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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
• CMEA
• Repetition: The
• Each One Reach One: A Simple and Meaningful Challenge by Ryan Clippinger, CMEA
• CMEA Representation for Music Teachers in Urban and Rural School Districts by
Photo by Allen Petrinka
WThe IDEA Concept
by Scott Hedgecock CMEA President
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 tr uly accomplish some great things
At the CMEA S tate Board of Directors meeting in ear ly August we began our meeting with the IDEA concept, using it to focus on the following aspects of music education:
Inc lusion
Diversit y Equit y Access
Your state board first took each word and defined it as a stand alone entit y Then we put our thoughts and beliefs about what it means as music educators into the mix This led to some ver y rich discussion, numerous decisions, and became a driving force for the remainder of our two-day board meeting.
ideanoun: 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.
Inc lusion
• Acceptance of all in spite of labels
The board came up with the following statements for the word: Ever ybody
• 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 par ticipate
• S ocioeconomic 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 par ticipants in
• and of the ar ts
• Diversit y
A welcoming environment
• Difference is!
The board came up with the following statements for the word: Variet y and differences
• Culture and Background
• President’s Message
• S pice of life!
CMEA EXECUTIVE B OARD
CMEA President Scott Hedgecock shedgecock@calmusiced com 714 626-3984
CMEA President-Elect
John Burn jburn@calmusiced com 408 522-2541
CMEA Vice President
Diana Hollinger dhollinger@calmusiced com 408 924-4631
CM EA Secret ary
Sandra Lewis slewis@calmusiced com 408 806-5550
CM EA 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
CM EA Legislative Advoc ate Lynne Faulks consultLF@gmail com
SECTION PRESIDENTS
CM EA Bay Section President
Rita Zigas-Brown rzigas brown@gmail com 925 944-6840 x8622
CM EA Capitol Section President Santiago Sabado ssabado@eduhsd.net 530 350-6289
CM EA Central Section President
Kirk Clague clague cmeacentral@icloud.com 559 592-2127 x 391
CM EA Central Coast Section President
Christy Latham clatham@sccs net
CM EA North Coast Section President Dan Sedgwick dsedgwick@delnorte.k12.ca.us 707 4645-0274
CM EA Northern Section President Michael Phenicie phenicie@frontiernet net 530 458-21561
CM EA Southeastern Section President Armalyn De La O adelao@csusb.edu 909 838-3716
CM EA Southern Border Section President
Marc Dwyer mdwyer@sandi net 619 222-0476
CM EA Southwestern Section President Dr. Alexander Koops akoops@apu edu 626 815-6000 x3583
NAf ME OFFICERS
NAf M E President
Denese Odegaard 18 0 6 Robert Fulton Drive, Reston, VA 220 91 8 00 33 6-376 8
NAf M E Western Division President Russ Sperling rsperli@cox net
COUNCIL OF REPRESENTATIVES
CM EA CA ACDA Represent ative Willow Manspeaker wmanspeaker@stevensonschool org 831 625-833 9
CM EA CAJ Represent ative B arbara Shinaver barbshinaver@gmail.com 55 9 451-4320
CM EA CAS M EC Coordinator/ CM EA Represent ative on the CB DA Board Bill Wilkinson bwilkinsoncmea@gmail com 55 9 5 85-3 8 81
CM EA CB DA Represent ative Adam Wilke awilke75@sbcglobal net 510 471-2510 x6 0216
CM EA C ODA Represent ative Donna Harrison harrison donna3@gmail com 20 9 613-8273
CM EA Advoc acy Day Performance Coordinator Phil Vallejo philvallejo@gmail com 55 9) 25 0-1412
CM EA Advoc acy Day Public Relations Coordinator Mario Sebastian msebasti@egusd net
CM EA Advoc acy Represent ative Steve Venz stevenvenz@yahoo com 714 9 6 6-4 000
CM EA Collegiate Represent ative Dr Dennis Siebenaler dsiebenaler@fullerton edu 657 278-3510
CM EA Creating and Composition Represent ative Dr Lis a A Crawford lis acrawfordmusic@gmail com 310 8 63-6 422
CM EA CTA Liaison Nora Allstedt nallstedt@gmail com 55 9 5 92-9 421
CM EA Element ary Represent ative Coralie Prince coralie.prince@gmail.com
CM EA General Music Represent ative Richard Lawton richard@richardlawtonmusic com 323 65 4-4 4 01
CM EA Higher Educ ation Represent ative Dr Emily Moss Emily Moss2@calst atela edu 323 3 43-4 0 8 6
CM EA I N-ovations Represent ative Anne Fennell annefennell@mac.com 76 0 310-23 92
CM EA Membership Chairperson Ryan Clippinger Ryan Clippinger@kernhigh org 6 61 85 4-55 61 x70701
CM EA Mentorship Program Chairperson Mark Nicholson mnicholson@s andi net 85 8 25 6-2702
CM EA Music Supervisors Represent ative Phil Mortensen pmortensen@pylusd org 714 9 8 6-7024
CM EA Music Technology Represent ative Tamara T Thies, Ph D t amara thies@csulb edu
CM EA Research Represent ative Dr Ruth Brittin rbrittin@pacific edu 20 9 9 4 6-24 0 8
CM EA Retired Members Represent ative Position open as of June 9, 2 01 6.
CM EA Special Learners Angela Holmes Holmes angie@yahoo com
CM EA Special Projects Represent ative Russ Sperling rsperli@cox net
CM EA St ate Band and Orchestra Festival Coordinator Keith Johnson keith@echsbands com 510 231-1437 x26 418
CM EA St ate Choral Festival Coordinator Nancy Ludwig nancyludwig6@gmail com 626 4 43-6181 x5 8 95
CM EA St ate Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs org 925 552-3 0 4 4
CM EA Tri-M Represent ative Troy Trimble troyatrimble@gmail com 714 626-3 975
CM EA Urban/ Rural Schools Represent ative Dr Lawerence F Stoffel stoffel@csun edu 818 677-316 0
CM EA World Music Represent ative Dr Lily Chen-Hafteck lhafteck@ucla edu 310 825-4 6 6 8
And as music educators the board listed the following statements:
O ur c lasses need to be safe places
• Culture and personal practices welcomed and embraced
• Not just race or ethnicit y
• Race and ethnicit y are easily recogniz ed in diversit y issues
• Respectful space
• Broad curriculum
• Challenges posed by IEP and 504 accommodations
• No judgement, just music
• Equit y
The board came up with the following statements for the word: Equit y ≠ equal
• S uppor t for all to have the same oppor tunit y
•
• Equal/Fairness/Balanced
And as music educators the board listed the following statements: S uppor ting and promoting music education for all
• S tudents (and parents) from low socio-economic strata feel a lack
• of equit y when it comes to music education
• to tr y
Promoting and “pumping up ” a music program so that all feel safe
• sue music in college
Encouraging diverse students to excel in school music and to pur-
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)”
• Ever y oppor tunit y is available to me
• Ever yone/impar tial/open
• And as Music Educators the board listed the following statements: All ar ts for all students ever y year
• All VAPA courses for ELL’s (English Language
• L earners) S pEd (S pecial Education)
Reaching out with different curriculum
• Different t ypes of music c lasses 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
The CM EA St ate Board of Directors at their August meeting in Orange County, California: First row: Nora Allstedt, Christy Latham, Rit a Zigas-Brown, S andra Lewis, S antiago S abado, Marc Dwyer, and Armalyn de la O Second row: Scott Hedgecock, Kirk Clague, John Burn, Dan Sedgwick, Alex ander Koops, Michael D. Stone, and Trish Adams.
W hile 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 Fur ther discussions produced the following:
As Califor nia’s premier school music dealer, we speak fluent LCFF, LCAP & ESSA!
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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
• our music c lasses.
We must find ways to get all children into
• c lude more non-traditional courses and ensembles in addition to the traditional band, orchestra, and choir models.
We must expand our offerings to also in-
was found within the intent and subtext that already existed To their credit, the board elected to make the IDEA concept more c lear ly visible within the document To finaliz e the revision of the CMEA S trategic P lan, the board is committed to working together over the next few months on the finite definitions of our mission statement goals of leadership, advocac y, membership ser vices, and communication
As we continued through our meeting, the task of revisiting and revising our CMEA S trategic P lan was under taken 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 S trategic P lan document, they quickly realiz ed that the IDEA concept
The revised CMEA S trategic P lan for 2017-2021 will be unveiled at CASMEC 2017 during the CMEA General S ession. Providing the groundwork for CMEA to have financial stabilit y is also par t 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 cr y from just six years ago when we were being bailed out by NAf ME (and without that suppor t you would not be reading this right now)
The 2016–2017 budget is robust, visionar y, and challenging, and is the right thing for us to be doing at this time. In addition, the CMEA reser ves will be doubled in just one year
P lease review the CMEA Council of Representatives as found in the state council masthead of this and ever y 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. P lease do not hesitate to reach out to them as a resource O ur new membership campaign, “Each One Reach One,” is in full swing P lease 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 S an 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 ever yone a great school year, and look for ward to the times we will see each other during the year.
Agoura Hills Bakersfield Redlands
San Diego
Santa Barbara Valencia
1947–1949
Clarence Heagy Fresno
1949–1951
Elwyn Schwartz
1951–1953
George F Barr
1953–1955
Fred Ohlendorf Long Beach
1955–1957
Harold Youngberg Oakland
1957–1960
Joseph W Landon Fullerton
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
1972–1974
Louis Nash La Crescenta
1974–1976
Marlow Earle Lakewood
1976–1978
Mary C Reed Elk Grove
1978–1980
Henry Avila Monterey
1980–1982
Charles L Freebern San Diego
1982–1984
David S Goedecke Stockton
1984–1986
Vivian M Hofstetter Bakersfield
1986–1988
John L Larrieu Portola
1988–1990 L Leroy Roach Walnut Creek
1990–1992 Carolynn A Lindeman Greenbrae
1992–1994
Bill Adam Roseville
1994–1996
Don Doyle Pasadena
1996–1998
Jay D Zorn La Crescenta
1998–2000
Dennis L Johnson Salinas
2000–2002
George DeGraffenreid Fresno
2002–2004
Sam Gronseth Paradise
2004–2006
Rob Klevan Pacific Grove
2006–2008
Cheryl Yee Glass Danville
2008–2010
Jeff Jenkins Chula Vista
2010–2012
Norman Dea Walnut Creek
2012–2014
Russ Sperling San Diego
2014–2016
Michael D Stone Bakersfield
ELEMENTARY MUSIC INSTRUCTION FIT FOR A KID!
CMEA
Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award
Dr Robert Halseth, 2016; Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015; Dr Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013; Gerald E Anderson, 2012; Gayanne Korkmazian, 2012; Dr David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W Lutt, 2009; Kem F Martinez, 2009; Carl W Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn A Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances Benedict, 2005; L Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; Larry Johnson, 2002; Mary Louise Reilly, 2002; William Hill, 2001; Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F John Pylman, 2000; Lawrence Sutherland, 1999;Chuck Schroeder, 1998; Dean Semple, 1997; Burl Walter Jr , 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991; Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983; Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977; Russell Howland, 1975
Introducing MusicFirst Junior, a fun, friendly, and easy-to-use online system for teaching elementary music. Using iPads, Chromebooks, or any device able to run a standard web browser, MusicFirst Junior gives elementary students instant access to music learning tools and learning content relevant to their level, matched with kid-friendly graphics and age-appropriate curriculum. But most of all, MusicFirst Junior makes learning and creating music fun!
The MusicFirst Junior Dashboard
CA
Call for Applications:
Pe rf ormanc e Opportu nities at CMEA’s Stand Up 4 Mu sic Advocacy Day 201 7
by Phil Vallejo CMEA Advocacy Day Performance Coordinator
M E A is excited to announce that it wil l be holding its sixth annual CMEA SU4M (S tand Up for Music) Advoc ac y Day, on May 18, 2017, at the California S tate Capitol in S acramento, California.
Par t of our SU4M Advocac y Day inc ludes a unique performance oppor tunit y We will be selecting ensembles, who will be given the oppor tunit y to perform on the west steps of our S tate Capitol building and in the Capitol rotunda As a music educator, I look for ward to featuring my students in performances that will create memories to last a lifetime. This event is sure to leave a lasting memor y in the minds of our student musicians.
CMEA is looking to feature a variet y 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, mar iac hi bands, jazz bands or choirs, percussion ensembles or any other unique ensembles, we would love to consider featuring them at SU4M Advocac y Day.
On May 19, 2016, music students had the oppor tunit y 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 patr iotic selections The e vent was hailed as a great success O ur 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 oppor tunit y, applications can be found on the CMEA website under the state festivals page and on the following page P lease submit applications with a recording of your ensemble to inc lude 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 infor mation on Califor nia music educ ation advoc ac y visit www standup4music org
El Camino High School Pep B and, with Kevin Glaser, director; the Lakeside Steel Drums, with Jonathan B arr, director; and the Southwest High School Chamber Orchestra, with Dr Matthew Busse, director, were among the groups that performed at St and Up 4 Music Advocacy Day this year
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.
RBeginning 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 underst anding 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 accident al incorrectly? What was the result? We learned that note, rhythmic figure or accident al 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 circumst ances 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 s ay: “Let’s do it again,” without explanation or reason. There should be purpose for every repetition even in the circumst ances where the teacher does not wish to provide that explanation. In addition, accurate, timely, and selective feedback is of critical import ance. 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 s ame repetition is in effect, no comment at all, or worse
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 t asks, 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 t aking one piece, e g , Hot Cross Buns and teach it in small, repeat able segments over two to four class periods using a circular technique (continuous quick reviews):
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 st arting on the G string, then
• the A string. Learn those notes(a bonus). Memorize the piece, if it isn’t already
• 3. Opposites: Play Hot Cross Buns loud/soft, fast/slow, s ad (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 st and instead of sit, face east instead of west, st and 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 S aville, “Strategies for Using Repetition as a Powerful Teaching Tool,” Music Educ ators Journal, September 2011, Vol. 9 8, No l, Pp 6 9–75
MUSIC @ UNIVERSITY OF PORTLAND
Located minutes from downtown, the University of Portland combines personal attention with challenging academics in our nationally accredited music program.
Now offering a pre-music education track to prepare you for a Master of Arts in Teaching.
ENSEMBLES
University Singers • Wind Symphony • Orchestra • Women’s Chorale • Jazz Ensemble • Vocal and Instrumental Chamber Music 2017 SCHOLARSHIP AUDITION DATES Saturday, February 18 and 25 • Monday, February 20 FOR MORE
AEach One R each One :
A Simple and Me aningfu l Ch allen ge
by Ryan Clippinger
CMEA Membership Chairperson
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 literac y. O ur music programs allow our students to become the best selves they can be.
As an eager music educ ation major at Califor nia S tate Universit y, Fuller ton, I realiz ed this ver y ear ly in my undergr aduate c areer, and kne w that I wanted to become the teacher that, through the music learning process, inspires students to become driven, goal-oriented citizens Af ter 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 oppor tunit y and c hal lenge necessar y to prepare my self to be that teacher, inc luding taking on various leadership positions and even extending my undergraduate career by one year to add a minor in child and adolescent development Af ter receiving both my degree and my teaching credential, I landed my first and current teaching position at Ar vin High School, where I have the opportunity, through choral music, to better the lives of students in a low-income farming communit y. It was through that journey that I discovered the California Music Educ ators Association W hat stood out to me most about CMEA was the organization’s collaborative nature, particular ly how it brings together educators and future educators from all music disciplines and all grade levels This was confir med through my first exper ience at CASMEC, af ter which I felt I was a par t 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 oppor tunit y to become better people These are noble causes that I am excited to promote as your new CMEA Membership Chair person
Howe ver, this c annot happen without the effor ts of our current membership As President Scott Hedgecoc k 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 Chair person, Regina Pr yor, who worked with the membership chairs of each CMEA section to reach new members. Thanks to Regina and eac h of the section c hairs, we now have the foundation necessar y to implement our next phase of membership growth: Each One Reach One!
The Next P hase
As educ ators, we realiz e that the best recr uiters for our music programs are our students, whose experiences ser ve as testimonies to its many benefits W ith 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 communit y 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 fur ther suppor t your effor ts in the c lassroom Perhaps it is a college-level music student who yearns to become an inspiring educator that is also a lifelong learner W homever 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 stor y, if you wil l Together, if we can individually get at least one new member to join by October 1st, 2016, we will be one step c loser 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. W ho knows? Your success stor y could be featured in my next ar tic le
acknowledges schools and districts across the United States for their commitment to and support of music education.
Submit your survey to be considered for the 2017 Best Communities for Music Education program by January 31 at nammfoundation.org/survey
BECOM
CIAN
ME THE MUSICIAN he worldMUSIC E
Best Communities for Music Education survey
TSeeking CME for Those W in Urban and R
by Dr Special Represe
he California Music Educators Associatio in the process of creating a new position the CMEA Council of Representatives T ne w position will give unique and par ticu representation for those music educators who teach urban or r ural schools. CMEA President Scott Hedgecoc k has deemed that the creation of the Ur ban 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 uniquel y different than most subur ban 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 inc luded 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 summar y and rationale for this new CMEA Council of Representatives position, please see the ar ti-
in our effor ts to create a ne w ur ban and r ural schools representative position:
• representative
No other state repor ted having a specific urban school
A few states’ executives light-hear ted ly acknowledged
• no need for such a position given the generally sparse population and open geography of their state (these inc luded Montana, Nebraska, Maine, and Wyoming)
Two states previously had urban representation, but
• their positions have since been vacated (Michigan and New Jersey)
• Washington, D.C. is entirely urban, and New York Cit y is its own region (“z one”) within the NYSSMA organization
Two states have at least de facto urban representation.
• initial stage of developing an urban position (Connecticut and Minnesota).
Like California, two other states repor ted being in the
A few states repor ted having existing board positions
• that likely share some common concerns and issues per tinent to urban teaching S uch positions inc luded titles such as “multicultural chair,” “music in a cultural context,” and “cultural diversit y/social justice chair ” (F lorida, Missouri, Pennsylvania, and others).
Two states repor ted doing research or providing pro-
• fessional development to aid the urban teacher (Indiana and Tennessee)
S ome states’ in-ser vice conferences this year will in-
• c lude a special focus on r ural and/or urban populations (Ohio and Massachusetts).
Recent NAf ME Publications
The National Association for Music Educ ation (NAf ME) has produced se v er al pr int public ations per tinent to our objectiv e. These public ations provide valuable anecdotal, scholar ly, and practical information. Here is a selectiv e bibliogr aphy of more recent works:
Books
Frierson-Campbell, Carol (ed ) Teaching Music in the Ur ban C lassroom (2 vols.). Lanham, MD: MENC/Rowman and Littlefield Publishers, Inc., 2006.
MENC ( The National Association for Music Education), Readings on Diversit y, Inc lusion, and Music for All Reston, VA: MENC, 2003. [inc ludes ar tic les related to teaching in urban and r ural schools]
Articles
Bernard, Rhoda “ The Rewards of Teaching Music in Urban S ettings,” Music Educators Journal 96:3 (Mar 2010), pp 53-57
Br uenger, S usan Dil l “ W hy S elect Ne w Music Teac hers Chose To, or Chose Not To, Appl y to Teac h in an Ur ban Sc hool District,” Journal of Music Teacher Education 19:2, pp 25-40
Dekane y, Elisa Macedo and Robinson, Nicole. “A Compar ison of Ur ban High School Students’ Perception of Music, Culture, and Identit y, ” Jour nal of Music Teac her E duc at ion 24:1 (Oct 2014), pp 89-102
Hunt, Cather ine “ Perspectiv es on R ur al and Ur ban Music Teac hing: De v eloping Contextual Awareness in Music Educ ation,” Journal of Music Teacher Education 18:2 (Apr 2009), pp 34-47
Isbell, Daniel “Music Education in Rural Areas: A Few Keys to S uccess, ” Music Educ ators Journal 92:2 (Nov 2005): pp 3034.
Kindall-S mith, Marsha. “ Teachers Teaching Teac hers: Re vitaliz ation in an Ur ban S etting,” Music E duc ators Jour nal 91:2 (Nov 2004), pp 41-46
Mixon, Kevin, “Building Your Instrumental Music Progr am in an Ur ban Sc hool,” Music Educators Journal 91:3 ( Jan. 2005), pp 15-23
Renfro, Lisa “Advoc ac y : The Ur ban Teac her S tr uggle,” Teac hing Music 11:2 (Oct. 2003), pp. 36-40.
S oto, Amanda Christina, Chee-Hoo Lum, and Patricia S hehan Campbell “A Universit y-Sc hool Music Par tnership for Music Education Majors in a Culturally Distinctiv e Communit y, ” Jour nal of Researc h in Music E duc at ion 56:4 ( Jan. 2009): pp. 338-356
W ilcox, Ella. “A Real-Life L ook at Music Teaching: More than a Living – Teaching in an Urban School,” Teaching Music 11:4 (Feb 2004), pp 24–28
These books and ar tic les corroborate the fundamental concerns and challenges that have been expressed by CMEA members over the past three years at CASMEC sessions whic h hav e focused on teac hing in urban schools As previously reported in the CMEA Magazine (summer 2016), these pr imar y issues are: (1) S tudents at ur ban schools are deser ving of qualit y, sequential, curriculum-based music instr uction, but in many such distr icts this is not being provided; (2) music educ ators teac hing in ur ban school distr icts contend with additional and unique c hal lenges; (3) many urban music educators have become disenfranchised; (4) many urban music educators belie v e that CMEA does not or c annot provide the professional ser vices that urban music teachers and their students are needing; and (5) music teachers in rural districts experience many of the same sor ts 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 r ural schools, the next step will be to identify the specific, par ticular issues W hat are the unique and par ticular objectives and goals that will define the function and pur pose of a CMEA Urban and Rural Schools Representative?
This next step will require the input from music educ ators who teac h in ur ban and r ur al sc hools – not just CMEA members who teac h in suc h sc hools, but from al l music educ ators who teac h in ur ban and r ural schools Indeed, I would suggest that the input from urban/r ural music teachers who are not CMEA members wil l be of consider able, invaluable impor tance. The creation of the CMEA Ur ban and R ur al Schools Representative begs the input and
involvement from the music teacher who –without the professional benefit and suppor t 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 mater ials that come with CMEA membership – f ending for her students, alone in the dense population of East L.A.
The success and eff ectiv eness of a CMEA Ur ban and R ural Schools Representativ e wil l require the engagement of CMEA members and non-members alike.
P lease continue to look for my communic ation 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 teac hing in urban or rural schools will also be contacted through direct mailings
The Final Step: CASMEC 2017
We will conclude this explorator y and inv estigativ e per iod with a for mal, open meeting at the 2017 Califor nia Al l-S tate Music Education Conference (CASMEC) (Febr uar y 16–19, S an José) to allow ever yone the oppor tunit y to share ideas and thoughts about the needs of urban and rural teac hers and how CMEA may assist in those effor ts
U ltimatel y, from these activities we should be able to identify : (1) the role and pur pose of an urban and r ural representative on the CMEA Council of Representativ e; (2) identify a CMEA member who would be the first urban and rural representative on the council; and (3) have that person begin ser ving in this ne wl y created position immediatel y af ter CASMEC 2017
The students of urban and r ural schools are poised to be the beneficiaries of our effor ts to create a CMEA Urban and Rural Sc hools Representativ e Per haps the best action that each of us can take at this time is to pass along this ar tic le to those urban and r ur al music teac hers you may know who are not presently members of CMEA. L et them know that “CMEA and NAf ME are for them and their unique needs. Being inc luded in our mission and vision statements, we will be living up to those statements as we work to provide greater access for al l students to music educ ation programs in California ”
Music teacher and C M EA member Larry Newman recently received an Emmy Award at the 6 8th Annual Los Angeles Area Emmy Awards at the Television Academy’s st ate-of-the-art S aban Media Center in North Hollywood, California
Newman produced, filmed and edited the document ary Music Matters: L.A. Kids and their Music The broadcast received the Emmy for Outst anding 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 Element ary Honor Orchestra and their concert from U C LA’s Schoenberg Concert Hall Newman is the orchestra’s conductor and music director Newman is Founder and C E O of Children’s Music Workshop (www childrensmusicworkshop com), a music education company that coordinates music programs in more than two dozen Los Angeles area element ary schools as well as publishes more than one hundred different music books for the element ary music student (www.musicfunbooks.com).
To view the award-winning show, visit www.childrensmusicworkshop.com/emmy
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
Jo hn O’ Nei ll ’ s
Music for S tr ing Orc hestra
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 “d umbing down”!
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Larry Newman with music teachers Desiree’ Deasy, Wendy Mazon, Margaret Kocher and Mandy Fey
Choral Leadership Academy 2017
by Willow Manspeaker
The sixth annual Choral L eadership Academy (CLA), sponsored by CMEA in par tnership with California ACDA and SCVA, will be held in S an José on Febr uar y 17–18, 2017, at the CASMEC Convention. The CLA is an intense, two-day workshop for high school, communit y college, and universit y students who are interested in pursuing a career in the choral profession. This outstanding event will impar t musicianship skills, inspire confidence, and build camaraderie amongst musicians and educators of the next generation
We are privileged to have an outstanding head liner, Dr. Jeffrey Benson of S an José S tate Universit y, who will bring exper tise, humor, and insight to the CLA students’ experience The CLA facult y will inc lude Dr. Chris Peterson (CSU Fuller ton), Dr. Angel Vazquez-Ramos (CSU Bakersfield), and L ori Mari Rios (College of the Canyons) In addition to the CLA workshops, par ticipating students will receive free admittance to attend all sessions within the remaining two days of CASMEC – Febr uar y 16 and 19 – a wonderful oppor tunit y
D ue to the intimate nature of this event, we must limit our enrollment to 50 students. W hile acceptance to CLA is on a first come, first ser ved basis, please be aware that we must have a balance of vocal par ts, 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 P lease encourage your students to apply for this exciting experience.
Application information and more details are available on the CMEA and California ADCA websites Contact W illow Manspeaker with questions: wmanspeaker@stevensonschool.org.
CMEA CA ACDA Representative
TComposition
and Creativity
CMEA Southwestern Section Sets Goals
by Dr Alexander Koops
CMEA Southwestern Section President
he S outhwestern S ection 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 S outheastern S ection to host a new state solo and ensemble festival. O ur vision continues to develop but has emphasiz ed building a communit y of music teachers through our section conference, website, and Facebook page It also encourages creativit y and diversit y through conference sessions and local composition festivals and workshops.
As I begin my two-year term as president of the CMEA S outhwestern S ection representing L os Angeles up through Ventura and S anta 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). S he has put in countless hours for this section and will continue to suppor t 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 S anta Maria-Bonita School District (band, choir, general music) in S anta Barbara Count y Husselstein was our secretar y the last two years and will continue in the next two years as the vice president and incoming president. S tephanie Douglass (also S anta Maria-Bonita School District) joins our board ser ving as secretar y Douglass teaches third grade general c lassroom music at four schools and elementar y band at two schools S amantha Theisen from the S an Gabriel Unified School district also joins the board ser ving as treasurer. S he works as the music immersion experience coordinator for her district The pur pose of the program is to provide ever y student high qualit y music education ever y day, with the goal of developing skills for success in our young students This is a ver y exciting program that I
would encourage our membership to learn more about I am honored to be working alongside these board members and I am ver y excited about the future of the CMEA S outhwestern S ection.
One of the most stimulating things our CMEA S outhwestern S ection began last year was an annual fall conference held at Azusa Pacific Universit y O ur 2015 theme was “Creativit y as the FI(b)RE of Music Education: Teaching and L earning 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 technolog y, and general music O ur second annual conference (October 1, 2016, Azusa Pacific Universit y) had the theme “21st Centur y Music for All: Infusing Music Education with Culture ” O ur keynote speaker was Dr Beatriz I lari (assistant professor, USC, depar tment of music teaching and learning) whose presentation title was “Music education in today ’ s wor ld: Honoring musical childhoods ” We were also honored to have NAf ME Western Division President Russ S per ling speak at our conference We are pleased to have added band and choral reading sessions and have Conn-S elmer, Nick Rail Music and J.W. Pepper as vendors. We hope to keep growing our conference to reach and suppor t 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 S outhwestern and S outheastern S ections I am grateful to Dr. Lisa Crawford and Dr. Armalyn De La O for their leadership in this new event and look for ward 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
#NAfME2016
JOIN US FOR OUR 4TH ANNUAL NATIONAL IN-SERVICE MUSIC EDUCATION CONFERENCE.
This is one of the most exciting times for music education, and there is no better time to band together, learn from each other, and bring innovative techniques to your classroom from across the country. Music helps shape the way our students understand themselves and the world around them and allows for a deeper engagement with learning.
Every year thousands of music educators, future music educators, students, and performers gather to gain in-depth practical knowledge through hundreds of professional development professional development, networking opportunities, around-the-clock performances, and nightly entertainment!
L ooking to the future, we will work to increase our section membership, our conference siz e and our conference offerings, while being suppor tive and collaborative with other music and ar ts organizations. We have a unique situation here in our CMEA S outhwestern S ection because of the variet y of musical organizations actively operating in the music teaching arena There are many groups doing wonderful work inc luding SCSBOA, SCVA, KASC, LA Orff, ET M 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 S outhwestern S ection works regular ly 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 t ype of competition between organizations
An area that the CMEA S outhwestern S ection board plans to suppor t 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 ever y level, and in multiple st yles Dr Lisa Crawford is the state level creativit y and composition representative for CMEA and she will be working with our section as well as other sections in the state to develop training, suppor t, and programs that help music teachers inc lude creativit y 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 creativit y at our section conferences, there will also be sessions at CASMEC in S an 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 incor porating composition in each of your c lasses or expand what you have been doing with composition! Do you have any developing young composers in your music c lasses? On our CMEA S outhwestern S ection 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 Universit y 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 inc lusion in the festival. Par ticipating composers are expected to perform their own compositions or arrange with their teachers to find performers for the compositions Each par ticipant receives feedback on their composition and a recording of the performance
S ome of you already inc lude composing in your programs and may have been doing this for a long time I would love to hear from you P lease send me an e-mail akoops@apu edu Others may question their abilit y to inc lude composition or the wor thiness of stressing composition when the impor tant tasks of teaching basic skills seem barely attainable with the little time given for our music c lasses – I hope you will send me an e-mail as well I firmly believe there are ways to inc lude composing at ever y level without taking away from developing basic skills and performances. I challenge all of you to check out the new National Core Ar ts S tandards and pur posefully plan more lessons encouraging student creativit y
I am excited about the future of CMEA with our new section conference, the growth of the new state level solo and en-
semble event, and our collaboration with other ar ts organizations in events that suppor t local teachers, making a direct impact on our students’ music education at the local level. I hope our conference will continue to grow in qualit y and siz e, and I believe the collaboration we have with other ar ts organizations is vital to our potential for creating a deeper impact on music education in California I am working on new initiatives in suppor ting music teachers in composition as well as exploring other ways in which our section can suppor t music education in S outhern 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 facult y at Azusa Pacific Universit y 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 Universit y of S outhern California, with minors in theor y, orchestral conducting, and horn performance His disser tation materials on introducing composition in midd le 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 Universit y of Colorado, Boulder, where he studied with Allan McMurray. He is a published author and regular c linician at schools throughout S outhern California His writings focus on creativit y and composing in instr umental music and inc lude a chapter in Composing our Future, (O xford Universit y Press, 2012), as well as editorial contributions in Musicianship: Composing in Band and Orchestra, pub-
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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 Universit y Jazz Band played in L ondon three times during its performance tour June 13–19. The audiences were great, the band outdid themselves at the gigs and ever yone discovered that L ondon is one of the great cities of the wor ld. The first performance was at the Vor tex, second only to Ronnie Scott ’ s among L ondon jazz c lubs The band performed a sampling of contemporar y big band compositions, as well as a few by Count Basie and by Tower of Power The c lub’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 t ypical British understatement that British big bands were, perhaps, more “delicate ”
The next night the band played at S pice of Life, a c lub in the S oho district, a center for enter tainment and night c lubs in L ondon Notable at this venue was the necessit y, 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 wor ld Apparently, just as the English drive on the other side of the street, the rhythm section at this c lub swings on the other side of the band The band ’ s last performance was outdoors at a famous bandstand in Regent ’ s Park This concer t attracted a good-siz ed and appreciative crowd despite the weather threatening rain. http://music.calpoly.edu/news/
University of the Pacific
Universit y of the Pacific ’ s Conser vator y of Music, the first in the Western United S tates (founded 1878), places 100 percent of its music education grads in jobs or graduate programs within a month of Commencement. That ’ s not a t ypo – 100-percent –within a month of graduating. And that ’ s the way it has been for years. That success is due to the dedicated facult y, hard-working students, and the well-designed, hands-on program where students spend time in the c lassroom teaching music W ith ESSA, Ever y S tudent S ucceeds Act, replacing No Child L ef t Behind, we ’ re turning the corner when it comes to funding music and ar ts education in schools.
S ubmitted by Keith Michaud go pacific edu/conser vator y
California State University, Stanislaus
The S tanislaus S tate School of the Ar ts and Depar tment of Music presents the Twentieth Annual S ylvia M Ghiglieri Piano Competition for pianists ages 18 and under The S ylvia M Ghiglieri Piano Competition intends to recogniz e and promote the musical achievements and development of promising young pianists. W inners will be chosen based on performances held at California S tate Universit y, S tanislaus, in Tur lock, on S aturday, Febr uar y 18, 2017. The events of the competition will take place in the music building, located on the west side of the universit y campus Awards inc lude 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-priz e winner of the senior division, along with near ly $1,000 total scholarship awards for competition winners to attend the S tanislaus S tate S ummer Music Camp The S ummer Music Camp features distinct ar tistic instr uction in solo piano and chamber music performance for pre-college pianists who will be taught by facult y and associates of the S tanislaus S tate Depar tment of Music The S ummer Music Camp also offers instr uction in choir, band, orchestra, and a variet y of elective music c lasses.
https://www.csustan.edu/music/music-festivals
University of California, Irvine
For the past four years, S anta Ana High School students have been learning alongside musicians from UC Ir vine in a series of master c lasses and coaching sessions that lead to year-end concer ts 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 S anta Ana High has seen an increase in students applying to college, and for the first time, the school has a student, Daniel L opez, who has been accepted into the Claire Trevor School of the Ar ts at UCI as a music major He also plans to major in math or engineering
“ This collaboration has never been about developing musicians,” said S tephen Tucker, maestro for the UCI S ymphony 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 oppor tunities. Music is how we are connecting with them, but this is bigger than music ”
http://www ocregister com/ar tic les/music-715696-school-high html
University
of California, San Diego
Universit y of California, S an Diego Jazz Camp at Universit y of California S an 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 facult y of internationally renowned jazz ar tists, exploring st yles ranging from c lassic bebop to contemporar y open-form S tudents received one-on-one and small group instr uction, earning three units of Universit y of California continuing education credit Most courses were offered in two different levels, intermediate and advanced, to fit each par ticipant ’ s level of experience.
The facult y of the UC S an Diego Jazz Camp is comprised of more than a doz en nationally- and internationally-known musicians and jazz educators Many are considered among the living masters on their instr uments and in a wide variet y of st yles of jazz The camp facult y inc ludes Guggenheim and NEA Fellowship awardees, DownBeat and JazzT imes poll-winners, veteran performers and rising stars. The UC S an Diego Jazz Camp’s unique curriculum gives students direct access to some of the wor ld ’ s leading jazz ar tists, encouraging them to explore a full spectr um of approaches to jazz improvisation http://jazz camp ucsd edu
California State University, Long Beach
The Bob Cole Conser vator y Chamber Choir, under the direction of Dr Jonathan Talberg, has won the 2016 Choir of the Wor ld 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, Kyrg yzstan, Zimbabwe, and the P hilippines The first International Musical Eisteddfod was held in Llangollen in 1947 It began as a way of healing wor ldwide wounds following the end of the S econd Wor ld 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 c limax with the prestigious “Choir of the Wor ld,” 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.
If you have an item for a future “Higher Education Happenings” column, please e-mail your item (in 200 words or less) to Larr y S toffel at stoffel@csun edu S ubmissions will be inc luded on a first-come/space-available basis This column contains items received by submission as well as from culling the Internet
All-State Honor Orchestras at CASMEC 2017
by Donna Harrison President, California Orchestra Directors Association
CMEA CODA Representative
Plan now to attend the 2017 California All-S tate Music Education Conference Febr uar y 16-19 in S an 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. W hile these sessions will be valuable to you, an of ten over looked experience that is just as impor tant to orchestra and band directors is obser ving 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 obser vation and scores will be available
O bser ving these outstanding master teachers in action, taking our talented students from good to great, is tr uly 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 sevent y-five students in grades seven through twelve will have the oppor tunit y to par ticipate in one of three orchestras lead by these outstanding conductors: Kevin Noe from Michigan S tate Universit y directing the All-S tate High School S ymphony Orchestra, Kirsten Marshall from Ithaca Talent Education in New York directing the All-S tate High School S tring Orchestra, and Pamela Tellejohn Hayes from Columbia College in S outh Carolina directing the All-S tate Junior High School S tring Orchestra. I have asked each of these fine conductors some questions that may be of interest to you
What criteria do you use when prog ramming 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 difficult y is extremely impor tant S ome music might be more challenging technically, other selections might be more challenging musically Then I look for music in a variet y of tempos and keys that also has interesting par ts for ever yone. I tr y my best to select music that I think students will enjoy playing and that I will enjoy conducting
Kevin Noe: Many things Cer tainly for an all-state of this caliber, a real chance to grow musically. S omething 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 diversit y of st yles
Kirsten Marshall: I believe that great music is the best motivation for students W hen 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 oppor tunities 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 impor tant to consider the age and level of the students, tonalit y and accidentals, timeline from first rehearsal to concer t, and the cr ucial question, “ would I enjoy playing that par t?” To select music appropriate for the level, I have discovered that a piece’s rhythmic
complexit y, 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 responsibilit y to keep the rehearsals paced so that we can “ woodshed ” par ts, but then move on to something different This is always a challenge because as a teacher I want to get ever y note perfect before I proceed, but in realit y I know that only so much can be absorbed at a time. I must keep myself motivated and on task during ever y rehearsal so that students will remain focused It is my job to help students make progress with the music W hen they do, they become inspired and work harder. Most students at the all-state level are already ambitious or they wouldn’t be there. W hen they realiz e 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 ever ything 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 energ y and expression – the energ y generally flows Of course, the musicians have to want to work, they have to believe that working on this is wor th 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: Ever y musician rel-
ishes the unique sound of their instr ument W hen working with a string orchestra, I actively inc lude 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 friend ly rivalr y among the sections can expand the listening skills of ever yone V iolas vie to outplay the violins’ staccato Cellos and basses play a sof ter pianissimo than the rest of them together Ever yone 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 par ts 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 energ y that brings music to life. S low or fast, each piece has a sense of motion O ur role as musicians is to reveal the “stor y ” 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. W hat 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 oppor tunit y to create great music together at the California all-state festival will be something they will treasure I look for ward 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 S he star ted a string program in the small Kansas town where I lived. I already played the violin as I had moved in from another cit y where I had star ted with private lessons. S he came into my sixth grade c lass and introduced herself S he said she was star ting a “string
program ” I had no c lue what that meant at the time The next year she star ted the program and she involved me from the beginning I went recr uiting with her, she took me to concer ts, I played with the new students that were in the younger grades and par ticipated 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 W ichita S ymphony, she encouraged me to par ticipate in youth orchestras, and I even got to attend string quar tet par ties 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 Larr y Rachleff was my teacher and will always be my direct mentor I should say though that I also take incredible inspiration from a variet y of musicians and ar tists who are not conductors at all. Puppeteer Ronnie Burkett is one of the great ar tists of our time Composers Andy Akiho and percussionist
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Ian Rosenbaum P laywright and thinker
David Mamet S inger and bassist Esperanza S palding. F ilmmaker Benh Zeitlin, The great jazz pianist Reggie Thomas Ella F itzgerald. Mer yl S treep. The list goes on and on I tr uly believe that the intersection of the ar ts – 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 Har tt School of Music. He showed me that passion and excellence is possible for ever y level of orchestra, reaching outstanding performances W ith twinkling eyes and laughter, his good humor and high standards imbued ever y 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?
Pamela Tellejohn Hayes: Make sure you match your dreams to realit y 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 tr ue love of working with children It is such a wonderful and rewarding profession, but only if you enjoy working with a variet y of students If college teaching is what you are looking for, then realiz e 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 c lear 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 tr ue 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 tr uly have something to say to them? Can a life onstage for you be, at least in par t, an act of ser vice and love for them? If so, your definition of success winds up being defined not by things like Carnegie Hall or, playing a concer to with an orchestra, but instead, by the number of people tr uly, 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 vulnerabilit y, authenticit y, 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.
