

Stockton

Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009;

2002–2004

Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007;

Sam Gronseth 2004–2006

Rob Klevan Pacific Grove

1984–1986

Vivian M. Hofstetter Bakersfield

2006–2008

Cheryl Yee Glass Danville

Portola

Chula Vista Walnut Creek

Benedict, 2005; L. Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003;

2008–2010

Jeff Jenkins

1988–1990

L. Leroy Roach

Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances

Larry Johnson, 2002; Mary Louise Reilly, 2002; William Hill, 2001;

1986–1988

John L. Larrieu

Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012; Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W.

Fresno

Paradise

David S. Goedecke

Dr. Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013;

2010–2012

Norman Dea Walnut Creek

1990–1992

Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F. John Pylman, 2000;Lawrence Sutherland, 1999;Chuck Schroeder, 1998; Dean Semple, 1997;Burl Walter Jr., 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991;

Carolynn A. Lindeman

Russ Sperling

Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983;

Greenbrae

San Diego

Aubrey Penman, 1981; Steve Connolly, 1979;Howard Swan, 1977;

1992–1994

2014–2016

Bill Adam

Michael D. Stone

Russell Howland, 1975.

Roseville

Bakersfield

2012–2014

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CMEA Magazine

A Call for Applications:

Performance Opportunities at CMEA’s Stand Up 4 Music Advocacy Day 2017

by Phil Vallejo CMEA Advocacy Day Performance Coordinator

CMEA is excited to announce that it will be holding its sixth annual CMEA SU4M (Stand Up for Music) Advocacy Day, on May 18, 2017, at the California State Capitol in Sacramento, California.

Part of our SU4M Advocacy Day includes a unique performance opportunity. We will be selecting ensembles, who will be given the opportunity to perform on the west steps of our State Capitol building and in the Capitol rotunda. As a music educator, I look forward to featuring my students in performances that will create memories to last a lifetime. This event is sure to leave a lasting memory in the minds of our student musicians.

CMEA is looking to feature a variety of ensembles that will represent the diversity of our California’s school music programs.

If you have an orchestra, a vocal ensemble, steel pan bands, wind ensembles, guitar ensembles, mariachi bands, jazz bands or choirs, percussion ensembles or any other unique ensembles, we would love to consider featuring them at SU4M Advocacy Day. On May 19, 2016, 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 from the surrounding areas who where interested in the beautiful sounds and excited by the event. A special thank you to Nicholas Cooper for his successful organization of the performing ensembles and sincere congratulations to all those who performed If you are interested in applying for this unique performance opportunity, applications can be found on the CMEA website under the state festivals page and on the following page. 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 me at philvallejo@gmail.com. For more information on California music education advocacy visit www.standup4music.org.

El Camino High School Pep Band, with Kevin Glaser, director; the Lakeside Steel Drums, with Jonathan Barr, director; and the Southwest High School Chamber Orchestra, with Dr. Matthew Busse, director, were among the groups that performed at Stand Up 4 Music Advocacy Day this year.

Fall Issue 2016

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CMEA Magazine

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Fall Issue 2016

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attention teachers, mentors and students: join us for the

Yehudi Menuhin Chamber Music Seminar february 2–5, 2017 Featuring masterclasses, concerts and a competition for cash prizes and scholarships, the Menuhin Seminar at San Francisco State University offers an incredible and exciting opportunity for young musicians. how to apply (groups must open an application before january 1, 2017) Ensembles should have an average age of no more than 18, with no single member more than 20 years of age, as of January 1, 2017. Ensembles must have a sponsor, which can be a school music program, youth orchestra, private music studio, or chamber music training program. All members of eligible ensembles must be available for the awarding of the Galante Prize and Prizewinner’s performance on Sunday, February 5, 2017.

Teachers and mentors may nominate outstanding young musicians. Groups may also self-nominate. Participating groups are eligible for stipends to cover up to the full cost of travel, food and lodging during the festival. Though all students are encouraged to apply, priority will be given to high school groups from California. To apply, groups should send names, instruments, performing experience, repertoire and, ideally, an audio or video of performance to Cyrus Ginwala at cginwala@sfsu.edu.

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Beginning String Class:

Repetition The Most Powerful Tool in Your Treasure Trove of Teaching Tactics

by Dr. Thomas Tatton

epetition is the foundation of all learning. This, of course, includes our comparatively small world of teaching music performance skills. Music students learn and hone their motor skills, critical listening, creative impulses and, intellectual understanding through the grand scheme of repetition.

Caution: Not all repetition is positive. In our own practice, how many of us have repeatedly practiced a note, a rhythmic figure or accidental incorrectly? What was the result? We learned that note, rhythmic figure or accidental really well. Every time a student plays a note or rhythm wrong or uses poor posture that error gets lodged into their memory bank. So, be careful with repetition and be ever picky with your teaching. Additionally, for the students in front of us, repetition can be boring, monotonous and tedious. Under those circumstances many of our students will “tune out.”

That wastes time, energy and even trust.

For repetition to be a powerful teaching tool it should be creative, inventive, varied and purposeful. One should not say: “Let’s do it again,” without explanation or reason. There should be purpose for every repetition even in the circumstances where the teacher does not wish to provide that explanation. In addition, accurate, timely, and selective feedback is of critical importance. Specific feedback to a singular challenge given immediately after the repetition is optimal to the learning process. So too is selective feedback: to comment on pitch, rhythm, ensemble, tone and dynamics all at once on the same repetition is in effect, no comment at all, or worse.

R

Try these repetition strategies for your beginning string program: 1. Simple model/call and response: Present a posture or a note or two and have the class copy.

Offer quick feedback and repeat. Small tasks, e.g., holding the bow, positioning the violin, plucking or bowing an open string or short phrase can be quickly done repeatedly with feedback in a short amount of time.

2. Additive teaching: Superior beginning method books present a limited number of new concepts per page, e.g., a new posture, note, bowing, “idea” or rhythm. Try taking one piece, e.g., Hot Cross Buns and teach it in small, repeatable segments over two to four class periods using a circular technique (continuous quick reviews):

Fall Issue 2016

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Hot Cross Buns

• Class sings Hot Cross Buns.

• Teacher plays Hot Cross Buns pizzicato, demonstrating fingerings.

• Teach by rote, pizzicato.

• Have students write in the notes on their music.

• Have students write in the fingerings on their music.

• Count the notes (seven D’s, seven E’s and three F-sharps).

• Class sings using letter names.

• Class claps the rhythm.

• Count the eighth notes, quarter notes, and half notes.

• Class sings using the rhythms.

• Students play the rhythm pizzicato on an open D. • Students play the rhythm with the bow on an open D. • Have the class play the piece with the bow.

• Have the class play Hot Cross Buns starting on the G string, then • Memorize the piece, if it isn’t already.

the A string. Learn those notes(a bonus).

3. Opposites: Play Hot Cross Buns loud/soft, fast/slow, sad (F natural)/happy, best orchestra/worst orchestra.1 Play Hot Cross Buns and do a rhythm or note wrong. Ask your youthful students: “What’s wrong?”

4. Positional repetitions: When playing Hot Cross Buns stand instead of sit, face east instead of west, stand in a circle or divide the group in half: one half on one side of the room and the other half on the other side.

5. Change style: Can they play Hot Cross Buns like a march, a dance, red/blue or yellow? You may be very surprised how your young, creative musicians try to play Hot Cross Buns red or blue.

Change it up, be creative, have fun. Your youthful students will learn using the most powerful tool in your treasure trove – repetition – and, they will enjoy the process.2 So will you!

• 1. If you do play this game (best orchestra/worst orchestra) see what happens when, just before a concert, you ask your youthful students to be the “best orchestra.” Amazing how they remember!

2. Kirt Saville, “Strategies for Using Repetition as a Powerful Teaching Tool,” Music Educators Journal, September 2011, Vol. 98, No. l, Pp. 69–75.

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CMEA Magazine

Each One Reach One:

A Simple and Meaningful Challenge

by Ryan Clippinger CMEA Membership Chairperson

A

s teachers, we know the value of our music programs to each of our schools, to our communities, and most importantly, to our students. We also realize that for our students, our music programs do more than simply making them better players, than increasing their vocal abilities, and allowing them to build their literacy. Our music programs allow our students to become the best selves they can be.

As an eager music education major at California State University, Fullerton, I realized this very early in my undergraduate career, and knew that I wanted to become the teacher that, through the music learning process, inspires students to become driven, goal-oriented citizens. After all, that is what music has done for me, so why not facilitate its ability to do the same for others? We all have similar stories as to how music has bettered us in this way, and how we wanted to give back to others as a result.

Throughout my collegiate experience, I grasped any opportunity and challenge necessary to prepare myself to be that teacher, including taking on various leadership positions and even extending my undergraduate career by one year to add a minor in child and adolescent development. After receiving both my degree and my teaching credential, I landed my first and current teaching position at Arvin High School, where I have the opportunity, through choral music, to better the lives of students in a low-income farming community.

It was through that journey that I discovered the California Music Educators Association. What stood out to me most about CMEA was the organization’s collaborative nature, particularly how it brings together educators and future educators from all music disciplines and all grade levels. This was confirmed through my first experience at CASMEC, after which I felt I was a part of a larger whole: A coalition of educators all working together to promote access to a comprehensive music education for all pre–K through grade-12 students. A group of educators that, together through music, ultimately allows our state’s students the opportunity to become better people. These are noble causes that I am excited to promote as your new CMEA Membership Chairperson.

Fall Issue 2016

However, this cannot happen without the efforts of our current membership. As President Scott Hedgecock mentioned in CMEA Magazine’s summer 2016 issue, active and total membership has grown to historically high levels thanks to the admirable efforts of our previous CMEA Membership Chairperson, Regina Pryor, who worked with the membership chairs of each CMEA section to reach new members.

Thanks to Regina and each of the section chairs, we now have the foundation necessary to implement our next phase of membership growth: Each One Reach One! The Next Phase

As educators, we realize that the best recruiters for our music programs are our students, whose experiences serve as testimonies to its many benefits. With this next approach to CMEA membership, you, the current members of CMEA, are challenged to reach out to one educator in your school district or in your community and encourage them to join.

Perhaps that person is a first year teacher seeking resources and mentorship, or an administrator looking for ways to understand and further support your efforts in the classroom.

Perhaps it is a college-level music student who yearns to become an inspiring educator that is also a lifelong learner.

Whomever that may be for you, encourage that person to become a CMEA member by October 1, 2016. Give that person a copy of the CMEA Magazine or show that person the valuable resources available online. Most of all, communicate the benefits of joining by sharing your best experiences as a member: your personal CMEA story, if you will. Together, if we can individually get at least one new member to join by October 1st, 2016, we will be one step closer to having a larger alliance of educators that seek to positively influence the lives of our state’s music students.

Lastly, I would love to hear your success stories. E-mail me at Ryan_Clippinger@kernhigh.org, and write a few sentences telling me how you were able to get someone to join.

Who knows? Your success story could be featured in my next article.

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CMEA Magazine

Seeking CMEA Representation for Those Who Teach Music in Urban and Rural School Districts

by Dr. Lawrence F. Stoffel Special Representative to the CMEA President

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he California Music Educators Association is in the process of creating a new position for the CMEA Council of Representatives. This new position will give unique and particular representation for those music educators who teach in urban or rural schools. CMEA President Scott Hedgecock has deemed that the creation of the Urban and Rural Schools Representative is a major objective during his 2016–2018 term. As he has previously stated: “The goal is to identify schools that are outside of our traditional music program realm, who have schoolwide challenges that are uniquely different than most suburban schools. It is our goal to reach out to those music educators and let them know that CMEA and NAf ME are for them and their unique needs. Being included in our mission and vision statements, we will be living up to those statements as we work to provide greater access for all students to music education programs in California.” (For a summary and rationale for this new CMEA Council of Representatives position, please see the article, “A Call on Behalf of Music Educators Teaching in Urban and Rural School Districts,” found in the summer 2016 issue of the CMEA Magazine, page 16.)

What Is Happening Elsewhere?

The unique challenges facing music teachers in urban and rural schools are likely similar to those facing such music educators in other states. Therefore, the next step of the process to create a CMEA Urban and Rural Schools Representative position was to discover the status of urban and rural representation in other parts of the nation. In order to learn what work is being done in the arena of teaching music in urban schools elsewhere, we contacted the president, president-elect, and executive director for each of the 50 other NAf ME federated state associations. Using a simple

Fall Issue 2016

survey, they were asked, “Does your state music educators’ organization have an urban school representative, or perhaps a similar type of position? And if so, what are the responsibilities/duties of this position?” The results from the survey reveal that CMEA is on the forefront in our efforts to create a new urban and rural schools representative position:

• No other state reported having a specific urban school • A few states’ executives light-heartedly acknowledged representative.

no need for such a position given the generally sparse population and open geography of their state (these included Montana, Nebraska, Maine, and Wyoming).

• Two states previously had urban representation, but

their positions have since been vacated (Michigan and New Jersey).

• Two states have at least de facto urban representation.

Washington, D.C. is entirely urban, and New York City is its own region (“zone”) within the NYSSMA organization.

• Like California, two other states reported being in the initial stage of developing an urban position (Connecticut and Minnesota).

• A few states reported having existing board positions

that likely share some common concerns and issues pertinent to urban teaching. Such positions included titles such as “multicultural chair,” “music in a cultural context,” and “cultural diversity/social justice chair” (Florida, Missouri, Pennsylvania, and others).

• Two states reported doing research or providing pro-

fessional development to aid the urban teacher (Indiana and Tennessee).

• Some states’ in-service conferences this year will in-

clude a special focus on rural and/or urban populations (Ohio and Massachusetts).

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Recent NAfME Publications

The National Association for Music Education (NAf ME) has produced several print publications pertinent to our objective. These publications provide valuable anecdotal, scholarly, and practical information. Here is a selective bibliography of more recent works: Books

Frierson-Campbell, Carol (ed.). Teaching Music in the Urban Classroom (2 vols.).

Lanham, MD: MENC/Rowman and Littlefield Publishers, Inc., 2006.

MENC (The National Association for Music Education), Readings on Diversity, Inclusion, and Music for All. Reston, VA: MENC, 2003. [includes articles related to teaching in urban and rural schools] Articles

Bernard, Rhoda. “The Rewards of Teaching Music in Urban Settings,” Music Educators Journal 96:3 (Mar. 2010), pp. 53-57.

Bruenger, Susan Dill. “Why Select New Music Teachers Chose To, or Chose Not To, Apply to Teach in an Urban School District,” Journal of Music Teacher Education 19:2, pp. 25-40.

Dekaney, Elisa Macedo and Robinson, Nicole. “A Comparison of Urban High School Students’ Perception of Music, Culture, and Identity,” Journal of Music Teacher Education 24:1 (Oct. 2014), pp.89-102.

Hunt, Catherine. “Perspectives on Rural and Urban Music Teaching: Developing Contextual Awareness in Music Education,” Journal of Music Teacher Education 18:2 (Apr. 2009), pp.34-47.

Isbell, Daniel. “Music Education in Rural Areas: A Few Keys to Success,” Music Educators Journal 92:2 (Nov. 2005): pp. 3034.

Kindall-Smith, Marsha. “Teachers Teaching Teachers: Revitalization in an Urban Setting,” Music Educators Journal 91:2 (Nov. 2004), pp. 41-46.

Mixon, Kevin, “Building Your Instrumental Music Program in an Urban School,” Music Educators Journal 91:3 ( Jan. 2005), pp. 15-23.

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Renfro, Lisa. “Advocacy: The Urban Teacher Struggle,” Teaching Music 11:2 (Oct. 2003), pp. 36-40.

Soto, Amanda Christina, Chee-Hoo Lum, and Patricia Shehan Campbell. “A University-School Music Partnership for Music Education Majors in a Culturally Distinctive Community,” Journal of Research in Music Education 56:4 ( Jan. 2009): pp.

338-356.

Wilcox, Ella. “A Real-Life Look at Music Teaching: More than a Living – Teaching in an Urban School,” Teaching Music 11:4 (Feb. 2004), pp. 24–28.

These books and articles corroborate the fundamental concerns and challenges that have been expressed by CMEA members over the past three years at CASMEC sessions which have focused on teaching in urban schools. As previously reported in the CMEA Magazine (summer 2016), these primary issues are: (1) Students at urban schools are deserving of quality, sequential, curriculum-based music instruction, but in many such districts this is not being provided; (2) music educators teaching in urban school districts contend with additional and unique challenges; (3) many urban music educators have become disenfranchised; (4) many urban music educators believe that CMEA does not or cannot provide the professional services that urban music teachers and their students are needing; and (5) music teachers in rural districts experience many of the same sorts of challenges that are found in urban schools.

The Next Step: Defining the Role and the Objectives

Having identified the fundamental concerns and challenges of teaching music in urban and rural schools, the next step will be to identify the specific, particular issues.

What are the unique and particular objectives and goals that will define the function and purpose of a CMEA Urban and Rural Schools Representative?

This next step will require the input from music educators who teach in urban and rural schools – not just CMEA members who teach in such schools, but from all music educators who teach in urban and rural schools. Indeed, I would suggest that the input from urban/rural music teachers who are not CMEA members will be of considerable, invaluable importance. The creation of the CMEA Urban and Rural Schools Representative begs the input and

involvement from the music teacher who – without the professional benefit and support of CMEA membership – might be fending for himself while isolated in a remote mountain town, or from the music teacher – without the professional resources and materials that come with CMEA membership – fending for her students, alone in the dense population of East L.A. The success and effectiveness of a CMEA Urban and Rural Schools Representative will require the engagement of CMEA members and non-members alike.

Please continue to look for my communication to the CMEA membership later this fall. In the coming months I will continue to communicate through the CMEA Magazine along with e-mailings. NonCMEA members who are teaching in urban or rural schools will also be contacted through direct mailings.

The Final Step: CASMEC 2017

We will conclude this exploratory and investigative period with a formal, open meeting at the 2017 California All-State Music Education Conference (CASMEC) (February 16–19, San José) to allow everyone the opportunity to share ideas and thoughts about the needs of urban and rural teachers and how CMEA may assist in those efforts.

Ultimately, from these activities we should be able to identify: (1) the role and purpose of an urban and rural representative on the CMEA Council of Representative; (2) identify a CMEA member who would be the first urban and rural representative on the council; and (3) have that person begin serving in this newly created position immediately after CASMEC 2017.

The students of urban and rural schools are poised to be the beneficiaries of our efforts to create a CMEA Urban and Rural Schools Representative. Perhaps the best action that each of us can take at this time is to pass along this article to those urban and rural music teachers you may know who are not presently members of CMEA. Let them know that “CMEA and NAf ME are for them and their unique needs. Being included in our mission and vision statements, we will be living up to those statements as we work to provide greater access for all students to music education programs in California.”

CMEA Magazine

Sing with Purpose Choral Scholars and Concert Choir Directed by Dr. Emilie Amrein Generous scholarships for qualified students

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ELECT TRONIC

MU USIC COMPOSITION COMPETITION

The NAfME Electronic Music Composition Competition rec cognizes outstanding compositions BOE IJHIMJHIUT UIF FŢFDUJWFOFTT PG NVTJD UFDIOPMPHZ JO UIF TDIPPM DVSSJDVMVN &OUSJFT XJMM CF KVEHFE CBTFE PO UIFJS BFTUIFUJD RVBMJUZ VTF PG FMFDUSPOJD NFEJB BOE UIF QPXFS PG UIF DPNQPTJUJPO "TTPDJBUJPO NFNCFS BEKVEJDBUPST XJMM TFMFDU B XJOOFS JO FBDI PG UIF GPMMPXJOH DBUFHPSJFT 1. Grades K-8 2. Grades 9-12 3. Collegiate • •

&BDI FOUSBOU NVTU CF TQPOTPSFE CZ B /"G.& NFNCFS UFBDIFS PS CF B /"G.& $PMMFHJBUF NFNCFS JO HPPE TUBOEJOH $PNQPTJUJPOT TIPVME CF NJOVUFT PS MFTT BOE TIPVME FJUIFS CF DPNQPTFE FMFDUSPOJDBMMZ PS JODMVEF FMFDUSPOJD JOTUSVNFOUT WPDBM BOE PS BDPVTUJD JOTUSVNFOUT NBZ CF DPNCJOFE XJUI electronic instruments) Entries must be received by April 14, 2017 "MM "QQMJDBOUT XJMM CF OPUJţFE NJE +VOF bit.ly/NAfMECompetitions

2017

CMEA State Festivals Save the Dates and Watch for Further Information

March 31 CMEA State Choral Festival Cal State University, Fullerton Meng Concert Hall May 5-6 CMEA State Solo and Ensemble Festival (Northern) Sacramento State University May 12 CMEA State Band and Orchestra Festival UC Davis Mondavi Center May 13 CMEA State Solo and Ensemble Festival (Southern) Azusa Pacific University Thank you to our Premier Sponsor World Projects

Larry Newman with music teachers Desiree’ Deasy, Wendy Mazon, Margaret Kocher and Mandy Fey.

CMEA Member Wins Emmy Award for Music Documentary usic teacher and CMEA member Larry Newman recently received an Emmy Award at the 68th Annual Los Angeles Area Emmy Awards at the Television Academy’s state-of-the-art Saban Media Center in North Hollywood, California.

Newman produced, filmed and edited the documentary Music Matters: L.A. Kids and their Music. The broadcast received the Emmy for Outstanding Achievement in Children/Youth Programming. The Emmy was Newman’s fourth, with six nominations in the Children/Youth category.

The program features the students of the All Schools Elementary Honor Orchestra and their concert from UCLA’s Schoenberg Concert Hall. Newman is the orchestra’s conductor and music director. Newman is Founder and CEO of Children’s Music Workshop (www.childrensmusicworkshop.com), a music education company that coordinates music programs in more than two dozen Los Angeles area elementary schools as well as publishes more than one hundred different music books for the elementary music student (www.musicfunbooks.com).

To view the award-winning show, visit www.childrensmusicworkshop.com/emmy

M

John O’ Neill’s Music for String Orchestra Compositions and arrangements by a longtime string teacher at a price that won’t break your budget!

Treat your students to the classics for strings as they have never heard them before... no “dumbing down”!

View and listen to the entire score at:

jwpepper.com/myscore/JohnONeill

Fall Issue 2016

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California State University, Chico Department of Music and Theatre

Degrees in Music, Music Education, Recording Arts, Music Industry, Theatre, and Musical Theatre

Choral Leadership Academy 2017

by Willow Manspeaker CMEA CA ACDA Representative

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Your Life, Your Education, Chico State

he sixth annual Choral Leadership Academy (CLA), sponsored by CMEA in partnership with California ACDA and SCVA, will be held in San José on February 17–18, 2017, at the CASMEC Convention. The CLA is an intense, two-day workshop for high school, community college, and university students who are interested in pursuing a career in the choral profession. This outstanding event will impart musicianship skills, inspire confidence, and build camaraderie amongst musicians and educators of the next generation.

We are privileged to have an outstanding headliner, Dr. Jeffrey Benson of San José State University, who will bring expertise, humor, and insight to the CLA students’ experience. The CLA faculty will include Dr. Chris Peterson (CSU Fullerton), Dr. Angel Vazquez-Ramos (CSU Bakersfield), and Lori Mari Rios (College of the Canyons). In addition to the CLA workshops, participating students will receive free admittance to attend all sessions within the remaining two days of CASMEC – February 16 and 19 – a wonderful opportunity.

Due to the intimate nature of this event, we must limit our enrollment to 50 students. While acceptance to CLA is on a first come, first served basis, please be aware that we must have a balance of vocal parts, as well as a balance of high school and college students. Therefore, as registration proceeds, students may be placed on a waiting list until an appropriate balance can be achieved. Please encourage your students to apply for this exciting experience.

Application information and more details are available on the CMEA and California ADCA websites. Contact Willow Manspeaker with questions: wmanspeaker@stevensonschool.org.

400 West 1st Street Chico, CA 95929 530 898 5152 www.csuchico.edu/muta

Scholarships Available Apply today for Fall 2017

CMEA Magazine

Composition and Creativity

CMEA Southwestern Section Sets Goals

by Dr. Alexander Koops CMEA Southwestern Section President

T

he Southwestern Section of CMEA has been on an exciting journey over the last two years.

We have established a new annual conference as well as collaborating with the CMEA Southeastern Section to host a new state solo and ensemble festival. Our vision continues to develop but has emphasized building a community of music teachers through our section conference, website, and Facebook page. It also encourages creativity and diversity through conference sessions and local composition festivals and workshops.

As I begin my two-year term as president of the CMEA Southwestern Section representing Los Angeles up through Ventura and Santa Barbara Counties, I would like to acknowledge the great job immediate past president Dr. Lisa Crawford has done in beginning our section and completing the work of officially becoming a 501(c)(3). She has put in countless hours for this section and will continue to support the section in the areas of our board meetings, membership, districts, reps, and conferences. I am also thankful for all the work of Jessica Husselstein from the Santa Maria-Bonita School District (band, choir, general music) in Santa Barbara County.

Husselstein was our secretary the last two years and will continue in the next two years as the vice president and incoming president. Stephanie Douglass (also Santa Maria-Bonita School District) joins our board serving as secretary. Douglass teaches third grade general classroom music at four schools and elementary band at two schools. Samantha Theisen from the San Gabriel Unified School district also joins the board serving as treasurer.

She works as the music immersion experience coordinator for her district. The purpose of the program is to provide every student high quality music education every day, with the goal of developing skills for success in our young students. This is a very exciting program that I

Fall Issue 2016

would encourage our membership to learn more about. I am honored to be working alongside these board members and I am very excited about the future of the CMEA Southwestern Section.

One of the most stimulating things our CMEA Southwestern Section began last year was an annual fall conference held at Azusa Pacific University. Our 2015 theme was “Creativity as the FI(b)RE of Music Education: Teaching and Learning through Composition and Improvisation,” and we had inspiring opening remarks on this topic from Dr. Frank Heuser at UCLA, followed up by sessions related to this topic in band, jazz band, orchestra, choir, music technology, and general music. Our second annual conference (October 1, 2016, Azusa Pacific University) had the theme “21st Century Music for All: Infusing Music Education with Culture.” Our keynote speaker was Dr. Beatriz Ilari (assistant professor, USC, department of music teaching and learning) whose presentation title was “Music education in today’s world: Honoring musical childhoods.” We were also honored to have NAf ME Western Division President Russ Sperling speak at our conference. We are pleased to have added band and choral reading sessions and have Conn-Selmer, Nick Rail Music and J.W. Pepper as vendors. We hope to keep growing our conference to reach and support more and more of our members.

Another exciting area of development over the first two years of our new section is the establishment of a new state level solo and ensemble festival cohosted by the CMEA Southwestern and Southeastern Sections. I am grateful to Dr. Lisa Crawford and Dr. Armalyn De La O for their leadership in this new event and look forward to continuing to collaborate on this festival in the future. I hope many of you reading this will consider taking your students to solo and ensemble at the regional and state levels in spring 2017.

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Looking to the future, we will work to increase our section membership, our conference size and our conference offerings, while being supportive and collaborative with other music and arts organizations.

We have a unique situation here in our CMEA Southwestern Section because of the variety of musical organizations actively operating in the music teaching arena. There are many groups doing wonderful work including SCSBOA, SCVA, KASC, LA Orff, ETM LA, and HOLA, not to mention state and national organizations like CBDA, CODA, MTAC, CASTA, ACDA, CAJ, and NAMM and many more. I believe it is essential that the CMEA Southwestern Section works regularly with all our fellow music teaching organizations so that students and teachers can benefit from each organization’s work and strengths rather than get caught in any type of competition between organizations.

An area that the CMEA Southwestern Section board plans to support and continue to advance is the field of composing and improvising. We are committed to helping students and teachers engage in more creative music making at every level, and in multiple styles. Dr. Lisa Crawford is the state level creativity and composition representative for CMEA and she will be working with our section as well as other sections in the state to develop training, support, and programs that help music teachers include creativity and composition in their schools. To that end, I would like our membership to know that in addition to the sessions on teaching composition and creativity at our section conferences, there will also be sessions at CASMEC in San José, and at NAf ME’s national conference in Grapevine, Texas. I challenge all of you to attend at least one composition session and find some ways

to begin incorporating composition in each of your classes or expand what you have been doing with composition!

Do you have any developing young composers in your music classes? On our CMEA Southwestern Section website we promote local composition festivals and competitions for young composers, and resources for music teachers. For example, a young composer’s festival is being hosted at Azusa Pacific University on April 29, 2017 at 6:00 p.m. in Munson Recital Hall. Any K–12 music teacher may submit nominations of their top student composers to me (Alexander Koops), akoops@apu.edu by March 15, 2017 or sooner to be considered for inclusion in the festival. Participating composers are expected to perform their own compositions or arrange with their teachers to find performers for the compositions. Each participant receives feedback on their composition and a recording of the performance.

Some of you already include composing in your programs and may have been doing this for a long time. I would love to hear from you. Please send me an e-mail akoops@apu.edu. Others may question their ability to include composition or the worthiness of stressing composition when the important tasks of teaching basic skills seem barely attainable with the little time given for our music classes – I hope you will send me an e-mail as well. I firmly believe there are ways to include composing at every level without taking away from developing basic skills and performances. I challenge all of you to check out the new National Core Arts Standards and purposefully plan more lessons encouraging student creativity.

I am excited about the future of CMEA with our new section conference, the growth of the new state level solo and en-

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Music scholarships awarrded dded annually to majors and non-majors

semble event, and our collaboration with other arts organizations in events that support local teachers, making a direct impact on our students’ music education at the local level. I hope our conference will continue to grow in quality and size, and I believe the collaboration we have with other arts organizations is vital to our potential for creating a deeper impact on music education in California. I am working on new initiatives in supporting music teachers in composition as well as exploring other ways in which our section can support music education in Southern California. I wish all of you the best as you teach and make a difference in the lives of your students on a daily basis.

• Dr. Alexander Koops joined the music faculty at Azusa Pacific University in August 2001 and is currently director of undergraduate music education, and associate director of bands, He holds a D.M.A. in music education from the University of Southern California, with minors in theory, orchestral conducting, and horn performance. His dissertation materials on introducing composition in middle school and high school bands and orchestras have been used by multiple schools in southern California. He completed his B.A. degree in music education from Calvin College (Grand Rapids, Minnesota) and his M.M. degree in wind conducting from the University of Colorado, Boulder, where he studied with Allan McMurray. He is a published author and regular clinician at schools throughout Southern California. His writings focus on creativity and composing in instrumental music and include a chapter in Composing our Future, (Oxford University Press, 2012), as well as editorial contributions in Musicianship: Composing in Band and Orchestra, pub-

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willamette.edu/go/musicauditions Fall Issue 2016

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2017 Stu udent Composers Competition C n

NAfME E is seeking original music m written by stude ent composers for fea atured performance in the Young Composers C Concert at the 2017 NAfME Na ational In-Serv vice Conference in Gra apevine, TX. Teache ers and students are in nvited to submit origina al compositions by stu udents for posssible inclusion in the concert. c Students in ele ementary school, secondar ondary schooll, college, and graduate e school are eligible to o submit compositions..

Up to ten t winning composerrs will receive cash awa ards thanks to the gener ards, nerous support of the European Ame erican Musical Alliance e (Dr. Philip Lasser, pressident) and the Double R Foundatio on. All entrants will rec ceive written evaluatio ons of their compositions.

Enttry deadline: March 10, 2017 bit.ly/NAfMECompetition ns

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

California Polytechnic State University, San Luis Obispo The Cal Poly SLO University Jazz Band played in London three times during its performance tour June 13–19. The audiences were great, the band outdid themselves at the gigs and everyone discovered that London is one of the great cities of the world. The first performance was at the Vortex, second only to Ronnie Scott’s among London jazz clubs. The band performed a sampling of contemporary big band compositions, as well as a few by Count Basie and by Tower of Power. The club’s owner praised the band highly for its performance. He also said that, while the volume level of the band was perfectly fine for his venue, he did allow with typical British understatement that British big bands were, perhaps, more “delicate.”

The next night the band played at Spice of Life, a club in the Soho district, a center for entertainment and night clubs in London. Notable at this venue was the necessity, given the physical layout of the stage, that the rhythm section set up on the opposite side of the horn section rather than the standard throughout the jazz world. Apparently, just as the English drive on the other side of the street, the rhythm section at this club swings on the other side of the band. The band’s last performance was outdoors at a famous bandstand in Regent’s Park. This concert attracted a good-sized and appreciative crowd despite the weather threatening rain. http://music.calpoly.edu/news/

Fall Issue 2016

University of the Pacific University of the Pacific’s Conservatory of Music, the first in the Western United States (founded 1878), places 100 percent of its music education grads in jobs or graduate programs within a month of Commencement. That’s not a typo – 100-percent – within a month of graduating. And that’s the way it has been for years. That success is due to the dedicated faculty, hard-working students, and the well-designed, hands-on program where students spend time in the classroom teaching music. With ESSA, Every Student Succeeds Act, replacing No Child Left Behind, we’re turning the corner when it comes to funding music and arts education in schools.

Submitted by Keith Michaud go.pacific.edu/conservatory

California State University, Stanislaus The Stanislaus State School of the Arts and Department of Music presents the Twentieth Annual Sylvia M. Ghiglieri Piano Competition for pianists ages 18 and under. The Sylvia M. Ghiglieri Piano Competition intends to recognize and promote the musical achievements and development of promising young pianists. Winners will be chosen based on performances held at California State University, Stanislaus, in Turlock, on Saturday, February 18, 2017. The events of the competition will take place in the music building, located on the west side of the university campus. Awards include consideration for a college scholarship of up to $2,500 (renewable annually over four years of collegiate study for a potential total of $10,000) to the first-prize winner of the senior division, along with nearly $1,000 total scholarship awards for competition winners to attend the Stanislaus State Summer Music Camp. The Summer Music Camp features distinct artistic instruction in solo piano and chamber music performance for pre-college pianists who will be taught by faculty and associates of the Stanislaus State Department of Music. The Summer Music Camp also offers instruction in choir, band, orchestra, and a variety of elective music classes. https://www.csustan.edu/music/music-festivals

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University of California, Irvine For the past four years, Santa Ana High School students have been learning alongside musicians from UC Irvine in a series of master classes and coaching sessions that lead to year-end concerts in which the high school and college students play side by side. Along with helping the high school students become better musicians, this collaboration also aims to show them the benefits of pursuing a college education. As a result, the music program at Santa Ana High has seen an increase in students applying to college, and for the first time, the school has a student, Daniel Lopez, who has been accepted into the Claire Trevor School of the Arts at UCI as a music major. He also plans to major in math or engineering.

“This collaboration has never been about developing musicians,” said Stephen Tucker, maestro for the UCI Symphony Orchestra.

“It has always been about developing young people who have been valued and encouraged in a way that they can now see themselves going to college, continuing their education and taking advantage of opportunities. Music is how we are connecting with them, but this is bigger than music.” http://www.ocregister.com/articles/music-715696-school-high.html

University of California, San Diego University of California, San Diego Jazz Camp at University of California San Diego ( June 19–25) was a five-day summer program designed for intermediate to advanced level jazz musicians, ages 14 –adult. Enrollment was limited to a maximum of 60 students, who worked directly with our faculty of internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. Students received one-on-one and small group instruction, earning three units of University of California continuing education credit. Most courses were offered in two different levels, intermediate and advanced, to fit each participant’s level of experience.

The faculty of the UC San Diego Jazz Camp is comprised of more than a dozen nationally- and internationally-known musicians and jazz educators. Many are considered among the living masters on their instruments and in a wide variety of styles of jazz. The camp faculty includes Guggenheim and NEA Fellowship awardees, DownBeat and JazzTimes poll-winners, veteran performers and rising stars. The UC San Diego Jazz Camp’s unique curriculum gives students direct access to some of the world’s leading jazz artists, encouraging them to explore a full spectrum of approaches to jazz improvisation. http://jazzcamp.ucsd.edu

California State University, Long Beach The Bob Cole Conservatory Chamber Choir, under the direction of Dr. Jonathan Talberg, has won the 2016 Choir of the World and Pavarotti Trophy at the 70th Llangollen International Musical Eisteddfod in Wales. The six-day event drew entries from as far away as Trinidad and Tobago, Kyrgyzstan, Zimbabwe, and the Philippines. The first International Musical Eisteddfod was held in Llangollen in 1947. It began as a way of healing worldwide wounds following the end of the Second World War. Each year about 4,000 performers and as many as 50,000 visitors converge on this beautiful small Welsh town and its International Pavilion; to sing and dance in a unique combination of competition, performance, and international peace and friendship. Its competitions climax with the prestigious “Choir of the World,” which determines the best overall choir of the event. In 2005, Luciano Pavarotti added his name to the competition in recognition of his appreciation of the festival and its influence on his career. http://web.csulb.edu/depts/music/areas/choral-vocal-opera/ chamber-choir-wales-2016.php

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 first-come/space-available basis. This column contains items received by submission as well as from culling the Internet.

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CMEA Magazine

All-State Honor Orchestras at CASMEC 2017

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

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lan now to attend the 2017 California All-State Music Education Conference February 16-19 in San José. The California Orchestra Directors Association will provide eleven outstanding orchestra sessions in addition to the CODA general session. The next issue of CMEA Magazine will give a preview of these sessions. While these sessions will be valuable to you, an often overlooked experience that is just as important to orchestra and band directors is observing all-state honor orchestra rehearsals. The rehearsal schedules will be on the CODA website (www.codaorchestras.org) and listed in the CASMEC program book. All of these rehearsals are open for your observation and scores will be available.

Observing these outstanding master teachers in action, taking our talented students from good to great, is truly inspirational. Watching how the ensemble is dissected and listening to the words used to explain and motivate can provide great learning tools for you to use with your own ensembles.

Two hundred and seventy-five students in grades seven through twelve will have the opportunity to participate in one of three orchestras lead by these outstanding conductors: Kevin Noe from Michigan State University directing the All-State High School Symphony Orchestra, Kirsten Marshall from Ithaca Talent Education in New York directing the All-State High School String Orchestra, and Pamela Tellejohn Hayes from Columbia College in South Carolina directing the All-State Junior High School String Orchestra. I have asked each of these fine conductors some questions that may be of interest to you.

What criteria do you use when programming for a concert?

Pamela Tellejohn Hayes: The first criterion is to determine the technical level of literature the group can perform. I want to challenge the students, but I also want to be able to “polish” the music. There is a fine line between these two. Thus the level of difficulty is extremely important. Some music might be more challenging technically, other selections might be more challenging musically. Then I look for music in a variety of tempos and keys that also has interesting parts for everyone. I try my best to select music that I think students will enjoy playing and that I will enjoy conducting.

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Kevin Noe: Many things. Certainly for an all-state of this caliber, a real chance to grow musically. Something that encourages these fine musicians to go beyond just playing together and in tune, but something that calls for a range of sound colors, approaches, moods, and fine adjustments, detailed listening, and a diversity of styles.

Kirsten Marshall: I believe that great music is the best motivation for students.

When selecting music, I choose pieces that are varied in both musical and technical challenges, addressing the core areas of tone, rhythmic drive and tempo. Of course, any piece has opportunities to develop those skills, but some are more appealing to students and listeners in general. Using those three categories as a framework, it is still important to consider the age and level of the students, tonality and accidentals, timeline from first rehearsal to concert, and the crucial question, “would I enjoy playing that part?” To select music appropriate for the level, I have discovered that a piece’s rhythmic

complexity, how many independent voices there are, is pivotal to a successful performance. Even if the notes are easy, I am careful of requiring too much independence from younger players.

How do you motivate students and keep rehearsals energetic and interesting?

Pamela Tellejohn Hayes: I think students are motivated when the conductor is motivated. It is my responsibility to keep the rehearsals paced so that we can “woodshed” parts, but then move on to something different. This is always a challenge because as a teacher I want to get every note perfect before I proceed, but in reality I know that only so much can be absorbed at a time. I must keep myself motivated and on task during every rehearsal so that students will remain focused. It is my job to help students make progress with the music. When they do, they become inspired and work harder.

Most students at the all-state level are already ambitious or they wouldn’t be there.

When they realize that all the players around them are serious about their play-

ing, they become even more motivated to do well. I never hesitate to share with the students some of my personal experiences.

I want them to know me as a person, not just a conductor. In that way we become a team and we are all motivated to work for a common goal.

Kevin Noe: Great score study is the one non-negotiable for everything conductors do. If I’ve studied well, I can be relaxed. If I can be relaxed, I can really listen. If I can really listen, I can be efficient. If I can be efficient, the music gets better much quicker, and soon, the composer is teaching – not me. Once Copland is in charge, and people are working towards a higher goal of energy and expression – the energy generally flows. Of course, the musicians have to want to work, they have to believe that working on this is worth it – and that at this time, in this moment, they wouldn’t rather be anywhere else. If they feel that way – the audience feels that way – and it becomes an incredible reciprocal loop.

Kirsten Marshall: Every musician rel-

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CMEA Magazine

ishes the unique sound of their instrument. When working with a string orchestra, I actively include something that reveals the bel canto possibilities of the string family. Working on tone in an orchestral setting can inspire students to reach new colors and dynamics that they might be shy about attempting alone. A bit of friendly rivalry among the sections can expand the listening skills of everyone. Violas vie to outplay the violins’ staccato. Cellos and basses play a softer pianissimo than the rest of them together.

Everyone understands the challenges their friends in the other sections face and learn how the pieces are put together. Great orchestral players not only play their own parts well, but they also understand how to help their friends sound better when it is their turn to have the melody. Rhythm is the vital energy that brings music to life. Slow or fast, each piece has a sense of motion. Our role as musicians is to reveal the “story” given to us by the composer in such a way to engage and convince us, performers and audience alike, that the next notes are inevitable. What is techni-

cally appropriate in the rhythmic sense needs to match the musical needs of the age. Younger groups will benefit from playing pieces that have a strong sense of motion. Exploring slower tempi can come with age and experience. To capture the students’ attention, we have to understand that these young musicians are drawn to music the same as we are. Music says something to each of us, both incredibly personal and universal. The opportunity to create great music together at the California all-state festival will be something they will treasure. I look forward to working with your students. Thank you.

Do you have a particular teacher or conductor who had a special influence on you?

Pamela Tellejohn Hayes: Yes, my life was greatly influenced by a lady named Jacque Dillon. She started a string program in the small Kansas town where I lived. I already played the violin as I had moved in from another city where I had started with private lessons. She came into my sixth grade class and introduced herself. She said she was starting a “string

program.” I had no clue what that meant at the time. The next year she started the program and she involved me from the beginning. I went recruiting with her, she took me to concerts, I played with the new students that were in the younger grades and participated in countless ways I can’t even remember. As I progressed through junior high and high school she continued to nourish me with a love of string music. I would go to watch rehearsals of her playing in the Wichita Symphony, she encouraged me to participate in youth orchestras, and I even got to attend string quartet parties at her house.

I was hooked and I’ll always be grateful to her for showing me the joy that music can bring into your life.

Kevin Noe: Many. Larry Rachleff was my teacher and will always be my direct mentor. I should say though that I also take incredible inspiration from a variety of musicians and artists who are not conductors at all. Puppeteer Ronnie Burkett is one of the great artists of our time.

Composers Andy Akiho and percussionist

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#MusicEdMatters Fall Issue 2016

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Ian Rosenbaum. Playwright and thinker David Mamet. Singer and bassist Esperanza Spalding. Filmmaker Benh Zeitlin, The great jazz pianist Reggie Thomas.

Ella Fitzgerald. Meryl Streep. The list goes on and on… I truly believe that the intersection of the arts – the way one expression informs another – is a larger gold mine of information than conductors, well… spending a lot of time talking to other conductors :) Kirsten Marshall: One of my mentors for working with youth orchestras was David Einfeldt from the Hartt School of Music. He showed me that passion and excellence is possible for every level of orchestra, reaching outstanding performances. With twinkling eyes and laughter, his good humor and high standards imbued every rehearsal. David taught me the concept of picking a piece for tempo. This is a piece that will sound fine at a relatively slow tempo, yet has the potential to really “get cooking” if the group is wellprepared.

What advice would you give to young musicians who aspire to a career in music?

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Pamela Tellejohn Hayes: Make sure you match your dreams to reality. It is a wonderful profession and I strongly encourage students to consider a career in music. However, you have to know what you want to do with that career and what it actually means. If you want to play in a professional orchestra you must be realistic about the competition. Although a student might be outstanding in his/her own orchestra, there are thousands of others that are strong and he/she will be competing with them. A job in a professional orchestra is at a premium and many of them do not pay much compared to the investment you must make. If you want to go into teaching make sure you have a true love of working with children. It is such a wonderful and rewarding profession, but only if you enjoy working with a variety of students. If college teaching is what you are looking for, then realize that you must get advanced degrees to even be considered for a job. There are many other areas of specialization, so my advice is to have a clear picture of what it is you want to do and match that up with what it takes to get there. Dreams are great, but they re-

quire a lot of work to make them come true. There are many mentors in our profession, so take advantage of learning from those that have already made that journey.

Kevin Noe: Think about the audience.

Never forget about the audience. Are you doing this because you truly have something to say… to them? Can a life onstage for you be, at least in part, an act of service and love for them? If so, your definition of success winds up being defined not by things like Carnegie Hall or, playing a concerto with an orchestra, but instead, by the number of people truly, humbly, deeply, and honestly moved by what you do. A life onstage has many rewards, but none is greater, for me, than actually reaching an audience – and that takes vulnerability, authenticity, and love.

• I can’t wait to see these amazing teachers in action and to hear the final product from these talented students! I hope to see you at CASMEC 2017.

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.

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