“We learn life lessons and develop life skills every day in band, things like teamwork and integrity.” Music Student, Baldwin High School, Pittsburgh, Pa.
MUSIC MATTERS, GET INVOLVED.
The SupportMusic Coalition is a signature program of The NAMM Foundation that unites non-profit organizations, schools, business and individuals working to assure all children have access to high-quality music and arts education that nurtures creativity and critical thinking skills.
Join us at nammfoundation.org and be part of a national network to keep music education strong.
STRENGTHEN SUPPORT FOR YOUR MUSIC EDUCATION PROGRAM
Join the SupportMusic Coalition and receive free tools for grassroots music education advocacy.
Visit The NAMM Foundation website to learn more.
Join today, visit www.NAfME.org/join.
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
• President’s Message: CMEA’s Sponsored Legislation SB 725 is Just
• CMEA List of Accomplishments
photos on the cover: (Clockwise beginning with the drum) A break in the rehearsal of the All-State High School W ind 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
NEW
Yamaha Timpani
Design. Projection. Clarity.
The next generation of Yamaha timpani features upgrades to the frame, bowl and wheel designs, and the tuning gauge. Yamaha completely redesigned the frame to enable maximum sustain from the suspended bowl and ensure a long, reliable life. Simultaneously, the design of the bowl was altered to improve consistency and generate a deep, rich tone. Beyond the sound, Yamaha created a new wheel design and improved pedal mechanics to allow vast position options and smooth reliable pedal operation. In addition, the tuning gauge can now be moved to accommodate German and American setup options.
CMEA’s Sponsored Legislation
SB 725 is Just the Beginning
by Michael D Stone
CMEA President
As a young music teacher I would of ten hear my students speak fond ly 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 proud ly hung it in the front of the instr umental music room The words seemed to embody how we felt about learning in our c lassroom. It seems that hard work goes hand-in-hand with great music education programs. Excellence in most anything in the wor ld 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 O ur students keep us going
Hard work is at the center of CMEA’s S tate Council. S o much has been accomplished by this distinguished body over the past year P lease 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 ser ve the membership.
I want to acknowledge the entire CMEA S tate Council for their individual effor ts in making the California All-S tate Music Education Conference (CASMEC) a wonderful success this past Febr uar y in Fresno S o many made the conference a success for California’s professional music educators, collegiate members, and others in attendance. P lease enjoy the photos and other information from CASMEC 2015 found in this issue of the magazine
As I write this ar tic le, CMEA has exciting news to share in its ongoing work in music education ad-
vocac y
CMEA made histor y ear lier this year with its first-ever sponsored legislation in the California S tate S enate. S enate Bill 725 (SB 725), authored by S enator L oni Hancock (D-Berkeley), will require the superintendent of public instr uction, in consultation with the California S tate Board of Education, to convene a panel of exper ts to recommend new V isual and Performing Ar ts S tandards to the S tate Board of Education. The S tate Board of Education is required to adopt the standards no later than June 30, 2017. It has been four teen years (2001) since California last adopted content standards Much has changed since then CMEA’s bill is a top priorit y for the S tand 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 Ar ts S tandards provided the impetus to bring the issue of updated standards to the forefront of CMEA’s legislative priorities
W hy is SB 725 so impor tant today? W hen standards are adopted, new curriculum materials will be created that will provide California the oppor tunit y 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 ar ts education organizations, inc luding the California Ar t Educators Association or CAEA, California Dance Educators Association or CDEA,
President’s Message
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 S outhern California or DTASC CMEA worked with the four Ar tsEd Organizations Coalition to present a united front in our work advocating for a standards update in California.
This fall, CMEA’s L obbyist Lynne
CMEA EXECUTIVE B OARD
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
CM EA Secret ary
Duane Otani
E-mail: Dotani916@yahoo com
Work: 858 485-4800
CM EA Immediate Past President
Russ Sperling
E-mail: rsperli@cox net Work: 858 292-3547
CM EA 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
B OARD OF DIRECTORS
CM EA Bay Section President
Todd Summers
E-mail: tsummers@pausd org Work: 650 354-8264
CM EA Capitol Section President
Brad North
E-mail: bnorth@rjuhsd us Work: 916 771-6565 x 4600
CM EA Central Section President
Leonard Ingrande
E-mail:
lingrande@centralusd k12 ca us Work: 559 276-0280
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 for ward
It is exciting that CMEA is positioned to be a unifying leader in music education today O ur work on SB 725 is just the star t 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
E-mail: tfilpula@chicousd org Work: 530 891-3026 x 321
CM EA Southeastern Section Designated Cont act
Armalyn De La O
E-mail: adelao@csusb edu Work: 909 537-5938
CM EA Southern Border Section President
Pauline Crooks
E-mail: Pauline crooks@gmail com Work: 858 485-4850 x 4027
CM EA Southwestern Section President
Lisa A Crawford
E-mail: cmeasouthwestern@ gmail com Work: 213 740-6935
NAf ME OFFICERS
NAf M E President
Dr. Glenn E. Nierman 18 0 6 Robert Fulton Drive, Reston, VA 220 91 8 00 33 6-376 8
NAf M E Western Division President Dr David C Fullmer Orem, UT 8 4 05 8
COUNCIL OF REPRESENTATIVES
CM EA CA ACDA Represent ative
Merryl Nelson
E-mail: mnelson@gladdemusic com Work: 619 660-4000 x 3009
of instigating our new advocac y infrastr ucture in S acramento. Together we can accomplish so much
P lease refer to the SB 725 Fact S heet 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. P lease respond with letters of suppor t when requested. Ever y voice counts
Here’s to wishing you a wonderful spring of music education
CM EA CAJ Represent ative
Michael Galisatus
E-mail: galisatus@comcast net and galisatusm@smccd edu Work: 650 574-6163
CM EA CB DA Represent ative
Norm Dea
E-mail: normdea@yahoo com Work: 925 280-3970 x 7327
CM EA C ODA Represent ative
Kate Francis
E-mail: mskatefrancis@gmail com Work: 408 535-6300 x 29159
CM EA CAS M EC Coordinator/ CM EA Represent ative on the CB DA Board
Bill W ilkinson
E-mail: bwilkinsoncmea@ gmail com Work: 559 585-3870
CM EA General Music Represent ative
Richard Lawton
E-mail: richard@ richardlawtonmusic com Work: 323 654-4401
CM EA Music Technology Represent ative
James Knight
E-mail: jamesknight@mac com Work: 714 536-2514 x 4116,
CM EA Advoc acy Represent ative
Steve Venz
E-mail: stevenvenz@yahoo com Work: 323 224-3100
CM EA St ate Band and Orchestra Festival Chairperson
Jim Mazzaferro
E-mail: jmazzafe@egusd net Work: 916 681-7500
CM EA St ate Solo and Ensemble Festival Chairperson
Cheryl Yee Glass
E-mail: cglass@srvhs org Work: 925 552-3044
CM EA 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
CM EA Music Supervisors Represent ative
Fillmore Rydeen
E-mail: fillmore rydeen@ ousd k12 ca us Work: 510 336-7609
CM EA Collegiate Represent ative
Dr John Eros
E-mail: john eros@ csueastbay edu Work: 510 885-3135
CM EA Tri-M Represent ative
Elizabeth Robertson
E-mail: erobertson@petk12 org Work: 707 769-9650
CM EA Higher Educ ation Represent ative
Dr Lawrence Stoffel
E-mail: stoffel@csun edu Work: 818 677-3160
CM EA Research/ Special Learners Represent ative
Dr Ruth Brittin
E-mail: rbrittin@pacific edu Work: 209 946-2408
CM EA World Music Represent ative
Dr Lily Chen-Hafteck
E-mail: lhafteck@ucla edu Work: 310 825-4668
CM EA Retired Members Represent ative
Jon Christian E-mail: jonchristian41@gmail com
CMEA Magazine
CMEA Past Presidents
1966–1968
1947–1949
Clarence Heagy Fresno
1949–1951
Elwyn Schwartz
1951–1953
George F Barr
1953–1955
Fred Ohlendorf Long Beach
1955–1957
Harold Youngberg Oakland
1957–1960
Joseph W Landon Fullerton
1960–1962
Douglas Kidd
1962–1964
Gibson Walters San José
1964–1966
Keith D Snyder Davis
Kenneth D. Owens
1968–1970
Judd Chew Sacramento
1970–1972
Anthony L Campagna Foster City
1972–1974
Louis Nash La Crescenta
1974–1976
Marlow Earle Lakewood
1976–1978
Mary C. Reed Elk Grove
1978–1980
Henry Avila Monterey
1980–1982
Charles L Freebern San Diego
1982–1984
David S. Goedecke Stockton
1984–1986
Vivian M Hofstetter Bakersfield
1986–1988
John L. Larrieu Portola
1988–1990
L Leroy Roach Walnut Creek
1990–1992
Carolynn A Lindeman Greenbrae
1992–1994 Bill Adam Roseville
1994–1996 Don Doyle Pasadena
1996–1998
Jay D Zorn La Crescenta
1998–2000
Dennis L. Johnson Salinas
2000–2002
George DeGraffenreid Fresno
2002–2004
Sam Gronseth Paradise
2004–2006
Rob Klevan Pacific Grove
2006–2008
Cheryl Yee Glass Danville
2008–2010
Jeff Jenkins Chula Vista
2010–2012
Norman Dea Walnut Creek
2012–2014
Russ Sperling San Diego
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; Gayanne Korkmazian, 2012; Dr David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W Lutt, 2009; Kem F Martinez, 2009; Carl W Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn A Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances Benedict, 2005; L Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; Larry Johnson, 2002; Mary Louise Reilly, 2002; William Hill, 2001; Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F John Pylman, 2000; Lawrence Sutherland, 1999; Chuck Schroeder, 1998; Dean Semple, 1997; Burl Walter Jr., 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991; Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983; Aubrey Penman, 1981; Steve Connolly, 1979;; Howard Swan, 1977; Russell Howland, 1975
SB 725 (Hancock): Visual and Performing Arts Standards Update and Review
As Introduced February 27, 2015
Collaborative Conference an Altogether Positive and Inspiring Weekend
by Norman Dea CBDA President California Band Directors Association
On 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 suppor t of CBDA’s 58th Annual All-S tate Convention and the 5th Annual CASMEC S uper-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. S tone, Scott Hedgecock, and Bill W ilkinson from CMEA; Kate Francis and Michael Boitz from CODA; Lisa Butts and Chris S tevens from CAJ, and L ori Marie Rios and L ou 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 recogniz e the incredible work of the junior high host Jeff Detlefsen, band director at S ierra Pacific High School in Hanford, special projects coordinator Chris Marra, music director at L os Gatos High School, and convention host P hil Vallejo, director of bands at Clovis East High School Mr Detlefsen was
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 realit y for those students Mr Marra was responsible for coordinating and organizing the head liner concer t, wonderful c linics, presenters and performing ensembles at the conference Mr Vallejo had the huge under taking of coordinating the logistic of the high school ensembles as well as coordinating the “ ins-outs” of the entire convention. S pecial thanks to administrative assistant Trish Adams for keeping us on the right path. Thank you for the professionalism and effor ts you each brought to CBDA
F inally, please welcome our newest board member, Ezz y L ozano from Clovis High School Ezz y will ser ve 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 S an José in 2016. Best of luck as each of you prepares your groups for festivals, spring tours and final spring concer ts 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 S an José in 2016 Best wishes.
CBDA President’s Article
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.
LEADERSHIP
What the California Music Educators Association (CMEA) board accomplished during
the
ers Association (CA PTA), and California Teachers Association (CTA) to discuss common areas of
CMEA added Photos of all CMEA State Council Members to the CMEA Website ( : nvited , , to speak Califor
MEMBERSHIP SERVICES
CMEA held its second annual Membership Campaign, under the leadership of Membership Chair
along
Ready, Set, DO:
Stay Inspired Through Your Tri-M Chapte r
by Elizabeth Robertson CMEA Tri-M Representative
This year ’ s CASMEC was truly a state wide celebr ation of music educ ation Eac h day was packed with professional development sessions, concerts, exhibits, and connecting with col leagues The Canadian Brass and CSULB Chamber S ingers concer ts reinforced music ’ s emotional impact. I had the additional pr ivilege of speaking with the all-state honor ensemble musicians about the Tri-M: Music Honor S ociet y The positive energ y in each rehearsal was infectious. These students are dedic ated musicians, sc holars, leaders, and communit y members They are exactl y the t ype of students who are invited to join Tr i-M As we continue the spr ing semester and begin to look toward the 2015–2016 sc hool y ear, I hav e been searching for ways to sustain and foster the ideas I gained at CASMEC.
CASMEC is my year ly dose of prof essional inspir ation and rejuv enation One of my greatest challenges is to keep up the conference’s positive momentum when I retur n to my dail y jobs as a choral director and depar tment chair. I al way s debr ief with my distr ict colleagues and share new ideas S ince becoming CMEA Tri-M Representative, I have been exploring ways to share my prof essional excitement with my students.I suggest incorporating a new routine into your CASMEC exper ience: debr ief and plan with the students in your Tri-M chapter O ur students possess a wealth of enthusiasm, an ability to spread new ideas among their peers, and the energ y to follow through with new
initiatives when given oppor tunities to lead. As a music depar tment ’ s student leaders, Tr i-M members are in the unique position to influence and implement organizational change
Follow this “ Ready, S et, D O” model as you facilitate CASMEC inspired changes at your school:
Ready:
Attend a professional development con-
• ference and gather as many resources as possible This may include going to concer ts, attending sessions, and networking with colleagues.
W hen you return from the conference,
• c ategor iz e your notes between inspirations for your personal teaching toolkit and ideas for your overall music depar t-
Have students prioritiz e the ideas they
• like best. These ideas may be for the current semester or for the upcoming school year
Create an Action P lan with a ranked list
• of pr ior ities and measurable actions It may also be useful to create an implementation calendar for each priorit y.
DO:
Af ter creating an Action P lan, future
• Tr i-M meetings wil l be used to complete tasks and monitor progress
There will be setbacks. As teachers we • have the power to turn them into teachable moments
Celebrate ever y success
•
• S hare your success: Tell and show par-
ment goals. Follow up with contacts you made with colleagues at the conference and request fur ther infor mation if desired
Set:
ents, teachers, and administrators when your plans are realiz ed
Final Thoughts
Present your ideas to your Tri-M exec-
• utive council. Your leadership may have insights into how their fellow students will receive new ideas
One of my primar y goals as CMEA Tr i-M Representativ e is to increase communic ation among c hapters, students, and the CMEA leadership
P lease share your Tri-M successes with the CMEA Executive Board and me
At the next Tri-M general membership
• meeting, hav e your executiv e council present the new ideas to their peers.
L et ’ s celebrate our students’ phenomenal achie vements as musicians, scholars, and leaders.
STUDENT ASSESSMENT
Ear
Music
Sequencing
Music
Performance-based
Reaction to the CASMEC Presentation
Are We M eeting a Ne ed?
Regarding Students with Special Needs
by Angela Holmes
There are more than six million students enrolled in K–12 public education in California Near ly 12 percent, or more than 700,000, are students with special needs (California Depar tment of Education S tatistics, 2013–2014) The vast majorit y 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 mandator y special education course for completing a credential in California completely prepare a teacher for meeting the needs of diverse learners in the c lassroom? Do the differentiated lessons plans that are required in methods c lasses, sufficiently prepare a teacher for the daily instr uctional 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 methodolog y c lasses that require differentiated planning Realistically, one c lass cannot sufficiently address the needs that are found in the c lassrooms of today The special education course can and should provide a strong foundation from which to build the skills of differentiated planning and lesson deliver y. Therefore, based on the for t y-plus educators and college students that attended the presentation on ADHD in the music c lassroom, there appears to be a need to provide on-going suppor t to the educational practitioner, as well as a platform for validating the “ best practices” that are successfully being implemented in music education c lassrooms 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 c lassroom, inc lusion at all levels of music abilit y, suppor t systems available to the music teacher and the role of the family. The objective of the session was to provide a c learer understanding of the variet y of student behaviors that teachers have obser ved in the c lassroom that affect teaching and learning Explaining and understanding the differences within the categor y of ADHD, should help the teacher in eliminating invalid assumptions. D uring the session, par ticipants who were c lassroom teachers, provided examples from their c lassroom experiences and personal backgrounds that validated the information being presented College students expressed that the session broadened their perspective of inc lusion 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
that would have provided the teacher with specific strategies to take back to the c lassroom and implement immediately Af ter the session, some par ticipants asked for additional handouts to take back to their colleagues
D uring my career as a K–12 c lassroom instr uctor, administrator, college educator teaching that mandator y special education c lass for a California credential, a special education consultant, as well as a strong suppor ter of the ar ts and understanding the value of music education for all, I experienced a positive welcome from the par ticipants at my Thursday presentation at this year ’ s CASMEC conference The interest in the sub-categor y to Other Health Impairments, ADHD, followed by the comments and questions during the presentation, and af ter, reinforced the conc lusion that one single class does not teach educators ever ything they need to know about teaching a class that is inclusive of students with special needs Fur ther, it seems that teachers are interested in discussing and learning more about practices that can be implemented to assist in the successful instr uction of diverse learners Educators need to have oppor tunities for extended training that focus on the practical aspects of addressing the unique needs of special learners. I applaud CASMEC for inc luding 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 inc luded or mainstreamed into the music c lassroom A specific request was made for a session that addressed students who are on the autism spectr um. Another inquir y was in regard to working with the parents of students with special needs. One par ticipant shared that there are bands in the S an José area, whose members are all musicians with special needs It is hoped that these requests can be addressed, accommodated and highlighted through the variet y of communication channels available through the resources of this organization
Angela Holmes, M A Ed Department of Human Development
Santa Ana College
R ancho Santiago Community College Dist rict
Me tronome Strategies for Improv in g You r Timing
by Dave Gerhart
Most teachers are aware of the impor tance of practicing with a metronome As dr ummers/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 par tner In this ar tic le, 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 instr ument manufacturers that come in all shapes and siz es. In recent years, iP hone/iPod Touch metronomes have incorporated advanced capabilities inc luding the abilit y to tap a beat, synchroniz e pendulums and save bpm, time signature and accentuation settings. Many are free, some have limitations, but what is impor tant is not which metronome you own, rather it is essential that you have one and use it regular ly
It is impor tant 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 impor tant in a studio setting when we have a c lick 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 c licks If the metronome c licks on ever y beat you are only working on your listening skills
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
1 Add Space between beats or clicks
Instead of having 4 c licks in a 4/4 measure, put your
metronome on half notes and have two c licks per measure
Turn the c lick on just the downbeat of the measure
Turn the c lick on the downbeat of ever y other measure or ever y 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 c lick per measure, move the c lick to star t on beat 2 of the measure instead of the downbeat
Put the metronome on quar ter notes, but when you star t 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, L ogic, etc.) and create a 4 bar loop. On the four th 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 star t playing, you should only be able to hear yourself and not the metronome. P lay 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 excer pts
My hope is that this ar tic le will star t you thinking about using your metronome as an accompaniment par tner instead of always being the dictator (“you will always play on ever y 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
Dave Gerhar t, product manager for percussion at Yamaha, is a prominent percussion educator and performer. He received his doctorate in percussion performance from the Universit y of S outhern California.
Tech Updat es from CMEA Conference 2015
by James Knight CMEA Technology Representative
Iwould 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 formall y ac knowledge individuall y, but the amount of planning and implementation that went into this conference hosted by Mic hael D S tone and his team was tr ul y amazing We all lead such busy lives as music educators. It ’ s ver y hear twarming to see how appreciated we are due to being par t of such a wonderful communit y of fellow teachers.
It was my pleasure to enjoy listening and learning from a group of top educators sharing presentations about tec hnolog y I hav e presented at a lot of academic conferences where music technolog y is featured and sometimes the individual presentations are lightl y attended.This was not the c ase at the 2015 CMEA Technolog y S trand in Fresno. Ever y 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 ne w National Core Ar ts S tandards that lists creating music as an area of study Technolog y is a natural companion for the creation of music and our presenters did an outstanding job of highlighting different aspects of the new ar ts standards.
We star ted out on Thursday hear ing from Anne M Fennel l whose talk about “ The W hole Musician in 2015: Teaching Composition with Technolog y ” captured our attention with c aptivating videos that highlighted student work and also a lot of audience involvement regarding curr iculum. Anne was passionate about giving the student the gif t of composition through “real music educ ation” that goes be yond just having kids put some loops together Her music program is rigorous and uses technolog y 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 inc luded the phrase: “I wish I could take her c lass.”
Friday was jam packed with four presenters who all challenged us in different ways. In the
morning session entitled, “ Traditional Ensembles in an Age of Technolog y : Voices, Instr uments, and iPads” by Kerri Epps and Brittney Kerby, educators were treated to a real-life dynamic duo Attendees receiv ed a plethor a of resources for the Apple iPad and some outstanding ways that they could incor porate this technolog y into their curr iculum to enhance not onl y making music but also reflecting about their music. I know I was inspired to explore some of the apps they presented in my own c lassroom.
On Friday af ternoon, the workshops “Creating Classrooms We Need: Educ ational Tec hnolog y for Music Teac hers” by Chad Zullinger and “Explore the New Smart Music: Rubrics, S tate S tandards and iPads” by David Hawle y r aised the bar for for ward-thinking educ ators. Chad Z ul linger highlighted how many c lassrooms look remarkabl y like the c lassrooms of yester year while exposing us to learning strategies for the 21st centur y student. David Hawle y, from S mar tMusic ’ s awardwinning interactive music sof tware, showed us r ubrics and multiple ways music educators can use this sof t ware to e valuate our students’s practice and performance skills
S aturday ’ s tec hnolog y sessions, “ Music Sc anning for the Busy Educ ator ” and “ Integrating Avid ’ s Official Pro Tools and S ibelius 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 tec h sessions expressed the desire for more hands-on lear ning with tec hnolog y. 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 educ ators if they would be interested in some hands-on technolog y sessions by utilizing the par ticipants own laptops for training This will be an area of future discussion before our next statewide conference. I’m looking for ward to seeing ever yone in S an José.
A free seminar for young chamber music groups, featuring masterclasses, concerts and a competition for cash prizes and scholarships.
Yehudi Menuhin Chamber Music Seminar
May 8–10, 2015 San Francisco
presented by The School of Music and Dance at San Francisco State University
directed by Cyrus Ginwala cginwala@sfsu.edu
For general information, visit: musicdance.sfsu.edu/menuhin
Opportu nitie s for P rofe ssional Growth
by Lou De La Rosa President-Elect California ACDA
One of the goals I set for my upcoming presidency has been to dramatically increase the opportunities for California AC DA membership to experience outst anding learning experiences that t ake place at conferences and workshops
For years, we have offered a wonderful experience at the Summer Choral Workshop at E C C O, 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 1,5 00 members: E C C O 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 Cant ate 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-St ate Music Education Conference (CAS M E C). Through a well-timed coincidence, the all-st ate honor choirs will be held in S an José at the s ame time that our band, orchestra and general music colleagues from across the St ate meet at CAS M E C
In addition to the existing CAS M E C 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-C M EA St ate Vice President Scott Hedgecock), we plan to add: the three high school All-St ate Honor Choirs;
• a new All-St ate 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 dist ant past, C M EA St ate B oard mem-
bers controlled the content of the choral strand at the old C M EA st ate conferences. The new C M EA st ate leadership has placed that control in the hands of California AC DA to work in partnership with the C M EA St ate B oard To that end, please refer to the Call for Propos als for Interest Sessions and the Call for Performance Auditions on the California AC DA 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 AC DA St ate Conference at CAS M E C
In addition to the new conference, the California AC DA B oard has created a brilliant lineup for the regional conferences in Fall 2015. On S aturday, September 12, 2015, the Northern Regional Conference will feature Dr Sharon Paul of University of Oregon as the headline clinician The following S aturday, September 19, 2015, the Southern Regional Conference will feature Dr Andre Thomas of Florida St ate 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 longst anding Summer Choral Workshop at E C C O, 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 E C C O, and February 11–14, 2016 for the First California AC DA St ate Conference at CAS M E C in S an José. I’ll see you there.
• Lou De La Ros a is the director of choral and vocal studies at West Valley College in S aratoga, California
What’s
New
in Music Technology: A R eport from NAMM 2015
by Mike Klinger
Ilove 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 (NAM M) 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 dis appointed You may have heard that MakeMusic Inc (the company that created Finale and SmartMusic) relocated to B oulder, 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 forward. Peaksware develops software platforms that connect creators, instructors, and performers 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.
Software Apps
I found three smaller software/app companies that offer promise for the music education market Imitone ($25) translates sound into M I D I, the language of digit al music Simply put, just play or sing through a microphone into any M I D I software such as that found in GarageB and, and this product will convert the track into a M I DI 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 M I D I connection on an electronic midi keyboard Once you have finished a level and get your passing 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 M P3) for music practice It provides an electronic music score with high-quality accompaniment and synchronized music tracer. It
The iTrack Dock for iPad is a comprehensive, studio-quality iPad recording interface featuring dual Focusrite microphone preamps for plugging in two microphones plus two line inputs for guitar or bass.
The Tascam DR-44wl handheld four-track recorder
is a dream companion for all music students. You can slow down or speed up a piece by 5 0 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 bet a st age B oth are wonderful practice tools for your students.
Digit al Audio
Probably the biggest news at NAM M 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, M I D I, 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 ($29 9), coming out in the second quarter of this year B oth Pro Tools 12 and Pro Tools First will allow for song collaboration in the cloud, and a new Marketplace port al built into the software that will offer users the capacity to purchase extra sounds, effects, etc The Marketplace also will serve as a port al 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 port als in new versions soon
Tascam introduced two new handheld recorders at NAM M The D R-4 4wl $29 9 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 X LR inputs is also available for four-track recording, and all four feed into an improved microphone preamp and AD/ DA st age. The D R-22wl ($14 9) also has Wi-Fi for transport control, file transfer, and audio streaming to your smartphone or P C Other innovations like the Scene Dial make it easier than ever to capture greatsounding recordings and share them online. The D R-22wl also has the XY pattern microphones for stereo recording
There were a number of new audio interfaces announced at NAM M as well Focusrite Audio Engineering introduced two new models that look promising for
music educators The iTrack Dock for iPad ($19 9) is a comprehensive, studioquality iPad recording interface featuring dual Focusrite microphone preamps for plugging in two microphones plus two line inputs for guit ar or bass, an instrument independent stereo monitor and headphone output, and a U S B port for class-compliant M I D I instruments and controllers The iTrack Dock provides everything required to record, monitor, and control music on Lightning iPads
denser mic/cable, H P6s stereo headphones, 1.2m device link cable, U S B cable, and recording/mixing software
M-Audio introduced the Delt abolt 1212 Thunderbolt 12-channel interface ($4 9 9) It comes with Oct ane X preamps, audio performance up to 32-bit, 192-kHz, full duplex 12-input/12-output simult aneous recording in a compact desktop form
Honorable Mention
Here’s something your students will greatly enjoy: Korg introduced the new Little Bit Synth Kit ($15 9). 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?
•
with precision Focusrite digit al conversion at up to 24-bit, 9 6-kHz s ampling It even charges and powers the iPad at the s ame time The iTrack Studio ($19 9) is a complete recording pack age for iPad, Mac, and P C. This is a great low-cost solution for school labs It includes iTrack Solo audio interface, C M25s, 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 C enter in Carson, Washington, in the C olumbia River Gorge
Korg Little Bit Synth Kit
The CMEA/ACDA/SCVA
Choral L eadership Academy for 2015 was held Febr uar y 20–21 during CASMEC in Fresno Established in 2012, this year marks the four th Choral L eadership Academy and a stunning success it was. The 51 enthusiastic choral students – 25 high school students and 26 college and universit y students – were led by the eternally youthful and energetic Rodney Eichenberger, professor emeritus, F lorida S tate Universit y, Tallahassee, F lorida Professor Eichenberger led the students in singing new literature, honing musicianship skills, and learning effective and eloquent conducting techniques. S uppor ting Professor Eichenberger at the piano during the various reading sessions was Kevin
Ch oral Su cce ss at CASM EC
by Merryl Nelson CMEA ACDA Representative
Memley, composer, pianist, and music technolog y teacher at Clovis East High School in Clovis. The CLA Facult y inc luded Dr Jeffrey Benson (S an José S tate Universit y, S an José), Dr Angel VázquezRamos (Chapman Universit y, Orange), L ori Marie Rios (College of the Canyons, Valencia), L ou De La Rosa ( West Valley College, S an José) and Merr yl Nelson (Cuyamaca College, El Cajon) The CLA facult y 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 suppor t 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 S aturday af ternoon W hat 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 S trand outstanding and informative sessions for choral teachers from ever y kind of teaching assignment This rich two-day feast of music educational delight began with “A Pro
Choral Leadership Academy faculty, left to right: Lou De La Rosa, Jeffrey Benson, Merryl Nelson, Rodney Eichenberger, Lori Marie Rios, and Angel Vázquez-Ramos.
Photo by Elizabeth Kamerin
A Nested Hierarchy,” presented by L ori Marie Rios, associate professor of music at College of the Canyons in Valencia As we learned, A Pro Ar te is an acronym for Attention (Audiation), Posture, Respiration, Onset, Ar ticulation, 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 c lass presented by Dr. Jonathan Talberg and the CSU L ong Beach Chamber S ingers as they prepared the Mozar t 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 Midd le 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 ” Inc luded were warm-ups, sight singing exercises, theor y sheets, warm-up songs, and performance literature Brian Dehn, choral director at Junipero S erra Catholic High School in S an Juan Capistrano, shared ideas on bringing qualit y performance into small programs with limited resources in his session “Q ualit y W ithout Q uantit y In his session Is Your Choral GPS Working?” Dr Gar y S eighman, director of choral activities at Trinit y Uni-
versit y in S an Antonio, Texas, presented tried and tr ue strategies for long term rehearsal planning Being aware of the total rehearsal time available and propor tioning that time according to length and difficult y level of the literature selected are key points in this strateg y.
On S aturday, the CLA Facult y 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 W hat 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 S an José S tate Universit y, presented an informative session on “Programming with Passion” in which he discussed how to choose exciting repertoire for your choir. In addition to his exper t programming ideas, Dr Benson also shared some excellent reper toire choices that the group read through The final session of the choral strand was a reading session presented by the CLA facult y entitled “Accessible Music For All Kinds of Choirs ” Each facult y member presented five pieces in a pre-selected voicing: SA/SSA, TB/T TBB, SAB/Three-Par t
Mixed, and SATB S pecial thanks to Kevin Memley who played for Jeffrey Benson’s session as well as the CLA facult y ’ s reading session An appropriate ending to this rich feast of choral education was a concer t presented by CSU L ong Beach Chamber S ingers, conducted by Dr Jonathan Talberg in Holy Trinit y Armenian Apostolic Church The concer t was entitled “L ove, War, and Redemption: A Concer t in Remembrance of the 100th Anniversar y of the Armenian Genocide.” This moving concer t was the crowning glor y of the choral strand and filled the church to capacit y with 350 music educators in attendance.
S pecial thanks to Rodney Eichenberger, Dr Jeffrey Benson, Dr Angel VázquezRamos, California ACDA President L ori Marie Rios, California ACDA PresidentElect L ou De La Rosa, Dr. Jonathan Talberg, and Kevin Memley for helping to make this year ’ s Choral L eadership Academy such a resounding success Also special thanks to Bill W ilkinson, 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 S trand at CASMEC was your ACDA choral representative for CMEA, Merr yl Nelson
2015 Choral Leadership Academy and faculty
Photo by Elizabeth Kamerin
A View From Another
Side
In California, Schools Are Not Equal
by D L Johnson
During my 4 0 years in public education, I have seen education in California go up and down From the “New Math” of the ‘6 0s, “Restructuring” in the ‘8 0s and ‘9 0s, “No Child Left Behind” in the ‘9 0s 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 tot ally different perspective. For ex ample, when I attend faculty meetings, and they t alk about academic teaching strategies, I get lost in all the acronyms It took awhile before I realized the average st andard approach to academic classes in presenting, teaching proj-
ects, and developing assignments is almost the opposite of the direction t aken 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, st ate, and national music and general education committees This has allowed me to observe education in many locations around the st ate. The more I s aw, 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 (E LD) students, or Special Education is extremely expensive Schools may be funded equally by the st ate (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 underst anding 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 ex ample, can an E LD, poor, minority, migrant, Special
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.
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, LO L) is univers al 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, tot al rehears al 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 ex ample, 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 import ant. 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 t ake a lot honors or AP classes) However, before and after school band
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 s ake 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 ex act s ame 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 st ate building st andards should include the funding to help school districts finance upgrades to existing facilities to an equal st andard throughout the st ate The Williams Act in California kind of addresses this, but more on the s afety of the children and equality of classroom materials. For ex ample, if U S highway st andards are ex actly the s ame from st ate to st ate, 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 st ate requirements (other than tot al units for
graduation). Offering just one more period a day allows thous ands of students to t ake 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 t ake. The AP thing is st arting to get out-of-hand Kids used to t ake only one or two AP classes a year Now students t ake four and five a year because someone has told students and parents: “weighted courses for higher G PA’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 import ance 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 underst and commitment will, in the long run, finish what they have st arted That includes playing in the school band, choir, orchestra, drama, AS B, 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 Nor th Monterey C ounty High S chool and a past president of CM EA 1 9 9 8–2 000.
CMEA Notes
The first-ever C M EA Collegiate Council met at CAS M E C in February Comprised of C M EA collegiate members from across California,the council is advised by Dr John Eros, coordinator of music education at Cal St ate East B ay The purpose of the C M EA Collegiate Council is to t ake an active role in the goals of C M EA, through providing a voice for C M EA/ NAf M E collegiate members Kelly McCarley, a music education major at Cal St ate Northridge has just been named Chairperson of the Council. Kelly is the current President of the C S U N Collegiate Chapter. She will lead the C M EA Collegiate Council over the next year, beginning with identifying goals and objectives in alignment with C M EA’s Strategic Plan.
Additionally, at CAS M E C, many C M EA collegiate members participated in a luncheon with the presidents of California’s many professional music education organizations (CA AC DA, CA J, C B DA, C O DA, and C M EA), 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 C M EA 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 C M EA sections, twenty three C M EA mentors are ready to serve our next generation of music teachers.
MUSIC @ U N IVERSITY OF PORTLAN D
Located minutes from downtown, the University of Por tland combines personal attention with challenging academics in our nationally accredited music program.
Now offering a pre-music education track to prepare you for a Master of Ar ts in Teaching .
ENSEMBLES
University Singers • Wind Symphony • Orchestra • Women’s Chorale • Jazz Ensemble • Vocal and Instrumental Chamber Music
The first-ever CMEA Collegiate Council met at CASMEC in February
“Pizza with the Presidents ”
Spiccato
by Dr Thomas Tatton
Abrief refresher will assist us in underst anding the spiccato bow stroke and its historical use The development of the bow, even more than that of the violin itself, was in a st ate 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 st andardized with the bow maker François Tourte (1747–1835). His bows became the st andard 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 5 0 years but never solidified into a st andard 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 s ame st accato stroke when we teach separated bow strokes in the music of B ach 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 t aking 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-
cato Let’s look just at bow placement:
Just at the place where the bow divides between the 1 middle and upper third - the spiccato stroke is very light – think Mendelssohn’s Overture to A Midsummer Night’s Dream.
At the balance point, the spiccato becomes more easily 2 controlled and more subst antial in sound – think a Mozart symphony or concerto
A spiccato at the frog is heavier and less speed is avail- 3 able - 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 CM EA Magazine, Volume 6 8, Number 2
A. This teaching strategy will t ake anywhere between two to four weeks of daily practice (four to five minutes, in the warm-up, of course) to secure an accept able spiccato for the entire ensemble
Place the bow midway between the bridge and the fin- • gerboard. St arting 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
• direction.
Repeat bullet two but allow the bow to sound only three notes Repeat and flick the third note in an up-bow
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 = 112 Next, try a little slower, next, a little faster
• and so forth
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 oct ave, but play four 16th notes per pitch, each
• note on a separate bow.
B. This strategy can be used periodically, not necess arily 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 cont act point (where the hair meets to string) remains const ant. The bow hand fingers stretch then retract to make small circles.
• the s ame speed
Using right hand fingers and a slight circular motion in the wrist, practice flicking consecutive down-bows at
Next, play back and forth eight notes using the s ame 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 accept able “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 pass age Use the s ame motions, location and speed as above This is an exercise in changing the relationship between length and height
• Then barely sounding
First, t ap the bow on the string silently
• Followed by crisp V shaped strokes – short, dry spiccato
• Next, more oval at the cont act point – think bottom of the oval
• Longer, a much more lateral stroke
• Finally – on the string, det aché
• 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 s ame exercise with three different placements: near the upper third, around the balance point and near the frog.
Next, using the s ame 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, dist ance from the bridge and tilt. Expanding the palate of your string section will create a broader array of more refined, resonant, and s atisfying spiccatos to use in the vast amount of literature available to us
•
1 For a more in depth discussion, I recommend: David B oyden, The History of Violin Playing, Oxford university Press, 19 67 Pp 20 6–211
2 James Kjelland, Orchestral B owing: Style and Function, Alfred Music Publishing Co , 2003 Pp 3 9–4 4
2015 CMEA Awards Gala
California All-S tate Music Education Conference
Friday, Febr uar y 20, 2015 Fresno, California
Opening remarks by CMEA P resident Michael D Stone: Good Evening, and welcome I am Michael S tone, CMEA President It is my pleasure to welcome you to the Annual CMEA Gala where outstanding individuals are honored for their work suppor ting CMEA’s vision that all students in California be provided access to a first-c lass education in music
I would like to begin by thanking CMEA Member Joe L enigan and his band for enter taining us tonight during the cocktail hour
I would also like to recogniz e two special guests from the Fresno communit y attending tonight ’ s gala with one of our awardees, Bernard Barmann, and his wife Bee
Ms Miriam S tephanian is the president and general manager of Valley Public Radio S he is here tonight with her husband John Thoens. Valley Public Radio is ver y suppor t of music education, hosting its Young Ar tist ’ s S potlight each month. We welcome you.
Before we begin our awards ceremony, I would like to have Mr L evon Baladjanian from the Holy Trinit y Church come for ward.
Mr Baladjanian is a church board member here at Holy Trinit y Armenian Apostolic Church, and is the men ’ s societ y treasurer and head of banquet ser vices
As many of you know, this is the last year that CASMEC will be in Fresno. I would like to recogniz e Mr. Baladjanian and the members of the church’s men ’ s societ y for par tnering 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, L evon, 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 recogniz ed in this order. As your name is read, please come for ward to be recogniz ed A shor t 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 S per ling, CMEA V ice President S teven Hendee, and myself
P lease welcome President-Elect Hedgecock, who will present our first award
CMEA P resident-Elect Scott Hedgecock: The CMEA O utstanding Administrator Award honors
educators who, as a school administrators, have contributed powerfully to the suppor t of music education This year, in recognition of the impor tance school administrators have on the success of music in our schools, we recogniz e S uperintendent Mar vin Biasotti from the Carmel Unified School District.
Mar vin Biasotti has ser ved 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 ar ts.” To that end, S uperintendent Biasotti works tirelessly to promote and suppor t music education in Carmel Unified School District schools From K–5 c lassroom 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 Ar ts, to providing a generous, stable music budget for supplies, c linicians, accompanists, repairs and instr uments, S uperintendent Biasotti has demonstrated his belief that music education matters.
Congratulations, S uperintendent Mar vin Biasotti
The CM EA Outst anding Administrator Award goes to Marvin Biasotti, pictured with CM EA Immediate Past President Russ Sperling
Michael D Stone:
CMEA S ection Awards are the highest honor that can be bestowed upon a music educator in any given CMEA S ection It ’ s our pleasure tonight to introduce our section award recipients. As our honorees come for ward, I ask that their respective section president join them
From the Bay S ection: The O utstanding Music Educator Award goes to S teven Hendee from Castro Valley High School, with Bay S ection President Todd S ummers S teven Hendee is currently in his third year as the director of bands and orchestras at Castro Valley High School He previously ser ved 12 years as the director of bands at S an Francisco Unified School District ’ s School the Ar ts, 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, S teve was inducted into the John P hilip S ousa L egion of Honor
O utside of the c lassroom Mr Hendee is an active member of the California Music Education Association, both at
the state and regional levels. S teve is currently the CMEA vice president and is a past president of the CMEA Bay S ection. A frequent guest conductor and c linician, 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 Ar ts Camp
W hen not being a band director or computer geek he enjoys spending time with his wife S haron and their two daughters, Emiko and Kimiye
Congratulations, S teven Hendee
CMEA Immediate Past P resident Russ Sperling: From the Capitol S ection: The O utstanding Music Educator Award goes to Dr Rober t Halseth from California S tate Universit y, S acramento, with Capitol S ection President Brad Nor th
Dr Rober t Halseth is in his 21st year as professor of
music and director of wind studies at California S tate Universit y, S acramento, where he conducts the symphonic wind ensemble and concer t band, heads the graduate program in wind conducting, and ser ves as director of the S acramento S ummer W ind 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 elementar y, junior high and high school levels. He earned a doctorate in conducting
and brass pedagog y at the Universit y of Nor thern Colorado with Eugene Cor poron and Buddy Baker. At S acramento S tate, Professor Halseth hosts an annual conducting workshop that attracts music educators from various par ts of the western United S tates.
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, suppor tive, understanding family, inc luding his wife, Helen; his son, Eric; his three daughters Amy, Rebecca and Kelsey ; his two step-daughters T ia and Meagan; their wives, husbands and par tners; and his three grandchildren Kailyn, Christian and Kyah
Congratulations, Dr Rober t Halseth
CMEA V ice P resident Steven Hendee:
From the Central S ection: The O utstanding Music Educator Award goes to Gar y Scudder from S tockdale Christian School, with Central S ection President L eonard Ingrande.
Mr Scudder is the music teacher at S tockdale Christian School in Bakersfield His 35 year career as a music educator has inc luded time as a facult y member at Fuller ton College, California S tate Universit y/Fuller ton, and Biola Universit y. He has also had a distinguished performing career that inc ludes more than 13 years as a leader of the Disneyland S axophone Q uintet.
Mr Scudder states that he fell in love with teaching younger musicians at his own children’s school, W hittier
The CM EA Capitol Section Outst anding Music Educ ator Award goes to Dr Robert Halseth, with CM EA Vice President Steven Hendee and Capitol Section President Brad North
The CM EA Bay Section Outst anding Music Educ ator Award goes to Steven Hendee, with CM EA President-Elect Scott Hedgecock and Bay Section President Todd Summers
Christian Elementar y, where he taught for six years He maintains a private teaching practice that inc ludes 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 abilit y to blend instr ument exper tise, motivation, humor, and a commitment to excellence in a way that challenges his students to go beyond expectations.
Mr Scudder ’ s students regular ly received high placements in regional and state honor groups and he has ser ved as a guest conductor of honor groups, and provided numerous c linics to students and their directors across California. The S tockdale Christian Band has even performed at Carnegie Hall
Congratulations, Gar y Scudder.
Russ Sperling:
From the Central Coast S ection: The O utstanding Music Educator Award goes to Chris West from S tevenson School, with Central Coast S ection President W illow Manspeaker
Chris West began her career as a music educator in 1972
af ter graduating from F lorida S tate Universit y School of Music with a B S in music education S he began her teaching high school chor us, junior high chor us and elementar y music in the Miami Dade Count y Public School S ystem. D uring this period she completed her M.S. in music education and represented her schools as “ Teacher of the Year ” for two years
Upon marr ying in 1979, Chris moved to California and spent three years teaching music and kindergar ten in a K–8 private school in S acramento, then relocated to Pacific Grove in 1982 and began her teaching career at Briarc liff Academy which is now known as the Carmel campus of S tevenson School D uring 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 instr umental and vocal music.
S he 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 circ le 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 Nor thern S ection: The O utstanding Music Educator Award goes to Michael P henicie from Colusa
High School
Mr. P henicie was unable to be here tonight. Accepting Mr P henicie’s award is Randy Humpher ys, with CMEA Nor thern S ection President Todd F ilpula.
Michael P henicie is a graduate of S an Francisco S tate Universit y, 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 Nor theastern Oregon in 1978, teaching c lassroom music, band and choir for the Wallowa School District, as well as teaching private lessons on French horn at Eastern Oregon S tate College O ver the years, he has taught concer t, jazz and marching
The CM EA Central Section Outst anding Music Educ ator Award goes to Gary Scudder, with CM EA Central Section President Leonard Ingrande and CM EA President Michael D Stone
The CM EA Central Coast Section Outst anding Music Educ ator Award goes to Chris West, with CM EA Vice President Steven Hendee and Central Coast Section President Willow Manspeaker
The CM EA Northern Section Outst anding Music Educ ator Award goes to Michael Phenicie Accepting the award is Randy Humpherys, with CM EA Immediate Past President Russ Sperling and CM EA Northern Section President Todd Filpula
bands, show and concer t choirs, directed many musicals, dr um cor ps, and winter guard
Now in his 37th year overall, and 30th in the Colusa U S D , Mr P henicie is currently teaching seven different concer t and jazz bands as well as choir, and many smaller instr umental ensembles in grades 5 through 12 He has been recogniz ed several times as an outstanding educator of the year in Colusa Count y, recogniz ed by many civic organizations for ser vice to his communit y, 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-Nor th S ection Junior High Honor Band and S elect Choir for six years
Congratulations, Michael P henicie.
Steven Hendee:
From the Nor th Coast S ection: The O utstanding Music Educator Award goes to Janet Beckstead from Freshwater School District, with Nor th Coast S ection
Representative Judi Scharnberg
Janet Beckstead began her college career at Fuller ton College and later transferred to Humboldt S tate Universit y to continue her general education, music and dance studies.
S he began teaching K–6 vocal music and dance at Freshwater Elementar y School in 1994 D uring her time at Freshwater she advocated for and received additional music c lass time per week for Freshwater ’ s general music program, and an Orff instr umentarium. Recorders were added to the 3rd and 4th grade curriculum, and she began directing musicals with c lassroom teachers in addition to the annual music concer ts.
In 1993 Ms Beckstead established the Jacoby Creek Third Grade Chor us which performed at the annual Nor th 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 ar ts, and her father for her motivational
teaching st yle S he 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 suppor t of her family in helping her continue to become a better person and teacher.
Congratulations, Janet Beckstead Scott Hedgecock:
From the S outheastern S ection: The O utstanding Music Educator Award goes to Greg Ellis from McFadden Intermediate School, with S outheastern S ection Representative Armalyn De La O
Greg Ellis has been teaching choral music for 33 years, the last 29 at McFadden Intermediate School in S anta 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 S anta Ana Unified School District and selected as “O utstanding Music Educator ” by the Orange Count y music administrators He was also selected for a BRAVO Award by the L os Angeles Music Center Education Division In addition to teaching, Mr Ellis has been an active professional presenting c linics, 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 S tate Fuller ton in 1981 and an M A in education from United S tates International Universit y in S an Diego in 1987. He is a past president of the S outhern California Vocal Association
He lives in Lake Forest with his wife, S hawna, who is an elementar y music specialist in Capistrano Unified Congratulations, Greg Ellis
Russ Sperling:
From the S outhern Border S ection: The O utstanding Music Educator Award goes to Jeanne Christensen from Mira Mesa High School in S an Diego, with S outhern Border S ection President Pauline Crooks.
Jeanne Christensen currently teaches band at Mira Mesa High School in the S an Diego Unified School District
The CM EA North Coast Section Outst anding Music Educ ator Award goes to Janet Beckstead, with CM EA President Michael D Stone and North Coast Section Represent ative Judi Scharnberg.
The CM EA Southeastern Section Outst anding Music Educ ator Award goes to Greg Ellis, with Southeastern Section Represent ative Armalyn De La O and CM EA Vice President Steven Hendee.
Born and raised in S an Diego, Jeanne has built a strong foundation of music and performance for her students in the Mira Mesa communit y One aspect of teaching Jeanne likes is that each school year is new and different S tudents graduate and the new c lass 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 for ward 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 ever y 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 S an Diego Unified School District, having ser ved on many boards, inc luding 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 concer t ensembles each spring receive consistent “superior ratings” at festivals. Congratulations, Jeanne Christensen
Steven Hendee:
From the S outhwestern S ection: The O utstanding Music Educator Award goes to Coralie Prince, retired Coralie Prince earned her bachelor ’ s degree at the Universit y of Red lands S he completed graduate work and a lifetime credential at UCLA, as well as a masters in educa-
tional technolog y at USIU Af ter universit y, 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 elementar y music teacher in L os Alamitos S he developed the music programs at Hopkinson and L ee Elementar y Schools. In addition, Coralie directed summer musical theater workshops for students in grades 3–12, directed and wrote full-length musicals with the four th and fif th graders, and directed each grade level in their own annual performance
Ms Prince wrote the original L os Alamitos School District K–12 music curriculum and led its three revisions S he also star ted the All-District Choral Festival over 33 years ago
S he is happy to be the elementar y representative for California Alliance for Jazz A member of CMEA, CAJ, JEN, Ms Prince was honored by the Orange Count y music administrators with the Irene Schloepfle Per petual Award, given “for exceptional merit and life-long dedication” to music education.
Congratulations, Coralie Prince
Michael D. Stone:
The CMEA Alfred Publishing Elementar t Music S pecialist Award honors excellence in elementar y instr umental and choral music instr uction. This year, CMEA is pleased to award Rob Bentley with the elementar y music specialist award.
Rob Bentley is a music teacher with the Pioneer Elementar y Union School District in Hanford Previously Mr Bentley ser ved as the band director at Kennedy Midd le School, also in Hanford He has been recogniz ed as the Hanford Elementar y School District Teacher of the Year, Kings Canyon Teacher of the Year finalist, Tulare-Kings Music Educator Association Hall of Fame Award W inner, and Pioneer Union Elementar y School District Teacher of the Year
The CM EA Southern Border Section Outst anding Music Educ ator Award goes to Jeanne Christensen, with CM EA President Michael D Stone
The CM EA Southwestern Section Outst anding Music Educ ator Award goes to Coralie Prince, with CM EA President-Elect Scott Hedgecock
The CM EA Alfred Publishing Element ary Music Specialist Award, which honors excellence in element ary instrument al and choral music instruction, goes to Rob Bentley, with CM EA Vice President Steven Hendee.
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 ser ved as a master teacher and been a leader in providing professional development for c lassroom teachers and music specialist teachers
Rob states that in elementar y school he learned to draw, paint, sing, dance, and play a musical instr ument. Through these experiences, he developed a passion for performing Mr. Bentley ’ s students enjoy performing for the communit y since it provides them with the oppor tunit y 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.
Michael D Stone:
The CMEA Peripole General Music Educator Award honors excellence in general c lassroom music education
This year, CMEA is pleased to award Jeanette McGrath with the CMEA General Music Educator Award.
Jeanette McGrath is a music teacher in the Panama Buena V ista Union Sc hool Distr ict (PBVUSD) in Bakersfield
O ver the past 28 years she has taught general music and chor us to students in grades kindergar ten through sixth grade
Jeanette earned her bachelor ’ s degree from the Universit y of W isconsin/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 ser v ed as c hair and co-c hair for the Ker n County Honor Chorus Festival, and most recently as a mentor for her younger colleagues S he is a member of the Kern Count y Music Educators Association and NAf ME
In 2003 Jeanette received the Reach for the S tars Dedicated S er vice Award at L eo B Har t School In 2008 she received the general music educ ator award, and in 2012 the elementar y 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. L evin Orchestra Educator Award honors excellence in orchestra education and per-
formance This year, CMEA is pleased to award K ate Francis with the orchestra educator award
Native to the S an Francisco Bay Area, Kate Francis is in her 14th year as a music educator S he is a string specialist teacher with the L os Gatos Union School District. Ms. Francis received her undergraduate degree in viola performance and string education from the Universit y of Michigan and her master ’ s degree in viola performance from S an Francisco S tate Universit y
Kate is currently the president of the California Orchestra Director ’ s Association W hen Kate is not playing her viola or teaching, she can be found spending time with her family or shopping S he believes that music education should be made available to all students regard less of where they go to school or what their financial situation may be
Ms. Francis states that CMEA has played a ver y significant role in her career S ince her time as a young teacher she has enjoyed going to conference, meeting and talking to other teachers, and developing new ideas S he has ser ved as CMEA Bay S ection’s orchestra representative Kate applauds the CASMEC model, noting that we are stronger as music education advocates when we work together. S he is proud to be par t of CMEA.
Congratulations, Kate Francis
The CM EA Peripole General Music Educ ator Award, which honors excellence in general classroom music educ ation, goes to Jeanette McGrath, with CM EA Immediate Past President Russ Sperling.
The CM EA Richard L Levin Orchestra Educ ator Award, which honors excellence in orchestra educ ation and performance, goes to Kate Francis, with CM EA President Michael D. Stone.
Russ Sperling:
The CMEA Pearson Scott Foresman/S ilver 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 award.
A native of Buffalo, New York, Patrick Walders maintains an active career as a professional vocalist, music educator, church musician, c linician, and conductor
Appointed director of choral studies within the School of Music and Dance at S an Diego S tate Universit y in fall 2011, Dr Walders was charged with building the choral program and developing the master ’ s degree and ar tists diploma in conducting He conducts the Aztec Concer t Choir and SDSU Chamber Choir, and carries a teaching load consisting of undergraduate and graduate conducting c lasses, 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 concer ts, workshops, and other formats His research interests inc lude vocal pedagog y, diction, and rehearsal techniques in ensemble settings and how dance and movement relates to conducting gesture
As the SDSU vocal ar ts area coordinator, Dr Walders fosters a collaborative environment among students and facult y connecting to all ar ts disciplines As a professional baritone soloist and consor t ar tist, he has sung throughout the eastern United S tates and is finding success on the West Coast
Highly sought for c linics, workshops, and festivals throughout the United S tates, Dr Walders has conducted choral events and honor choirs for midd le schools, high schools, churches, and universities
Congratulations, Patrick Walders
Steven Hendee:
The CMEA Jazz Educator Award honors excellence in jazz education and performance. This year, CMEA is pleased to award Gar y Pratt with the jazz educator award
Gar y Pratt has led a distinguished career as a music edu-
cator, performer, conductor, adjudicator and arranger, and is co-director of the famed California S tate Universit y, Nor thridge Jazz S tudies Program at California S tate Universit y, Nor thridge
Throughout his career as a professional jazz bassist, Mr. Pratt has performed and/or recorded with such legendar y jazz ar tists as L ouie Bellson, Lionel Hampton, S nooky Young, Conti Candoli, Pear l Bailey, Bobby S hew, Don Menza, Blue Mitchell, Pete Christlieb, and Cat Anderson
His guest conducting engagements have inc luded performances in both Europe and Japan, and his noted versatilit y as a music educator has made him a highly sought af ter c linician and guest conductor of jazz ensembles, orchestras and concer t bands
D uring his tenure as a member of the music facult y at California S tate Universit y, Nor thridge, he has ser ved as chairman of the CSU Nor thridge 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 reper toire, jazz combos, and directs, composes and arranges for “NuVeau,” CSU Nor thridge’s avant-garde jazz ensemble.
Congratulations, Gar y Pratt
Russ Sperling:
The CMEA Byron Holt/Don Schmeer Band Educator Award honors excellence in instr umental 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 P leasanton, California, directs a band program of 300 students involved in five concer t ensembles, two jazz bands, the marching band, chamber ensembles, winter percussion, and two winter guards
The CM EA Pearson Scott Foresman/ Silver Burdett Choral Educ ator Award, which honors excellence in choral educ ation and performance, goes to Dr. Patrick Walders, with CM EA President-Elect Scott Hedgecock
The CM EA Jazz Educ ator Award, which honors excellence in jazz educ ation and performance, goes to Gary Pratt, with CM EA President Michael D Stone
In his twelve years at Amador Valley the band program has grown to more than double in siz e 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, c linician and guest conductor. He was an executive board member for CMEA Bay S ection and the Western Band Association He also ser ved for five years on the S pecial Projects Committee for California Band Directors Association.
Jonathan received his bachelor ’ s degree in music education/trombone performance from Central Michigan Universit y, 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 S am Houston S tate Universit y
He earned a citation of excellence from the National Band Association, received the Pr udential Realt y of California’s O utstanding Educator ’ s Award and earned an Excellence in Education Award from P leasanton Unified School District in 2009 Mr Grantham was a recipient of the Cr ystal Apple Award for Excellence in Education and was chosen as P leasanton Unified School District ’ s 20122013 Teacher of the Year.
Congratulations, Jonathan Grantham
Scott Hedgecock:
The CMEA Ernest R . Yee I lluminating Culture Award honors excellence in diversit y in music education This year, CMEA is pleased to award Dr. John Calloway with the illuminating culture award
John Calloway is a multi-instr umentalist, composer, arranger, educator, and a cornerstone of the Bay Area Latin and wor ld 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, inc luding: Jesus Diaz, Pete Escovedo, and others. Dr. Calloway was an essential par t of GRAMMY® nominated
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 countr y.
As a band leader John has lead his own ensembles since the 1990s, releasing two CDs that featured Bay Area jazz and Latin musicians as well as Cuban ar tists Pancho Terr y, Maraca and Omar S osa
As an educator, John currently teaches courses in Latin American music and culture at S an Francisco S tate Universit y, where he founded and still directs the universit y ’ s highly popular Afro-Cuban ensemble. He is also a c linician at the S tanford Jazz Workshop and a longtime facult y member of JazzCampWest.
John holds a B A in music from the Cit y Universit y of New York, an M A in music from S an Francisco S tate Universit y and a doctorate in education from the Universit y of S an Francisco He currently ser ves as an ar ts commissioner for the Cit y of S an Francisco.
Congratulations, Dr John Calloway
Scott Hedgecock:
The CMEA John S wain College/Universit y Educator Award honors excellence in music education at the college/universit y level. This year, CMEA is pleased to award Dr Thomas L oewenheim with the college/universit y educator award.
Thomas L oewenheim is associate professor and director of universit y orchestras at California S tate Universit y, Fresno. Dr. L oewenheim is a professional cellist who has had many years of experience working as a conductor and performer. He has presented numerous master c lasses and workshops throughout the United S tates 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 L oewenheim 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 Universit y, where he earned his doctor of music degree in 2007 Previously, he studied cello at the Universit y of Michigan and the Ruben Academy for Music and
The CM EA Byron Hoyt/ Don Schmeer Band Educ ator Award, which honors excellence in instrument al educ ation and performance, goes to Jonathan Grantham, with CM EA PresidentElect Scott Hedecock
The CM EA John Ernest R Yee Illuminating Culture Award which honors excellence in diversity in music educ ation goes to Dr John Calloway, with CM EA Vice President Steven Hendee and CM EA Immediate Past President Russ Sperling
Dance in Jer usalem, Israel while earning bachelor ’ s and master ’ s degrees.
Dr L oewenheim is active as a c linician and guest conductor in the schools of his communit y. He is also the current director of the Fresno Youth S ymphony
Congratulations, Dr Thomas L oewenheim
Michael D Stone:
The CMEA Collegiate NAf ME Chapter Award honors excellence, innovation, and growth promoting music teacher education at the high school/midd le school level
This year, CMEA is pleased to award California S tate Universit y, Nor thridge with the NAf ME collegiate chapter award
Accepting the award is Chapter President Kelly McCarley
For the past two years, the California S tate Universit y Nor thridge Collegiate Chapter has taken an active role in expanding its work The chapter had significant growth in membership, organiz ed c linics, and brought in guest speakers
CSUN collegiates have also given back to the communit y by having chapter members volunteer in local schools, inc luding Calahan Communit y Char ter Elementar y School in Nor thridge For the past 16 years, chapter members have been volunteering their free time to teach music. This year there are nine CSUN students giving instr uction to approximately 70 four th and fif th grade students on flute, c larinet, saxophone, tr umpet, trombone, and percussion Each year, two of these students act as administrators of the music program. Their job is to recr uit teachers, set goals, and organiz e the program The music program at Calahan Elementar y School is a great oppor tunit y for students to get real experience teaching instr umental music at the elementar y level, better preparing members for when they enter the profession.
Chapter advisor is Ms Mar y Schliff, CMEA’s former collegiate representative for many years on the CMEA S tate Council
Congratulations, CSUN Collegiate Chapter
Michael D Stone:
The CMEA Music Industr y L eadership Award honors an organization/individual for outstanding leadership in music education This year, CMEA is pleased to award Ber trand ’ s Music with the music industr y leadership award
Accepting this award is Mr Jeff Ber trand, V ice President of the company.
Ber trand ’ s Music has been ser ving school music programs and students for more than 30 years. John Ber trand, 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
Ber trand ’ s Music has developed many programs over the years to reinforce this commitment to music education. The Head S tar t S ummer Music L essons program currently provides free music lessons to more than 500 hundred beginning musicians The Ber trand ’ s Music Scholarship program gives out more than 50 free instr u-
From left to right: Scott Hedgecock, CS U N Music Educ ation Professor Mary Schliff, Robin Gin (senior) Back row: Andres Villanueva (graduate), Kelly Brooks (senior), Eric Canas (graduate), Aminat a Tounc ara (senior), Alec Olsen (junior) Front Row: Kelly McCarley (graduate), Kelvin Flores (senior), Amy James (senior), Shaniee Parker (senior), Ryan Jung (graduate)
The CM EA John Swain College/ University Educ ator Award which honors excellence in music educ ation at the college/university level goes to Dr Thomas Loewenheim, with CM EA Vice President-Elect Steven Hendee
The CM EA Music Industry Leadership Award which honors an organization or individual for outst anding leadership in music educ ation goes to Bertrand’s Music Accepting this award is Jeff Bertrand, vice president of the company, with CM EA Vice President Steven Hendee and Joel Bertrand
ment rentals per year to children who couldn’t other wise afford to rent an instr ument Lastly, The Ber trand ’ s Music All-Count y Band is an honor band selected by music educators for first year students in S outhern California, providing them the oppor tunit y to perform with other first year musicians in a special concer t held at the end of the school year with their school music program Congratulations, Ber trand ’ s Music.
Michael D Stone:
The CMEA L egislative L eadership Award honors an elected official whose advocac y for music education has made a notewor thy difference in suppor ting music in our schools This year, CMEA is pleased to award S tate S enator Jean Fuller with the legislative award S enator Fuller was unable to be here tonight. Accepting the award on her behalf is Romeo Agbalog, senior field representative for S enator Fuller.
Jean Fuller was born and raised in Kern Count y. S he ser ved as an educator in the Central Valley for more than 30 years, inc luding time as superintendent of the Bakersfield Cit y School District.The first in her family to graduate from college, Jean attended Bakersfield College, California S tate Universit y, Fresno, and California S tate Universit y, L os Angeles, and then continued her formal education at the Universit y of California, S anta Barbara where she received her P h.D. S he supplemented her education with coursework and seminars at the Universit y of S outhern California, Har vard Universit y, and Exeter College at O xford Universit y S enator Fuller was re-elected to S enate in 2014 and represents the 16th S enate District
S he has been a member of the California L egislature since her election to the 32nd Assembly District in 2006 Jean and her husband, Russell, a retired engineer, live in Bakersfield CMEA thanks S enator Fuller for being one of two legislative speakers at the 2014 California Music Education Advocac y Day in S acramento last May Congratulations, S enator Jean Fuller
Michael D Stone:
At this point, CMEA would like to recogniz e our 50Year Members. This year, CMEA is pleased to recogniz e five individuals They are:
R ay Craig, S usanville
Kenneth Putnam, Novato
Carol Reynolds, Laguna Beach
Jerrold S nyder, Monte S ereno
Gar y W iedeman, P lacentia
We are for tunate that Mr. Craig is here with us tonight. L et ’ s have him come for ward at this time
Ray Craig was born and raised in Chico where he became involved in the music fabric of the communit y from the age of nine. He states that excellent music teachers gave him the background necessar y to successfully learn and grow in the field of music education over his career.
Following college graduation from CSU Chico he spent one year instr ucting in a U S Army Band training unit and two years as assistant director and dr um major of a militar y band in Germany
Mr. Craig married his high school sweethear t while in the ser vice 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.
Unfor tunately, due to health, Mr Anthony could not be here tonight Accepting the award on his behalf is Mark Nicholson, CMEA mentorship program chair person and CMEA southern border section past president
Roy Anthony was the instr umental music director and the chairman of the performing ar ts depar tment at Mount Miguel High School in S pring 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 ever y major competition in S outhern California during his tenure Mr Anthony was also responsible
The CM EA Legislative Award, which honors an elected official whose advoc acy for music educ ation has made a noteworthy difference in supporting music in our schools, goes to St ate Senator Jean Fuller Accepting this award is Romeo Agbalog, senior field represent ative for Senator Fuller, with CM EA President-Elect Scott Hedgecock.
CM EA honors 5 0-year member Ray Craig, with CM EA Vice President Steven Hendee
for the development of a music program consisting of concer t orchestra, concer t 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 Depar tment of Education.
Congratulations, Roy Anthony
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. F irst, Dr Bernard Barmann, if he will please come forward.
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
currently busy suppor ting music and educational programs in the communit y by their philanthropy, volunteer work, and ser vice 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 Mar yville, Missouri, and attended a small liberal ar ts college near Kansas Cit y for his undergraduate studies before he came to S tanford Universit y, where he earned a P h.D. in c lassical languages and literature Af ter teaching at the Ohio S tate Universit y and the Universit y of Toronto, he attended law school at the Universit y of S an Diego and was admitted to the California S tate Bar in 1974
In his legal career Dr Barmann specializ ed in public agenc y law for 35 years and represented school districts in Kern Count y for six years. He ser ved as the count y counsel, the chief civil attorney for the Count y of Kern, for 25 years
Upon his retirement in 2009 he began doing pro bono legal work for nonprofit cor porations, inc luding 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:
O ur second CMEA President ’ s Award recipient is Dr. Jonathan Talberg, if he will please come for ward
Dr. Jonathan Talberg, director of choral, vocal, and opera studies and associate director of the Bob Cole Conser vator y, is conductor of the nationally renowned CSU, L ong Beach Bob Cole Conser vator y 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 concer ts, he is in constant demand as a guest conductor He has prepared choirs for the Cincinnati
The CM EA Aubrey Penman Retired Music Educ ator Award, which honors continued influence in developing teachers, goes to Roy Anthony Accepting this award is CM EA Mentorship Program Chairperson Mark Nicholson with CM EA President-Elect Scott Hedgecock.
A CM EA President’s Award, honoring extraordinary accomplishments in music educ ation, goes to Dr. Bernard Barmann, with CM EA Immediate Past President Russ Sperling
The CM EA President’s Award, honoring extraordinary accomplishments in music educ ation, goes to Dr Jonathan Talberg, with CM EA President-Elect Scott Hedgecock
S ymphony, the L ong Beach S ymphony Orchestra, the L os Angeles Master Chorale, the Pacific S ymphony, and the Pasadena Pops.
Dr Talberg showed significant leadership with CA ACDA while president a few years ago, providing CMEA the oppor tunit y to ser ve members with the Choral L eadership 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 S an 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, tr ust in ser ving music educators in California
Congratulations, Dr. Talberg.
Scott Hedgecock:
The CMEA Hall of Fame Award honors a lifetime of extraordinar y ser vice and commitment to music education in California This is CMEA’s highest honor This year, CMEA is pleased to present three ver y special award winners
F irst, Dale Anderson, if he would come for ward.
Dale Anderson was director of bands at Monache High School in Por ter ville for 32 years The Monache High School Band under his direction was an outstanding organization, earning superior ratings throughout his tenure D uring his career, Mr. Anderson ser ved on the board of the Tulare Kings Music Educators Association, or TKMEA, holding several offices He was also President of CMEA Central S ection
The Monache Band won 26 consecutive F ield S how S weepstakes and 20 Grand S weepstakes at the S elma Band Festival under Anderson’s direction, along with numerous other awards. The band was California’s representative to Q ueen Elizabeth’s S ilver Jubilee, toured Europe, and marched in the Tournament of Roses Parade, the
Mac y ’ 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.
Ann Marie Haney began her formal music education at age five when her father star ted her with piano lessons. S he remembers her father playing along with her on trombone.
Ms Haney ser ved as a volunteer choral director at Tor rey Pines Elementar y School for 21 years, at a time when the district did not have paid choral music teachers. S he has degrees in music and music education from Scripps College for Women and the Universit y of Michigan.
Ms Haney is a strong advocate for music education in her communit y S ince 1990 she has ser ved as co-chair for the Communit y Council for Music in the Schools, or CCMS, a nonprofit music education advocac y organization under the S an Diego S tate Universit y Campanile Foundation In 1991, CCMS star ted collecting musical instr uments donated for loan to S an Diego Unified School District students who could not provide their own As of 2015, more than 1,400 musical instr uments have been put into the hands of students.
Ms Haney has been married for 53 years to Dr W illiam P. Haney, a retired ophthalmologist.
Congratulations, Ann Marie Haney
A CM EA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music educ ation in California, goes to Dale Anderson, with CM EA Vice President Steven Hendee
A CM EA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music educ ation in California, goes to Ann Marie Haney, with CM EA Immediate Past President Russ Sperling
Michael D Stone:
The third CMEA Hall of Fame Award winner is Dr Thomas L ee. Emeritus professor, director of bands, and conductor of the UCLA W ind Ensemble, Dr. Thomas L ee holds the doctor of musical ar ts degree in conducting from the College-Conser vator y of Music at the Universit y of Cincinnati, as well as two degrees from Drake Universit y in Des Moines, Iowa, where he was a student of Don Marcouiller.
Previous to his appointment at UCLA, he was the founder/conductor of the Universit y of Texas W ind Ensemble in Austin and was director of the graduate program in band conducting Before his appointment at Texas, Dr L ee was founder/conductor of the Ohio Universit y W ind Ensemble where he received a research grant to develop an innovative approach to teaching conducting through nonverbal communication.
S ince his arrival at UCLA in 1985, the UCLA W ind Ensemble received international acc laim and significant prominence for performances at national and regional conferences as well as recordings of impor tant composers Dr L ee is especially known for musical performances and for creative programming, balancing both traditional and contemporar y 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 L ee who hold universit y, high school, and midd le school conducting positions throughout the U S He is par ticular ly proud of these conductors and their achievement
Dr L ee has been invited to guest conduct with all-state bands and music festivals in all par ts of the U S , Canada,
Mexico, Western Europe, and Asia In addition, Professor L ee has given innumerable workshops on all aspects of conducting and inter pretation of music with special emphasis in the area of non-verbal communication skills
Congratulations, Dr. Thomas L ee.
Concluding remarks by Michael D Stone: Tonight has been a spectacular celebration of lives L et ’ s give another big round of applause to all CMEA award winners
Lastly, I would like to thank CMEA S ecretar y D uane Otani and CMEA Administrative Coordinator Trish Adams for their adept work organizing this year ’ s CMEA awards program
This conc ludes the CMEA Awards Gala Good night
The wrought-iron images on the opening of this awards section (page 3 0) are det ails from the gate to the social hall of the Holy Trinity Armenian Apostolic Church in Fresno, where the C M EA Awards Gala was held And the background is a det ail of the double-sided monument at church courtyard pictured here Designed in Karvajar, Arts akh, Armenia by Hovhannes Mkerchyan and shipped to America, the monument was erected in 2014 to celebrate the 100th annivers ary of the s anctuary of Holy Trinity Church
The monument features a traditional khachk ar, or cross-stone, on one side and the Armenian alphabet with a carving of St. Mesrob Mashdots on the other, symbolizing faith and culture Khachk ars 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 4 05 A D , and his translation of the Bible from the Greek and Syrian into the new Armenian alphabet
A CM EA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music educ ation in California, goes to Thomas Lee, with CM EA President-Elect Scott Hedgecock
Photos by Allen Petrinka
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 – W ith Living Composers!
On October 9, more than 75 music composers arrived on campus for the 2014 National Conference of the Christian Fellowship of Ar t Music Composers (CFAMC) This is the largest organization of its kind in the wor ld, and this was the largest conference that it has ever held. Members live in near ly ever y state, and represent many careers inc luding studio ar tists, music facult y, and media professionals
This year ’ s keynote speaker was renowned European composer Ivan Moody Other special guests inc luded the Cadillac Moon Ensemble, Ensemble Christo LA, the Paul Delgado S ingers, Paul Barnes, and Richard Zeller. Conference par ticipants presented their original music in a total of twelve concer ts held between Thursday afternoon and S aturday night A panel discussion between several prominent Christian film composers featured JAC Redford, Jonathan David Neal, Mike Watts, and moderator David Mar tina. Ivan Moody gave his keynote address The event was sponsored jointly by Biola Universit y, Biola Conser vator y of Music, the Center for Christianit y, Culture, and the Ar ts, and the Torrey Honors Institute
academics1.biola.edu/music/news/
The 2015 S anta Clara New Music Festival at S anta Clara Universit y celebrated the life and work of Alvin Lucier, American composer and pioneer of experimental music and sound installations. The Festival comprised three days in Januar y of concer ts, lectures, and workshops with the presence of the composer himself Lucier has been a pioneer in many areas of music composition and performance, inc luding
California College of the Arts
Trailblazing cognitive scientist and usabilit y engineer Don Norman, author of The Design of Ever yday Things (Basic Books 1988), a book that introduced the idea of “ user-centered design” to budding designers wor ldwide, delivered the keynote address at the sold-out Interaction Design Education S ummit, hosted by CCA S unday, Febr uar y 8 (The summit was par t of the larger Interaction 15 conference held at Yerba Buena Center for the Ar ts in S an Francisco Febr uar y 9–11 ) The book has since become required reading for students and teachers alike ever ywhere In 2014 Norman par tnered with CCA Interaction Design chair Kristian S imsarian to turn the book into a 60,000-plus student online course on Udacit y
“He put ‘design’ as a verb on the map, ” said S imsarian, in his introduction of the notoriously stern and witt y author Not one to mince words, Norman immediately took the oppor tunit y to critique today ’ s design education system.
“Design must grow up. We need a wider variet y of designers, ” said Norman, who proposed more teamwork between disciplines and a focus on approach, rather than end solutions “ W icked problems require broad education, not just craf t ”
The Education S ummit, an international gathering of more than 170 I xD educators, also ser ved 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
the notation of performer ’ s physical gestures, the use of brain waves in live performance, and the evocation of room acoustics for musical pur poses. The 2015 S anta Clara New Music Festival was guided under the Ar tistic Direction by Alex Christie, Scot Hanna-Weir, John Kennedy, Teresa McCollough, and Br uno Ruviaro
www scu edu/cas/music/news/
Santa Clara University
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, Recr uitment, and S er vice Advisors from each chapter submitted written summaries describing the projects
Music Program
F irst-place winner is Boise S tate Universit y, with honorable mentions for the Universit y of Har tford in West Har tford, Connecticut, and the Universit y of Montevallo in Montevallo, Alabama
Professional Development
F irst-place winner is Indiana Universit y in Bloomington, with honorable mentions for Benedictine Universit y in Lisle, I llinois, Baldwin Wallace Universit y in Berea, Ohio, and Cumber land Universit y in L ebanon, Tennessee Recr uitment
F irst-place winner is Baldwin Wallace, with honorable mentions for Hofstra Universit y in Hempstead, New York, and the Universit y of W isconsin-Oshkosh.
S er vice
F irst-place winner is Elon Universit y, with honorable mentions for the Universit y of Michigan in F lint, and California S tate Universit y at Chico
Dr. Michelle McConkey is the Advisor for the CSU, Chico chapter and specializ es in Elementar y Music Education. Dr. Lloyd Roby is in charge of S econdar y Music Education.
S ubmitted by Dr Lloyd Roby
California State University, Sacramento
California State University, Stanislaus
The inaugural CSU S tanislaus Brass Day took place on November 15, 2014 The goal of CSU S tanislaus 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 ar t of brass playing. Maximum interaction between guest ar tists and par ticipants takes place throughout the day, highlighted by c linics and master c lasses, as well as an oppor tunit y to perform with a large brass ensemble The event began with an opening session, featuring the CSU S tanislaus facult y brass quintet Individual c linics were held for tr umpet, horn, trombone, euphonium/tuba. Af ter a shor t break, master c lasses were held for either high brass or low brass with our guest ar tists Af ter another shor t break, all par ticipants gathered in the recital hall for a mass brass rehearsal The evening concer t featured all the guest ar tists and the entire mass brass ensemble for family, friends and the general public to enjoy!
www.csustan.edu/music/music-festivals/brass-day
The CSUS S tring Project is the flagship program of this kind in the West and a member of the National S tring Project Consor tium We provide carefully str uctured group lessons in violin and cello for children in the four th grade and up. The lessons are taught by the dedicated and talented CSUS School of Music undergraduate and graduate teachers and super vised by experienced teachers. L essons are available at affordable prices due to the generous suppor t of The S acramento S tate Associated S tudents, The Heller Foundation, S tring L etter Publishing, Associated S tudents Inc. (ASI), the Robla School District, Twin Rivers School District and the National S tring Project Consor tium. The Teicher t Foundation has given suppor t in previous years The S tring Project is a quintessential model of ser vice-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 instr uction in stringed instr uments to children from the communit y S ince 2001, the S tring Project has been training students and teachers in the joys of playing and teaching stringed instr uments The S tring Project allows future graduates to refine their teaching skills while still in school There is currently a documented shor tage of qualified string teachers The S tring Project endeavors to provide qualit y instr uction to children of all social strata
www csus edu/stringproject/about htm
If you have an item for a future “Higher Education Happenings” column, please e-mail your item (in 200 words or less) to Larr y S toffel at stoffel@csun edu S ubmissions will be inc luded on a firstcome/space-available basis This column contains items both received by submission as well as from culling the Internet
