CMEA Magazine Spring 2015

CMEA Magazine The News Magazine of the California Music Educators Association Spring 2015 Issue • Volume 68 • Number 3

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Th e News M aga zine o f th e C alifo rnia Mu sic E duca to rs Asso cia tion SPRING ISSUE 2015 • INSIDE THIS ISSUE POSTMASTER

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

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

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

Subscription price of $4.00 is included in the CMEA annual dues. Non-member subscription rate is $12.00 per year.

Single copies are $3.00 POSTMASTER: Send address changes to CMEA Magazine, 9923 Hirondelle Lane, Tujunga, CA 91042–2605 CMEA Magazine Art Director/Business Manager: Allen Petrinka Mailing Address: 9923 Hirondelle Lane Tujunga, CA 91042–2605 Voice: 818 353–3356 E-mail: cmeamagazine@dslextreme.com Rates and advertising information available at: www.calmusiced.com The Executive Board of CMEA serves as the Editorial Committee.

The observations and opinions expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Association.

CMEA does not necessarily endorse any product or service advertised in this magazine.

CMEA Administrative Office Mailing Address: 2417 North 11th Avenue Hanford, CA 93230 Office: 559 587–2632 Cell: 559 904–2002 E-mail: cmea@calmusiced.com Website: www.calmusiced.com

CONTENTS • President’s Message: CMEA’s Sponsored Legislation SB 725 is Just the Beginning

by CMEA President Michael D. Stone

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• SB 725 (Hancock): Visual and Performing Arts Standards Update and Review

8

• Collaborative Conference an Altogether Positive and Inspiring Weekend

by CBDA President Norman Dea

9

• CMEA List of Accomplishments What the CMEA Board Accomplished During the First of its Two-Year Term

11

• Stay Inspired Through Your Tri-M Chapter

by Elizabeth Robertson, CMEA Tri-M Representative

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• Are We Meeting a Need? Regarding Students with Special Needs

by Angela Holmes

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• Metronome Strategies for Improving Your Timing

by Dave Gerhart

18

• Tech Updates from CMEA Conference 2015

by James Knight, CMEA Technology Representative

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• Opportunities for Professional Growth

by California ACDA President-Elect Lou De La Rosa

20

• What’s New in Music Technology: A Report from NAMM 2015

by Mike Klinger

21

• Choral Success at CASMEC

by Merryl Nelson, CMEA CA ACDA Representative

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• In California, Schools Are Not Equal - A View From Another Side

by D.L. Johnson

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• CMEA Notes The New CMEA Collegiate Council, “Pizza with the Presidents,” and the CMEA Mentorship Program

27

• Spiccato

by Dr. Thomas Tatton • CMEA Statewide Award Winners Gala Awards Banquet at CASMEC

28 30-42

• Higher Education Happenings

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

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CASMEC photos on the cover: (Clockwise beginning with the drum) A break in the rehearsal of the All-State High School Wind Symphony in the Saroyan Theater; Shannon Kitelinger, conductor of the CBDA All-State High School Concert Band; Gary Pratt, from California State University, Northridge, receives the CMEA Jazz Educator Award at the CMEA Awards Banquet alongside CMEA President Michael D. Stone; The Panama Buena Vista Strolling Strings under the leadership of Regina Pryor; Mike Dana, director of jazz studies at Fresno State City College, reveals his “Top Ten Secrets for Better Jazz Solos.” (Film frames on the right) Dr. Stephen Benham and the Pitman High School Chamber Orchestra demonstrate “Tone Development for Middle School and High School String and Full Orchestras.”

Photos by Allen Petrinka

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7 22 10 IFC 16 BC

u NAfME All-National Honor Ensembles u NAfME Membership u NAMM Foundation u Nick Rail Music u San Francisco State University u University of Portland u Yamaha Music Instruments

IBC 2 1 16 19 27 4

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

Spring Issue 2015

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NEW Yamaha Timpani Design. Projection. Clarity.

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President’s Message

CMEA’s Sponsored Legislation SB 725 is Just the Beginning

by Michael D. Stone CMEA President

s a young music teacher I would often hear my students speak fondly of their algebra teacher, Mr. Bob Fulenwider.

They told me that he had a saying: “Anyone can be mediocre; it takes hard work to be great!”

At some point my students painted that quote on a large sheet of poster paper and we proudly hung it in the front of the instrumental music room. The words seemed to embody how we felt about learning in our classroom. It seems that hard work goes hand-in-hand with great music education programs.

Excellence in most anything in the world requires significant commitment to putting in time to make things happen. One of the best things about our profession is that although we work tirelessly, the rewards are plentiful. Our students keep us going.

Hard work is at the center of CMEA’s State Council. So much has been accomplished by this distinguished body over the past year. Please take a look at the CMEA accomplishments listed later in this issue of the CMEA Magazine. You will see the results this body has collectively accomplished to serve the membership.

I want to acknowledge the entire CMEA State Council for their individual efforts in making the California All-State Music Education Conference (CASMEC) a wonderful success this past February in Fresno. So many made the conference a success for California’s professional music educators, collegiate members, and others in attendance. Please enjoy the photos and other information from CASMEC 2015 found in this issue of the magazine.

As I write this article, CMEA has exciting news to share in its ongoing work in music education ad-

A

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vocacy.

CMEA made history earlier this year with its first-ever sponsored legislation in the California State Senate. Senate Bill 725 (SB 725), authored by Senator Loni Hancock (D-Berkeley), will require the superintendent of public instruction, in consultation with the California State Board of Education, to convene a panel of experts to recommend new Visual and Performing Arts Standards to the State Board of Education. The State Board of Education is required to adopt the standards no later than June 30, 2017. It has been fourteen years (2001) since California last adopted content standards. Much has changed since then. CMEA’s bill is a top priority for the Stand Up 4 Music (SU4M) Coalition. CMEA’s bill will provide the required legislative authorization to begin a process to adopt new standards in California, as is currently required by law. The June 2014 release of the new National Core Arts Standards provided the impetus to bring the issue of updated standards to the forefront of CMEA’s legislative priorities.

Why is SB 725 so important today? When standards are adopted, new curriculum materials will be created that will provide California the opportunity to lead the nation in rigorous standards for music education. Additionally, colleges and universities will begin work aligning teacher preparation with the standards. California’s students will be the beneficiaries of this work.

SB 725 is co-sponsored by the other three statewide arts education organizations, including the California Art Educators Association or CAEA, California Dance Educators Association or CDEA,

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and the California Theatre Educators Association or CETA, as well as two other prominent theatre education associations in the state: the California Chapter of the Educational Theatre Association or Cal EdTA, and the Drama Teachers Association of Southern California or DTASC. CMEA worked with the four ArtsEd Organizations Coalition to present a united front in our work advocating for a standards update in California.

This fall, CMEA’s Lobbyist Lynne CMEA EXECUTIVE BOARD CMEA President Michael D. Stone E-mail: stonem@bcsd.com Work: 661 631-4810 CMEA President-Elect Scott Hedgecock E-mail: scotchdir@aol.com Work: 714 626-3984 CMEA Vice President Steven Hendee E-mail: sjhendee@sbcglobal.net CMEA Secretary Duane Otani E-mail: Dotani916@yahoo.com Work: 858 485-4800 CMEA Immediate Past President Russ Sperling E-mail: rsperli@cox.net Work: 858 292-3547 CMEA Administrative Coordinator Trish Adams E-mail: cmea@calmusiced.com CMEA Office 2417 North 11th Avenue Hanford, CA 93230 Work: 559 587-2632 Cell: 559 904-2002 BOARD OF DIRECTORS CMEA Bay Section President Todd Summers E-mail: tsummers@pausd.org Work: 650 354-8264 CMEA Capitol Section President Brad North E-mail: bnorth@rjuhsd.us Work: 916 771-6565 x 4600 CMEA Central Section President Leonard Ingrande E-mail: lingrande@centralusd.k12.ca.us Work: 559 276-0280

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Faulks set the ground work for SB 725.

We can all rest assured that Lynne’s work on our behalf will move our CMEA legislative priorities forward.

It is exciting that CMEA is positioned to be a unifying leader in music education today. Our work on SB 725 is just the start. Imagine when future legislation is introduced to confront issues of student access to music education and adequate funding of music programs. The sky’s the limit! We are just at the beginning stages

CMEA Central Coast Section President Willow Manspeaker E-mail: wmanspeaker@ stevensonschool.org Work: 831 588-8486 CMEA North Coast Section President Judi Sharnberg E-mail: judimusic@gmail.com CMEA Northern Section President Todd A. Filpula E-mail: tfilpula@chicousd.org Work: 530 891-3026 x 321

of instigating our new advocacy infrastructure in Sacramento. Together we can accomplish so much.

Please refer to the SB 725 Fact Sheet in this issue of CMEA Magazine. You will be contacted by CMEA over the next few months as the bill moves through the bill adoption process. Please respond with letters of support when requested. Every voice counts.

Here’s to wishing you a wonderful spring of music education.

CMEA CAJ Representative Michael Galisatus E-mail: galisatus@comcast.net and galisatusm@smccd.edu Work: 650 574-6163 CMEA CBDA Representative Norm Dea E-mail: normdea@yahoo.com Work: 925 280-3970 x 7327 CMEA CODA Representative Kate Francis E-mail: mskatefrancis@gmail.com Work: 408 535-6300 x 29159

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

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

CMEA Southern Border Section President Pauline Crooks E-mail: Pauline.crooks@gmail.com Work: 858 485-4850 x 4027

CMEA General Music Representative Richard Lawton E-mail: richard@ richardlawtonmusic.com Work: 323 654-4401

CMEA Southwestern Section President Lisa A. Crawford E-mail: cmeasouthwestern@ gmail.com.

Work: 213 740-6935

CMEA Music Technology Representative James Knight E-mail: jamesknight@mac.com Work: 714 536-2514 x 4116,

NAfME OFFICERS NAfME President Dr. Glenn E. Nierman 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768 NAfME Western Division President Dr. David C. Fullmer Orem, UT 84058 COUNCIL OF REPRESENTATIVES CMEA CA ACDA Representative Merryl Nelson E-mail: mnelson@gladdemusic.com Work: 619 660-4000 x 3009

CMEA Advocacy Representative Steve Venz E-mail: stevenvenz@yahoo.com Work: 323 224-3100 CMEA State Band and Orchestra Festival Chairperson Jim Mazzaferro E-mail: jmazzafe@egusd.net Work: 916 681-7500 CMEA State Solo and Ensemble Festival Chairperson Cheryl Yee Glass E-mail: cglass@srvhs.org Work: 925 552-3044

CMEA Membership Chairperson Regina Pryor E-mail: reginapryor78@gmail.com Work: 661 831-8331 CMEA Mentorship Program Chairperson Mark Nicholson E-mail: mnicholson@sandi.net Work: 858 256-2702 CMEA Music Supervisors Representative Fillmore Rydeen E-mail: fillmore.rydeen@ ousd.k12.ca.us Work: 510 336-7609 CMEA Collegiate Representative Dr. John Eros E-mail: john.eros@ csueastbay.edu Work: 510 885-3135 CMEA Tri-M Representative Elizabeth Robertson E-mail: erobertson@petk12.org Work: 707 769-9650 CMEA Higher Education Representative Dr. Lawrence Stoffel E-mail: stoffel@csun.edu Work: 818 677-3160 CMEA Research/Special Learners Representative Dr. Ruth Brittin E-mail: rbrittin@pacific.edu Work: 209 946-2408 CMEA World Music Representative Dr. Lily Chen-Hafteck E-mail: lhafteck@ucla.edu Work: 310 825-4668 CMEA Retired Members Representative Jon Christian E-mail: jonchristian41@gmail.com

CMEA Magazine

CMEA Magazine

CMEA Past Presidents

1947–1949

1966–1968

1982–1984

1998–2000

Clarence Heagy

Kenneth D. Owens

David S. Goedecke

Dennis L. Johnson

Stockton

Salinas

Fresno 1968–1970

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

1949–1951

Judd Chew

1984–1986

2000–2002

Elwyn Schwartz

Sacramento

Vivian M. Hofstetter

George DeGraffenreid

Gayanne Korkmazian, 2012; Dr. David Whitwell,

Bakersfield

Fresno

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

1951–1953

1970–1972

George F. Barr

Anthony L. Campagna

1986–1988

2002–2004

Foster City

John L. Larrieu

Sam Gronseth

Portola

Paradise

1953–1955

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

Fred Ohlendorf

1972–1974

Long Beach

Louis Nash

1988–1990

2004–2006

La Crescenta

L. Leroy Roach

Rob Klevan

Lindeman, 2006; Joe Foster, 2006; Paul

Walnut Creek

Pacific Grove

Shaghoian, 2006; Frances Benedict, 2005;

1955–1957

2007; Mary Val Marsh, 2007; Carolynn A.

Harold Youngberg

1974–1976

Oakland

Marlow Earle

1990–1992

2006–2008

Lakewood

Carolynn A. Lindeman

Cheryl Yee Glass

Jerry Kirkpatrick, 2005; Robert Greenwood,

Greenbrae

Danville

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

1957–1960

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

Joseph W. Landon

1976–1978

Fullerton

Mary C. Reed

1992–1994

2008–2010

Thomas Eagan, 2003; Larry Johnson, 2002;

Elk Grove

Bill Adam

Jeff Jenkins

Mary Louise Reilly, 2002; William Hill, 2001;

Roseville

Chula Vista

Henry Avila

1994–1996

2010–2012

Monterey

Don Doyle

Norman Dea

Pylman, 2000; Lawrence Sutherland, 1999;

Pasadena

Walnut Creek

Chuck Schroeder, 1998; Dean Semple, 1997;

Charles L. Freebern

1996–1998

2012–2014

San Diego

Jay D. Zorn

Russ Sperling

La Crescenta

San Diego

1960–1962

Douglas Kidd 1962–1964

1978–1980

Gibson Walters San José 1964–1966

Keith D. Snyder Davis

Lois Vidt, 2004; John Farr, 2003;

1980–1982

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

Burl Walter Jr., 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991; Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983; Aubrey Penman, 1981; Steve Connolly, 1979;; Howard Swan, 1977; Russell Howland, 1975.

Spring Issue 2015

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SB 725 (Hancock): Visual and Performing Arts Standards Update and Review As Introduced February 27, 2015

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CMEA Magazine

CBDA President’s Article

Collaborative Conference an Altogether Positive and Inspiring Weekend

by Norman Dea CBDA President California Band Directors Association

O

n behalf of the CBDA Board – as well as our friends on the boards of ACDA California, CAJ, CMEA and CODA - I would like to thank you all for your support of CBDA’s 58th Annual All-State Convention and the 5th Annual CASMEC Super-Conference. Once again, this year’s collaborative conference brought together wonderful educators from across our state for an incredibly positive and inspiring weekend. I want to thank Michael D. Stone, Scott Hedgecock, and Bill Wilkinson from CMEA; Kate Francis and Michael Boitz from CODA; Lisa Butts and Chris Stevens from CAJ, and Lori Marie Rios and Lou De La Rosa from ACDA California. All the sessions were packed and the performing groups were simply phenomenal.

I would also like to thank the amazing work of the CBDA board and volunteer staff. The amount of work, coordination and preparations that went into this conference shows the dedicated commitment of these individuals. Many of them spent countless hours to make the weekend a success. Thank you all. Your devotion to music education should be commended.

Also help to recognize the incredible work of the junior high host Jeff Detlefsen, band director at Sierra Pacific High School in Hanford, special projects coordinator Chris Marra, music director at Los Gatos High School, and convention host Phil Vallejo, director of bands at Clovis East High School. Mr. Detlefsen was

Spring Issue 2015

responsible for putting together all the pieces that made the junior high all-state bands as well as the CAJ jazz bands and jazz choir experience a reality for those students. Mr. Marra was responsible for coordinating and organizing the headliner concert, wonderful clinics, presenters and performing ensembles at the conference. Mr. Vallejo had the huge undertaking of coordinating the logistic of the high school ensembles as well as coordinating the “ins-outs” of the entire convention. Special thanks to administrative assistant Trish Adams for keeping us on the right path. Thank you for the professionalism and efforts you each brought to CBDA. Finally, please welcome our newest board member, Ezzy Lozano from Clovis High School. Ezzy will serve as the new vice president of CBDA, and we are honored to have her on our board. We also welcome back Nick Chitwood as our board member on special assignment. His incredible wealth of knowledge on a myriad of topics will prove invaluable as we transition to San José in 2016.

Best of luck as each of you prepares your groups for festivals, spring tours and final spring concerts. If I don’t get a chance to say it personally, thanks for all you do for the young people in our state through music education. We’ll see you in San José in 2016. Best wishes.

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ATTENTION HIGH SCHOOL SINGERS SUMMER CHORAL MUSIC CAMP AT CHAPMAN UNIVERSITY ON JUNE 22-26, 2015 Hosted by Chapman University’s Hall-Musco Conservatory of Music, this weeklong day camp provides high school singers with a dynamic, challenging, and unforgettable musical experience.

This is an excellent opportunity for high school students not only to take advantage of our premier vocal program but also learn about our university as a place where they can turn passion into a vocation.

The day camp begins Monday, June 22 and concludes with a final performance on Friday, June 26, 2015 in the beautiful Salmon Recital Hall on the Chapman University campus.

The deadline to register is June 1, 2015.

Early Bird tuition discount available.

Scholarships available. Visit chapman.edu/choralcamp for more information.

One University Drive • Orange, California 92866 • (714) 997-6871

What the California Music Educators Association (CMEA) board accomplished during XLI ½ VWX SJ MXW X[S ]IEV XIVQ LEADERSHIP

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Spring Issue 2015

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Spring Issue 2015

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CMEA Magazine

Ready, Set, DO:

Stay Inspired Through Your Tri-M Chapter

by Elizabeth Robertson CMEA Tri-M Representative

T

his year’s CASMEC was truly a statewide celebration of music education. Each day was packed with professional development sessions, concerts, exhibits, and connecting with colleagues. The Canadian Brass and CSULB Chamber Singers concerts reinforced music’s emotional impact. I had the additional privilege of speaking with the all-state honor ensemble musicians about the Tri-M: Music Honor Society. The positive energy in each rehearsal was infectious. These students are dedicated musicians, scholars, leaders, and community members. They are exactly the type of students who are invited to join Tri-M. As we continue the spring semester and begin to look toward the 2015–2016 school year, I have been searching for ways to sustain and foster the ideas I gained at CASMEC. CASMEC is my yearly dose of professional inspiration and rejuvenation.

One of my greatest challenges is to keep up the conference’s positive momentum when I return to my daily jobs as a choral director and department chair. I always debrief with my district colleagues and share new ideas. Since becoming CMEA Tri-M Representative, I have been exploring ways to share my professional excitement with my students.I suggest incorporating a new routine into your CASMEC experience: debrief and plan with the students in your Tri-M chapter. Our students possess a wealth of enthusiasm, an ability to spread new ideas among their peers, and the energy to follow through with new

Spring Issue 2015

initiatives when given opportunities to lead. As a music department’s student leaders, Tri-M members are in the unique position to influence and implement organizational change.

Follow this “Ready, Set, DO” model as you facilitate CASMEC inspired changes at your school:

• Have students prioritize the ideas they like best. These ideas may be for the current semester or for the upcoming school year.

Ready: • Attend a professional development conference and gather as many resources as possible. This may include going to concerts, attending sessions, and networking with colleagues.

DO: • After creating an Action Plan, future Tri-M meetings will be used to complete tasks and monitor progress.

• When you return from the conference, categorize your notes between inspirations for your personal teaching toolkit and ideas for your overall music depart-

ment goals. Follow up with contacts you made with colleagues at the conference and request further information if desired.

Set:

• Present your ideas to your Tri-M executive council. Your leadership may have insights into how their fellow students will receive new ideas.

• At the next Tri-M general membership meeting, have your executive council present the new ideas to their peers.

• Create an Action Plan with a ranked list of priorities and measurable actions. It may also be useful to create an implementation calendar for each priority.

• There will be setbacks. As teachers we have the power to turn them into teachable moments.

• Celebrate every success.

• Share your success: Tell and show par-

ents, teachers, and administrators when your plans are realized.

Final Thoughts…

One of my primary goals as CMEA Tri-M Representative is to increase communication among chapters, students, and the CMEA leadership.

Please share your Tri-M successes with the CMEA Executive Board and me.

Let’s celebrate our students’ phenomenal achievements as musicians, scholars, and leaders.

15

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Reaction to the CASMEC Presentation

Are We Meeting a Need?

Regarding Students with Special Needs

by Angela Holmes

T

here are more than six million students enrolled in K–12 public education in California. Nearly 12 percent, or more than 700,000, are students with special needs (California Department of Education Statistics, 2013–2014).

The vast majority of students with special needs will complete their high school education by age 18 and will be enrolled in the general education program.

Does the mandatory special education course for completing a credential in California completely prepare a teacher for meeting the needs of diverse learners in the classroom? Do the differentiated lessons plans that are required in methods classes, sufficiently prepare a teacher for the daily instructional modification and/or behavioral considerations for students with special needs? Well, yes, that is the goal that we diligently attempt to reach with our future teachers through the course on special education and methodology classes that require differentiated planning. Realistically, one class cannot sufficiently address the needs that are found in the classrooms of today. The special education course can and should provide a strong foundation from which to build the skills of differentiated planning and lesson delivery. Therefore, based on the forty-plus educators and college students that attended the presentation on ADHD in the music classroom, there appears to be a need to provide on-going support to the educational practitioner, as well as a platform for validating the “best practices” that are successfully being implemented in music education classrooms today.

The presentation, “ADHD-The Basics and Beyond: Application for the Music Educator,” attracted educators seeking answers to old and new questions about students with conditions that are predominately ADD, or predominantly ADHD. The essential questions addressed by this session were understanding the characteristics of ADHD, the role of the music educator, appropriate accommodations in the music classroom, inclusion at all levels of music ability, support systems available to the music teacher and the role of the family. The objective of the session was to provide a clearer understanding of the variety of student behaviors that teachers have observed in the classroom that affect teaching and learning. Explaining and understanding the differences within the category of ADHD, should help the teacher in eliminating invalid assumptions. During the session, participants who were classroom teachers, provided examples from their classroom experiences and personal backgrounds that validated the information being presented. College students expressed that the session broadened their perspective of inclusion. At the end of the session, it was regrettable that there was not enough time to review a teacher checklist based on the behavioral characteristics of students with ADHD Spring Issue 2015

that would have provided the teacher with specific strategies to take back to the classroom and implement immediately. After the session, some participants asked for additional handouts to take back to their colleagues.

During my career as a K–12 classroom instructor, administrator, college educator teaching that mandatory special education class for a California credential, a special education consultant, as well as a strong supporter of the arts and understanding the value of music education for all, I experienced a positive welcome from the participants at my Thursday presentation at this year’s CASMEC conference. The interest in the sub-category to Other Health Impairments, ADHD, followed by the comments and questions during the presentation, and after, reinforced the conclusion that one single class does not teach educators everything they need to know about teaching a class that is inclusive of students with special needs.

Further, it seems that teachers are interested in discussing and learning more about practices that can be implemented to assist in the successful instruction of diverse learners.Educators need to have opportunities for extended training that focus on the practical aspects of addressing the unique needs of special learners. I applaud CASMEC for including a session with a practical application for special needs students at their conference this year. I applaud the educators and college students who took the time to attend a session that addressed the differentiation within the identification of ADHD, while highlighting the value of music education and addressing the practical aspects of those specific issues that make a difference in a successful music experience for all students with special needs. As a result of the response and feedback about this session, there may be a need to address the characteristics of other high and low incidence disabilities that are included or mainstreamed into the music classroom. A specific request was made for a session that addressed students who are on the autism spectrum.

Another inquiry was in regard to working with the parents of students with special needs. One participant shared that there are bands in the San José area, whose members are all musicians with special needs. It is hoped that these requests can be addressed, accommodated and highlighted through the variety of communication channels available through the resources of this organization.

Angela Holmes, M.A.Ed. Department of Human Development Santa Ana College Rancho Santiago Community College District

17

Metronome Strategies for Improving Your Timing

by Dave Gerhart

M

ost teachers are aware of the importance of practicing with a metronome. As drummers/percussionists, we are supposed to have good time. But, is it better to just practice with the metronome or interact with the metronome during practice sessions?

It is my belief that most people use their metronome as a listening device and I want to advocate the use of a metronome as an accompaniment partner. In this article, I will describe the two ways we use a metronome and offer exercises to help improve your timing while using a metronome.

There are many different metronomes made by musical instrument manufacturers that come in all shapes and sizes.

In recent years, iPhone/iPod Touch metronomes have incorporated advanced capabilities including the ability to tap a beat, synchronize pendulums and save bpm, time signature and accentuation settings.

Many are free, some have limitations, but what is important is not which metronome you own, rather it is essential that you have one and use it regularly.

It is important to remember that the metronome is a listening device and a timing device. The biggest problem is that most teachers and students use the metronome only as a listening device. Now, don’t get me wrong, we all need to be able to listen to a metronome and be able to play with it. This is especially important in a studio setting when we have a click track that is used to sync the musicians with the music or soundtrack. But, have you ever turned off your metronome and not been able to play in time or with a steady pulse? The reason for this is because you have only developed your listening skills.

In order to effectively work on your timing skills, you need to add space between the metronome clicks. If the metronome clicks on every beat you are only working on your listening skills.

metronome on half notes and have two clicks per measure Turn the click on just the downbeat of the measure Turn the click on the downbeat of every other measure or every 4 measures 2) Moveable Pulse

If you are using half notes as your pulse, practice with the half notes on 1 & 3 as well as 2 & 4 If you have one click per measure, move the click to start on beat 2 of the measure instead of the downbeat Put the metronome on quarter notes, but when you start your phrase, think of the metronome on the “ands” of the beat instead of the downbeats 3) Subtractive Loops or Patterns

Program a loop into a sequencer program (Cubase, GarageBand, Logic, etc.) and create a 4 bar loop. On the fourth bar, instead of having a measure of groove, leave it blank Next practice with two bars of groove and then two bars of space 4) Put space between your metronome and your instrument

Put the metronome on the other side of the room with a recording device. The metronome should be loud enough so that you can hear it when you are not playing. Once you start playing, you should only be able to hear yourself and not the metronome. Play back the performance on your recording device and listen to how well you performed with the metronome. I have found this approach especially beneficial when practicing excerpts.

My hope is that this article will start you thinking about using your metronome as an accompaniment partner instead of always being the dictator (“you will always play on every beat with me”). Use these techniques in your warm-up routines and begin to break away from always using your metronome as a listening device.

Strategies for Developing Your Timing

Below, I outline four strategies for working on timing skills. As you continue to work on your timing, make sure you practice at different tempos.

Dave Gerhart, product manager for percussion at Yamaha, is a prominent percussion educator and performer. He received his doctorate in percussion performance from the University of Southern California.

1 Add Space between beats or clicks

Instead of having 4 clicks in a 4/4 measure, put your 18

CMEA Magazine

Tech Updates from CMEA Conference 2015

by James Knight CMEA Technology Representative

I

would like to take a minute to thank all of the people who were involved in the 2015 California Music Educators Association’s conference in Fresno. There are too many people to formally acknowledge individually, but the amount of planning and implementation that went into this conference hosted by Michael D. Stone and his team was truly amazing. We all lead such busy lives as music educators. It’s very heartwarming to see how appreciated we are due to being part of such a wonderful community of fellow teachers.

It was my pleasure to enjoy listening and learning from a group of top educators sharing presentations about technology. I have presented at a lot of academic conferences where music technology is featured and sometimes the individual presentations are lightly attended.This was not the case at the 2015 CMEA Technology Strand in Fresno. Every presentation was standing room only and the presenters did not disappoint. Part of the surge in attendance could be due to districts purchasing Google Chromebooks, 1:1 iPads and also the new National Core Arts Standards that lists creating music as an area of study. Technology is a natural companion for the creation of music and our presenters did an outstanding job of highlighting different aspects of the new arts standards.

We started out on Thursday hearing from Anne M. Fennell whose talk about “The Whole Musician in 2015: Teaching Composition with Technology” captured our attention with captivating videos that highlighted student work and also a lot of audience involvement regarding curriculum. Anne was passionate about giving the student the gift of composition through “real music education” that goes beyond just having kids put some loops together. Her music program is rigorous and uses technology simply as a tool to “to create compositions that were previously not possible.” Attendees were blown away by the quality of student performances and comments from her session always included the phrase: “I wish I could take her class.”

Friday was jam packed with four presenters who all challenged us in different ways. In the Spring Issue 2015

morning session entitled, “Traditional Ensembles in an Age of Technology: Voices, Instruments, and iPads” by Kerri Epps and Brittney Kerby, educators were treated to a real-life dynamic duo. Attendees received a plethora of resources for the Apple iPad and some outstanding ways that they could incorporate this technology into their curriculum to enhance not only making music but also reflecting about their music. I know I was inspired to explore some of the apps they presented in my own classroom.

On Friday afternoon, the workshops “Creating Classrooms We Need: Educational Technology for Music Teachers” by Chad Zullinger and “Explore the New Smart Music: Rubrics, State Standards and iPads” by David Hawley raised the bar for forward-thinking educators. Chad Zullinger highlighted how many classrooms look remarkably like the classrooms of yesteryear while exposing us to learning strategies for the 21st century student.

David Hawley, from SmartMusic’s awardwinning interactive music software, showed us rubrics and multiple ways music educators can use this software to evaluate our students’s practice and performance skills.

Saturday’s technology sessions, “Music Scanning for the Busy Educator” and “Integrating Avid’s Official Pro Tools and Sibelius Certification Into the Music Curriculum” were both conducted by Jenny Amaya who was not only extremely informative but we learned a lot about the power of networking and using these tools to enhance our own career paths. Many of the music teachers who attended Amaya’s tech sessions expressed the desire for more hands-on learning with technology. Both Amaya and I were thinking this might be an area of interest for the 2016 CMEA Conference in San José. I would be interested to know from other music educators if they would be interested in some hands-on technology sessions by utilizing the participants own laptops for training. This will be an area of future discussion before our next statewide conference.

I’m looking forward to seeing everyone in San José.

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19

Opportunities for Professional Growth

by Lou De La Rosa President-Elect California ACDA

ne of the goals I set for my upcoming presidency has been to dramatically increase the opportunities for California ACDA membership to experience outstanding learning experiences that take place at conferences and workshops.

For years, we have offered a wonderful experience at the Summer Choral Workshop at ECCO, and have modified the Fall Reading Sessions into one-day mini-conferences in the North and South. However, these serve only a fraction of our 1,500 members: ECCO has a capacity of 185, and attendance at each of the regional conferences normally numbers about 100. Assuming no one went to more than one of these, a poor assumption, that would still leave 75 percent of California’s membership serviced only by Cantate and our website: acdacal.org That goal of expanding opportunities for more of our membership will come to fruition in February 2016 with the inclusion of a strong choral strand at the California All-State Music Education Conference (CASMEC). Through a well-timed coincidence, the all-state honor choirs will be held in San José at the same time that our band, orchestra and general music colleagues from across the State meet at CASMEC. In addition to the existing CASMEC Choral Leadership Academy for high school and community college students considering a career in choral music education (brilliantly created by Dr. Christopher Petersen, along with Dr. Anna Hamre, Dr. Jonathan Talberg and then-CMEA State Vice President Scott Hedgecock), we plan to add:

O

• the three high school All-State Honor Choirs; • a new All-State Honor Choir for junior high/middle school students; • a full slate of high-quality choral performances; • a full slate of high-quality choral interest sessions.

In the distant past, CMEA State Board mem20

bers controlled the content of the choral strand at the old CMEA state conferences. The new CMEA state leadership has placed that control in the hands of California ACDA to work in partnership with the CMEA State Board. To that end, please refer to the Call for Proposals for Interest Sessions and the Call for Performance Auditions on the California ACDA home page (acdacal.org) for a glimpse at the level that we seek. Perhaps you will be a presenter or bring your choir to conduct at what will essentially be the First California ACDA State Conference at CASMEC. In addition to the new conference, the California ACDA Board has created a brilliant lineup for the regional conferences in Fall 2015. On Saturday, September 12, 2015, the Northern Regional Conference will feature Dr. Sharon Paul of University of Oregon as the headline clinician. The following Saturday, September 19, 2015, the Southern Regional Conference will feature Dr. Andre Thomas of Florida State University at Tallahassee as the headliner. If you have never been to a regional conference, this is the year that you should attend.

All this is in addition to the longstanding Summer Choral Workshop at ECCO, Sunday, July 16 to Wednesday, July 29, 2015 in Oakhurst, the beautiful southern entrance to Yosemite via Hwy. 41. Our headliner this year will be Dr. Edith Copley of Northern Arizona University.

So, mark your calendars for the September 2015 fall regional conferences, the July 2015 Summer Choral Workshop at ECCO, and February 11–14, 2016 for the First California ACDA State Conference at CASMEC in San José. I’ll see you there.

• Lou De La Rosa is the director of choral and vocal studies at West Valley College in Saratoga, California.

CMEA Magazine

What’s New in Music Technology:

A Report from NAMM 2015

by Mike Klinger

love mid-January when I can leave the cold and grey Pacific Northwest and head toward the warmth and clear skies of Anaheim, California, for the annual National Association of Music Merchants (NAMM) convention. I always look forward to all the new and exciting developments heading our way as music educators in music technology. This year, I was not disappointed.

You may have heard that MakeMusic Inc. (the company that created Finale and SmartMusic) relocated to Boulder, Colorado to merge with a company called Peaksware. Some positions at MakeMusic were eliminated, and a number of employees who received offers to join the new venture in Boulder chose not to make the move, precipitating the rumor that the company had gone out of business. Not true. I met with Peaksware president Dirk Friel and the company’s marketing director Sonia Bertek, who reassured me that things are moving The Tascam DR-44wl forward. Peaksware develops software platforms handheld four-track that connect creators, instructors, and performers recorder. and helps them set specific goals. You get expert instruction that can help both user and software perform at the highest levels. Rest assured that Finale and Smart Music are ongoing, supported products.

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Software Apps I found three smaller software/app companies that offer promise for the music education market. Imitone ($25) translates sound into MIDI, the language of digital music. Simply put, just play or sing through a microphone into any MIDI software such as that found in GarageBand, and this product will convert the track into a MIDI track. Think of the possibilities of this. I was blown away by their demonstration.

The Piano Maestro app for iPad by JoyTunes is free download for music teachers and students. Simply download the app at www.joytunes.com and register as a teacher or student. It is a fascinating new approach to learning how to play the piano.

Simply put your iPad on the music rack of the piano and launch Piano Maestro, load in a song and hit play. As the music scrolls along, you can play along as built-in iPad microphone hears your playing and shows the notes you are playing along the way. If you have a lab with headphones, the app will also work through a MIDI connection The iTrack Dock for iPad is a comprehensive, studio-quality iPad recording on an electronic midi keyboard. Once you interface featuring dual Focusrite microphone preamps for plugging in two have finished a level and get your passing microphones plus two line inputs for guitar or bass. score, you move onto the next level. Over four million people have now downloaded this tool.

MusicPlayAlong is a free download and is an accompaniment app (audio MP3) for music practice. It provides an electronic music score with high-quality accompaniment and synchronized music tracer. It Spring Issue 2015

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is a dream companion for all music students. You can slow down or speed up a piece by 50 percent without changing pitch or sound quality. There are “song collections” for specific instruments and categories as well. Finally, please check out a couple of my own favorite webbased tools: Weezic is free, and you only pay for access to the songs you wish to play. MatchMySound is also free and is currently in beta stage. Both are wonderful practice tools for your students.

Digital Audio Probably the biggest news at NAMM 2015 was that Avid Technology would now be offering a free version of Pro Tools called Pro Tools First. It will allow for sixteen tracks of audio, MIDI, virtual instruments, and auxiliary tracks. Storage in the cloud and allows you to store up to three projects. If you want to work on a new project, then simply bounce a project to disc and store it onto your hard drive. Avid also announced Pro Tools 12 Academic ($299), coming out in the second quarter of this year. Both Pro Tools 12 and Pro Tools First will allow for song collaboration in the cloud, and a new Marketplace portal built into the software that will offer users the capacity to purchase extra sounds, effects, etc. The Marketplace also will serve as a portal where musicians can get paid for their work on song collaborations. Sibelius and Media Composer are also Avid products. Look for them to follow in a similar fashion with collaboration and Marketplace portals in new versions soon.

Tascam introduced two new handheld recorders at NAMM. The DR-44wl $299 is a four-track recorder that includes WiFi for transport control, file transfer, and audio streaming to your smartphone or PC. New built-in stereo condenser microphones feature shock mounting and are mounted in a true XY pattern for perfect stereo imaging. A pair of XLR inputs is also available for four-track recording, and all four feed into an improved microphone preamp and AD/DA stage. The DR-22wl ($149) also has Wi-Fi for transport control, file transfer, and audio streaming to your smartphone or PC. Other innovations like the Scene Dial make it easier than ever to capture greatsounding recordings and share them online. The DR-22wl also has the XY pattern microphones for stereo recording.

There were a number of new audio interfaces announced at NAMM as well.

Focusrite Audio Engineering introduced two new models that look promising for 22

music educators. The iTrack Dock for iPad ($199) is a comprehensive, studioquality iPad recording interface featuring dual Focusrite microphone preamps for plugging in two microphones plus two line inputs for guitar or bass, an instrument independent stereo monitor and headphone output, and a USB port for class-compliant MIDI instruments and controllers. The iTrack Dock provides everything required to record, monitor, and control music on Lightning iPads—

denser mic/cable, HP6s stereo headphones, 1.2m device link cable, USB cable, and recording/mixing software.

M-Audio introduced the Deltabolt 1212 Thunderbolt 12-channel interface ($499). It comes with Octane X preamps, audio performance up to 32-bit, 192-kHz, full duplex 12-input/12-output simultaneous recording in a compact desktop form.

Honorable Mention Here’s something your students will greatly enjoy: Korg introduced the new Little Bit Synth Kit ($159). It’s a buildyour-own synthesizer kit that comes complete with power adapter, oscillator, keyboard, micro-sequencer, envelope generator, filter, delay, mix, split, speaker, battery and cable and instructions (download). How fun is this?

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Korg Little Bit Synth Kit

with precision Focusrite digital conversion at up to 24-bit, 96-kHz sampling. It even charges and powers the iPad at the same time. The iTrack Studio ($199) is a complete recording package for iPad, Mac, and PC. This is a great low-cost solution for school labs. It includes iTrack Solo audio interface, CM25s, studio con-

Mike Klinger is the owner of The Synthesis Midi Workshop (www.midiworkshop.com), which specializes in educational sales and training in music technology. He offers music technology courses online and at his Retreat Center in Carson, Washington, in the Columbia River Gorge.

CMEA Magazine

Choral Leadership Academy faculty, left to right: Lou De La Rosa, Jeffrey Benson, Merryl Nelson, Rodney Eichenberger, Lori Marie Rios, and Photo by Elizabeth Kamerin Angel Vázquez-Ramos.

Choral Success at CASMEC

by Merryl Nelson CMEA ACDA Representative

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he CMEA/ACDA/SCVA Choral Leadership Academy for 2015 was held February 20–21 during CASMEC in Fresno. Established in 2012, this year marks the fourth Choral Leadership Academy and a stunning success it was.

The 51 enthusiastic choral students – 25 high school students and 26 college and university students – were led by the eternally youthful and energetic Rodney Eichenberger, professor emeritus, Florida State University, Tallahassee, Florida. Professor Eichenberger led the students in singing new literature, honing musicianship skills, and learning effective and eloquent conducting techniques. Supporting Professor Eichenberger at the piano during the various reading sessions was Kevin Spring Issue 2015

Memley, composer, pianist, and music technology teacher at Clovis East High School in Clovis. The CLA Faculty included Dr. Jeffrey Benson (San José State University, San José), Dr. Angel VázquezRamos (Chapman University, Orange), Lori Marie Rios (College of the Canyons, Valencia), Lou De La Rosa (West Valley College, San José) and Merryl Nelson (Cuyamaca College, El Cajon). The CLA faculty provided mixing and bonding activities, warm-ups, and individual encouragement throughout the two days that inspired a unique camaraderie among the students. One of the many goals of the CLA is that these students will continue to grow in their relationships and communications with each other as they move into the choral profession, providing a

ready-made network of support. Once again, the madrigal experience was a great success – with each students assigned to one of five groups, in which they would help each other learn a madrigal to perform on Saturday afternoon. What a thrill to travel the halls throughout the two days and witness the combined musicianship of these young people and the excellent culmination of their work in their final performance. In addition, CLA members attended the ACDA sponsored choral interest sessions throughout the two days.

Once again, ACDA brought to the CASMEC Choral Strand outstanding and informative sessions for choral teachers from every kind of teaching assignment. This rich two-day feast of music educational delight began with “A Pro 23

Arte – A Nested Hierarchy,” presented by Lori Marie Rios, associate professor of music at College of the Canyons in Valencia. As we learned, A Pro Arte is an acronym for Attention (Audiation), Posture, Respiration, Onset, Articulation, Technique, and Expressiveness. Rios took the attendees through a progressive warmup based upon these principles and then discussed them. A special highlight was a master class presented by Dr. Jonathan Talberg and the CSU Long Beach Chamber Singers as they prepared the Mozart Mass in C Minor for performance. Dr. Talberg addressed issues such as tone, dynamics, ensemble and expression, all modeled eloquently by his choir. Amanda Isaac, vocal music teacher at Norris Middle School in Bakersfield, brought her 60voice mixed choir and presented a session entitled “Evolution of a Junior High Choir – Achieving maximum musical and aesthetic growth throughout the year.” Included were warm-ups, sight singing exercises, theory sheets, warm-up songs, and performance literature. Brian Dehn, choral director at Junipero Serra Catholic High School in San Juan Capistrano, shared ideas on bringing quality performance into small programs with limited resources in his session “Quality Without Quantity. In his session Is Your Choral GPS Working?” Dr. Gary Seighman, director of choral activities at Trinity Uni-

2015 Choral Leadership Academy and faculty.

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versity in San Antonio, Texas, presented tried and true strategies for long term rehearsal planning. Being aware of the total rehearsal time available and proportioning that time according to length and difficulty level of the literature selected are key points in this strategy.

On Saturday, the CLA Faculty presented a panel on “Being a Great Teacher and Musician,” with Jeffrey Benson moderating. The session began with pair-sharing: Think of a teacher who greatly impacted your life as a student. What characteristics did that teacher possess?

Thoughts were shared with the large group and then Dr. Benson asked the panel to share briefly on topics such as teaching philosophy, musicianship building, inspiring others and staying inspired.

Later that day, Jeffrey Benson, director of choral activities at San José State University, presented an informative session on “Programming with Passion” in which he discussed how to choose exciting repertoire for your choir. In addition to his expert programming ideas, Dr. Benson also shared some excellent repertoire choices that the group read through. The final session of the choral strand was a reading session presented by the CLA faculty entitled “Accessible Music For All Kinds of Choirs.” Each faculty member presented five pieces in a pre-selected voicing: SA/SSA, TB/TTBB, SAB/Three-Part

Mixed, and SATB. Special thanks to Kevin Memley who played for Jeffrey Benson’s session as well as the CLA faculty’s reading session. An appropriate ending to this rich feast of choral education was a concert presented by CSU Long Beach Chamber Singers, conducted by Dr. Jonathan Talberg in Holy Trinity Armenian Apostolic Church. The concert was entitled “Love, War, and Redemption: A Concert in Remembrance of the 100th Anniversary of the Armenian Genocide.”

This moving concert was the crowning glory of the choral strand and filled the church to capacity with 350 music educators in attendance.

Special thanks to Rodney Eichenberger, Dr. Jeffrey Benson, Dr. Angel VázquezRamos, California ACDA President Lori Marie Rios, California ACDA PresidentElect Lou De La Rosa, Dr. Jonathan Talberg, and Kevin Memley for helping to make this year’s Choral Leadership Academy such a resounding success. Also special thanks to Bill Wilkinson, CASMEC logistics coordinator for CMEA, and Trish Adams, CMEA administrative coordinator, for their hard work on behalf of the CLA and the choral interest sessions.

Acting as coordinator for the CLA and the Choral Strand at CASMEC was your ACDA choral representative for CMEA, Merryl Nelson.

Photo by Elizabeth Kamerin

CMEA Magazine

The combined bands of the North Monterey County High School Symphonic Band and the Peoples Liberation Army Band of China, playing our national march Stars and Stripes Forever, followed by the playing of the Chinese national march Motherland, at the China National Performing Arts Center in Shijiazhuang, China. The conductor is D.L. Johnson.

A View From Another Side

In California, Schools Are Not Equal

by D.L. Johnson

uring my 40 years in public education, I have seen education in California go up and down. From the “New Math” of the ‘60s, “Restructuring” in the ‘80s and ‘90s, “No Child Left Behind” in the ‘90s and ‘00s, to the present day “Common Core.”

However, no matter what strategy is used in the academic classroom California education still remains unequal. As a high school band director all these years, I have the opportunity to see education from a totally different perspective. For example, when I attend faculty meetings, and they talk about academic teaching strategies, I get lost in all the acronyms. It took awhile before I realized the average standard approach to academic classes in presenting, teaching proj-

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ects, and developing assignments is almost the opposite of the direction taken by most music classes. No problem, you do your thing and I will do mine. So far, there is no Common Core (“thankfully”) for performing arts classes. But our struggles still go on.

I have had the honor to serve on several local, state, and national music and general education committees. This has allowed me to observe education in many locations around the state. The more I saw, the more disenchanted I became with my own situation.

The greatest underlying factor that creates inequality in a public school is the demographics of the community it is located in. Affluent schools do not have to address the issues

that face less affluent schools and communities. Teaching large groups of English Language Development (ELD) students, or Special Education is extremely expensive. Schools may be funded equally by the state (which I do not believe), but are forced to spend fortunes on remediating students who transfer into their schools lacking basic education skills and a basic understanding of the English language. Ethnicity can also be a contributing factor. Secretly, there are some ethnic groups, we as band directors, would love to have more of based on their cultural work ethic. However, band directors also know that ethnicity has almost nothing to do with what “any” music student can do. For example, can an ELD, poor, minority, migrant, Special 25

Ed, geek, jock, and so on, function well in a school music performance class?

The answer is an absolute yes. We teach by demonstration (comprehension) and then work on content (mechanics). Also, written Western Classical music (Not country-western, LOL) is universal between most countries. Even countries that developed their own form of written music also study the western classical forms. But for some reason music programs have to fend for themselves from one district to the next.

When we think about what can be offered to our students to enrich their lives, this is where from school-toschool in California there are huge differences. Area to area can be quite shocking as to what one school can offer and another cannot. In California we have schools within a few miles and even blocks of each other, one with a complete comprehensive music program, and the other with no music classes at all.

California band directors see this very clearly because of their commitment to comparative band competitions and music festivals. It is extremely hard to set up fair competitive balanced divisions based only on either by school size or band size. There are huge differences between what can be done at one school compared to the next, such as scheduling (number of periods or sections offered in the school day), when band meets, rural, intercity, suburb, total rehearsal minutes, after school programs, and, of course, funding. Affluent districts generally have more to spend on co-curricular and extra-curricular programs, both in the school day and outside the regular school day. That includes offering seven and eight sections (periods or blocks) per year. Poor school districts struggle with six. Many band classes, for example, have been relegated to before school (0 Period) in order to survive. The perception of before or after school band must then be that band is not important. In reality, it is simply difficult to place a band class offered to allfour-grades all-four-years in today’s high school student schedules. Advanced Placement and honors classes are now being pushed (music kids tend to take a lot honors or AP classes).

However, before and after school band 26

programs often keep these students from participating in school sports, or do the homework required in weighted AP classes. Small schools really struggle with this, as they often share students. Large schools, not so much.

For sake of this article we are only addressing the inequality of public education from the view of performing arts classes. There are so many other subject areas that have similar inequalities that exist between schools. Therefore, let’s leave Common Core, teacher union issues, or any of the big controversial educational issues out of the discussion. Here are some basic areas, if addressed, could at least move us into closer equality in California public education

1 The infrastructure of all school districts (buildings, grounds, etc.) should be at the exact same high level to create a positive learning environment.

Schools should look like institutions of learning, not the old drab rundown outdated educational environments of the past. Many parents would not work in many of the environments we are putting our kids into. Reasons for the lack of equality in school facilities is not based on the ignorance of school districts and their communities. School facilities are built both when money was plentiful and went a long ways, while others had to build new or upgrade facilities during economic inflation or depression. There is a huge difference in what can be built based on the strength of the dollar. Therefore state building standards should include the funding to help school districts finance upgrades to existing facilities to an equal standard throughout the state.

The Williams Act in California kind of addresses this, but more on the safety of the children and equality of classroom materials. For example, if US highway standards are exactly the same from state to state, and countyto-county, then why do we allow the basic infrastructure of school facilities to be different from one school district to the next?

2 Every middle school and high school should be equally funded and required to allow a basic seven-period or eightblock (4x4) regular day school schedule, without increasing state requirements (other than total units for

graduation). Offering just one more period a day allows thousands of students to take that one enrichment elective that may just keep a teenager in school.

Maybe even band class can be moved back into the regular school day (wishful thinking). Most affluent school districts offer seven period days at the middle and high school levels, while poor districts are still stuck at six.

3 Academic achievement (especially for college entrance) should not be based on how many Advanced Placement classes a student can take. The AP thing is starting to get out-of-hand.

Kids used to take only one or two AP classes a year. Now students take four and five a year because someone has told students and parents: “weighted courses for higher GPA’s is the only way to get into college.” Some districts are now considering forcing students back to no more than two per year because of increased stress levels. Sometimes the schools have to protect the children from their own parents.

Greater importance needs to be placed on a balanced education. Commitment to something other than the reading, writing and arithmetic tells much more about the character of an individual.

Finishing that commitment should be a high priority for entrance to college.

Students who understand commitment will, in the long run, finish what they have started. That includes playing in the school band, choir, orchestra, drama, ASB, advance vocational education, etc. Participation in after-school sports, marching band, dance programs etc. should mean something other than a pat on the back.

Everyone is so worried about what education should be. However, if we look at history, education seemed much easier to comprehend. Today’s impression is to fix the problems by making them more complex. The system is already complex. Why not move education back to a time when failing a class was unheard of. The real problem with education is not education itself, but the view of what society thinks education is. Politics is perception.

D.L. Johnson is director of bandsemeritus at North Monterey County High School and a past president of CMEA 1998–2000.

CMEA Magazine

CMEA Notes he first-ever CMEA Collegiate Council met at CASMEC in February. Comprised of CMEA collegiate members from across California,the council is advised by Dr. John Eros, coordinator of music education at Cal State East Bay. The purpose of the CMEA Collegiate Council is to take an active role in the goals of CMEA, through providing a voice for CMEA/NAfME collegiate members. Kelly McCarley, a music education major at Cal State Northridge has just been named Chairperson of the Council. Kelly is the current President of the CSUN Collegiate Chapter. She will lead the CMEA Collegiate Council over the next year, beginning with identifying goals and objectives in alignment with CMEA’s Strategic Plan.

Additionally, at CASMEC, many CMEA collegiate members participated in a luncheon with the presidents of California’s many professional music education organizations (CA ACDA, CAJ, CBDA, CODA, and CMEA), called “Pizza with the Presidents.” Western Division president, Dr. David Fuller, was also present at the event. The collegiate members had the opportunity to meet music education students from many different California colleges and universities, as well as to interact with experienced leaders in music education in California.

The CMEA Mentorship Program becomes active this July 1, 2015. Mentors and mentees will be teamed up by June and will begin setting their goals for the 2015–16 school year. Representing all nine CMEA sections, twenty three CMEA mentors are The first-ever CMEA Collegiate Council met at ready to serve our next generation of music CASMEC in February. teachers.

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Spring Issue 2015

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27

Spiccato

by Dr. Thomas Tatton

brief refresher will assist us in understanding the spiccato bow stroke and its historical use. The development of the bow, even more than that of the violin itself, was in a state of flux from the very beginning of the development of the violin family in the 16th century until the last 25 years of the 18th century.

The “modern bow,” the one that produces the qualities of articulation that we teachers use today for the “Classic period” music of Haydn, Mozart, Beethoven and beyond, became infinitely more standardized with the bow maker François Tourte (1747–1835). His bows became the standard and created not only the “spiccato” we want to hear today in Mozart symphonies and violin concertos (1775), but also the legato sound we so highly prize.

The changes in the bow that Tourte instituted were all experimented with by others in the preceding 50 years but never solidified into a standard construction format.

Tourte brought together the elements of a slightly concave stick, use of pernambuco wood, more wood at the tip in a shape we call a “hatchet head,” more wood at the fluted frog which was made movable by use of a screw, and a “spreader box” at the tip and the frog which allows for a flat, evenly spread ribbon of hair.1 We teachers must not use the same staccato stroke when we teach separated bow strokes in the music of Bach and Handel as when we teach Mozart and Haydn symphonies (and beyond). It is simply not stylistic. If we are not native string players and many or most of your youthful charges are not taking private lessons, the question becomes: How do we teach the spiccato we desire to large groups of junior or senior high school string players?

There are excellent, but preliminary spiccato “teaching tips” in James Kjelland’s book Orchestral Bowing: Style and Function2, a book I have recommended before. We can go into a little more depth here. Think of the infinite variety of artistic bow strokes we call spic-

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cato. Let’s look just at bow placement: 1 Just at the place where the bow divides between the middle and upper third - the spiccato stroke is very light – think Mendelssohn’s Overture to A Midsummer Night’s Dream.

2 At the balance point, the spiccato becomes more easily controlled and more substantial in sound – think a Mozart symphony or concerto.

3 A spiccato at the frog is heavier and less speed is available - think the opening of Beethoven’s Fifth Symphony.

All this sound color and variety is available. We just need to teach a basic spiccato to all of our charges.

Teaching Spiccato There are a couple of different ways to teach basic spiccato to groups if the student musicians have well formed and flexible bow grips, and have practiced the exercises that prepare their fingers and wrist as outlined in the Winter 2014 issue of CMEA Magazine, Volume 68, Number 2.

A. This teaching strategy will take anywhere between two to four weeks of daily practice (four to five minutes, in the warm-up, of course) to secure an acceptable spiccato for the entire ensemble.

• Place the bow midway between the bridge and the fingerboard. Starting just above the balance point drop the bow on the string while moving the bow in a down bow direction. Allow the bow to drop on the selected string moving in a down-bow direction. Allow the bow to bounce as many times as it will with its natural buoyancy like a ball dropped on a gym floor.

• With a controlled speed of about 16th notes a = 112. Allow the bow to drop and bounce to sound five notes only, all down-bow. Repeat, but this time flick the bow in an up-bow direction on the fifth note. Work to not allow an accent on the flicked up-bow note.

CMEA Magazine

• Repeat bullet two but allow the bow to sound only three notes. Repeat and flick the third note in an up-bow direction.

• Now two notes and then flick the second note up-bow. Voila, you have a bounced spiccato.

• Practice on one note in each direction four 16th notes at and so forth.

= 112. Next, try a little slower, next, a little faster

• Now try closer to the string, i.e., with a low bounce, then a somewhat higher bounce.

• Now, use your normal scale procedure or perhaps just one octave, but play four 16th notes per pitch, each note on a separate bow.

B. This strategy can be used periodically, not necessarily on consecutive days.

• Using only right hand fingers practice flicking the bow on consecutive up-bows in eighth notes at about =100. Make sure the bow is placed midway between the bridge and fingerboard just above the balance point. Also, instruct your charges to make sure the contact point (where the hair meets to string) remains constant. The bow hand fingers stretch then retract to make small circles.

• Using right hand fingers and a slight circular motion in the wrist, practice flicking consecutive down-bows at the same speed.

• Next, play back and forth eight notes using the same location, speed and motion with considerable weight on the bow stick for four beats. Then, release that weight for the next four beats. Continue that alternation.

After awhile the musicians should have a rather acceptable “brush” stroke spiccato.

C. This strategy might be used for a slightly older group and can be used to make decisions on the type of sound desired for a particular spiccato passage. Use the same motions, location and speed as above. This is an exercise in changing the relationship between length and height.

• First, tap the bow on the string silently • Then barely sounding • Followed by crisp V shaped strokes – short, dry spiccato • Next, more oval at the contact point – think bottom of the oval • Longer, a much more lateral stroke • Finally – on the string, detaché Try bullet three and four with different heights of bounce – close to the string, medium and a high bounce, perhaps half and inch or so. Now that we have some control over the height of the stroke, try the same exercise with three different placements: near the upper third, around the balance point and near the frog.

Next, using the same series of spiccatos, try three different locations on the string: close to the fingerboard, near the center, and closer to the bridge.

Lastly, using three different tilts of the bow, (note: the bow (wood) tilts towards the scroll) very tilted, less tilted and flat hair.

After exploring the variety of spiccatos, your ensemble will have greater command of the variety of sounds possible with the spiccato stroke by varying the height, length, distance from the bridge and tilt. Expanding the palate of your string section will create a broader array of more refined, resonant, and satisfying spiccatos to use in the vast amount of literature available to us.

• 1 For a more in depth discussion, I recommend: David Boyden, The History of Violin Playing, Oxford university Press, 1967. Pp. 206–211.

2 James Kjelland, Orchestral Bowing: Style and Function, Alfred Music Publishing Co., 2003. Pp.39–44.

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2015 CMEA Awards Gala California All-State Music Education Conference Friday, February 20, 2015 Fresno, California

Opening remarks by CMEA President Michael D. Stone: Good Evening, and welcome. I am Michael Stone, CMEA President. It is my pleasure to welcome you to the Annual CMEA Gala where outstanding individuals are honored for their work supporting CMEA’s vision that all students in California be provided access to a first-class education in music.

I would like to begin by thanking CMEA Member Joe Lenigan and his band for entertaining us tonight during the cocktail hour.

I would also like to recognize two special guests from the Fresno community attending tonight’s gala with one of our awardees, Bernard Barmann, and his wife Bee. Ms. Miriam Stephanian is the president and general manager of Valley Public Radio. She is here tonight with her husband John Thoens. Valley Public Radio is very support of music education, hosting its Young Artist’s Spotlight each month. We welcome you.

Before we begin our awards ceremony, I would like to have Mr. Levon Baladjanian from the Holy Trinity Church come forward.

Mr. Baladjanian is a church board member here at Holy Trinity Armenian Apostolic Church, and is the men’s society treasurer and head of banquet services.

As many of you know, this is the last year that CASMEC will be in Fresno. I would like to recognize Mr. Baladjanian and the members of the church’s men’s society for partnering with CMEA over the past several years in providing this amazing dinner for CMEA members and guests. Could we give a hand to Mr. Baladjanian?

Thank you, again, Levon, for making tonight’s dinner so spectacular.

As we begin our awards ceremony, I want to call your attention to the program on your place setting. Award winners will be recognized in this order. As your name is read, please come forward to be recognized. A short narrative will be read about your selection, and then an award will be presented to you. Lastly, a CMEA executive board member will direct you to the side for a photograph taken by our photographer that will go in the CMEA Magazine.

Presenting awards tonight will be CMEA PresidentElect Scott Hedgecock, CMEA Immediate Past President Russ Sperling, CMEA Vice President Steven Hendee, and myself.

Please welcome President-Elect Hedgecock, who will present our first award.

CMEA President-Elect Scott Hedgecock: The CMEA Outstanding Administrator Award honors 30

educators who, as a school administrators, have contributed powerfully to the support of music education.

This year, in recognition of the importance school administrators have on the success of music in our schools, we recognize Superintendent Marvin Biasotti from the Carmel Unified School District.

The CMEA Outstanding Administrator Award goes to Marvin Biasotti, pictured with CMEA Immediate Past President Russ Sperling.

Marvin Biasotti has served the Carmel Unified School District for 35 years, first as school psychologist, then as a district administrator, and finally as superintendent.

In 2012, CUSD was one of 179 school districts designated as the “Best Communities for Music Education” in the nation by the National Association of Music Merchants. In Mr. Biasotti’s own words, the recognition “is an affirmation of Carmel Unified’s commitment to music education and our belief in the enduring value of exposing all students to the arts.” To that end, Superintendent Biasotti works tirelessly to promote and support music education in Carmel Unified School District schools. From K–5 classroom music, to a full range of 4th–12th grade strings, jazz, bands and choral music, students understand of the importance of music education. The district believes that developing well-rounded students is critical to its mission.

Through capital improvement projects like the new $10,000,000 Center for the Performing Arts, to providing a generous, stable music budget for supplies, clinicians, accompanists, repairs and instruments, Superintendent Biasotti has demonstrated his belief that music education matters.

Congratulations, Superintendent Marvin Biasotti.

CMEA Magazine

Michael D. Stone: CMEA Section Awards are the highest honor that can be bestowed upon a music educator in any given CMEA Section. It’s our pleasure tonight to introduce our section award recipients. As our honorees come forward, I ask that their respective section president join them.

From the Bay Section: The Outstanding Music Educator Award goes to Steven Hendee from Castro Valley High School, with Bay Section President Todd Summers.

Steven Hendee is currently in his third year as the director of bands and orchestras at Castro Valley High School.

He previously served 12 years as the director of bands at San Francisco Unified School District’s School the Arts, or SOTA, and six years in the same position at Hayward High School. In addition, he has held positions in the Oakland Unified School District and worked as an education consultant for Byron Hoyt Music Company. In 2014, Steve was inducted into the John Philip Sousa Legion of Honor.

Outside of the classroom Mr. Hendee is an active member of the California Music Education Association, both at

music and director of wind studies at California State University, Sacramento, where he conducts the symphonic wind ensemble and concert band, heads the graduate program in wind conducting, and serves as director of the Sacramento Summer Wind Conducting Workshop, which he founded in 1994. As a professional bass trombonist for 40 years, Dr. Halseth began his teaching career in 1966, in Oceanside, California, where he taught band, orchestra and beginning strings at the elementary, junior high and high school levels. He earned a doctorate in conducting

The CMEA Capitol Section Outstanding Music Educator Award goes to Dr. Robert Halseth, with CMEA Vice President Steven Hendee and Capitol Section President Brad North.

The CMEA Bay Section Outstanding Music Educator Award goes to Steven Hendee, with CMEA President-Elect Scott Hedgecock and Bay Section President Todd Summers.

the state and regional levels. Steve is currently the CMEA vice president and is a past president of the CMEA Bay Section. A frequent guest conductor and clinician, he has conducted honor bands throughout California. Mr. Hendee has been on the staff of Hayward La Honda music camp as their senior symphonic band director and directed bands at Cazadero Performing Arts Camp.

When not being a band director or computer geek he enjoys spending time with his wife Sharon and their two daughters, Emiko and Kimiye.

Congratulations, Steven Hendee.

CMEA Immediate Past President Russ Sperling: From the Capitol Section: The Outstanding Music Educator Award goes to Dr. Robert Halseth from California State University, Sacramento, with Capitol Section President Brad North.

Dr. Robert Halseth is in his 21st year as professor of Spring Issue 2015

and brass pedagogy at the University of Northern Colorado with Eugene Corporon and Buddy Baker. At Sacramento State, Professor Halseth hosts an annual conducting workshop that attracts music educators from various parts of the western United States.

Dr. Halseth states that he owes a considerable debt of gratitude, and credits much of his happiness in life, not only to his longtime involvement in music, but to his wonderful, supportive, understanding family, including his wife, Helen; his son, Eric; his three daughters Amy, Rebecca and Kelsey; his two step-daughters Tia and Meagan; their wives, husbands and partners; and his three grandchildren Kailyn, Christian and Kyah.

Congratulations, Dr. Robert Halseth.

CMEA Vice President Steven Hendee: From the Central Section: The Outstanding Music Educator Award goes to Gary Scudder from Stockdale Christian School, with Central Section President Leonard Ingrande.

Mr. Scudder is the music teacher at Stockdale Christian School in Bakersfield. His 35 year career as a music educator has included time as a faculty member at Fullerton College, California State University/Fullerton, and Biola University. He has also had a distinguished performing career that includes more than 13 years as a leader of the Disneyland Saxophone Quintet.

Mr. Scudder states that he fell in love with teaching younger musicians at his own children’s school, Whittier 31

The CMEA Central Section Outstanding Music Educator Award goes to Gary Scudder, with CMEA Central Section President Leonard Ingrande and CMEA President Michael D. Stone.

Christian Elementary, where he taught for six years. He maintains a private teaching practice that includes students of all ages and abilities. His dedication to maximizing each student’s success has led him to write his own curriculum, Rhythm Workouts and Music Workouts, for developing musicians. He has the unique ability to blend instrument expertise, motivation, humor, and a commitment to excellence in a way that challenges his students to go beyond expectations.

Mr. Scudder’s students regularly received high placements in regional and state honor groups and he has served as a guest conductor of honor groups, and provided numerous clinics to students and their directors across California. The Stockdale Christian Band has even performed at Carnegie Hall.

Congratulations, Gary Scudder.

Russ Sperling: From the Central Coast Section: The Outstanding Music Educator Award goes to Chris West from Stevenson School, with Central Coast Section President Willow Manspeaker Chris West began her career as a music educator in 1972

The CMEA Central Coast Section Outstanding Music Educator Award goes to Chris West, with CMEA Vice President Steven Hendee and Central Coast Section President Willow Manspeaker.

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after graduating from Florida State University School of Music with a B.S. in music education. She began her teaching high school chorus, junior high chorus and elementary music in the Miami Dade County Public School System. During this period she completed her M.S. in music education and represented her schools as “Teacher of the Year” for two years.

Upon marrying in 1979, Chris moved to California and spent three years teaching music and kindergarten in a K–8 private school in Sacramento, then relocated to Pacific Grove in 1982 and began her teaching career at Briarcliff Academy which is now known as the Carmel campus of Stevenson School. During her tenure at the school, Ms. West has consistently maintained a successful program teaching K–8th grade in general music, string ensembles, bands and choirs. All students at the school experience both instrumental and vocal music.

She states: “I love teaching music to children. It is rewarding that I am now teaching the children of students I taught in the ‘80s. Ah, the circle of life. Teaching is my life and my passion and I hope I will continue to teach for many years to come.”

Congratulations, Chris West.

Scott Hedgecock: From the Northern Section: The Outstanding Music Educator Award goes to Michael Phenicie from Colusa

The CMEA Northern Section Outstanding Music Educator Award goes to Michael Phenicie. Accepting the award is Randy Humpherys, with CMEA Immediate Past President Russ Sperling and CMEA Northern Section President Todd Filpula.

High School.

Mr. Phenicie was unable to be here tonight. Accepting Mr. Phenicie’s award is Randy Humpherys, with CMEA Northern Section President Todd Filpula.

Michael Phenicie is a graduate of San Francisco State University, where he earned his B.M. degree as well as a teaching credential. He teaches in the Colusa Unified School District.

Michael began his teaching career in Northeastern Oregon in 1978, teaching classroom music, band and choir for the Wallowa School District, as well as teaching private lessons on French horn at Eastern Oregon State College.

Over the years, he has taught concert, jazz and marching CMEA Magazine

bands, show and concert choirs, directed many musicals, drum corps, and winter guard.

Now in his 37th year overall, and 30th in the Colusa U.S.D., Mr. Phenicie is currently teaching seven different concert and jazz bands as well as choir, and many smaller instrumental ensembles in grades 5 through 12. He has been recognized several times as an outstanding educator of the year in Colusa County, recognized by many civic organizations for service to his community, and even has had an acre of trees planted in his name in the Eldorado National Forest.

Michael and his wife Yvonne have been coordinating the CMEA-North Section Junior High Honor Band and Select Choir for six years.

Congratulations, Michael Phenicie.

Steven Hendee: From the North Coast Section: The Outstanding Music Educator Award goes to Janet Beckstead from Freshwater School District, with North Coast Section Representative Judi Scharnberg Janet Beckstead began her college career at Fullerton College and later transferred to Humboldt State University to continue her general education, music and dance studies.

She began teaching K–6 vocal music and dance at Freshwater Elementary School in 1994. During her time at Freshwater she advocated for and received additional music class time per week for Freshwater’s general music program, and an Orff instrumentarium. Recorders were added to the 3rd and 4th grade curriculum, and she began directing musicals with classroom teachers in addition to the annual music concerts.

In 1993 Ms. Beckstead established the Jacoby Creek Third Grade Chorus which performed at the annual North Coast CMEA Choral Festival where the group has consistently received high ratings.

Janet credits her mother for her love of singing, music and the visual arts, and her father for her motivational

The CMEA North Coast Section Outstanding Music Educator Award goes to Janet Beckstead, with CMEA President Michael D. Stone and North Coast Section Representative Judi Scharnberg.

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teaching style. She is married to Doug Beckstead, and has two daughters, Johanna and Jennifer, and two grandchildren, Jasmin and Jaden. Janet is grateful for the love and support of her family in helping her continue to become a better person and teacher.

Congratulations, Janet Beckstead.

Scott Hedgecock: From the Southeastern Section: The Outstanding Music Educator Award goes to Greg Ellis from McFadden Intermediate School, with Southeastern Section Representative Armalyn De La O.

The CMEA Southeastern Section Outstanding Music Educator Award goes to Greg Ellis, with Southeastern Section Representative Armalyn De La O and CMEA Vice President Steven Hendee.

Greg Ellis has been teaching choral music for 33 years, the last 29 at McFadden Intermediate School in Santa Ana. The choral program at McFadden has received a Golden Bell Award from the California School Board Association. Mr. Ellis was honored as “Teacher of the Year” by the Santa Ana Unified School District and selected as “Outstanding Music Educator” by the Orange County music administrators. He was also selected for a BRAVO Award by the Los Angeles Music Center Education Division.In addition to teaching, Mr. Ellis has been an active professional presenting clinics, workshops, and reading sessions. He has directed numerous honor choirs in the southern California area. He is a member of SCVA, NACM and NAf ME (CMEA). Greg received his B.A. in music education from Cal State Fullerton in 1981 and an M.A. in education from United States International University in San Diego in 1987. He is a past president of the Southern California Vocal Association.

He lives in Lake Forest with his wife, Shawna, who is an elementary music specialist in Capistrano Unified.

Congratulations, Greg Ellis.

Russ Sperling: From the Southern Border Section: The Outstanding Music Educator Award goes to Jeanne Christensen from Mira Mesa High School in San Diego, with Southern Border Section President Pauline Crooks.

Jeanne Christensen currently teaches band at Mira Mesa High School in the San Diego Unified School District.

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The CMEA Southern Border Section Outstanding Music Educator Award goes to Jeanne Christensen, with CMEA President Michael D. Stone.

Born and raised in San Diego, Jeanne has built a strong foundation of music and performance for her students in the Mira Mesa community. One aspect of teaching Jeanne likes is that each school year is new and different. Students graduate and the new class of ninth graders come in. The dynamics change within the band, but there is not a year that goes by that she doesn’t look forward to seeing how the students will work together.

Jeanne has been honored to receive multiple music educator awards over the years, but strongly feels that behind every good teacher are hundreds of students who have followed and “bought into” the teaching that has been done.

Jeanne is an active professional in the San Diego Unified School District, having served on many boards, including CMEA and SCSBOA. The Mira Mesa High School Marching Band has been ranked as one of the top ten bands for the past 13 Championship seasons and her concert ensembles each spring receive consistent “superior ratings” at festivals.

Congratulations, Jeanne Christensen.

tional technology at USIU. After university, Coralie was music copyist for her talented musician/professor husband John Prince and operated their publishing company The John Prince Cookbook.

Especially fulfilling for Ms. Prince was her 34 years spent as an elementary music teacher in Los Alamitos. She developed the music programs at Hopkinson and Lee Elementary Schools. In addition, Coralie directed summer musical theater workshops for students in grades 3–12, directed and wrote full-length musicals with the fourth and fifth graders, and directed each grade level in their own annual performance.

Ms. Prince wrote the original Los Alamitos School District K–12 music curriculum and led its three revisions.

She also started the All-District Choral Festival over 33 years ago.

She is happy to be the elementary representative for California Alliance for Jazz. A member of CMEA, CAJ, JEN, Ms. Prince was honored by the Orange County music administrators with the Irene Schloepfle Perpetual Award, given “for exceptional merit and life-long dedication” to music education.

Congratulations, Coralie Prince.

Michael D. Stone: The CMEA Alfred Publishing Elementart Music Specialist Award honors excellence in elementary instrumental and choral music instruction. This year, CMEA is pleased to award Rob Bentley with the elementary music specialist award.

Steven Hendee: From the Southwestern Section: The Outstanding Music Educator Award goes to Coralie Prince, retired.

Coralie Prince earned her bachelor’s degree at the University of Redlands. She completed graduate work and a lifetime credential at UCLA, as well as a masters in educa-

The CMEA Alfred Publishing Elementary Music Specialist Award, which honors excellence in elementary instrumental and choral music instruction, goes to Rob Bentley, with CMEA Vice President Steven Hendee.

The CMEA Southwestern Section Outstanding Music Educator Award goes to Coralie Prince, with CMEA President-Elect Scott Hedgecock.

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Rob Bentley is a music teacher with the Pioneer Elementary Union School District in Hanford. Previously Mr. Bentley served as the band director at Kennedy Middle School, also in Hanford. He has been recognized as the Hanford Elementary School District Teacher of the Year, Kings Canyon Teacher of the Year finalist, Tulare-Kings Music Educator Association Hall of Fame Award Winner, and Pioneer Union Elementary School District Teacher of the Year.

CMEA Magazine

Mr. Bentley states that he is so thankful to have chosen a profession in which people are so willing to share their knowledge and experiences. He has served as a master teacher and been a leader in providing professional development for classroom teachers and music specialist teachers.

Rob states that in elementary school he learned to draw, paint, sing, dance, and play a musical instrument. Through these experiences, he developed a passion for performing.

Mr. Bentley’s students enjoy performing for the community since it provides them with the opportunity to practice what is taught.

He believes that if he can impact his students in a positive way it will help them find their own personal mode of self-expression and appreciation, then he will have succeeded.

Congratulations, Rob Bentley.

In 2003 Jeanette received the Reach for the Stars Dedicated Service Award at Leo B. Hart School. In 2008 she received the general music educator award, and in 2012 the elementary music specialist award, both presented by Kern Music Educators Association.Jeanette is known for her ability to work collaboratively with others and to inspire her students to achieve higher musical goals.

Congratulations, Jeanette McGrath.

Scott Hedgecock: The CMEA Richard L. Levin Orchestra Educator Award honors excellence in orchestra education and per-

Michael D. Stone: The CMEA Peripole General Music Educator Award honors excellence in general classroom music education.

This year, CMEA is pleased to award Jeanette McGrath with the CMEA General Music Educator Award.

The CMEA Richard L. Levin Orchestra Educator Award, which honors excellence in orchestra education and performance, goes to Kate Francis, with CMEA President Michael D. Stone.

The CMEA Peripole General Music Educator Award, which honors excellence in general classroom music education, goes to Jeanette McGrath, with CMEA Immediate Past President Russ Sperling.

Jeanette McGrath is a music teacher in the Panama Buena Vista Union School District (PBVUSD) in Bakersfield.

Over the past 28 years she has taught general music and chorus to students in grades kindergarten through sixth grade.

Jeanette earned her bachelor’s degree from the University of Wisconsin/Oshkosh, and has continued to refine her teaching skills and instructional strategies through the study of education through music with the Richard’s Institute.

Jeanette has served as chair and co-chair for the Kern County Honor Chorus Festival, and most recently as a mentor for her younger colleagues. She is a member of the Kern County Music Educators Association and NAf ME. Spring Issue 2015

formance. This year, CMEA is pleased to award Kate Francis with the orchestra educator award.

Native to the San Francisco Bay Area, Kate Francis is in her 14th year as a music educator. She is a string specialist teacher with the Los Gatos Union School District. Ms. Francis received her undergraduate degree in viola performance and string education from the University of Michigan and her master’s degree in viola performance from San Francisco State University.

Kate is currently the president of the California Orchestra Director’s Association. When Kate is not playing her viola or teaching, she can be found spending time with her family or shopping. She believes that music education should be made available to all students regardless of where they go to school or what their financial situation may be.

Ms. Francis states that CMEA has played a very significant role in her career. Since her time as a young teacher she has enjoyed going to conference, meeting and talking to other teachers, and developing new ideas. She has served as CMEA Bay Section’s orchestra representative.

Kate applauds the CASMEC model, noting that we are stronger as music education advocates when we work together. She is proud to be part of CMEA. Congratulations, Kate Francis.

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Russ Sperling: The CMEA Pearson Scott Foresman/Silver Burdett Choral Educator Award honors excellence in choral education and performance. This year, CMEA is pleased to award Dr. Patrick Walders with the choral educator

The CMEA Pearson Scott Foresman/Silver Burdett Choral Educator Award, which honors excellence in choral education and performance, goes to Dr. Patrick Walders, with CMEA President-Elect Scott Hedgecock.

award.

A native of Buffalo, New York, Patrick Walders maintains an active career as a professional vocalist, music educator, church musician, clinician, and conductor.

Appointed director of choral studies within the School of Music and Dance at San Diego State University in fall 2011, Dr. Walders was charged with building the choral program and developing the master’s degree and artists diploma in conducting. He conducts the Aztec Concert Choir and SDSU Chamber Choir, and carries a teaching load consisting of undergraduate and graduate conducting classes, graduate level literature courses, and ear training.

His reputation as a conducting and vocal pedagogue keeps his schedule full, working with students, professionals, and amateurs in concerts, workshops, and other formats. His research interests include vocal pedagogy, diction, and rehearsal techniques in ensemble settings and how dance and movement relates to conducting gesture.

As the SDSU vocal arts area coordinator, Dr. Walders fosters a collaborative environment among students and faculty connecting to all arts disciplines. As a professional baritone soloist and consort artist, he has sung throughout the eastern United States and is finding success on the West Coast.

Highly sought for clinics, workshops, and festivals throughout the United States, Dr. Walders has conducted choral events and honor choirs for middle schools, high schools, churches, and universities.

Congratulations, Patrick Walders.

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Steven Hendee: The CMEA Jazz Educator Award honors excellence in jazz education and performance. This year, CMEA is pleased to award Gary Pratt with the jazz educator award.

Gary Pratt has led a distinguished career as a music edu-

The CMEA Jazz Educator Award, which honors excellence in jazz education and performance, goes to Gary Pratt, with CMEA President Michael D. Stone.

cator, performer, conductor, adjudicator and arranger, and is co-director of the famed California State University, Northridge Jazz Studies Program at California State University, Northridge.

Throughout his career as a professional jazz bassist, Mr. Pratt has performed and/or recorded with such legendary jazz artists as Louie Bellson, Lionel Hampton, Snooky Young, Conti Candoli, Pearl Bailey, Bobby Shew, Don Menza, Blue Mitchell, Pete Christlieb, and Cat Anderson.

His guest conducting engagements have included performances in both Europe and Japan, and his noted versatility as a music educator has made him a highly sought after clinician and guest conductor of jazz ensembles, orchestras and concert bands.

During his tenure as a member of the music faculty at California State University, Northridge, he has served as chairman of the CSU Northridge wind area and director of orchestras. In addition to his private teaching schedule, Mr. Pratt teaches courses in jazz musicianship, directs the studio and labjazz ensembles, jazz repertoire, jazz combos, and directs, composes and arranges for “NuVeau,” CSU Northridge’s avant-garde jazz ensemble.

Congratulations, Gary Pratt.

Russ Sperling: The CMEA Byron Holt/Don Schmeer Band Educator Award honors excellence in instrumental education and performance. This year, CMEA is pleased to award Jonathan Grantham with the band educator award.

Jonathan Grantham, director of bands at Amador Valley High School in Pleasanton, California, directs a band program of 300 students involved in five concert ensembles, two jazz bands, the marching band, chamber ensembles, winter percussion, and two winter guards.

CMEA Magazine

recordings with the Machete Ensemble and Ritmo y Candela, and has an established record as an arranger/composer for many bands and ensembles across the country.

As a bandleader John has lead his own ensembles since the 1990s, releasing two CDs that featured Bay Area jazz and Latin musicians as well as Cuban artists Pancho Terry, Maraca and Omar Sosa.

The CMEA Byron Hoyt/Don Schmeer Band Educator Award, which honors excellence in instrumental education and performance, goes to Jonathan Grantham, with CMEA PresidentElect Scott Hedecock.

In his twelve years at Amador Valley the band program has grown to more than double in size and has earned consistent superior ratings and high honors at each event entered. Amador’s top wind ensemble performed at the CBDA state conference in 2007 and 2010 and most recently performed at the 67th Annual Midwest Clinic in Chicago.

Mr. Grantham is active as an adjudicator, clinician and guest conductor. He was an executive board member for CMEA Bay Section and the Western Band Association.

He also served for five years on the Special Projects Committee for California Band Directors Association.

Jonathan received his bachelor’s degree in music education/trombone performance from Central Michigan University, graduating magna cum laude, and has affiliations with several professional organizations. He recently completed his master’s degree in conducting at the American Band College of Sam Houston State University.

He earned a citation of excellence from the National Band Association, received the Prudential Realty of California’s Outstanding Educator’s Award and earned an Excellence in Education Award from Pleasanton Unified School District in 2009. Mr. Grantham was a recipient of the Crystal Apple Award for Excellence in Education and was chosen as Pleasanton Unified School District’s 20122013 Teacher of the Year.

Congratulations, Jonathan Grantham.

Scott Hedgecock: The CMEA Ernest R. Yee Illuminating Culture Award honors excellence in diversity in music education. This year, CMEA is pleased to award Dr. John Calloway with the illuminating culture award.

John Calloway is a multi-instrumentalist, composer, arranger, educator, and a cornerstone of the Bay Area Latin and world music scenes since the 1970s. Adept at flute, piano, and percussion, John has collaborated with a who’s-who of Bay Area jazz and Latin jazz innovators, including: Jesus Diaz, Pete Escovedo, and others. Dr. Calloway was an essential part of GRAMMY® nominated Spring Issue 2015

The CMEA John Ernest R. Yee Illuminating Culture Award which honors excellence in diversity in music education goes to Dr. John Calloway, with CMEA Vice President Steven Hendee and CMEA Immediate Past President Russ Sperling.

As an educator, John currently teaches courses in Latin American music and culture at San Francisco State University, where he founded and still directs the university’s highly popular Afro-Cuban ensemble. He is also a clinician at the Stanford Jazz Workshop and a longtime faculty member of JazzCampWest.

John holds a B.A. in music from the City University of New York, an M.A. in music from San Francisco State University and a doctorate in education from the University of San Francisco. He currently serves as an arts commissioner for the City of San Francisco.

Congratulations, Dr. John Calloway.

Scott Hedgecock: The CMEA John Swain College/University Educator Award honors excellence in music education at the college/university level. This year, CMEA is pleased to award Dr. Thomas Loewenheim with the college/university educator award.

Thomas Loewenheim is associate professor and director of university orchestras at California State University, Fresno. Dr. Loewenheim is a professional cellist who has had many years of experience working as a conductor and performer. He has presented numerous master classes and workshops throughout the United States and elsewhere.

He states that his philosophy of music education stems from a deep love of music and his personal dedication to it.

From a musical family, Dr. Loewenheim believes that he must give to the future generations what was provided to him through his education in music. He is a graduate of Indiana University, where he earned his doctor of music degree in 2007. Previously, he studied cello at the University of Michigan and the Ruben Academy for Music and 37

The CMEA John Swain College/University Educator Award which honors excellence in music education at the college/university level goes to Dr. Thomas Loewenheim, with CMEA Vice President-Elect Steven Hendee.

Dance in Jerusalem, Israel while earning bachelor’s and master’s degrees.

Dr. Loewenheim is active as a clinician and guest conductor in the schools of his community. He is also the current director of the Fresno Youth Symphony.

Congratulations, Dr. Thomas Loewenheim.

Michael D. Stone: The CMEA Collegiate NAf ME Chapter Award honors excellence, innovation, and growth promoting music teacher education at the high school/middle school level.

This year, CMEA is pleased to award California State University, Northridge with the NAf ME collegiate chapter award.

Accepting the award is Chapter President Kelly McCarley.

For the past two years, the California State University Northridge Collegiate Chapter has taken an active role in expanding its work. The chapter had significant growth in membership, organized clinics, and brought in guest speakers.

CSUN collegiates have also given back to the community by having chapter members volunteer in local schools, including Calahan Community Charter Elementary School in Northridge. For the past 16 years, chapter members have been volunteering their free time to teach music.

This year there are nine CSUN students giving instruction to approximately 70 fourth and fifth grade students on flute, clarinet, saxophone, trumpet, trombone, and percussion. Each year, two of these students act as administrators of the music program. Their job is to recruit teachers, set goals, and organize the program. The music program at Calahan Elementary School is a great opportunity for students to get real experience teaching instrumental music at the elementary level, better preparing members for when they enter the profession.

Chapter advisor is Ms. Mary Schliff, CMEA’s former collegiate representative for many years on the CMEA State Council.

Congratulations, CSUN Collegiate Chapter.

Michael D. Stone: The CMEA Music Industry Leadership Award honors an organization/individual for outstanding leadership in music education. This year, CMEA is pleased to award Bertrand’s Music with the music industry leadership award.

The CMEA Music Industry Leadership Award which honors an organization or individual for outstanding leadership in music education goes to Bertrand’s Music. Accepting this award is Jeff Bertrand, vice president of the company, with CMEA Vice President Steven Hendee and Joel Bertrand.

From left to right: Scott Hedgecock, CSUN Music Education Professor Mary Schliff, Robin Gin (senior). Back row: Andres Villanueva (graduate), Kelly Brooks (senior), Eric Canas (graduate), Aminata Touncara (senior), Alec Olsen (junior). Front Row: Kelly McCarley (graduate), Kelvin Flores (senior), Amy James (senior), Shaniee Parker (senior), Ryan Jung (graduate).

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Accepting this award is Mr. Jeff Bertrand, Vice President of the company.

Bertrand’s Music has been serving school music programs and students for more than 30 years. John Bertrand, president and CEO of the company, was a band and orchestra director in the public school system for 15 years prior to founding this company.

Bertrand’s Music has developed many programs over the years to reinforce this commitment to music education.

The Head Start Summer Music Lessons program currently provides free music lessons to more than 500 hundred beginning musicians. The Bertrand’s Music Scholarship program gives out more than 50 free instruCMEA Magazine

ment rentals per year to children who couldn’t otherwise afford to rent an instrument. Lastly, The Bertrand’s Music All-County Band is an honor band selected by music educators for first year students in Southern California, providing them the opportunity to perform with other first year musicians in a special concert held at the end of the school year with their school music program.

Congratulations, Bertrand’s Music.

Michael D. Stone: The CMEA Legislative Leadership Award honors an elected official whose advocacy for music education has made a noteworthy difference in supporting music in our schools. This year, CMEA is pleased to award State Senator Jean Fuller with the legislative award. Senator Fuller was unable to be here tonight. Accepting the award on her behalf is Romeo Agbalog, senior field representative for Senator Fuller.

Michael D. Stone: At this point, CMEA would like to recognize our 50Year Members. This year, CMEA is pleased to recognize five individuals. They are: Ray Craig, Susanville Kenneth Putnam, Novato Carol Reynolds, Laguna Beach Jerrold Snyder, Monte Sereno Gary Wiedeman, Placentia.

We are fortunate that Mr. Craig is here with us tonight.

Let’s have him come forward at this time.

CMEA honors 50-year member Ray Craig, with CMEA Vice President Steven Hendee.

The CMEA Legislative Award, which honors an elected official whose advocacy for music education has made a noteworthy difference in supporting music in our schools, goes to State Senator Jean Fuller. Accepting this award is Romeo Agbalog, senior field representative for Senator Fuller, with CMEA President-Elect Scott Hedgecock.

Jean Fuller was born and raised in Kern County. She served as an educator in the Central Valley for more than 30 years, including time as superintendent of the Bakersfield City School District.The first in her family to graduate from college, Jean attended Bakersfield College, California State University, Fresno, and California State University, Los Angeles, and then continued her formal education at the University of California, Santa Barbara where she received her Ph.D. She supplemented her education with coursework and seminars at the University of Southern California, Harvard University, and Exeter College at Oxford University. Senator Fuller was re-elected to Senate in 2014 and represents the 16th Senate District.

She has been a member of the California Legislature since her election to the 32nd Assembly District in 2006. Jean and her husband, Russell, a retired engineer, live in Bakersfield. CMEA thanks Senator Fuller for being one of two legislative speakers at the 2014 California Music Education Advocacy Day in Sacramento last May. Congratulations, Senator Jean Fuller.

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Ray Craig was born and raised in Chico where he became involved in the music fabric of the community from the age of nine. He states that excellent music teachers gave him the background necessary to successfully learn and grow in the field of music education over his career.

Following college graduation from CSU Chico he spent one year instructing in a U. S. Army Band training unit and two years as assistant director and drum major of a military band in Germany.

Mr. Craig married his high school sweetheart while in the service and has three wonderful children.

Congratulations, Ray Craig.

Russ Sperling: The CMEA Aubrey Penman Retired Music Educator Award honors continued influence in developing teachers.

This year, CMEA is pleased to award Roy Anthony with the retired educator award.

Unfortunately, due to health, Mr. Anthony could not be here tonight. Accepting the award on his behalf is Mark Nicholson, CMEA mentorship program chairperson and CMEA southern border section past president.

Roy Anthony was the instrumental music director and the chairman of the performing arts department at Mount Miguel High School in Spring Valley for many years. He expanded the 19-member marching band at the school to one of around 160 students. Under his direction, the group ranked high in every major competition in Southern California during his tenure. Mr. Anthony was also responsible 39

The CMEA Aubrey Penman Retired Music Educator Award, which honors continued influence in developing teachers, goes to Roy Anthony. Accepting this award is CMEA Mentorship Program Chairperson Mark Nicholson with CMEA President-Elect Scott Hedgecock.

for the development of a music program consisting of concert orchestra, concert band, and the symphonic wind ensemble. In the course of his years at Mount Miguel, the programs and groups he worked with consistently earned “superior” ratings. In 1995, Mr. Anthony was named a California Teacher of the Year by the Department of Education.

Congratulations, Roy Anthony.

currently busy supporting music and educational programs in the community by their philanthropy, volunteer work, and service on boards. In their spare time, they travel and spend time with their children and grandchildren.

Bernard was born on a family farm in 1932 in Maryville, Missouri, and attended a small liberal arts college near Kansas City for his undergraduate studies before he came to Stanford University, where he earned a Ph.D. in classical languages and literature. After teaching at the Ohio State University and the University of Toronto, he attended law school at the University of San Diego and was admitted to the California State Bar in 1974.

In his legal career Dr. Barmann specialized in public agency law for 35 years and represented school districts in Kern County for six years. He served as the county counsel, the chief civil attorney for the County of Kern, for 25 years Upon his retirement in 2009 he began doing pro bono legal work for nonprofit corporations, including CMEA. Mr. Barmann has always responded when CMEA needed him, and for that reason, I present him with the CMEA President’s Award.

Congratulations, Dr. Bernard Barmann.

Michael D. Stone: Our second CMEA President’s Award recipient is Dr. Jonathan Talberg, if he will please come forward.

Michael D. Stone: The CMEA President’s Award honors individuals for their outstanding contributions to the work of CMEA. This year, CMEA is pleased to present two award winners.

First, Dr. Bernard Barmann, if he will please come forward.

The CMEA President’s Award, honoring extraordinary accomplishments in music education, goes to Dr. Jonathan Talberg, with CMEA President-Elect Scott Hedgecock.

A CMEA President’s Award, honoring extraordinary accomplishments in music education, goes to Dr. Bernard Barmann, with CMEA Immediate Past President Russ Sperling.

Dr. Barmann, an educator and attorney for many years, is now retired and living in Bakersfield, California, with his wife, Beatrice, a retired teacher and musician. They are 40

Dr. Jonathan Talberg, director of choral, vocal, and opera studies and associate director of the Bob Cole Conservatory, is conductor of the nationally renowned CSU, Long Beach Bob Cole Conservatory Chamber Choir. He has twice conducted the NAf ME Regional Honor Choir, at the 2008 and 2012 American Choral Directors Western Convention, and at the 2009 and 2013 National Collegiate Choral Organization Conferences. A conductor of numerous all-state choir concerts, he is in constant demand as a guest conductor. He has prepared choirs for the Cincinnati CMEA Magazine

Symphony, the Long Beach Symphony Orchestra, the Los Angeles Master Chorale, the Pacific Symphony, and the Pasadena Pops.

Dr. Talberg showed significant leadership with CA ACDA while president a few years ago, providing CMEA the opportunity to serve members with the Choral Leadership Academy, or CLA, formed as a joint project between CMEA and CA ACDA. His leadership has led us to the point of having all-state choirs side-by-side with the all-state honor band, honor orchestra, and honor jazz ensembles in San José for CASMEC in 2016, something many thought would never be possible in our state. Thank you, Dr. Talberg, for your vision, commitment, and above all, trust in serving music educators in California.

Congratulations, Dr. Talberg.

Macy’s Thanksgiving Day Parade and several others. The band was also up for being named the official state band to march in the presidential inauguration of Bill Clinton, but was denied the honor because it was such a large band.

Mr. Anderson has spent a career working with young teachers and leading in our profession.

Congratulations, Dale Anderson.

Russ Sperling: The second CMEA Hall of Fame Award winner is Ann Marie Haney.

Scott Hedgecock: The CMEA Hall of Fame Award honors a lifetime of extraordinary service and commitment to music education in California. This is CMEA’s highest honor. This year, CMEA is pleased to present three very special award winners.

First, Dale Anderson, if he would come forward.

A CMEA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music education in California, goes to Ann Marie Haney, with CMEA Immediate Past President Russ Sperling.

A CMEA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music education in California, goes to Dale Anderson, with CMEA Vice President Steven Hendee.

Dale Anderson was director of bands at Monache High School in Porterville for 32 years. The Monache High School Band under his direction was an outstanding organization, earning superior ratings throughout his tenure.

During his career, Mr. Anderson served on the board of the Tulare Kings Music Educators Association, or TKMEA, holding several offices. He was also President of CMEA Central Section.

The Monache Band won 26 consecutive Field Show Sweepstakes and 20 Grand Sweepstakes at the Selma Band Festival under Anderson’s direction, along with numerous other awards. The band was California’s representative to Queen Elizabeth’s Silver Jubilee, toured Europe, and marched in the Tournament of Roses Parade, the Spring Issue 2015

Ann Marie Haney began her formal music education at age five when her father started her with piano lessons.

She remembers her father playing along with her on trombone.

Ms. Haney served as a volunteer choral director at Tor rey Pines Elementary School for 21 years, at a time when the district did not have paid choral music teachers. She has degrees in music and music education from Scripps College for Women and the University of Michigan.

Ms. Haney is a strong advocate for music education in her community. Since 1990 she has served as co-chair for the Community Council for Music in the Schools, or CCMS, a nonprofit music education advocacy organization under the San Diego State University Campanile Foundation. In 1991, CCMS started collecting musical instruments donated for loan to San Diego Unified School District students who could not provide their own. As of 2015, more than 1,400 musical instruments have been put into the hands of students.

Ms. Haney has been married for 53 years to Dr. William P. Haney, a retired ophthalmologist.

Congratulations, Ann Marie Haney.

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Michael D. Stone: The third CMEA Hall of Fame Award winner is Dr. Thomas Lee. Emeritus professor, director of bands, and conductor of the UCLA Wind Ensemble, Dr. Thomas Lee holds the doctor of musical arts degree in conducting from the College-Conservatory of Music at the University of Cincinnati, as well as two degrees from Drake University in Des Moines, Iowa, where he was a student of Don Marcouiller.

A CMEA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music education in California, goes to Thomas Lee, with CMEA President-Elect Scott Hedgecock.

Previous to his appointment at UCLA, he was the founder/conductor of the University of Texas Wind Ensemble in Austin and was director of the graduate program in band conducting. Before his appointment at Texas, Dr. Lee was founder/conductor of the Ohio University Wind Ensemble where he received a research grant to develop an innovative approach to teaching conducting through nonverbal communication.

Since his arrival at UCLA in 1985, the UCLA Wind Ensemble received international acclaim and significant prominence for performances at national and regional conferences as well as recordings of important composers. Dr. Lee is especially known for musical performances and for creative programming, balancing both traditional and contemporary literature. In addition, he has a special commitment to the commissioning of new music by American composers.

Currently, there is a large number of conducting students of Professor Lee who hold university, high school, and middle school conducting positions throughout the U.S. He is particularly proud of these conductors and their achievement.

Dr. Lee has been invited to guest conduct with all-state bands and music festivals in all parts of the U.S., Canada, 42

Mexico, Western Europe, and Asia. In addition, Professor Lee has given innumerable workshops on all aspects of conducting and interpretation of music with special emphasis in the area of non-verbal communication skills.

Congratulations, Dr. Thomas Lee. Concluding remarks by Michael D. Stone: Tonight has been a spectacular celebration of lives. Let’s give another big round of applause to all CMEA award winners.

Lastly, I would like to thank CMEA Secretary Duane Otani and CMEA Administrative Coordinator Trish Adams for their adept work organizing this year’s CMEA awards program.

This concludes the CMEA Awards Gala. Good night.

The wrought-iron images on the opening of this awards section (page 30) are details from the gate to the social hall of the Holy Trinity Armenian Apostolic Church in Fresno, where the CMEA Awards Gala was held.

And the background is a detail of the double-sided monument at church courtyard pictured here.

Designed in Karvajar, Artsakh, Armenia by Hovhannes Mkerchyan and shipped to America, the monument was erected in 2014 to celebrate the 100th anniversary of the sanctuary of Holy Trinity Church.

The monument features a traditional khachkar, or cross-stone, on one side and the Armenian alphabet with a carving of St. Mesrob Mashdots on the other, symbolizing faith and culture. Khachkars are characteristic of Medieval Christian Armenian art. St. Mesrop Mashtots was an Armenian theologian, linguist and hymnologist best known for having invented the Armenian alphabet around 405 A.D., and his translation of the Bible from the Greek and Syrian into the new Armenian alphabet.

Photos by Allen Petrinka

CMEA Magazine

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

by Dr. Lawrence F. Stoffel CMEA Higher Education Representative

Biola University Music Conference – With Living Composers!

On October 9, more than 75 music composers arrived on campus for the 2014 National Conference of the Christian Fellowship of Art Music Composers (CFAMC). This is the largest organization of its kind in the world, and this was the largest conference that it has ever held. Members live in nearly every state, and represent many careers including studio artists, music faculty, and media professionals.

This year’s keynote speaker was renowned European composer Ivan Moody. Other special guests included the Cadillac Moon Ensemble, Ensemble Christo LA, the Paul Delgado Singers, Paul Barnes, and Richard Zeller. Conference participants presented their original music in a total of twelve concerts held between Thursday afternoon and Saturday night. A panel discussion between several prominent Christian film composers featured JAC Redford, Jonathan David Neal, Mike Watts, and moderator David Martina. Ivan Moody gave his keynote address. The event was sponsored jointly by Biola University, Biola Conservatory of Music, the Center for Christianity, Culture, and the Arts, and the Torrey Honors Institute. academics1.biola.edu/music/news/

California College of the Arts Trailblazing cognitive scientist and usability engineer Don Norman, author of The Design of Everyday Things (Basic Books 1988), a book that introduced the idea of “user-centered design” to budding designers worldwide, delivered the keynote address at the sold-out Interaction Design Education Summit, hosted by CCA Sunday, February 8. (The summit was part of the larger Interaction 15 conference held at Yerba Buena Center for the Arts in San Francisco February 9–11.) The book has since become required reading for students and teachers alike everywhere. In 2014 Norman partnered with CCA Interaction Design chair Kristian Simsarian to turn the book into a 60,000-plus student online course on Udacity.

“He put ‘design’ as a verb on the map,” said Simsarian, in his introduction of the notoriously stern and witty author.

Not one to mince words, Norman immediately took the opportunity to critique today’s design education system.

“Design must grow up. We need a wider variety of designers,” said Norman, who proposed more teamwork between disciplines and a focus on approach, rather than end solutions. “Wicked problems require broad education, not just craft.”

The Education Summit, an international gathering of more than 170 IxD educators, also served as a peek into CCA’s new award-winning program. The collaboration between the school and conference was something of a rare feat for such a young program. www.cca.edu/news

Santa Clara University The 2015 Santa Clara New Music Festival at Santa Clara University celebrated the life and work of Alvin Lucier, American composer and pioneer of experimental music and sound installations. The Festival comprised three days in January of concerts, lectures, and workshops with the presence of the composer himself. Lucier has been a pioneer in many areas of music composition and performance, including

Spring Issue 2015

the notation of performer’s physical gestures, the use of brain waves in live performance, and the evocation of room acoustics for musical purposes. The 2015 Santa Clara New Music Festival was guided under the Artistic Direction by Alex Christie, Scot Hanna-Weir, John Kennedy, Teresa McCollough, and Bruno Ruviaro. www.scu.edu/cas/music/news/

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California State University, Chico The National Association for Music Education (NAf ME) announced the winners of its annual Collegiate Chapter of Excellence awards. In all, universities and colleges from 17 states submitted 44 chapter projects to be considered for a Chapter of Excellence Award this year. The chapters completed projects in the four categories of Music Program, Professional Development, Recruitment, and Service. Advisors from each chapter submitted written summaries describing the projects.

Music Program First-place winner is Boise State University, with honorable mentions for the University of Hartford in West Hartford, Connecticut, and the University of Montevallo in Montevallo, Alabama.

Professional Development First-place winner is Indiana University in Bloomington, with honorable mentions for Benedictine University in Lisle, Illinois, Baldwin Wallace University in Berea, Ohio, and Cumberland University in Lebanon, Tennessee Recruitment First-place winner is Baldwin Wallace, with honorable mentions for Hofstra University in Hempstead, New York, and the University of Wisconsin-Oshkosh.

Service First-place winner is Elon University, with honorable mentions for the University of Michigan in Flint, and California State University at Chico.

Dr. Michelle McConkey is the Advisor for the CSU, Chico chapter and specializes in Elementary Music Education. Dr. Lloyd Roby is in charge of Secondary Music Education.

Submitted by Dr. Lloyd Roby

California State University, Stanislaus The inaugural CSU Stanislaus Brass Day took place on November 15, 2014. The goal of CSU Stanislaus Brass Day is to provide high school and college students, as well as freelance brass players with a positive, engaging and educational experience all encompassing the art of brass playing. Maximum interaction between guest artists and participants takes place throughout the day, highlighted by clinics and master classes, as well as an opportunity to perform with a large brass ensemble. The event began with an opening session, featuring the CSU Stanislaus faculty brass quintet. Individual clinics were held for trumpet, horn, trombone, euphonium/tuba. After a short break, master classes were held for either high brass or low brass with our guest artists. After another short break, all participants gathered in the recital hall for a mass brass rehearsal. The evening concert featured all the guest artists and the entire mass brass ensemble for family, friends and the general public to enjoy! www.csustan.edu/music/music-festivals/brass-day

California State University, Sacramento The CSUS String Project is the flagship program of this kind in the West and a member of the National String Project Consortium. We provide carefully structured group lessons in violin and cello for children in the fourth grade and up. The lessons are taught by the dedicated and talented CSUS School of Music undergraduate and graduate teachers and supervised by experienced teachers. Lessons are available at affordable prices due to the generous support of The Sacramento State Associated Students, The Heller Foundation, String Letter Publishing, Associated Students Inc. (ASI), the Robla School District, Twin Rivers School District and the National String Project Consortium. The Teichert Foundation has given support in previous years. The String Project is a quintessential model of service-learning. It allows undergraduate and graduate students to learn new skills, to think critically, and to test their roles as professionals while offering low cost instruction in stringed instruments to children from the community.

Since 2001, the String Project has been training students and teachers in the joys of playing and teaching stringed instruments. The String Project allows future graduates to refine their teaching skills while still in school. There is currently a documented shortage of qualified string teachers. The String Project endeavors to provide quality instruction to children of all social strata.

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

Submissions will be included on a firstcome/space-available basis. This column contains items both received by submission as well as from culling the Internet.

www.csus.edu/stringproject/about.htm

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CMEA Magazine

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