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We support and demonstrate our commitment to music education, professional quality, and integrity through our active involvement with many key organizations:
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.
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CMEA Administrative Office
Mailing Address: 2417 North 11th Avenue Hanford, CA 93230
• President’s Message: Game Changer byCMEAPresidentJohnBurn3
• NAfME National Assembly and Hill Day 2018 AdvocatingforMusicEducationandNationalRecognition8
• Teaching Kids to Persevere byEmmaJoleen,CMEAGeneralMusicRepresentative
• Trying New Things byHollyMacDonell,CMEANorthCoastSectionPresident
•
• CMEA
•
• Empowering Educators To Inspire
• Thawing
• CODA Presents the All-State and Honor Orchestra Calendar byBillHarrington,CMEACODARepresentative21
• Opening Doors for the New or Struggling Educator byRyanClippinger,CMEAMembershipChairperson23
• United States Postal Service Form 3526 StatementofOwnership,ManagementandCirculation24
• Planning for the Next Stand Up 4 Music Advocacy Day byJeremiahJacks,CMEAAdvocacyDayPerformanceCoordinator25
• The CMEA State Choral Festival byNancyLudwig,CMEAStateChoralFestivalChairperson27
• Technology and 21st Century Learners byChadZullinger,CMEATechnologyRepresentative28
QuaverMusic.com7
u WillametteUniversity20
u WinterParkSki-MusicFestival20
u YamahaMusicalInstruments2
On the Cover – TheCaliforniaDelegationattheNAfMENationalAssemblyandHillDay: CMEA Collegiate Council Representative Riley Pate, CMEA Central Section President Bill WIlkinson, Collegiate Council Representative Shelly Johnson, CMEA Vice President Anne Fennell, Education Through Music Assistant Program Director Brian Frazee, CMEA Immediate Past President Scott Hedgecock, NAfME Immediate Past Western Division President Russ Sperling, CMEA President-Elect Armalyn De La O, and CMEA Executive Administrator Trish Adams.
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Weighing only 22 lbs. and just over 45" in length, this xylophone offers a 3 octave range (C52-C88) with 1- " wide bars. A pair of ME-103 mallets are included along with a cover to protect the instrument from dust and scratches. An optional stand (YGS-70) and soft case (PCS-YX230) are sold separately.
YX-230 Xylophone
HPresident’sMessage
GameChanger
by John Burn CMEAPresident
ere’s a game from Dr. Tim Lautzenheiser, who gave that wonderful keynote address at CASMEC last year. First, divide your group into pairs. Imagine there is a huge bank of money to be won by one of the duos. In the style of Rock–Paper–Scissors, each partner can either extend a one (by putting out the index finger), or a two (by putting out the index and middle fingers).
The options and the results are as follows:
Option 1:
Person A extends a two; Person B extends a one. Result: Person A takes out (wins) $5; Person B puts in (loses) $3.
Option 2:
Person B extends a two; Person A extends a one. Result: Person B takes out (wins) $5; Person A puts in (loses) $3.
Option 3:
Person A extends a two; Person B extends a two. Result: Both Person A and Person B put in (lose) $8.
Option 4:
Person A extends a one; Person B extends a one. Result: Both Person A and Person take out (win) $1.
(If convenient, find a friend and play a little before you read on.)
One of the things you discover from playing this game is that when someone throws a two towards you, it never feels good. Ultimately, the only way to win the game (in terms of being an effective team) is to never throw a two. Always seek the win-win scenario. The hardest part of throw-
ing a one instead of a two is being able to trust that your partner won’t throw a two. After a two is thrown, trust is gone and only after time is trust regained and both partners earn a positive result.
Doing this game towards the beginning of the year in a music class helps students discover that, especially in music, it’s not about winning or being better than others in the class/ensemble. Rather, the more we can work together to help and support each other, the better the whole class gets and the better the ensemble sounds.
About eight years ago, Dr. Tim happened to be in Anaheim at the same time one of our first Stand Up 4 Music convenings was happening. In the room were leaders from CMEA, CBDA, CODA, ACDA-CA, SCSBOA, SCVA, NCBA and more. Back then there was sometimes a lack of trust between some of these groups. Dr. Tim only had about fifteen minutes to drop in on our meeting and he chose to use that time to lead us through the game described above. It was perfect. The game helped change our paradigm from “What’s in it for me?” or “How can I win?” to “What do we all agree on?” and “How can we win?”
That group came together because we all agree that every school should have a high-quality music program taught by qualified music teachers, and now for eight years, we have had Stand Up 4 Music Day each spring in Sacramento. Stand Up 4 Music sponsored the legislation that resulted in new state standards that will be rolling out soon. Stand Up 4 Music worked with the other arts education organizations and passed legislation so there will soon be theater arts and dance credentials in California. When people work together in
CMEAEXECUTIVEBOARD
CMEA President JohnBurn jburn@calmusiced.com 408522-2541
CMEA World Music Representative Dr.LilyChen-Hafteck lhafteck@ucla.edu 310825-4668
an atmosphere of trust, the results are incredible.
Here’s another game: Again divide your group into pairs. Give Person A exactly sixty seconds to share a happy childhood memory with Person B. Don’t tell them what’s going to happen next. Then, when sixty seconds is up, instead of Person B taking a turn to talk about their childhood memory, Person B must recite back, as close to word-forword as possible, what Person A said to Person B. After that, Person B then gets a turn to share a memory for sixty seconds with Person A. The exercise ends with Person A reciting back Person B’s memory. What we tend to discover from this game is that our “default setting” when in a conversation is not to listen closely, but instead when someone is talking about themselves, we often are actually thinking of ourselves and how we can add to the conversation with our own personal story/perspective. When we instead listen so intently that we can recite back word-
for-word what was said, then we’re thinking about the person talking instead of ourselves. As Stephen Covey says in his book, The 7 Habits of Highly Effective People, we must seek first to understand, then to be understood.
It was also a little over eight years ago that CASMEC was born, another truly great example in California of reaching new heights for music education by working together collaboratively in an atmosphere of trust. Over the past couple of years, as it became apparent that the San José location was not working financially, there was some miscommunication and the atmosphere of trust was damaged. The most tangible effect of this is that the 2019 all-state choirs will not be part of CASMEC.
This past June we held a two-day CASMEC vision retreat. Representatives from CAJ, CBDA, CCDA (formerly ACDACA), CODA and CMEA met with facilitator (and friend of Tim Lautzenheiser) Michael Kumer. Mr. Kumer started our re-
Ttreat with the listening game described above. This helped set the tone that even if we don’t agree with what is being said, we respect that the person saying it feels the way they do, and we need to understand their point of view in order to move forward together. It was a powerful weekend. Trust has been restored. A CASMEC Memorandum of Agreement has been drafted, and CCDA is bringing the allstate choirs back to CASMEC in 2020. Don’t miss CASMEC 2019, February 14–17 in Fresno. CMEA is insuring that the conference will include sessions that address inclusiveness, diversity, composition, creativity, technology and both choral sessions and choral performances. The CMEA Awards Gala is a wonderful event not to be missed where we honor just a few of the truly amazing educators making a huge positive difference in countless students’ lives. When people work together in an atmosphere of trust, the results are incredible.
New
Year
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
2016–2018 Scott Hedgecock Placentia
CMEA
Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award
Dean Hickman, 2018; Dr. Lawrence Stoffel, 2018; Dr. Michael Corrigan, 2017; Dr. Edward Harris, 2017; James Mazzaferro, 2017; 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.
NAfME National Assembly and Hill Day Advocating for Music Education and National Recognition June 28, 2018
Top Left: CMEA Collegiate Council Representative Riley Pate with NAfME Professional Development and Collegiate Program Manager JJ Norman.
Top Right: NAfME Immediate Past Western Division President Russ Sperling received a CMEA Recognition plaque from NAfME Immediate Past President Denese Odegaard. Sperling served as Western Division President from 2016 to 2018.
Opposite Page Top: The California Delegation at the office of United States Senator Kamala Harris. Collegiate Council Representative Shelly Johnson, CMEA Vice President Anne Fennell, Education Through Music Assistant Program Director Brian Frazee, CMEA Collegiate Council Representative Riley Pate, NAfME Immediate Past Western Division President Russ Sperling, CMEA Immediate Past President Scott Hedgecock, Legislative Assistant Kelsey Mellette, CMEA Central Section President Bill Wilkinson, CMEA Executive Administrator Trish Adams, and CMEA President-Elect Armalyn De La O.
Opposite Page Bottom: The California Delegation at the NAfME National Assembly and Hill Day: Collegiate Council Representative Shelly Johnson, CMEA Central Section President Bill Wilkinson, NAfME Immediate Past Western Division President Russ Sperling, CMEA Vice President Anne Fennell, CMEA Immediate Past President Scott Hedgecock, CMEA Executive Administrator Trish Adams, CMEA President-Elect Armalyn De La O, CMEA Collegiate Council Representative Riley Pate. Scott Hedegcock award received a NAfME award in recognition of significant membership growth, the result of superior leadership and volunteer engagement during the 2017–18 CMEA/NAfME Recruitment Campaign. Russ Sperling’s award is in appreciation for dedication and service to music education. Anne Fennell is holding an Amplify Award for active engagement and knowledge exchange enabling Amplify to become a leading member benefit.
Sound Innovations
Just Got Even Better
Streaming audio and video content for Sound Innovations, Books 1 & 2 and Sound Percussion
Enrichment Pages—Theory, music history, scales, and technique exercises
Additional repertoire for further reinforcement
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IThereisNoSuchThingasFailure,OnlyFeedback:
TeachingKidstoPersevere
by Emma Joleen CMEA General Music Representative
t is with great joy and happiness that I welcome our esteemed CMEA teachers back to school for the 2018–19 calendar year. As an educator who reminisces about her childhood education, I would like to share with you one of the reasons I became a music educator. (I will share all the reasons with you at CASMEC 2019.) Here is the first: when I was in elementary school, the chorus was by audition only. I loved to sing along to Mariah Carey or Beyoncé on the radio, however, these were not considered appropriate audition songs by my school chorus teacher. Therefore, my audition in elementary school was a complete failure and the teacher told me that my voice wasn’t a good fit for the chorus. Feeling rejected, I gave up and pursued piano. More importantly, my mother encouraged me to think of the failed audition as an opportunity to gain feedback. What had I learned from the audition process? •
What did the chorus teacher mean when she said that my songs• were not in the correct style?
Such questions ignited a curiosity for learning. My fascination led to an in-depth study of vocal history and choral literature. Little did I know that this would develop my passion for lifelong learning and the pursuit of musical excellence. Furthermore, upon
entering middle school, I was ready to audition again with appropriate repertoire and thus, succeeded. This life lesson taught me about perseverance at a young age.
In the general music classroom, I teach so many children who are afraid of making mistakes and want to get everything right or be 100 percent perfect. It is my hope that all teachers can create a safe environment for students to feel comfortable making mistakes.
Last year, I had a dialogue with my students about eliminating erasers for their music literacy books. Together, we decided to take away all the erasers because so many students had become stressed about perfection. Instead, we celebrated their mistakes by showcasing book work with their messy markings during open house. These learnings led to new discoveries and increased happiness.
Finally, these learnings transferred to the Orff instruments by creating students who were more courageous to improvise and hence, improved their confidence. Over all, creativity and innovation thrived in the general music classroom.
May the upcoming school year be a wonderful exploration of learning opportunities via mistakes that lead to innovation for all students and teachers.
his year, the North Coast Section is trying new things. Last year we started using online applications for festivals, and this year we’ll try some more new things. We’ve gotten a post office box, which will help streamline application fee collection. We’ll be attempting to have more meetings remotely. We’ll also try a new format and venue for our All-County Festival, which will improve the sound quality and experience for performers and audience. We’d also like to offer a local adjudicator basic training that would be available online, and an adjudicator evaluation available online after festivals.
Why do we try new things? I think we try new things to improve processes in order to have more successful final products. When we streamline, update, edit, and augment processes, we increase the opportunities for greater success. Meeting remotely, for instance, has tremendous possibilities for improving vertical teaching and learning strategies in our area. Our section is quite rural. We’ve got a moderate amount of geographic space, but not very many people, and music teachers are spread widely across the two counties. Other challenges are the sheer number of school districts in our small section (about thirty), and the lack of our area’s full-time music teaching positions. All these districts coupled with parttime positions mean that there are music teachers, like myself, who are the sole music educators in their district. That isolation is not ideal for a unified notion of music education. The North Coast Section must organize meetings and professional development days within this less-than-unified structure. If we can find time once a month, say, to meet online within our individual regions, or feeder programs, we can start connecting and scaffolding our separate
curricula in order to serve students even better, and effect real, positive change in our students with minimal effort.
Personally, I’ll be attempting some new things this year, also. For instance, at one of my schools, I’ve been teaching violin only to fourth and fifth graders, as was done before me, and adding the other string instruments (viola, cello, bass) to create a middle school string ensemble when students get to sixth grade. This year, I’d like to start introducing fifth graders to the other string instruments so they’ll be more competent, confident players on their new instruments when they get to the middle school string ensemble.
Of course, trying new things is sometimes easier said than done. For example, this summer, at a chamber music workshop, a coach suggested the string quintet I was assigned to that day try a different phrasing technique. One of the players was obviously hesitant to attempt it, and when we did try it, that player was unconvinced. The coach then made a great point: If you don’t buy into the new idea, it doesn’t matter how great of an idea it is, it will never be successful. If you buy into the idea and try it out, going all in, you may learn to like a new way of doing something, even if it takes a few tries to master. We tried again, and after a few attempts, we had a new appreciation for the artistry and expression that a group, even a group that only plays together for a day, can bring to an established piece of music.
And now, here is the challenge: Step back, see where we can all improve our opportunities for success personally, professionally, and within our great community of musicians and educators, and buy in before you decide you are convinced something will or won’t work… and have a great year.
CMEA
NChangingSeasons
intheNorthernSection
by Todd Filpula CMEA Northern Section President
ot much happens during the summer months in CMEA Northern Section. We have our final meeting in June to install our new officers, reflect upon the past year, and look to the fall “a little” and then it is off to recharge our batteries in a myriad of ways. In watching/following social media, all my colleagues have a different take on how to recharge. Some actively seek out further professional development, some pursue their other musical hobbies and there are those who do nothing school or music related at all. Regardless of the category you fall in, enjoy.
Now that fall is upon us, it is time to take stock of where we are and continue the journey forward. We have finally completed the trek to non-profit status. It has been a long haul and we have learned many things. I am thankful to Mike Phenicie, our past president, for seeing this through. His leadership over the past two years was amazing. I am also thankful to the other sections for offering their insight. We continue to improve and build upon our relationship with Cal State University, Chico. The music education students and faculty have been an incredible resource to us in hosting and making our events successful over the years. We continue to support one another to benefit everyone. Our solo and ensemble festivals have also expanded this last year. We now have a festival in Redding in addition to the one held in Chico. This coming year Yreka will also host an event.
To all of my friends and colleagues, I wish you the best in the coming year. I know you will continue to motivate and instill a love of music into your students.
IBaySectionNews
by Bruce Lengacher CMEA Bay Section President
hope you all found time to relax, recharge and spend time with family and friends over the summer break. I am honored to be taking on the position of president of Bay Section until June of 2020. We had a few retirements on the executive board and six new members joined the full board. Welcome to our new members. Our new executive board members are: Keith Johnson, president-elect; Rita Zigas-Brown, past president; Maritza Speiller, recording secretary; Bob Calonico, adjudication representative; and Lucy Yamakawa Cox, executive treasurer. There is a lot of young and diverse energy on our board and I’m eager to see the things we can accomplish. We survived our court case with the California EDD, who challenged the status of our adjudicators. This twoyear process was arbitrated, appealed, and ultimately decided in Bay Section’s favor. Rita Zigas-Brown, past president, was at the helm throughout this process and every nonprofit music organization should thank her. If it had gone the opposite way it would have negatively impacted all of our affiliate organizations.
TWe will be expanding our outreach program by providing CMEA adjudicators to go into Title I schools, or schools that have not attended a CMEA festival before, and provide them with a workshop based on our festival performance rubrics. The hope is that more schools will attend our festivals once they see what the process is and through that process, we will be providing a more effective and valuable source of professional support and development. Additionally, we will continue to sponsor directors, who have not attended winter conference, provide scholarships for up to ten students in each of the conference ensembles from Title I schools, and be offering up to three festival fee scholarships for those who would like to attend a festival, but are not financially able to do so.
I am looking forward to serving the CMEA Bay Section as president and working with my colleagues at the state level.
Wishing you a great start to the school year.
Greetingsfrom theCentralCoastSection
by Maria Carney CMEA Central Coast Section President
his year will be the first year of my two-year term as president of the Central Coast Section. I would like to thank Christy Latham, our immediate past president, for her leadership and support for the past two years and for her continued support. I would also like to thank all of our board members and event chairs for everything they have done, and continue to do to provide high quality opportunities for the students and teachers in our section.
Last year was an eventful one for the Central Coast Section. Our honor ensemble concerts and festivals were well attended, with a particularly notable increase in instrumental solo/ensemble participation. Our Young Ensemble Showcase, YES!, took place for its second year showcasing the work of our elementary and general music teachers.
Last year was also a year of firsts for the Central Coast Section featuring our new website, online auditions for all our recorded honor ensemble auditions, and our new Songwriters Showcase. The new website features compatibility with mobile devices, an interactive Google calen-
dar, and a new professional development section which includes links to current and past issues of the Sonata, our section newsletter. Our teachers have enjoyed the flexibility achieved through our online honors auditions on the Festival Scores audition management system. The audition system has allowed teachers to submit auditions online and judge auditions from home on their own schedule. The new Songwriters Showcase gave young composers in our section the opportunity to perform their work and receive feedback from a professional composer.
Though this will be my first year as president, I have been privileged to serve on the board for the past several years with some of the most talented and dedicated music educators who consistently strive to create high quality and innovative opportunities for our students and members. I am looking forward to the next two years and hope that I may live up to the high standard set by our past presidents and board members.
CMEASouthwesternSectionNews
by Jessica Husselstein
CMEA Southwestern Section President
The CMEA Southwestern Section is excited to announce our new leadership. A very warm and appreciative welcome to: Richard Lawton, general music representative; Clinton Cody, Ventura County representative; Joanne Matibah, secretary; Anne Fruehling, vice president; and Ryan Rowles, president-elect. Continuing on the board will be: Samantha Theisen, treasurer; Lisa Crawford, special projects representative, creativity and composition representative, and membership chair; Alexander Koops, past president; and Jessica Husselstein, president. A warm thank you to outgoing secretary Stephanie Douglass, keeper of our collective group memory these last two years. We appreciate you.
We are excited to support the members of our section as we connect with each other and create experiences that will benefit our students. Check our CMEA Southwestern Section Facebook page (and your e-mail) for events and opportunities for socials.
Southwestern Section has been pleased to collaborate on several events that provide value to our members. In addition to multiple composition opportunities for both students and educators, we were fortunate to host last spring’s Casting a Wider Net conference, as well as a solo and ensemble festival in collaboration with the CMEA Southeastern section.
We are looking forward to our fall conference on September 29, to be held at Azusa Pacific University. Our theme for this year is “Responding!” We have the wonderful Alice Kay Kanack, author of the Creative Ability Development series, delivering our keynote address. We invite all music educators to attend and bring a friend. Registration can be found on our website, cmeasws.org, on our Facebook page and through e-mail. Please reach out if there is any way we can support your endeavors as a music educator.
WGreetingsfromthe SouthernBorderSection
by Laura Smith
CMEA Southern Border Section President
e have had an exciting year in the Southern Border Section, and we are gearing up for another amazing year. Our highlights include many secondary instrumental and choral festivals, an all-county high school honor orchestra, all-county middle school honor orchestra and honor band, secondary honor choir, guitar festival, orchestra make-over festival, and the return of our solo and ensemble festival. All of these same events are returning for the 2018–19 school year, and we are looking to add more. The support for music education in our area has never been stronger, and we are continuing to grow. We are looking forward to our Mega Conference in Balboa Park on October 18, 2018, as we partner with the other arts organizations to bring all arts educators together. We are also looking forward to our Fortissimo celebration on January 20, 2019, as we honor those who have made great achievements in music education in our area. Advocacy continues to be a strong, ongoing conversation, as we strive to make sure every child has access to a high quality, comprehensive music education.
reetings from the great Central Section –California’s heartland. Summer here in the Central Valley is tough. It’s been 100 plus degrees for the past month with no end in sight; you can’t step outside after 11a.m. without fear of your face melting off and my once green front lawn is on life support. But dealing with this extreme heat builds resilience in us. We grit through the harsh heat and make it through intact, overcoming the adversity somewhat stronger.
As I’ve written in the past, the Central Section encompasses a large portion of the Central Valley from as far north as Merced County to as far south as Mojave in Kern County. Thirty thousand square miles of mostly farmland, with a scattering of small agriculture towns, anchored by the regional hubs of Fresno and Bakersfield. To those living in the Bay Area or Southern California, Fresno and Bakersfield may not evoke the imagery of big cities, however, when the bulk of communities tethered to these hubs average less than 15,000 people, which are separated by mile upon mile of farmland, these larger cities dwarf in comparison.
Summer Committees
Much like the adversity the summer heat inflicts on us as residents, the rural landscape we live in as the Central Section poses a geographical obstacle for many of our students to gain access to music and art education, not to mention the lack of proper funding that plagues many of us. This dilemma is what inspired Ryan Dirlam, band director at Firebaugh High School, to spearhead our rural schools initiative here in the Central Section. Where is Firebaugh? Firebaugh is a small farming community of 8,300 residents, forty miles west of Fresno and twenty miles
east of Interstate 5, with a vast sea of farmland between both points. There are numerous rural, agriculture communities that resemble Firebaugh spread across Central Section, far too many to name here. Ryan Dirlam’s interest was initially piqued when he heard about the rural and urban schools meeting lead by Dr. Lawrence Stoffel at CASMEC 2017. Mr. Dirlam left that meeting with an ignited desire to make a difference. He seized the opportunity to convey to our Central Section board that the time has come to address the needs of the rural schools we serve. Since then, Mr. Dirlam has met with current CMEA Urban and Rural Schools Representative Stacy Harris and he is now officially CMEA Central Section’s Rural Schools Representative, a new position we opened to address the needs of our underserved rural students. On July 2, Central Section held its first ever rural schools committee meeting led by Ryan Dirlam. The committee began to lay the foundational groundwork that will support the initiative moving forward. I commend Mr. Dirlam and his committee members Kirk Clague, Ashley Shine, Janet Tenpas, and a soon-to-be-named representative from Kern County, for volunteering their efforts to see this initiative move forward. The students in these underserved rural communities deserve access to music education as much as anyone else. Central Section recognizes this need and is committed to charge forward with the rural schools initiative. Onward!
Our rural schools committee wasn’t the only team hard at work this summer. Central Section’s Festival Committee, comprised of our twenty-plus festival site hosts, convened on July 24 to work out necessary details to ensure our festivals provide the best possi-
ble experience for students, directors and adjudicators alike. Our festival committee is chaired by Central Section First Vice President/President-Elect Steve McKeithen. Mr. McKeithen, associate director of bands/marching band director at Fresno State, will assume presidency in June 2019. He is a well-respected educator and adjudicator and will do an outstanding job serving our section in this capacity. Working with Mr. McKeithen are our festival coordinators Rob Bentley and Peggy Biller. To say they are hard-working is an understatement. Festivals are the backbone of Central Section and our festival coordinators work yearlong behind the scenes to make certain our festivals operate smoothly and effectively.
Retirees
In the past two years we have bid farewell to twenty music educators in the Central Section who chose to retire. This year’s class includes Randy Berger, Bullard Talent, Fresno; Dennis Bettencourt, Redwood High School, Visalia; Norm Campbell, Porterville Unified; Steve Dailey, Clovis Unified; Mike Dana, Fresno City College; Mike Groft, Traver Elementary; Dr. Anna Hamre, Fresno State; Larry Honda, Fresno City College; Mark McGuire, North High School, Bakersfield; Phil Scambia, Fresno Unified; and Melody Unruh, Fowler Unified. Our retirees were honored at a dinner on June 13 where each was awarded a plaque commemorating their years of service. This was but a small
token of the huge thanks we owe them for the decades they poured into music education. We wish them the very best.
Outgoing Presidents and New Board members
Because of the vast geographic territory Central Section covers, it is divided into smaller, localized MEAs that service each county. Under Central Section’s umbrella are Kern County MEA, Tulare-Kings County MEA, Fresno-Madera County MEA and Merced-Mariposa Counties, which currently does not have an official MEA affiliate with us. I would like to recognize Amanda Isaac, KCMEA, and Brad Feyma, FMCEA, for their successful two year term as president of their local MEA. They both did an outstanding job in their presidential capacity. I thank them both for their service.
Congratulations to David Green, Independence High School, Bakersfield, and Joe Cargill, Bullard High School, Fresno, who begin serving as president of their respective MEA. Mr. Green previously served as Central Section’s band representative and Mr. Cargill is currently serving CMEA as its CASMEC logistics coordinator.
Lastly, I would like to welcome aboard Christine Keenan, Fresno Pacific University, who will be joining Central Section as our new band representative. Ms. Keenan brings a wealth of knowledge and enthusiasm to this position. We’re excited that she will be serving with us.
On a side note, the Wind Symphony of Clovis, a symphonic wind ensemble of professional level musicians conducted by Christine Keenan and Dr. Gary P. Gilroy, has been accepted to perform at this year’s Midwest Clinic. This marks the second consecutive year that a group from the Central Section, and more so Clovis, has performed at Midwest. The Clovis North High School Wind Ensemble, conducted by David Lesser, performed at the 2018 Midwest Clinic.
Lastly, I was granted the privilege to travel with our CMEA delegation to the NAfME National Assembly and Hill Day Summit in June, representing our Central Section. I highly encourage section leaders to attend, if possible –it is well worth the effort. It was energizing to meet and collaborate with other leaders throughout the country, as well as to see the broader picture of NAfME in action. A highlight was Hill Day in which we met with the staffs of our California senators and representatives to Congress. Our legislators need to hear that federal policy has a profound effect on how we fund and operate our music programs. As I explained to the education chair for my district representative, what water is to farming, funds are to music education; the latter cannot exist without the former.
Here’s to a fantastic 2018-2019 school year. I wish you the very best.
“Whatever your challenge this season, I would like to encourage you to continue moving forward. Just as a glacier travels and changes the landscape, we can do the same for our students.”
ThawingtheGlacialPaceofChange
by Jessica Husselstein CMEA Southwestern Section President
This past summer vacation, I had the amazing experience of traveling to Alaska. Between ports of call, we spent one afternoon idling through Yakutat Bay, viewing the Hubbard Glacier. In its beautiful, still, and silent way, Hubbard Glacier stands as an opaque blue testimonial to the cycles and systems that have existed since well before our time. Perhaps you find yourself in a comparable situation when making change at school. Educational systems can appear to be monumental, unmovable, and unchanging.
Within the dynamics of our day-to-day rehearsals, we create the changes needed for our students. The nature of rehearsal, in and of itself, is constant formative assessment and reteaching. We adjust, we move, we make change. Outside of our own lessons, however, creating new opportunities can move at a seemingly glacial pace.
Sometimes, this shows itself in the time it takes to bond with students after taking over a program. Maybe you see the need to add a class or to collaborate scheduling between departments. Perhaps you are advocating for a fundamental change in curriculum, or working to create a culture that values music education within a district that hasn’t ever experienced its benefits.
Whatever your challenge this season, I would like to encourage you to continue moving forward. Just as a glacier travels and changes the landscape, we can do the same for our students.
According to the National Snow and Ice Data Center website (nsidc.org), glaciers move due to the sheer weight of the ice. As gravity exerts its force, the ice will flow through the formations on land, often crashing into the sea, where it may affect the entire environment by raising the water levels of the entire ocean.
The top layers of ice move faster, where the ambient air temperature and weather conditions have the most visible effect. The underlayers, closest to the land mass, move slowly.These layers have been buried for years (centuries!) under their own frozen, rock hard-layers and are inhibited by the friction of the structures beneath it.
As music educators, we have the opportunity to change our landscapes. While there may be friction buried deep in the structure of our bureaucracy, we can get those top layers moving along. Here are some ideas to change the temperature and increase the force of gravity in your sphere of influence:
Create some weight by adding an opportunity for • students to perform for a new audience. Better yet, create an opportunity for students who haven’t had a chance to perform in the past. You’ll get a whole new group of parents telling the administrators how phenomenal your program is.
Go to a school board meeting and thank them for • their efforts (whatever they are) in music education. Invite them to your performances, and point out how many people are in attendance.
Speaking of attendance, work with your district • LCAP coordinator to determine a feasible way to include your concert attendance and parent participation in the “Parental Involvement/Engagement” priority area. Remember, if it helps the district meet a state priority area, it can be funded with LCFF monies. (I can’t imagine a sign-in sheet at a show, so I’m going to ask if I can take a picture of the audience instead.)
After you have that great show, select a group of • parents and train them to speak during public comment at a school board meeting. They can commit to one meeting or all of them, but sharing success stories will always help to move things in the direction you are hoping for.
Find a way to bring your voice to the other ta- • bles. Participate with your local union chapter, join the curriculum committee, offer to help the site leadership team with a project.
If you want to get down to that very bottom layer • and create sustainable structural changes, consider going back to school for a credential in educational administration. Who knows where that might lead?
Create a fun, short term project and enlist the • support of like-minded educators. Not every venture has to be huge. Do a chamber concert or a coffee house-style show, maybe perform at a community venue. Colleagues are often happy to assist, especially when it is an event with a manageable timeline.
Whatever you can do this year, you are making a great experience for your students. Don’t get disappointed if it takes a while to get things moving. Remember, we’re in this career for the long haul. Drop anchor once in a while, and admire the grandeur of what you have been accomplishing along your journey.
had the pleasure this summer of vacationing and touring with my family in Germany. Besides seeing the beautiful countryside and visiting my five ancestral homes still standing, we had the opportunity to attend concerts performed on original instruments. At the Bach Festival in Leipzig, we attended a Lutheran service in the time of Bach (with the St. Thomas Boys’ Choir singing a Bach cantata) and a complete performance of the Mass in B Minor that evening. In addition to the Bach Festival, we attended a concert of Mozart and Stamitz symphonies performed by Concerto Köln in the ultramodern Kölner Philharmonie, the symphonic concert hall in Cologne, Germany.
All three performances were outstanding and inspiring. Hearing these cultural and historic performances caused me to reflect on my career as an orchestral music educator. What a great heritage we have received. Many historians regard the symphony orchestra to be the greatest cultural achievement of Western music. As music educators, we have the opportunity to pass along this great cultural heritage to the next generation of California children, bringing many diverse ethnic backgrounds together in collaborative performances of not only the great masters of music, but also new currents in ethnic music education and music making.
The purpose of the California Orchestra Directors Association (CODA) is to promote school orchestras in California by providing quality honor orchestra experiences for school orchestra students. Through CASMEC, CODA also facilitates seminars on instructional strategies and ideas for the school orchestra director and provides a community and forum for school orchestra directors.
CODA organizes two main events each year. The CODA Honors Orchestras will be held November 30–December 1 at the University of the Pacific in Stockton, and the three California All-State Orchestras at the CASMEC convention this coming February 14–17, 2019.
Entrance to all honor orchestras and allstate orchestras is by recorded audition. New this year for CODA Honors and All-State Orchestra applicants is the digital online audition process. CODA will no longer require recorded CDs for auditions. The new process will be the same online application platform used by CBDA and CAJ All-State Bands the previous two years. Instrumental directors who have nominated band students will already be familiar with the online process, while strictly string teachers will need to adapt to the new online system to upload their students audition recordings. Audition material for all CODA Honor and All-State Orchestras is ready for download at www.codaorchestras.org. The online audition platform will be activated in August.
The CODA Honor Orchestras consists of two high school level honor orchestras, the State Honors Symphony Orchestra and the State Honors String Orchestra. The online application deadline for the CODA Honors Orchestras is September 26, 2018. The State Honors Symphony will be under the direction of Dr. Nicolas Waldvogel, di-
rector of the University of the Pacific Orchestra. Dr. Waldvogel has degrees in music from Harvard, Peabody and Yale and will lead the Honors Symphony in a complete performance of the Symphony No. 2 by Johannes Brahms. The Honors String Orchestra will be under the direction of Toru Tagawa, music director of Tucson Repertory Orchestra, artistic director of the Sierra Vista Symphony Orchestra and orchestra director of the Canyon del Oro High School Orchestra. Mr. Tagawa will lead the Honors String Orchestra in the Academic Festival Overture by Johannes Brahms, arranged by Robert McCashin; the Romance for String Orchestra by Gerald Finzi; and the Irish Legend by Robert Kerr. The guest conductors will work with the students all day Friday and perform a concert Saturday afternoon.
The CASMEC conference consists of three all-state orchestras: The All-State High School Symphony Orchestra, the AllState High School String Orchestra, and the All-State Junior High School String Orchestra. The online application deadline is December 1 for all-state orchestras. Dr.
William LaRue Jones, director of Orchestral Studies at the University of Iowa, will conduct and lead the All-State Symphony Orchestra. Dr. Thomas Lowenheim, conductor of the orchestra and professor of cello at California State University, Fresno, will lead the All-State High School String Orchestra. Bob Phillips, director of string publications at Alfred Music and president of the American String Teachers Association (ASTA) will lead and instruct the AllState Junior High School String Orchestra, which many national string educators see as the finest junior high string orchestra in the country.
Finally, CODA organizes the string and orchestra sessions and concerts for the convention attendees at CASMEC. The CODA Board has been hard at work inviting presenters from national string conferences such as ASTA and the Midwest Clinic to present at CASMEC, as well as review seminar applications from many outstanding local pedagogues in string playing. I look forward to meeting and greeting many of you in Stockton and Fresno this coming school year.
The All-State Junior High School String Orchestra in rehearsal at CASMEC 2018, under the direction of Marilyn Kesler. Photo by Kirby Fong
As we prepare to embark on another thrilling musical journey with our students, I challenge you to add one more item to your back-to-school to-do list –engaging with the new or struggling music educator in your community.
We all know that teaching, by nature, can be the loneliest of professions. As music teachers, this is especially prevalent due to the many musical and non-musical hats that we juggle on what seems like a nonstop basis. When we struggle to balance these hats, we often trick ourselves into thinking we are alone, as for most of us, we are the only ones who teach our subject area on our campuses. At the end of the day, we persevere anyway in an effort to allow our students to become better people through music making.
Consider the music educator in your district that may be struggling with this. Or better yet, consider the new educator who will soon begin their career in this noble line of work. Open doors for them by engaging them with the California Music Educators Association community by means of membership. Reach out. Communicate the opportunities available to them, including the CMEA Mentorship Program, the California All-State Music Education and Casting a Wider Net conferences, the endless online resources available through the National Association for Music Education, and the local opportunities offered by your local CMEA section.
Most of all, be persistent in stating how membership allows that educator to engage with a diverse community of educators –all of which seek to provide a high-quality music education for all students. Tell that educator how being a part of CMEA allowed you not to feel alone. If we, the current CMEA membership base, all commit to reaching out to one new or struggling educator in our community and encourage them to join our community, we will continue to allow music education to thrive. If you have any questions on how to engage a specific educator in your area, please do not hesitate to contact me at Ryan_Clippinger@kernhigh.org. I look forward to being a valuable resource for all in our wonderful CMEA community.
IPlanningfortheNext StandUp4MusicAdvocacy Day
by Jeremiah Jacks
CMEA Advocacy Day Performance Coordinator
t was inspiring to see so many diverse ensembles from across California performing for Stand Up 4 Music at the entrance to the state Capitol this past May. More than 150 middle school strings from Folsom/Sutter Middle School under the direction of Margie Moon started the morning off right, followed by one fantastic group after another. The only thing missing was a choir. Let’s change that this year. I would love to have some wonderful choral programs step up and submit applications to be a part of this very important day.
We are already gearing up for next year’s Advocacy Day on May 9, 2019. We’ve moved the day a little earlier in the month to avoid conflicts we have had later in the month. We hope this will allow even more programs to apply.
Stand Up 4 Music is an incrediblely important event, connecting with our state leaders to advocate an equal access to a quality music education for all children. I hope you will consider applying to bring your ensemble to the Capitol to support this wonderful event.
If the Capitol is a far distance for you, consider making this a big event for your kids and organizing the performance for SU4M as a tour. Take your students on a tour of the Capitol while you’re here. Visit some convalescent homes and schools for special needs while traveling to Sacramento. Swing over to Six Flags in Vallejo while you’re at it. Be creative and think about how you might take your program in a bit of a different direction this year.
MakeYourMarkin2018
Register all of your music programs and share the many ways you make music in your classrooms, kindergarten through university.
Hello. My name is Anne Fennell and I am the new vice president of CMEA, in addition to my role as the NAfME Innovations Council Chair through 2020 The NAfME Innovations Council has created a quick survey to help identify and support the many pathways in music education.
With this information we hope to find current trends, identify statewide teacher needs, and provide information to support our membership and conferences.
Register your music program on CMEA’s Pathways in Music Education database.
Type in this URL: https://goo.gl/JgtaZd or scan the QR code below to take this short survey.
Anne Fennell CMEA Vice President and NAfME Innovations Council Chair www.annefennell.com
annefennell@mac.com
TATraditionintheMaking TheCMEAStateChoralFestival
by Nancy Ludwig CMEA State Choral Festival Chairperson
he California Music Educators Association has always been committed to promoting excellence in music education and is looking forward to continuing that tradition in the coming school year. This organization is continually searching for ways to support efforts in the classroom and on the podium, as well as promote the progress and dedication of students. It is also dedicated to highlighting superior level teaching and music making across the state of California. With that in mind, the California Music Educators Association is proud once again to present the CMEA State Choral Festival, to be hosted by the Chapman University College of Performing Arts. The festival will be held on Wednesday, March 20, 2019 at Musco Center for the Arts, Chapman University, One University Drive, Orange, California (muscocenter.org).
Special thanks to Deborah Gibbs of World Projects as the premier sponsor of this event, as well as JW Pepper for making it possible for CMEA to present a high-quality festival. The Musco Center for the Arts, a state-of-theart venue provides a unique and prestigious opportunity to showcase superior level choral ensembles. In addition, ensembles and their directors will receive adjudication from three master-level choral
professionals. This adjudicated event is open to the finest middle school, junior high and high school choirs from throughout the state. Eligibility requirements and online application materials can be accessed as of September 1, at www.calmusiced.com.
Participating groups must have received a superior or unanimous superior rating at a CMEA-sanctioned festival during spring semester 2018. CMEA sanctioned festivals include festivals hosted by CMEA Sections and also the Southern California Vocal Association (SCVA). Only participating choirs who received unanimous superior are eligible to apply.
The application process is completely online this year, and it is recommended that all potential applicants gather materials necessary before applying. Look carefully over all requirements, as incomplete applications will not be accepted. Submission deadline is November 1, 2018.
HTechnologyand21stCenturyLearners
by Chad Zullinger CMEA Technology Representative
ello, all. My name is Chad Zullinger and I will serve as your CMEA Technology Representative for the next two years. I am from the CMEA Bay Area Section where I most recently served as technology representative and choral rep from 2012–2014. I would like to thank my predecessor, Dr. Tamara Thies, for her service as the past CMEA technology representative.
Any discussion about technology in a modern classroom, must begin from a common acceptance that it does indeed have an integral place in it. Furthermore, while the range of available hardware and software continues to grow at a dizzying pace, it’s important to know that it serves a much higher, and timeless, purpose, when used as an instrument for a child’s inherent capacity for learning.As I begin my tenure as technology representative, a majority of what I share with our state, other NAfME organizations and partnerships will proceed from this idea.As you may have sensed, there is a deluge of “technology” available, at any time and on any device.What I experience at both state and national conferences at which I have presented is a sense that educators are craving the “why,” the rationale behind implementing the latest tech into their classrooms. How does technology help my students understand, value and appreciate music in a more profound way? Let’s try and dig a little deeper into that notion.
blink of an eye. Today’s students “will be a knowledge producer, drawing together a range of available knowledge resources –instead of a knowledge consumer, fed just one source, the old textbook. They will work effectively in pairs or groups on collaborative knowledge projects, creating knowledge to be shared with peers. They will continue to learn beyond the classroom, using the social media to learn anywhere and anytime –a phenomenon called ‘ubiquitous learning’.”1
Here’s a little exercise: reflect on this image and the branches of 21st century pedagogies:
How might these ideas intersect with the core tenets of music education? Some of my favorite experiences as a music teacher came from providing the opportunity for students to explore possibilities in the language that is unique to music. As music teachers in this educational landscape, have we asked ourselves: can we create spaces so that our students can direct their own learning experiences in the language of music?
Here are a few more ideas to think about:
• Can a student learn about the correlation between emotional response and dynamics from mixing and mastering a project in Garageband?
• Can the music student learn about tempo, formal design, phrasing and sequences from composing and/or arranging a piece in Noteflight?
Today’s students are 21st century learners, while many of us were trained in teaching theories of a previous age. You might be asking yourself at this point, “Did we really shift ‘ages’ in education?” Yeah, we kind of did, doing so in the
• Is not the a cappella phenomenon directly correlated with the “design thinking method”? This process calls on students to “identify a challenge, gather information, generate potential solutions, refine ideas, and test solutions.”2
The good news is that we are completely able to provide this environment so our music students can plan, make and
Illustration by Trevor MacKenzie and Rebecca Bathurst-Hunt
discover what a personalized musical experience means for themselves.As outlined from the scenarios above, in the musical classroom, “the role of the student is transformed from a passive consumer of facts and content into an active contributor to the learning experience and the exploration of problems, ideas and solutions. It is in this experience that understanding is constructed and rich learning occurs.Voice and choice are at the heart of these settings as the learner helps create the learning conditions and learning outcomes with the teacher.”3
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So, it is in this spirit that I’d like to connect you with the intention behind the music technology offerings at the 2019 CASMEC conference in Fresno. We have some amazing music educators and industry professionals lined up to share 21st century innovations in music technology. Until then, here are some resources to check out how music students can plan, make and discover what a personalized musical experience means in the musical learning space: http://edublog.soundtrap.com https://notes.noteflight.com https://midnightmusic.com.au http://gillianmariemusic.com https://www.mutechteachernet.com
I am eager to begin the work as your technology representative. Feel free to reach out at anytime on social media or drop me a note via e-mail. I look forward to meeting you in Fresno.
•
1. Kalantzis, Mary, and Bill Cope. “The Teacher as Designer: Pedagogy in the New Media Age.” E-Learning and Digital Media, Vol. 7, No. 3, 2010, PP. 200–222, doi:10.2304/elea. 2010.7.3.200.
2. Schwartz, Katrina. “What Does ‘Design Thinking’ Look Like in School?” Mind/Shift, 25 June 2013, www.kqed.org/mindshift/27348/whatdoes-design-thinking-look-like-in-school.
3. MacKenzie, Trevor. “Four Inquiry Qualities At The Heart of Student-Centered Teaching.” Mind/Shift, KQED, 19 July 2018, www.kqed.org/mindshift/ 51580/four-inquiry-qualities-at-theheart-of-student-centered-teaching.
collaboration and dedicated instruction fr
Professional-level experiences, diverse opportunities for collaboration and dedicated instruction from renowned performers, composers and scholars await you at the University of Colorado Boulder College of Music.
Work with leaders in the field to develop your talents and refine your passions as you experience The College of Music Advantage.
In-person auditions are held February 2nd, 9th, and 16th Recorded auditions must be submitted by February 1st.
Imig Music Building 301 UCB Boulder, CO 80309 303.492.6352
