CMEA Magazine Spring 2016

CMEA MAGAZINE The News Magazine of the California Music Educators Association Spring 2016 • Volume 69 • Number 3

MEET BRIAN ROSSICK YOUR EPN TRA TRAVEL AVEL A VEL PROFESSIONAL PROF “It gives me great pleasure to hear that a program is growing in large part due to the annual spring trips that have become so popular.”

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PERFORMANCE TOURS CUSTOM CLINICS

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PARADES PAR ARADES BOWL GAMES FESTIVALS FESTIV IV VALS DISNEY PERFORMING ARTS ARTS

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Th e News M aga zine o f th e C alifo rnia Mu sic E duca to rs Asso cia tion SPRING ISSUE 2016 • INSIDE THIS ISSUE POSTMASTER

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

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

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

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

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

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

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

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

The view from the pedestrian walkway to the Fairmont Hotel South Tower in San José.

CONTENTS • President’s Message: The Pathway to CMEA Leadership

by CMEA President Scott Hedgecock • The Successful Move to San José

by Adam R, Wilke, California Band Directors Association President • Reflecting on the World Music Sessions at CASMEC 2016

by Lily Chen-Hafteck, CMEA World Music Representative • Special Learners: Interests and Needs

by Angela Holmes • All-State Jazz

by Lisa Butts, CAJ President • The Lessons of Our Work: Celebrate and Honor the Process

by Kirk Clague, CMEA Central Section President • Cal State East Bay Helps Get Music Back into Public Schools

by Rosa del Duca • Music Technology for Listening to Music: The Return of Vinyl

by James Knight, CMEA Music Technology Representative

9 11 15 16 17 19 21

• Higher Education Happenings

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

22

• The Music Association of California Community Colleges 60th Anniversary Conference

by Dr. David Betancourt, MACCC President

23

• Happy Second Birthday to the CMEA Southwestern Section

by Dr. Lisa Crawford, CMEA Southwestern Section President

26

• Instrumental Conducting for Music Education Students

by Mildred H. Yi

27

• 2016 Choral Leadership Academy Report

by Willow Manspeaker, CMEA CA ACDA Representative

31

• CMEA State Award Winners CMEA Gala Awards Banquet at CASMEC Spring Issue 2016

3

33–44 1

On the cover: The Cathedral Basilica of St. Joseph in downtown San José, venue for the California all-state honor choir concerts, was originally built in 1803. The original adobe structure was damaged by earthquakes in 1818 and 1822. In the sidebar: A xylophone stands ready for an early childhood music session; a detail of a stained glass window in St. Joseph’s Cathedral; Thomas Fredrichson, a teacher at Matilija Junior High School in Ojai, and Barbara Shinaver, a teacher at Edison-Computech Middle School in Fresno, rehearse in the South Tower lobby of the Fairmont Hotel (also pictured at the left on this page); the All-State Wind Symphony and Symphony Orchestra in concert in the San José Center for the Performing Arts (also pictured in a panorama at the bottom of this page.)

Photography by Allen Petrinka

Ad Index u Alfred Music Publishing

25

u EPN Travel

IFC

u Festival of Music/California’s Great America

18

u Festival of Music/Knott’s Berry Farm

10

u Feierabend Association for Music Education

7

u Teaching Guitar Workshops

7

u FundTube.com/Crowdfunding for Schools

8

u MusicFirst

13

u Music in the Parks

BC

u NAfME

IBC

u NAMM

14

u Nick Rail Music

8

u University of Oregon

10

u University of Portland

20

u Yamaha Musical Instruments

5

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

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CMEA Magazine

President’s Message

The Pathway to CMEA Leadership

by Scott Hedgecock CMEA President

T

he year was 2004. The place was Las Vegas. I was attending the American Choral Directors Association (ACDA) Western Division Conference. Early on the first day I met up with a fellow choral director from Southern California, Randi Carp, and in her usual effusive manner she said: “Let’s be convention buds!” Of course I agreed, because anyone who knew Randi knew that you couldn’t say no to her, and we began our conference weekend together. Little did I know that the ensuing days would bring about two monumental changes in my life: a collegial relationship would turn into one of my dearest life friendships, and I would begin my pathway of leadership in CMEA. Randi would find ways to interject CMEA into our conversations throughout the weekend. She had just taken on the job of president of the then CMEA Southern Section, and had put together a board of hard working and highly talented group of colleagues from within the ranks of her DMA studies at USC. I was honored to work with these people and quietly sat and watched how they, under Randi’s leadership, tackled the challenges and worked to create many wonderful events and programs for music educators in the greater Southern California region. A CMEA state conference followed and I was hooked. Here were all of these music educators coming together… not just choral directors as I was used to… but music educators from all areas of the state and representing a great diversity of educational specialties. I knew that after twelve years of leadership within the choral area it was time to chart a new pathway into CMEA. In the twelve years since that time, CMEA has undergone many changes. A heartbreaking splintering of our relationship with our choral friends, resulting in the loss of the California Spring Issue 2016

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All-State Honor Choirs from our state conference was just the beginning. An unprecedented state recession threatened to cut short my journey in this wonderful organization I was just beginning to understand. And if that wasn’t enough, my

MENC journal was changing its name as well. N-A-f-M-E. What was that about?

And we had to call it by the letters, not the sounded-out nickname by which we refer to our national organization today.

Change is healthy. Change brings about

new ideas, opens new doors, and moves us forward. Change is also intimidating, scary, and sometimes paralyzing. But when it became obvious that change, and major change, was going to be necessary if CMEA was to survive, we were lucky to

CMEA State Council CMEA EXECUTIVE BOARD CMEA President Scott Hedgecock E-mail: shedgecock@calmusiced.com Work: 714 626-3984 CMEA President-Elect John Burn E-mail: jburn@calmusiced.com CMEA Vice President Dr. Diana Hollinger E-mail: dhollinger@calmusiced.com Work: 408-924-4631 CMEA Secretary Sandra Lewis E-mail: slewis@calmusiced.com Work: 650-354-8264 CMEA Immediate Past President Michael D. Stone E-mail: meuph@att.net Work: 661 631-4810 CMEA OFFICE E-mail: cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 CMEA Executive Administrator Trish Adams Work: 559 587-2632 Cell: 559 904-2002 SECTION PRESIDENTS CMEA Bay Section President Todd L. Summers E-mail: tsummers@pausd.org Work: 650 354-8264 CMEA Capitol Section President Santiago Sabado E-mail: ssabado@pioneer.k12.ca.us CMEA Central Section President Kirk Clague E-mail: clague_cmeacentral@icloud.com Work: 559 592-2127 x391

4

CMEA Central Coast Section President Willow Manspeaker E-mail: wmanspeaker@ stevensonschool.org Work: 831 625-8339

Thank you to the 2014–16 Council of Representatives for your service to CMEA: Nora Allstedt Dr. Ruth Brittin

CMEA North Coast Section President Dan Sedgwick E-mail: dsedgwick@yahoo.com Work: 707 4645-0274 CMEA Northern Section President Todd A. Filpula E-mail: tfilpula@chicousd.org Work: 530 891-3026 x 321 CMEA Southeastern Section President Armalyn De La O E-mail: adelao@csusb.edu Work: 909 537-5938

Dr. Lily Chen-Hafteck Jon Christian Nicholas A. Cooper Norm Dea Dr. John Eros Michael Galisatus Cheryl Yee Glass Donna Harrison James Knight Richard Lawton

CMEA Southern Border Section President Marc Dwyer E-mail: mdwyer@sandi.net Work: 619 222-0476

Nancy Ludwig Willow Manspeaker Jim Mazzaferro

CMEA Southwestern Section President Lisa A. Crawford E-mail: lisa.crawford@usc.edu Work: 213 740-6935

Mark Nicholson

NAfME OFFICERS

Dr. Lawrence Stoffel

NAfME President Dr. Glenn E. Nierman 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768 NAfME Western Division President Dr. David C. Fullmer Orem, UT 84058

Regina Pryor Fillmore Rydeen

Troy Trimble Steve Venz Bill Wilkinson Please visit: www.calmusiced.com for the 2016–2018 CMEA State Council roster

CMEA Magazine

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have a core of leaders ready to make multiyear, and in some cases, decades long commitments to the renaissance of CMEA. We were running out of money, our membership was in rapid decline, and our state conference was no longer a feasible event for us to produce. With all of these issues looming like a thundercloud I signed on as one of the group of music educators who would see CMEA through these dark times and into a brighter future, one that would hold opportunities we could only dream of.

The year is now 2016. CMEA is fiscally solvent and committed to building up our reserves. Membership numbers are surpassing some of our highest levels in recent decades. The California economy, always a roller coaster, is enjoying some booming times and education is receiving a large and long overdue increase in support. At the national level we have seen the lobbying efforts of NAf ME result in our art form being called out as a core subject within a well-rounded education in the “Every Student Succeeds Act.” CMEA has developed numerous programs in recent years to insure the success of our teachers and the future of our profession. The CMEA collegiate and mentorship programs are helping to create and insure the success of wonderful music educators as they start their careers. The resurgence of Tri-M chapters throughout the state is helping to light the spark in future music educators.

CMEA was not afraid to accept the extended hand of assistance from our colleagues in the California Band Directors Association, who six years ago started the discussions of bringing all music educators together for one annual super-conference.

CASMEC was born and CMEA was once again in the conference business for the benefit of our membership. And we are expanding our session offerings to include emerging ensembles and to insure that all students, regardless of ability levels, have a place in the music classroom. And finally, this past February, we saw the healing of the split with our choral colleagues as California ACDA returned to us as an aligned partner in CASMEC, and the voices of the California All-State Honor Choirs were once again heard in harmony with all of our 6

other all-state musicians.

CMEA is leading the way in advocacy for music education and our efforts are recognized and applauded on a national level.

We have our own lobbyist in Sacramento, and through the CMEA-led Stand Up 4 Music Coalition we are keeping our elected officials keenly aware of the importance and

needs of music education as a core subject with our annual Music Education Advocacy Day in Sacramento. We have sponsored an extremely well-crafted standards bill, only to see it gutted at the last minute to be used as a vehicle for a needed legislative fix. But because of that work we now have stock in Sacramento. We have been heard. We are pleased to be supporting our colleagues in theatre and dance at this time in legislation to earn them their much needed and deserved credentials through SB 916.

We have come a long way in a relatively short time. I am grateful to my predecessors whose vision, tenacity, and moxie have brought us to this point. And the role of leadership in CMEA has changed. The executive board used to be a figurehead-style board, meeting a few times each year to cast a vote of approval on agenda items as presented. The section presidents attended two state board meetings in which they, too, often just voted to approve items and then had the charge to take the information back to their sections. We are a different leadership today with the executive board now a working board, and while we still meet just two times per year (officially at least) we are in constant communication with one another. We meet at various functions and events throughout California at least once a month if not more, and participate in weekly advocacy calls with Lynne Faulks,

our lobbyist in Sacramento. We participate in monthly calls with the 4ArtsEdOrgs Coalition, comprised of the leadership of California Educational Theatre Association (CETA), California Dance Education Association (CDEA), and the California Art Education Association (CAEA) and CMEA. Our CMEA Strategic Plan drives our decision-making. Our CMEA Vision and Mission Statement components are our litmus test. A hard working state board of directors brings the voice of all regions of California together, and the 2014–2016 council of representatives who have served under the term of Michael D. Stone have made sure that their areas of specialty were given an equal voice in the offerings of CMEA. And finally, perhaps most important of all, I give a huge thank you to Past President Russ Sperling, whose vision and tireless work for the good of CMEA laid the foundation and helped to build the structure of what CMEA is today. The work is challenging, but the pathway is clear thanks to Russ. We all owe him a huge debt of appreciation. His work as president of the NAf ME Western Division will continue to benefit not only California but our western state neighbors as well.

I look forward to the work ahead and to the board that I know will become close colleagues and fast friends: President-Elect John Burn, Vice-President Dr. Diana Hollinger, and Secretary Sandra Lewis.

And as Immediate Past President, Michael D. Stone will keep a knowledgeable eye of experience on our work. And all of this is beautifully tied together through the wonderful work of Executive Administrator Trish Adams.

If you’ve hung in through this entire article you probably haven’t learned much you didn’t already know about CMEA. But hopefully you have a better understanding of the twelve-year journey that has brought me to this point. The work now begins and our future is bright. It is an honor to serve as your president.

And to paraphrase a well-worn slogan... what happens in Vegas doesn’t always stay in Vegas. Thankfully.

CMEA Magazine

FEIERABEND ASSOCIATION FOR MUSIC EDUCATION CMEA Past Presidents 1947–1949

1972–1974

1994–1996

Clarence Heagy

Louis Nash

Don Doyle

Fresno

La Crescenta

Pasadena 1996–1998

1949–1951

1974–1976

Elwyn Schwartz

Marlow Earle

Jay D. Zorn

Lakewood

La Crescenta

ANNOUNCING THE

2016 Biennial FAME Conference Friday, July 15 - Sunday, July 17, 2016 Gordon College — Wenham, MA

1951–1953

George F. Barr 1953–1955

1976–1978

1998–2000

Mary C. Reed

Dennis L. Johnson

Elk Grove

Salinas

1978–1980

2000–2002

Henry Avila

George DeGraffenreid

Monterey

Fresno

1980–1982

2002–2004

Charles L. Freebern

Sam Gronseth

San Diego

Paradise

Fred Ohlendorf Long Beach 1955–1957

Harold Youngberg Oakland 1957–1960

Joseph W. Landon Fullerton 1960–1962

Join us on the beautiful campus of Gordon College for a weekend of Tuneful, Beatful and Artful activities.

The 2nd FAME Biennial Conference will kick off with a Strawberry Social on Friday evening featuring country dancing called by Dr. John Feierabend with live music.

1982–1984

2004–2006

David S. Goedecke

Rob Klevan

Stockton

Pacific Grove

Alice Parker will give the Keynote Address and lead the Saturday night Community Sing.

Plenum sessions with Dr. John Feierabend.

Douglas Kidd 1984–1986

2006–2008

1962–1964

Vivian M. Hofstetter

Cheryl Yee Glass

Gibson Walters

Bakersfield

Danville

San José 1986–1988

2008–2010

1964–1966

John L. Larrieu

Jeff Jenkins

Keith D. Snyder

Portola

Chula Vista

Davis 1988–1990

2010–2012

1966–1968

L. Leroy Roach

Norman Dea

Kenneth D. Owens

Walnut Creek

Walnut Creek

1968–1970

1990–1992

2012–2014

Judd Chew

Carolynn A. Lindeman

Russ Sperling

Sacramento

Greenbrae

San Diego

1970–1972

1992–1994

2014–2016

Anthony L. Campagna

Bill Adam

Michael D. Stone

Foster City

Roseville

Bakerfield

16 break out sessions on a variety of topics led by experienced music educators who have found success using Dr. Feierabend’s First Steps in Music and Conversational Solfege curriculum.

Network with like-minded music educators and share ideas.

Visit www.feierabendmusic.org/2016Conference to register and for up-to-date information about the conference schedule and presenters, special events, lodging information and more.

!"#$%&'()(*&!#+ CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award Dr. Robert Halseth, 2016; Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015; Dr. Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012; Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W. Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances Benedict, 2005; L. Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004;

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

!*&!&-')CEFF *0(+#3")#'3)("!)(+#3*#!" $+"3&!)1-+)9*/!)C=;@)5-+"D

Helynn Manning, 2001;Wesley “Colonel” Moore, 2001;

("!)C=@)-11),&!%)$-3"G)$5"#+*2"/H H-11"+)"K0&+"/)5#<)=@7):@=L

Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003;

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;

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Russell Howland, 1975.

Spring Issue 2016

7

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CMEA Magazine

The Successful Move to San José

by Adam R, Wilke California Band Directors Association President

I

hope that you were able to attend the California All-State Music Education Conference (CASMEC) this last February in San José. When we started CASMEC a mere six years ago, I don’t think that anyone envisioned what it has become in such a short time. I want to thank all those on the California Band Directors Association (CBDA) board that work so hard to run this conference. I would also like to thank our collaborating organizations, CMEA, CODA, CAJ, and CA ACDA for their part in making CASMEC a success. It is great to work with so many dedicated music educators. It was also a pleasure to watch all of the all-state ensembles and celebrate the great work that is being done in our state.

The move to San José was a difficult decision that took vision, careful planning, and a little bit of faith. Clearly, the vibe at the conference was that it was the right decision. I want to thank Brandon Price and John Burn for their work in making it a reality. From the world-class facilities to the vibrant nightlife, CASMEC in San José definitely had something to offer everyone.

I attended many sessions that were standing room only. I was particularly impressed with the quality of the all-state ensembles this year. The All-State Wind Symphony performance of the CBDA-commissioned California by David Maslanka was astounding. The board of CBDA is working

hard to make sure the future of CASMEC is as outstanding as this year’s conference.

As we move forward from here, I want to encourage everyone to get involved with the conference or one of the affiliate organizations in some way. I started volunteering for CBDA more than ten years ago as a band manager. I will never forget some of the memories that I have getting to work with, and learn from, some of the amazing all-state conductors. It is definitely a different side of the conference than the one seen by other attendees. It required a lot of time, energy, and even sweat at times, but as a young band director, it was invaluable experience that I can’t adequately put into words.

These are exciting times for music education in California. I am excited to see what the coming years hold for CBDA and CASMEC. Thanks to everyone who had a part in making the move to San José so successful.

• Adam Wilke is director of bands at James Logan High School and conductor of the James Logan Wind Symphony. In addition to the wind symphony, he also teaches the jazz ensemble and is co-department chair of the visual and performing arts department. The band program at James Logan has been very successful in recent years, winning awards for 2014 WBA 4A/5A Grand Championship, 2014 WGI World Class Color Guard Bronze

Medal, 2013 WBA 5A Class Champion, and 2013 WGI World Class Concert Percussion Gold Medalist. The James Logan Wind Symphony was selected to perform at the 2015 California All-State Music Education Conference and will be performing this summer in Prague for the 2017 WASBE Regional Conference.

Wilke is an alumnus of Fresno State University having received his B.A. and teaching credential in 1998 and his M.A. in conducting in 2008. He has completed coursework and is currently writing his dissertation to complete a doctorate degree in music education from Boston University. This is his fourth year as director of bands at James Logan. Prior to this appointment, Wilke spent thirteen years as a high school band director at both Arroyo Grande High School and Clovis East High School, and one year as the interim-associate director of bands at Fresno State where he was the director of the Fresno State Bulldog Marching Band.

Wilke is happy to serve the music education profession as the current president for the California Band Directors Association. Prior to this, he spent seven years as the CDBA Bulletin editor doing all the publications for CBDA and CASMEC. He has been a member of CBDA since 1999. He resides in the East Bay Area with his wife Jessica, a math teacher at James Logan H.S. , and children Vanessa, Braydon, and Amber.

The California State University, Fullerton Wind Symphony, conducted by Dr. Mitchel J Fennell, with the Hyperion Saxophone Quartet as soloists, at CASMEC 2016.

Spring Issue 2016

9

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Northwest. The University of Oregon offers a large full-time, in-residence music faculty, modern rehearsal and performance venues, and 40 performing ensembles.

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Spring Issue 2016

music.uoregon.edu mu sic .uor egon . edu

17

Reflecting on the World Music Sessions at CASMEC 2016

by Lily Chen-Hafteck CMEA World Music Representative

I

t was the first time that world music was offered as a session we need to understand that students from diverse cultural backstrand at the CASMEC this year. I had the pleasure to atgrounds may perceive the same thing quite differently among tend all the world music sessions and present one of them. themselves and from the teachers. Therefore, we, as teachers, Here, I would like to share the wonderful experiences I need to be mindful of this when we are teaching. Observe very gained from these presentations. carefully student responses and adjust our teaching strategies acIn the session “The Application of Sichuan Folk Music for cordingly in order to help every student becomes successful in American General Music Classes,” their learning.

Chengcheng Long, a doctoral candidate of Dan Sedgwick, the music director of Del music education at Arizona State UniverNorte High School in Crescent City, took sity, brought the participants into an inhis steel band with him and presented the depth discussion on the approaches to session “Steel Band in High School.” He integrate multicultural content into a music provided participants with a sense of what curriculum. Being a native of Sichuan, it is like having a steel band in a high school China, she used Sichuan music and culture setting. The steel pan is the national instruto illustrate the concept of cultural codes, ment of the Republic of Trinidad and Towhich are symbols and systems of meaning bago, and a source of great pride for its that are relevant to members of a participacitizens. The instrument voices of the steel tory culture (Hyatt and Simons, 1999). band are very much like a concert band or Cultural codes facilitate communication orchestra. The basic instrumentation inwithin the cultural group and obscure the cludes: lead or tenor pan (like the flute or meaning to people outside the group. Culviolin), double tenor pan (like the clarinet tural codes can be anything that represent or second violin), double second pan (like the culture such as the map, food, language, alto sax or viola), cello pan (like tenor sax music, and so on. By discovering and unor bassoon or cello), and bass pan. There locking these cultural codes, we can undercan be more pan combos but the steel band stand the underlying cultural meanings. program at Del Norte High School focuses One very interesting example is, for inon the basic instrumentation listed above. stance, the number “8,” that has different Chengcheng Long discussing cultural codes.

After a lot of useful advice offered by Sedgmeanings in different cultures. To the Chiwick, the students of the band introduced nese, this is a lucky number. To the Amertheir instruments and started playing a beauicans, “7” is the lucky number instead. Then, participants learned tiful concert. Through watching and listening to the lively perhow to “decode” Chinese music notation while learning a fun formance by these young musicians, participants immediately children’s song, Ba Luo Bo, which means pulling out the turnip. noticed quite a big difference between the ambience of a steel The most important message that I got from this session is that band and a traditional band. Due to the rhythmic characteristics Spring Issue 2016

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Tina Huynh teaching a Vietnamese leaf hat dance.

of the steel band music, the performers tended to express a strong rhythmic feeling which was evident in their playing and movement to music. It was obvious that these steel band members enjoyed the music and demonstrated a high level of musicianship through the expressiveness in their playing. Motivated students who are passionate about music and musicmaking are not only important “ingredients” to a successful high school music program, but they are also the desirable outcome that music educators aspire to achieve. Offering world music ensembles that provide students with opportunities to experience new sounds, musical styles and techniques can be a effective motivating force in school music programs.

Facilitated by Tina Huynh, a doctoral candidate of music education at the University of Southern California, participants at the session “World Music: Focus on Vietnam” had a truly authentic experience of Vietnamese music and culture. First, the participants learned the lion dance which is usually performed to celebrate the Lunar New Year and the Mid-Autumn Festival. After that, the participants also learned the leaf hat dance, which is another time-

honored tradition performed during festivals as well. The contrast between the music for the lion dance and leaf hat dance should be noted. The lion dance is often accompanied by live instrumentalists including a drummer, a gong player and a cymbal player. Although at the workshop, participants learned the typical rhythmic patterns, the musicians are usually quite flexible in using these patterns and improvising while watching the dance. At the same time, the dancers respond to the percussion, resulting in an interactive performance between the musicians and dancers. As for the leaf dance, it is often performed with prepared choreography, set to modern Vietnamese songs that have a slow and feminine quality. Following the fun dances, participants learned to sing an “Elephant Song” and a “Butterfly Song” in Vietnamese language. At the end of the session, Huynh showed a Vietnamese songbook that she has compiled based on her research on traditional Vietnamese children’s songs. It has become an important resource for the Vietnamese-American families who want to pass on their Vietnamese tradition to the next generation. As a music educator of Chinese origin, I find it fascinating to discover a lot of similarities as well as differences between

The Del Norte High School Steel Band from Crescent CIty performing under the direction of Dan Sedgwick.

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CMEA Magazine

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Last but not least, I must report that I am very pleased with my session, “A Musical and Cultural Journey to Brazil, Canada, China and Kenya,” in which I had the opportunity to work with the CMEA members who demonstrated themselves to be open-minded and creative teachers. My main purpose of this session was not just to teach a few songs from world musical cultures so that teachers can bring them to their classroom. More importantly, I wanted to share with teachers my experience and understanding on music teaching that can both maximize and motivate student learning. At the workshop, together we learned traditional songs and dances from four countries by playing some fun games. Through the use of multimedia presentation, participants could see the sights and sounds of the four countries and learn each song from native children on video. Through creative activities that integrate music, drama, language and social studies, participants came to realize that the most effective learning takes place when the Spring Issue 2016

classroom activities are well-designed, allowing students to enjoy the activities while developing knowledge and skills in music and other related subjects. Creativity in both teachers and students should be the center of a music classroom. Always provide students with the windows to express their feelings and creativity. A good balance between teacher-directed instructions and student-centered activities is the key to a successful music lesson in which music is learned as a creative arts subject. All these ideas are easier said than done. We need to constantly remind ourselves to be flexible, responsive and creative when we teach.

CASMEC 2016 has come and gone. All these stimulating world music sessions have now given us an appetite for more. I am looking forward to next year’s CASMEC and hope that more colleagues who have been teaching world music successfully in their classroom will submit a proposal to present and share their experiences with us next time.

However, if you can’t wait for next year, there is an upcoming international conference this summer that is packed with a lot of exciting world music sessions. I will highly recommend that everyone attend the

ISME (International Society for Music Education) World Conference. I have been an ISME member for more than 20 years and experienced many ISME conferences that were held in different parts of the world. Each ISME conference is unique, depending on the host country where it is held. The last one in 2014 was in Porto Alegre in Brazil. The upcoming one this year in July 24–29, 2016 is going to take place in Glasgow, Scotland in the U.K. Attending ISME conferences is a truly international experience, as we can attend sessions presented by colleagues and concerts performed by students from around the world. We can also interact and network with international music educators, and gain some interesting insights from people from diverse cultural and linguistic backgrounds. Please see isme.org for further information. Hope to see you there!

• Reference

Hyatt, J. & Simons, H. (1999). “Cultural codes – who holds the key? The concept and conduct of evaluation in Central and Eastern Europe.” Evaluation, 5(1), 23–41.

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Special Learners

Interests and Needs

by Angela Holmes

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fter the attendance of more than 45 people at a Thursday session addressing Attention Deficit Hyperactivity Disorder at the 2015 conference, it was hoped that a second session could be added at the 2016 conference. Two sessions were added this year – one on Thursday and one on Friday. The first session held 65 educators who came to hear about students who are identified as being on the Autism Spectrum, and how their behavioral and learning characteristics impact music instruction. The second session was attended by 50 educators. The second offering presented the evolution of two performing bands, one with musicians who are on the Spectrum and the other predominately with musicians who have the condition of Down Syndrome. In this session, Dave Anderson gave two of his musicians the opportunity to present their musical abilities to the audience. Attendance at these sessions is a clear message that music teachers are seeking more information

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about how to meet the needs of their students with special needs. In addition to attendance, this presenter had several follow-up conversations with teachers as the conference continued. In the hall, at other sessions, and yes, even in the ladies restroom, questions, inquiries and requests for further assistance and information was asked for again and again.

General music, band, choral educators, and music therapists from the elementary, middle school and high school levels were included as they search for the information and educational “tools” that will help them be more effective teachers with all their students, especially with special learners.The information and support being sought by our members is to become informed about what information they need to know about their student when they discover they are identified as special needs. That inquiry is quickly followed by the need to understand instructional considerations for that student, which lead to understanding any accommodations, modifications, instruction or environmental

needs, especially when a student has a sensory disorder. Of equal concern is behavior management, while an additional concern is the value of a positive collaborative relationship with fellow faculty members, parents and administration. CASMEC is on the right track by responding to their members by offering sessions that specifically address special learners. There is a need to continue what has been offered so far.

Above and beyond that, we need to continue our information-sharing through any communication opportunity we have. Perhaps a continued effort to present “best practices” can continue through this source and other social media opportunities. Look for other special learners information addressing the articulated and surveyed needs of music educators regarding special learners in future communications.

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

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All-State Jazz

by Lisa Butts CAJ President

, the Calfiornia Alliance for Jazz, is the premier organization for jazz education in California. We select and oversee all of the sessions that relate to jazz at CASMEC and we provide the etudes for the all-state high school vocal and band ensembles, as well as the junior high school all-state band. We also select the ensembles from all of the students who submit auditions for those groups. We feel that our all-state ensembles are the best in the country and are proud to be able to support those students and promote jazz as our true American art form. CAJ also offers three $500 scholarships donated by two of our board members that are given to one member of each of our ensembles. The first is offered by Ed and Nancy Wolfe, the second is offered by Coralie Prince in honor of her late husband, jazz great John Prince. The third is offered by the John Prince Cookbook, the publishing company

CAJ

belonging to John and Coralie Prince.

CAJ also sponsors a hall of fame which recognizes the best retired educators and players in our state. On February 11, 2016 in the Regent Room of the Fairmont Hotel a late night jazz concert held at CASMEC to recognize these outstanding educators for their contributions to jazz throughout their careers: Madeline Eastman, Fred Berry, and Perla Warren in memoriam.

Finally, we hosted a wonderful jazz festival in April. The CAJ Online Festival and Clinic that allowed ensembles from all over our state to get wonderful recorded comments from top educators and players. Groups that participate can choose to have comments only or can choose to compete against other groups of relatively their same school size.

Visit out our website at www.cajazz.org and join us in keeping jazz alive in California.

Under the direction of Patrick Langham (right), the University of the Pacific Jazz Combo, Andy Clark (piano), Chad Deacon (alto sax), Sarah Kuo (bass), and Tim Angulo (drums), perform at in the Club Regent at the Fairmont Hotel at CASMEC 2016.

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CMEA Magazine

The Lessons of Our Work:

Celebrate and Honor the Process

by Kirk Clague CMEA Central Section President

G

reetings from the CMEA Central Section located in the heart of California. The central section comprises Kern, Tulare, Kings, Fresno, Madera, Mariposa, and Merced counties. We have enjoyed a year of collegial sharing and education in central, including a very successful fall conference in Kern County organized by KCMEA and held at CSU Bakersfield and a jazz educators conference in Fresno (organized by JazzFresno, a non-profit seeking to further Jazz education in our area). Our professional development year culminated in the just-completed CASMEC held in San José, where I had an opportunity to greet many of my central section colleagues as they attended interest sessions, concerts, and clinics in all facets of music education and was topped off by the incredible all-state bands, jazz bands, choirs, and orchestras. If you missed CASMEC this year, please be sure to make it a priority for yourself in 2017. You won’t regret it!

Central section is on the move. Some of the many successes we have to celebrate: • We have implemented online registrations for all of our festivals and our members seem pleased with the effort overall. Kudos to Rob Bentley (Northern counties festival coordinator) and Peggy Biller (Kern County festival coordinator) for spearheading these efforts. We all owe our thanks to our colleague Gayane Korkmazian for serving as a mentor in the procedures and process of festival organization in this, her thirtieth year of service to CMEA and the students of this section. The transition to this new registration system and the technology underlying it has not been without “hiccups,” but we are seeing it as a net positive through some very hard work by Bentley, Korkmazian, and Biller.

• Our representative for general music, Destiney Nutt, is spearheading an effort in collaboration with CMEA General Music Representative Richard Lawton to reach out to general music educators throughout the section and to expand offerings. This is because it’s the law: Every child in every school should be receiving a first-rate music education… in other words, every kid in every school is “Legally Authorized to Jam!” • Past President Leonard Ingrande and I are reaching out to our colleagues in Madera, Mariposa, and Merced counties to see how we can extend CMEA festivals and other services more directly to them.

• We also will be empowering our discipline-specific representatives to the board to survey our membership to see how we can better serve them moving forward. I plan to use the results of these surveys to complete a CMEA Strategic Plan for Central Section in line with the process the CMEA has followed the past several years.

As I write this, our section is in the thick of festival season with most of the educators in the counties putting the final touches on their work in

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band, choir and orchestra. It’s an exciting time of sharing, and a nervous time as well, as we offer our fellow students, teachers, and mentors some of our best work for adjudication. This time of year also inevitably leads to self-reflection for the caring educator as we reflect on our rehearsal techniques, processes, and the learning environment in our music classrooms with a critical eye. How are we doing? What can we do better?

When people ask me “Why CMEA?” – these self-reflective moments are one of the answers that immediately occur to me. Our part of the teaching profession is served by having a place to go to share our work with mentors and receive immediate useful feedback. I’m sure you’ve attended schoolsponsored professional development activities, while having some value, seem less than useful to you as a music educator. In doing festivals, though, we are performing with our students as colleagues as well as their leaders. Our attendance at CMEA adjudicated festivals encourages us to better ourselves by focusing us completely on the outcomes of our efforts, teaching strategies, and rehearsal techniques. Every ensemble, large or small, prosperous or struggling,

benefits from this focus, and every director does as well. I myself teach in a rural, small-town environment and it can be hard at times to keep pushing for excellence. I just try to remember that the process of getting the kids out to see and hear their peers’ efforts helps us all grow. I encourage you to also remember to focus on the students and the process more than the final rating as you prepare your groups; there is so much to celebrate in the fact that we get to make art with our students every day.

Celebrate your successes!

Another “Why CMEA?” answer lies in the incredible opportunities we have in the treasure trove of colleagues young and old we have available to help us grow. I am always pleasantly surprised at how willing my fellow educators are to take time out of their own insane schedules to give my kids a clinic, teach me the ins-and-outs of a new technology, or just lend support. I have made so many friends in the crazy world of music education, and I feel happy to see them as we all careen through these life-changing times with our kids. After 28 years in the profession I am still amazed by how much I don’t know, and I for one am very glad that I have such a wonderful

community of peers to help me learn.

Don’t hesitate to reach out to a colleaguethe sanity you save may be your own.

I am proud to celebrate the work of some fine educators in central section, and I first offer a big shout-out to my friend and colleague Leonard Ingrande (director of bands/orchestra at Central High School). Leonard preceded me as president of central section and I hope I serve our membership as well as he did. Leonard also has been awarded the coveted “Conductor Laureate Legion of Honor” award presented by Bandworld and the John Philip Sousa Foundation and will be honored in a ceremony at the 2016 Midwest Clinic. I’m also honored to call Jim Kusserow (director of bands at Porterville High School) a friend and mentor, and was proud to share the evening with him as he was presented the CMEA Outstanding Music Educator award for Central Section at CASMEC. There are so many people doing great work in these counties and we aim to celebrate them long and loud. Be sure to do some celebrating of your own for the rest of your own school year, and reach out to those colleagues.

Cal State East Bay Helps Get Music Back into Public Schools

by Rosa del Duca

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his past fall, K–12 school districts across the Bay Area and the state struggled with the worst teacher shortage in recent memory. Oakland was among the hardest hit.

According to a spokesperson, with just ten days before students were set to return to classes, Oakland Unified still needed dozens of teachers.

“The cause of the crisis was a perfect storm of retirements, attrition, and fewer people pursuing education degrees just as school districts were adding positions and reducing class sizes,” said Dr. Eric Engdahl, chair of the department of teacher education at California State University East Bay. One of the biggest areas of growth has been with music programs, as schools that cut fine arts during the recession are now adding those programs back. There is, however, a problem in that endeavor: Qualified music teachers are in short supply.

“I’ve heard the same thing from multiple places across the state,” said Fillmore Rydeen, manager of visual and performing arts for Oakland Unified.

While Oakland schools maintained music positions through the recession thanks to a parcel tax, the district is still losing music teachers faster than it can replace them.

“Over the last couple of years we’ve actually added positions but it’s been more and more challenging to find credentialed candidates to fill them, in large part because of greater demand across California,” Rydeen explained.

When confronted with that challenge, Rydeen

Spring Issue 2016

looks to Cal State East Bay, and not just because of proximity. That’s something Dr. John Eros, California State University East Bay coordinator of music education takes pride in. Eros knows his graduates have worked hard to earn the esteem.

“The music education program is challenging. It’s very labor-intensive and time-intensive. Students have to be serious and really invest a lot of effort,” said Eros, who went on to explain students are required to take many more classes beyond just the degree requirements, including conducting and music technology. (Students need to complete 45 teaching hours before they are allowed to enter the credentialing program.)

Music education students like James Leyba, however, aren’t deterred in the slightest. The program has made going the extra mile second nature.

“In the past year I’ve learned how to play trumpet, trombone, tuba, euphonium, flute, saxophone, oboe, bassoon, violin and viola, and now I have a basic voice class,” Leyba said. “You start to get the idea that you need to have all these things up to par because as a music educator, you realize that if you can’t do something, you can’t be expected to teach it.”

If you ask Rydeen, it’s exactly this kind of openmindedness that will make Leyba stand out in the job market. “We’re looking for people with a very diverse set of skills who are equally comfortable teaching classroom music as they would be teaching a band class or a violin class.”

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Eros said another asset CSUEB music education students have is a strong desire to teach in culturally diverse, urban districts, such as those in the East Bay. “People look at Oakland and don’t want to jump there because they hear about problems,” Leyba said. “It’s actually a lovely place. There are students in my class right now who would love to teach there. As for me, I went into this knowing that I want to teach low-income students who may have an issue at home or at school.”

Leyba’s dedication to teaching disadvantaged kids is personal. As a secondgrader he was told he needed to buy a shirt to perform with his choir. “I’m the youngest of seven, so there was no way my parents were going to toss up twenty bucks for a T-shirt,” he said. The teacher allowed him to stay in the class, but barred him from performances. “It discouraged my musical life for so long. It didn’t diminish my passion for it, but it discouraged the practice. When teachers demand students have money to enjoy the arts, all it causes is students and families to be alienated and assume that they need

money to do music. Music is basically free and it’s part of a well-rounded education.”

Rydeen, a 2010 Cal State East Bay alumnus, agrees. Even faced with a teacher shortage, he’s looking for ways to expand and grow Oakland’s music programs.

“There’s always a need to do more,” he said. “Some of our elementary schools only have music in fourth and fifth grade instead of all the way from kindergarten.

A few of our middle schools don’t have a music program at all. Additionally, there are new opportunities to offer courses in music technology and composition.”

It’s not surprising then, that Eros and Rydeen are teaming up to brainstorm ways to meet Oakland’s need – a need that will only increase thanks to national legislation that’s pending. Music and the arts were named a core subject in the Every Child Achieves Act, a version of which President Obama is expected to sign.

“I think intuitively we’ve known that music education belongs in the public schools ever since it was first introduced in the early 1800s,” Eros said. “It has something to offer that no other field has

to offer.”

“We’re kicking around an idea of creating a career pipeline,” Rydeen explained.

“If we could create a cohort of high school students interested in becoming music teachers we could start to give them those foundational skills so they’re college-ready for a music education career.”

Eros said the recruitment approach for high school students would be exactly the same as for his college music students.

“We talk with our students. We get to know them. Based on our experience of knowing teachers and being teachers ourselves, we can get a good idea of who would make a good music educator. It might be something that hasn’t crossed their minds before.”

•

Rosa del Duca is a San Francisco Bay Area writer, journalist and musician. Her work has been published in several literary magazines, including Cutbank, CALYX, River Teeth and Grain. When she's not writing articles or stories she's cranking out the news at NBC Bay Area or making music with her folk/pop band Hunters.

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CMEA Magazine

Music Technology for Listening to Music

The Return of Vinyl

by James Knight CMEA Music Technology Representative

I

n Tune Monthly magazine, “The Young Musicians Textbook,” is the curricular resource that every NAf ME/CMEA member teaching grades seven through college receives as a member benefit. For a nominal fee you can order a class set of In Tune student editions. I use it myself as a quick read, or to get ideas for developing common core lesson plans that encourage reading or just to stay current regarding what our students are listening to. The magazine regularly features music technology, songwriting, listening guides, book reviews and a plethora of other topics that appeal to our students.The teacher’s edition contains lesson plans and the magazine is well-written for middle and high school reading levels.Recently I ordered a classroom set of In Tune magazines and was delighted to find an article in the January issue called “Return Tables, Vinyl Makes a Comeback.” This issue of the magazine resonated with me because I have to admit I finally “took the plunge” and I’m back into vinyl. I have returned to my musical roots and even integrated a growing new 180G vinyl collection that will be blended with my vintage records (the ones that aren’t worn out) into a new credenza in my living room where music will command just as much attention as my flat screen TV. I remember being seduced by CDs around 1983 because of the medium’s ease of use, absence of noise and the clarity of the sound.

Quickly my vinyl collection vanished Spring Issue 2016

overnight about as fast as vinyl disappeared from my favorite record stores.The more than 500 records that I owned now seemed antiquated and worn out and wound up in the garage. My JBL L100 speakers and Kenwood K9100 receiver were retired and I purchased a CD player and more compact speakers. I hadn’t much thought about my music listening habits and managed to keep up with the times transitioning from CDs to MP3s and I felt comfortable navigating the iTunes store to repurchase my favorite vintage songs and then buy the newer music that my son and the rest of my students recommended.When my main delivery device became my iPod/iPhone music still was still important to me but I found myself becoming musically ADHD by not listening to the entire album, consuming music as candy, enjoying the nonstop titillation of playing hit after hit record and not paying attention to the Bsides or other songs on the album.This musical sugar high resulted in music not being quite as special to me as it once was.

Listening to music on MP3s and streaming remind me of the difference between using a microwave or a gas flame to cook a meal. Both are valuable technological tools in the kitchen and both serve their own purpose. A microwave is convenient, requires few cooking skills or maintenance and allow us to eat on the go and get the cooking job done. A gas flame requires a ritual of lighting the flame, monitoring the heat and ac-

tively stirring the pan or turning over the food being prepared.The same can be found in the listening experience. MP3s are necessary for our busy lifestyles, they transport nicely in a car and allow to make customized playlists and now that the music scene has once again changed the article from In Tune magazine explains: “For many buyers it’s not a question of vinyl or digital, but vinyl and digital.” Listening to music on vinyl is like cooking on a gas range.

The simple act of placing the stylus on the record groove is like turning on the flame followed by hearing that first scrape of needle connecting with the music which reminds me of hearing that first scrape of a bow that sounds incredible when a master violinist starts to perform.

Next, holding a real album in your hands, absorbing the cover artwork while enjoying the album as the artist wanted me to hear their art.

Reading liner notes is like dessert and then hearing the stylus leave the album brings closure to the art of actively listening to a musical experience.So give yourself the permission to unwind and spend some time reconnecting with one of the main reasons you started to become a music teacher – the music. I have rediscovered so much great music and been having a great time in the process of collecting old favorites and discovering some great new music and artists from In Tune magazine music reviews.

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

by Dr. Lawrence F. Stoffel CMEA Higher Education Representative

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ast December, the Hollywood Reporter released its second annual list of The Top 25 Music Schools. California dominated the list with an unparalleled inclusion of five schools.

Listed among Juilliard, New England, Eastman, the Royal College of Music, the Guildhall School of Music and Drama, and the Conservatoire de Paris, are these five celebrated California music programs: USC Thornton School of Music (#3) “Established in 1884, USC’s Thornton School of Music is older by twenty years than Juilliard, but its proximity to the Los Angeles movie and music scene has allowed it to flip the script from the classical canon (which it has dominated with one of the finest composition programs in the nation, and one of the few to offer classes in early music) to the modern music business and technology possibilities.”

UCLA Herb Alpert School of Music (#4) “The National Research Council gave UCLA’s Department of Musicology the highest rating of any non-performance music program… With courses in jazz, techno, musical theater, even heavy metal (and an acceptance rate of 20 percent), the school offers instruction from a respected faculty and highprofile guest instructors.”

San Francisco Conservatory of Music (#15) “The longest-standing conservatory on the West Coast since its founding in 1917, the Conservatory offers bachelor’s and master’s degrees in composition, instrumental and vocal performance to around 400 students, precollege training to 200 students and community outreach programs to more than 6,000 Bay Area residents.”

California State University, Northridge (#16) “Northridge’s ability to compete with more vaunted, private institutions helps keep enrollment strong, and its programs in music industry, media/film composition, jazz and classical performance are lauded around the country.”

California Institute of the Arts (#20) “Although it might be better known for the design and animation programs that loosed Tim Burton, John Lasseter and Brad Bird on the world, CalArts has also developed a reputation for its exclusive Herb Alpert School of Music, which prides itself on its small classes, individual instruction and courses of study designed ‘by artists for artists’.”

The complete article is found in The Hollywood Reporter from December 4, 2015 (Issue 40) and online at http://www.hollywoodreporter.com/lists/top-25-music-schools-2015842747/item/juilliard-school-25-music-schools-842778.

If you have an item for a future “Higher Education Happenings” column, please e-mail your item (in 200 words or less) to Larry Stoffel at stoffel@csun.edu. Submissions will be included on a first-come/space-available basis. This column contains items received by submission as well as from culling the Internet.

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CMEA Magazine

Dr. Jeff Benson with the MACCC Intercollegiate Choir.

The Music Association of California Community Colleges

60th Anniversary Conference Highlights

by Dr. David Betancourt MACCC President

he Music Association of California Community Colleges held it’s 60th anniversary conference November 19–21, 2015 in San Francisco at the Holiday Inn Golden Gateway. The annual MACCC Conference is a three-day event attended by more than 400 community college music students and music faculty. The conference features master classes and competitions for students, workshops and presentations for faculty, a faculty recital and luncheon with a keynote, and a culminating performance featuring the MACCC Intercollegiate Band and Choir. Vendors from music manufacturing companies, instrument sales, publishers, colleges, and universities are also in attendance.

This year’s conference master classes included piano, strings, and composition. The piano master class clinician was Jeffrey Sykes. The strings master class clinician was Jassen Todorov. The composition masterclass clinician was Pablo Furman. Furman was also the adjudicator for the MACCC Student Composition Contest. The first place winner was Dariush Derakhshani from Los Angeles City College. His award-winning composition, Odin, received a live performance premier at the Friday afternoon conference recital. Dariush received a $200 first prize scholarship. There was also a first-ever theory competition where students competed online through various rounds. The final round was held live at the conference with scholarships awards to the top winners. First place, with an award of $200, was awarded to Grant Kondo from West Valley College (instructor Robert Cornejo). Second place was awarded to Andrew Esquer from Fresno City College (instructor Larry Honda). Honorable mentions included Priscilla Ortiz from East Los Angeles College (instructor Chie Na-

T

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gatani), Timothy Baldock from Mt. San Jacinto College (instructor Vanessa Sheldon), and Jeremy Perkins from Fresno City College (instructor Larry Honda).

This year’s conference featured a record number of sessions for faculty and included topics wide-ranging: exploring the overtone series, collaborations between music areas, making jazz theory work, conversations with the choir and band conductors, legal online listening exercises, new approaches to program technology, saving ensembles through CTE, online ear training, post performance impact, using foundation funds,

Dr. Stephen Rochford, MACCC, Southern Section President; Dr. Eric Hammer, conductor, MACCC Intercollegiate Band; Cindy Rosefield, MACCC Northern Section Instrumental Representative; Dr. David Betancourt, MACCC President.

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ADT update and problem solving, disciplines networking, and non-idiomatic improvisation. Special sessions were included for adjunct faculty and retired faculty with the inclusions of a MACCC historical perspectives session. Focusing on the 60th Anniversary theme, the keynote address was given at the luncheon by longstanding MACCC member Warren Balfour from Cuesta College.

“I was both flattered and proud to be included in the recent 60th Music Association of California Community Colleges’ Conference in San Francisco, especially to be invited to speak at the luncheon,” said Balfour of the conference. “It was gratifying to me to see that the MACCC group is still a vital and moving force in providing the necessary leadership for music education for the state’s community colleges.”

The Friday afternoon conference recital featured clinician-selected master class students and community college faculty. The recital included faculty performances by Iman Khosrowpour (Irvine Valley College), Noel Benkman (Chabot College), Keren Schweitzer (Cerritos College), and Linda Minasian (Victor Valley Community College).

The MACCC Intercollegiate Band and Choir are comprised of selected community college students from

throughout California. They rehearse for a total of twelve hours and give a performance to conclude the conference. The band was conducted by Dr. Eric Hammer from the University of the Pacific.

“Thank you and congratulations to all the students and directors of the 2015 MACCC All-State Honor Band,” said Hammer. “While I have travelled widely for similar conducting opportunities, no place has surpassed the energy, musicality, friendliness, organization and inspiration of the MACCC Band.

“It was a privilege to be a part of the event and I hope that our time together will lead to future collaborations toward the growth of music in our state. Until then, Onward!”

The choir was conducted by Dr. Jeffrey Benson from San José State University. “Working with the student musicians from the MACCC Conference Choir was a thrill.” Benson noted.

“The singers were thoroughly prepared and fully engaged in the rehearsal process from start to finish, which made my job tremendously enjoyable.”

Membership in the MACCC is open to all current and retired faculty and administrators (full-time and part-time) at a California community college music department. Benefits of MACCC membership are numerous:

Dr. Eric Hammer rehearsing the MACCC Intercollegiate Band.

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• Networking with music administrators, department chairs, full-time and adjunct faculty from across the state; • Platform to discuss practical issues such as the transfer degree, repeatability, applied music, commercial music, articulation, assessment, developing new courses, fundraising; • Leadership networking; • Networking within specific music fields; • New teacher mentoring; • Access to the network of members; • Breakout sessions at annual conferences covering all aspects of music department activities including pedagogy, online teaching, teaching techniques, legislative issues, and job placement; • Political activity and awareness; • The MACCC directory, a resource for networking and support; • Professional development at annual conferences; • Performance opportunities for faculty and students; • Connections to the music industry; and • Opportunities to present sessions at the annual conference.

The MACCC operates under the lead-

All MACCC photography by Rachel Betancourt.

CMEA Magazine

ership of a dedicated and engaged executive board:

tion advocacy representative, (College of the Sequoias)

David Betancourt, president, (Cerritos College)

John Gerhold, curriculum representative, (Bakersfield College)

Gus Kambeitz, president-elect, (West Valley College)

Jeff Forehan, northern section commercial music representative, (West Valley College)

Christine Park, past president, (Los Angeles City College) Chauncey Maddren, treasurer, (Los Angeles Valley College) Diana Loayza, executive secretary, (Cerritos College) Jody Benecke, northern section president, (Santa Rosa Junior College) Stephen Rochford, southern section president, (Irvine Valley College) Cassandra Tarantino, northern section choral representative, (Cuesta College) Matthew Tresler, southern section choral representative, (Irvine Valley College) Cindy Rosefield, northern section instrumental representative, (Los Positas College) Chaumonde Porterfield-Pyatt, legisla-

Spring Issue 2016

Andrew Maz, southern section commercial music representative, (Cerritos College) The activities of the executive board are far-reaching. David Betancourt, MACCC president, states: “In the past few years our organization has made great strides towards collaborating with other music organizations in an effort to unify the goals of the music education community and to inform that community about the specific issues that face community college music programs. We have had to meet the challenges of advocating and sustaining repeatability in ensembles, developing applied programs, and developing a new transfer model to fit unyielding (new) state guidelines that lump the high unit music degree into a general category with

other disciplines. These are major issues that are changing the landscape of community college music departments.

MACCC has reached out to organizations (CMEA, SCSBOA, CBDA, NAMM, Stand Up 4 Music) to gain support as they continue to strive towards comprehensive music programs that adequately prepare students for transfer into four-year institutions.”

On the heels of a very successful 60th Anniversary conference, MACCC is already making preparations for the 2016 conference. The 2016 conference will be held on November 17–19 in San Diego. MACCC is now accepting session proposals for the 2016 conference.

The MACCC executive board considers topics including best practices, new resources, innovative approaches, discussions of critical issues, and presentations on research or works-inprogress. All proposals are evaluated using a peer-review process. Further information about the Music Association of California Community Colleges can be found online at www.emaccc.org.

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Counting Out Loud:

Happy Second Birthday to the CMEA Southwestern Section

by Dr. Lisa Crawford CMEA Southwestern Section President

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uilding a new CMEA section in California has been a great pleasure filled with much learning about members, where each member is and who our membership represents – students in so many music education programs across three counties of Southern California. These past three years have renewed my energy for an organization that has expanded its purview in a way I had hoped for, am excited to be engaged with, truly support, and admire. I could not have found greater support than what I have received from all on the CMEA State Board, especially Michael D. Stone, Russ Sperling, and Scott Hedgecock, and our CMEA Southwestern Section officers, Dr. Alexander Koops, vice president, and Jessica Husselstein, secretary. These were the most engaged professionals for our section and I felt fortunate to get to know them. Now, as my term ends, new music educators will come forward to the leadership table to contribute to this process of building the CMEA Southwestern Section.

We invited representatives into the section to serve in their areas of interest to assist our board. Many provided overviews of what representatives can do during their terms and this information has been useful in developing our founding section handbook. These representatives include: Collegiate Faculty Representative Collegiate Representative Section Mentorship Chairperson Collegiate Band Representative Secondary Band Representative Modern Band Representative Mentorship Representative Choral Representative K–12 Strings/Orchestra Representative El Sistema Representative Elementary Music/Kodály Representative K–12 General Music/Orff Representative Technology in Music Education Representative

The CMEA Southwestern Section held its inaugural conference at Azusa Pacific University this past fall. One of the highlights of the work we have done in our first two years , this oneday event presented a keynote speech from CMEA President, Michael D. Stone, and introductory talks by me, Dr. Carl Schafer on advocacy, and Dr. Frank Heuser. Twelve presenters offered professional development clinics with the conference theme of “Creativity as the FI(b)RE of Music Education: Teaching and Learning through Composition and Improvisation.” These included: Yosuke Miyoshi, Patricia O’Herron, Richard Lawton, Dr. Alexander Koops, Dr. John Whitener, Matthew Cotton, Tony White, Dr. Christine D’Alexander, Dr. Lily Chen-Hafteck, Jennifer Amaya, Eloise Porter, Dr. John Burdett, Dr. Ed Trimis, and Caitlin Shaw.

Nick Vest presented a demonstration of Uchida Handbells from Japan.

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Mary Schliff Dr. Emily Moss Matthew Cotton Dr. Jermie Arnold Sean Jenkins Scott Burstein Larry Newman Eloise Porter Dr. Diana McConnell Dr. Christine D'Alexander Kelly Callirgos Richard Lawton Yosuke Miyoshim

Choral director, Daniel Lopez brought his advanced vocal groups from Verdugo Hills High School and musicians from Azusa Pacific performed. This conference is on its way to becoming one of the best in the state. In addition, combining forces with the CMEA Southeastern Section, we are developing our annual solo and ensemble festival. Now in its second year, this event is high in the profile of musical opportunities we have undertaken to provide music educators in Southern California.

There is thinking out loud, there is crying out loud, there is leading out loud and while I hope our section will do all of these, I hope you will speak out loud. My philosophy of music education is to remember, as music teachers, to not only formulate ideas, but to speak about them. I want our section to share ideas and to make opportunities to construct new ways for students to be musical, and to offer

music educators opportunities to engage with each other and speak with each other at every turn.

As the soon-to-be immediate past president, I would like the CMEA Southwestern Section to remember about counting out loud. Counting out loud maximizes focus, instills security, and develops an attitude of attention to detail when learning a new piece of music. At some point, musicality becomes the goal and we leave counting out loud behind. But, as musicians understand, even though maybe we should, we rarely return to counting out loud once we have learned challenging musical sections.

Happy birthday, CMEA Southwestern Section. You are an amazing group of music educators. As our leadership shifts after the section’s early development, I hope you will know when to return to counting out loud as our section progresses successfully forward.

CMEA Magazine

Student conducting participant Ryan Yoder, senior, B.M. music education, Vanguard University of Southern California; with Vanguard University orchestra members participating as the lab ensemble.

Instrumental Conducting for Music Education Students

by Mildred H. Yi

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n my early years as a middle school and high school orchestra director, I felt the need to improve my conducting skills to better support student learning. I wondered if my technique and physical gestures clearly reflected my verbal instructions and explanations of music concepts. I remembered my college conducting professor saying that younger ensembles need good conductors and that good conducting can make a difference for the students. While graduate study in instrumental conducting helped meet my learning goals, I felt the lack of professional development opportunities for school music teachers in the area of conducting. Years later, after entering the field of music teacher education, I wanted to investigate the topic of music teachers and their development as conductors. Three guiding questions included: What are the functions of conducting? Why is conducting an important skill for a music teacher?

1 2 3

How do the music education students and early career music teachers perceive their conducting training?

How can the profession help prospective and current music teachers further develop conducting skills?

My inquiry led to a great opportunity to put research into practice at the 2016 CASMEC in San José by leading a collegiate session titled: “Instrumental Conducting for Music Education Students.”

Spring Issue 2016

Functions of Conducting

I opened the session by polling the group of prospective and current music teachers with the question: “How many functions of conducting are there?”

I heard a good range of numbers, and as I scanned the room, I made eye contact with one teacher who indicated “one” by raising the index finger. In this segment, my goal was to share that conducting has a greater educational purpose than to merely “keep time.” I presented the findings in a report written

by Allen Gumm (2012), on the functions of conducting for music educators. He indicates six functions: • Mechanical Precision Function: Mastery of techniques related to beat, tempo and meter.

• Expression Function: Conveying character and intent of the music.

• Motivational Function: Gestures that engages the musicians.

• Physical Technique Function: Directing of movement within the ensemble.

• Unstrained Tone Function: Showing tone quality.

• Psychosocial Function: Building a culture of collaboration by sharing intentions and interpretations.

All the functions described convey teaching and learning components in the context of a music ensemble. Conducting

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educates and fosters a community of learners.

• Need for one-on-one or studio setting of conducting instruction.

Perceptions on Conducting Study

• Need for conducting workshops/symposiums at minimal cost.

Having established a rationale that conducting skills serve several educational purposes, I shared research on what music education students and early career teachers thought about conducting study and curriculum as part of their music teacher preparation. A study that surveyed 173 music education majors indicated the following responses (Silvey, 2014; Silvey & Major 2011): • Confident with beat patterns.

• Least confident about error detection and correction.

• Need for experience in front of large ensembles.

• Need for more semesters of conducting coursework.

• Need for more diverse repertoire.

• Need for focus of rehearsal techniques.

Similarly, a colleague and I conducted a qualitative study by using a questionnaire for focus group of two to four music education students at different stages and two early career instrumental music teachers (Whitmore & Yi, 2015).

The findings include:

• Need for conducting seminar or course before or during student teaching as a “refresher.”

• Need for discussion on topics related to K–12 music ensembles, score study, programming and classroom management.

Both studies pointed to the need for more conducting learning opportunities at various stages, settings as well as an inclusion of topics related to teaching school music ensembles. There was a consensus among the session attendees of the need to expand knowledge and skills in conducting to be effective music educators.

Implications for the Profession

“Instrumental Conducting for Music Education Students” session was a direct application of the recommendations given

by Whitmore & Yi (2015): • Increase offering of conducting study in various learning settings • Include study of educational literature and topics in conducting study • More podium time in front of a variety of

groups.

• Professional associations to offer conducting clinics for prospective and current music teachers.

• Encourage prospective music teachers to seek conducting study opportunities throughout teacher preparation and beyond.

The target stage in teacher preparation was after completion of conducting course(s) and before or during student teaching. Two qualified student conductors were identified and contrasting educational literature was assigned for score study: Dance of the Tumblers from The Snow Maiden by Rimsky-Korsakoff, arranged by Sandra Dackow, and Jupiter from The Planets by Gustav Holt, arranged by Deborah Monday. The next challenge was forming a lab ensemble. A group of musicians from Vanguard University Orchestra was confirmed to participate.

The session transitioned from research and rationale to the conducting clinic.

The two conductors both displayed great skills and I had the opportunity to give them feedback as well as promote selfevaluation skills by asking what they would like to do differently and why. The lab orchestra musicians were also included

Vanguard University orchestra members and conductor: Andreas Gonzales, Tammy Kanei, Alisha Byram, Mildred H. Yi, Cosette Percy, Sierra LowryShepard, and Stephen Huang at CASMEC 2016.

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CMEA Magazine

in the discussion as to what they needed from the conductor.

Did the session fulfill its intention to provide conducting experience and learning for prospective music teachers?

“Not only was (the session) helpful in identifying common mistakes and pitfalls often overlooked by young conductors, it was also necessary given the extensive research presented. I not only felt more aware of some of my personal habits while conducting, but the clinic also helped me to expand my knowledge and clarity as a conductor. Having the experience of conducting a live ensemble was thrilling and informative. The comments given to me were helpful not only for me, but for the audience as well. I would highly encourage others to participate in future sessions for the betterment of their students, self, and the profession.” (Kelvin Flores, California State University Northridge – music credential candidate) “I am so thankful to have had this experience in instrumental conducting as a music education student. As a student emphasizing in choral music, it was a highly valuable experience working with instrumentalists. This is something I would have never gotten in my undergraduate career due to the standard two semesters of conducting courses. We really only get to brush the surface of proper

technique for working with an ensemble.

The greatest lesson I learned through this experience was how different the approach is from singers to instrumentalist. I was thankful to receive feedback about ways I could improve my conducting technique.”

(Ryan Yoder, Vanguard University of Southern California – B.M. music education candidate) The more we learn as teachers of music, the more our students benefit as learners.

With performing ensembles continuing as predominant models of American music education, conducting skills need to become an integral part of effective teaching. I hope that our profession will continue to offer learning opportunities for collegiate and early career music teachers in creative ways.

•

Mildred H. Yi, assistant professor of music, is conductor of university orchestra and coordinator of music education at Vanguard University of Southern California. She is an Ed.D. candidate in music and education at Teachers College, Columbia University where she completed an Ed.M. in music and

music education. Mildred Yi received a M.M. in instrumental conducting from San Francisco State University and a B.A. in music from the University of California at Berkeley. Her research interests include instrumental music teacher education and instructional design.

• References

Gumm, A. J. (2012). “Six functions of conducting: A new foundation for music educators.” Music Educators Journal, 99(2), 43–49.

Silvey, B. A., & Major, M. L. (2014).

“Undergraduate music education majors’ perceptions of their development as conductors: Insights from a basic conducting course.” Research Studies in Music Education, 36(1), 75–89.

Silvey, B. A. (2011). “Undergraduate music majors’ perceptions of instrumental conducting curricula.” Journal of Music Teacher Education, 21(1), 27–38.

Whitmore, G. X., & Yi, M. H. (2015).

Reflections on conducting study by preservice and early career music teachers.

Teachers College, Columbia University.

(An unpublished report).

SAVE THE DATE

Conference Issue 2013

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ESSA Highlights Last week, after years of stalled negotiations and Congressional stalemates, Congress put No Child Left Behind away for good and passed by an overwhelming majority a new version of the Elementary and Secondary Education Act (ESEA).

This new bill, titled the Every Student Succeeds Act (ESSA), is an enormous victory for music education advocates. We are truly on the verge of a new day for music education, with opportunities to use federal funding to increase access to music education for all students, especially the most vulnerable.

Among the most important provisions for music education in the bill:

Ŕ " /FX BOE $MFBS *OUFOU UP 4VQQPSU 0VS /BUJPOōT 4DIPPMT UISPVHI B 8FMM 3PVOEFE &EVDBUJPO This is a huge departure from NCLB, which focused heavily on student BDBEFNJD TVDDFTT OBSSPXMZ EFţOFE BT SFBEJOH BOE NBUI

Ŕ &OVNFSBUJPO PG .VTJD BT B 8FMM 3PVOEFE 4VCKFDU Replacing the Core Academic Subject language from NCLB, this language clearly articulates that music should be a part of every child’s education, no matter their personal circumstances.

Ŕ 3FRVJSFNFOUT GPS 8FMM 3PVOEFE &EVDBUJPO Schools will now be able to assess their ability to provide a well-rounded education, including music, and address any EFţDJFODJFT VTJOH GFEFSBM GVOET

Ŕ 'MFYJCJMJUZ PG 5JUMF * 'VOET UP 4VQQPSU B 8FMM 3PVOEFE &EVDBUJPO All Title I programs, both schoolwide and targeted, are now available to provide supplemental funds for a well-rounded education, including music.

Ŕ .PSF 1SPGFTTJPOBM %FWFMPQNFOU GPS .VTJD &EVDBUPST Funds from Title I, II, and IV of ESSA may support professional development for music educators as part of supporting a well-rounded education.

Ŕ 'MFYJCMF "DDPVOUBCJMJUZ 4ZTUFNT States must now include multiple progress measures in assessing school performance, which can include such musiceducation-friendly measures as student engagement, parent engagement, and school culture/climate.

Ŕ 1SPUFDUJPO GSPN ŏ1VMMPVUTŐ The new ESSA discourages removing students from the classroom, including music and arts, for remedial instruction.

Passing this law with music listed as a stand-alone subject kicks open the door of opportunity to ensuring music’s place in every school — and leading in the decision-making for what that looks like.

-FBSO NPSF BCPVU &44" BOE XIBU JU NFBOT UP ZPV BU IUUQ CJU MZ /$-#FOET IUUQ CJU MZ /$-#FOET #FDPNJOH B /"G.& NFNCFS JT NPSF JNQPSUBOU OPX UIBO FWFS CFGPSF -FBSO NPSF BCPVU NFNCFSTIJQ BU KPJOUPEBZ OBGNF PSH UBLFBDUJPO KPJOUPEBZ OBGNF PSH UBLFBDUJPO

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CMEA Magazine

2016 Choral Leadership Academy Report

by Willow Manspeaker CMEA CA ACDA Representative

Christopher Peterson of CSU Fullerton, Jeffrey Benson of CSU San José, Brandon Elliott of Moorpark College, and Angel VázquezRamos of CSU Bakersfield during a session of the Choral Leadership Academy at CASMEC 2016.

T

he fifth annual CMEA/ACDA/SCVA sponsored Choral Leadership Academy (CLA) was held during the California All-State Music Educators Conference (CASMEC) in February, and what a successful event this was! The CLA is an intense two-day event for high school, community college, and university students who are interested in pursuing a career in the choral profession. This outstanding event imparts musicianship skills, inspires confidence, and builds camaraderie amongst musicians of the next generation. Over the course of the weekend, the students in the CLA honed their sight-reading skills through reading sessions, explored new literature for future use, collaborated in small ensembles, and developed valuable leadership skills. Students that attended the CLA left with a better understanding of our professional organizations, and what it takes to be a choral director in today’s educational climate. Headlining the CLA faculty was Dr. Elizabeth Schauer (University of Arizona), assisted by Christopher Peterson (CSU Fullerton), Angel Vázquez-Ramos (CSU Bakersfield), Jeffrey Benson (CSU San José), and Willow Manspeaker (Stevenson School). If you believe that this would be a valuable experience for your students, please encourage them to apply for the 2017 Choral Leadership Academy.

Stephanie Rios rehearses a madrigal group during the Choral Leadership Academy in the Fairmont Hotel.

Spring Issue 2016

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The 2016 California High School Men’s All-State Honor Choir in concert in the Cathedral Basilica of St. Joseph in downtown San José.

Plaza de César Chávez Park, in downtown San José adjacent the Fairmont Hotel, was established when San José moved from its original location on the b

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CMEA Magazine

CMEA 2016 Awards Gala Friday evening, February 12, 2016 Flames Eatery and Bar, San José Opening remarks by CMEA President Michael D. Stone: Good evening, and welcome. I am Michael Stone, CMEA President. It is my pleasure to welcome you to the CMEA Annual Awards Gala where outstanding individuals are honored for their work supporting CMEA’s vision that all students in California be provided access to a firstclass education in music.

I would like to begin by thanking CMEA member Jim Mazzaferro and his jazz ensemble for entertaining us tonight during the cocktail hour. Presenting awards tonight will be CMEA President-Elect Scott Hedgecock, CMEA Immediate Past President Russ Sperling, CMEA Vice President Steven Hendee, and myself. Before we start, I would like to thank CMEA Secretary Duane Otani for his adept work organizing this year’s CMEA awards program. I would also like to thank CMEA Administrative Coordinator Trish Adams for all her amazing work preparing every detail in preparation for tonight’s gala. Trish, you are amazing in all that you do.

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

Scott Hedgecock: The CMEA Outstanding Administrator Award honors educators who, as school administrators, have contributed powerfully to the support of music education. This year, in recognition of the importance school administrators have on the success of music in our schools, we recognize two individuals.

First, Craig Faniani. Craig Faniani has been a major name in music education in Sacramento for over twenty-five years. The majority of his time in education he taught at Rio Americano High School in Citrus Heights, leading the school’s award-winning jazz program. After Craig’s tenure at Rio he moved on to become the visual and performing arts coordinator for San Juan Unified School District. In the last two school years alone, he has facilitated bringing more than twenty arts teachers into the district, restoring programs lost many years ago.

San Juan now has more than 125 arts educators.

Craig’s philosophy should be stated as “the more the merrier.” Craig wholeheartedly believes that every student not only deserves access to quality music education, but also to a wide variety of musical experiences as well. Craig is always brainstorming new and exciting options to cater to each school’s unique situation. No matter where Craig is, he can be heard singing the praises of music education and the importance of the educators he represents. Craig has been an incredible advocate for music education and continues to share his enthusiasm and

The first CMEA Outstanding Administrator Award, which honors educators who, as school administrators, have contributed powerfully to the support of music education, goes to Craig Faniani, with CMEA Capitol Section President Santiago Sabado and CMEA Immediate Past President Russ Sperling.

wisdom with students, teachers, and administrators alike.

Congratulations, Craig Faniani.

bank of the Guadalupe River to the current downtown location in 1797 and has been in use ever since, making it the oldest public open space in California.

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Michael D.Stone: Our second CMEA Outstanding Administrator Award goes to Allan Kristensen. Allan Kristensen is a retired music educator and arts administrator. Most recently, he served as the visual and performing arts manager for the Fresno Unified School District where he supported arts education implementation in more than one hundred schools, aligning and strengthening arts programs where they were weak and bringing back arts programs where they had previously been absent. Prior to coming to The second CMEA Outstanding Administrator Award, Fresno Uniwhich honors educators who, as school administrators, fied, Mr. have contributed powerfully to the support of music edKristensen ucation, goes to Allan Kristensen, with CMEA Vice served as an President Steven Hendee. administrator in Madera Unified and a music teacher with the Clovis Unified School District. While in Clovis he served as band director at both Clovis West and Clovis High Schools, and also taught elementary music. Prior to coming to California, he taught in Oregon.

Mr. Kristensen has become a highly recognized music adjudicator and clinician worldwide, having judged both the Bands of America Nationals and the DCI World Championships several times, as well as teaching, writing and judging in Great Britain, Japan and Canada.

He has been extremely active serving the music profession as president of the Western Band Association (WBA), president of the Fresno-Madera County Music Educators Association (FMCMEA), and board member with CMEA Central Section. In 2006 Mr. Kristensen was awarded the CMEA Central California Outstanding Music Teacher at the CMEA state conference and was the 2003 Fresno-Madera County Band Director of the Year.

He is married to Kim Fox-Kristensen and they have a daughter named Ryann.

Congratulations, Allan Kristensen.

The CMEA Bay Section Outstanding Music Educator Award goes to Nancy Moser, with CMEA Bay Section President-Elect Rita ZigasBrown, and CMEA President-Elect Scott Hedgecock.

Alum Rock School District, then at Joaquin Miller Middle School in the Cupertino USD. The Miller band program has grown from two to seven periods over the years, necessitating the hiring of additional music teachers. Miller Middle School’s Mustang and Advanced Bands regularly earn unanimous superior ratings at CMEA band festivals.

Nancy was awarded Miller Middle School’s “2004 Teacher of the Year” and human service awards from the PTA. Besides teaching band and enjoying music, Nancy enjoys her pets, gardening, swimming, hanging out and hiking with friends, traveling with her husband, and playing saxophone/woodwinds freelance in the San José area.

Congratulations, Nancy Moser.

Steven Hendee: From the CMEA Capitol Section: The Outstanding Music Educator Award goes to Kimberly Cole Feeney from the Davis Unified School District.

Kimberly Cole Feeney is in her twenty-seventh year serving as a

Michael D. Stone: CMEA Section Awards are the highest honor that can be bestowed upon a music educator in any given CMEA section. It’s our pleasure tonight to introduce our section award recipients.

From the CMEA Bay Section: The Outstanding Music Educator Award goes to Nancy Moser from Miller Middle School.

Nancy Moser was born in Houston, Texas to a musical family. Her mother, Harriet Moser, was a brilliant pianist and composer. From her parents, Nancy gained a love of music from a very early age.

Nancy graduated from Houston’s High School for Performing and Visual Arts, earning a bachelor’s degree in music and a teaching credential from San José State University, and a master’s degree in music education from the American Band College at Southern Oregon State University.

Nancy has taught music in public schools since 1987, first in the 34

The CMEA Capitol Section Outstanding Music Educator Award goes to Kimberly Cole Feeney, with CMEA Immediate Past President Russ Sperling and CMEA Capitol Section President Santiago Sabado.

string specialist with the Davis Joint Unified School District. She teaches an average of 350–400 students per year, serving five schools and leading the “Davis All-City Elementary Orchestra.” She holds a bachelor’s degree in music performance from California State University, Sacramento, and a master of arts in music education and cello perCMEA Magazine

formance from Long Beach State University. She is currently serving as past president and webmaster of the California chapter of the American String Teacher’s Association, or CalASTA, and has recently been appointed as the liaison to CMEA. Over the past twenty years, Kim has held numerous leadership positions with both CMEA and CalASTA. In 2002 she was presented with the “Outstanding String Educator Award” by CMEA Capitol Section, and in 2007 she was added to the Marquis Who’s Who of American Women. In her spare time, Kim freelances on the cello, playing in her own quartet and with various orchestras in the Sacramento and Bay Areas. She also serves as an adjudicator at both local and state events.

Congratulations, Kimberly Cole Feeney.

House, and on December 21, 2001 they performed two shows in the East Room of the White House.

Congratulations, James Kusserow.

Russ Sperling: From the CMEA Central Coast Section: The Outstanding Music Educator Award goes to Brian Handley from Carmel High School.

As director of instrumental music at Carmel High School for the past sixteen years, Brian Handley has built a jazz, string, and band program that consistently yield outstanding musical performances that

Scott Hedgecock: From the CMEA Central Section: The Outstanding Music Educator Award goes to James Kusserow from Porterville High School.

Born in Susanville, California, James Kusserow attended Porterville High School, graduating in 1976, and Porterville College, graduating

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

The CMEA Central Section Outstanding Music Educator Award goes to James Kusserow, with CMEA Central Section President Kirk Clague and CMEA President Michael D. Stone.

in 1978. He began playing the trumpet at age nine at Terra Bella Elementary School under director Gerald Aanastead.

Jim began his career teaching at Mulcahy and Live Oak Middle Schools before accepting the band position at Porterville High School in 1990. Following the 37-year legacy of Buck Shaffer, which included a performance at Carnegie Hall in 1990 and five Tournament of Roses Parades, the Panther Band has continued to attain the highest caliber of musical excellence. Superior ratings for 24 years for Porterville High School at CMEA music festivals, recognition as the National Hall of Fame Band of the Year, and performances at the Kennedy Center, Lincoln Center, Constitution Hall in Washington D.C. and Carnegie Hall, have been highlights of the band under Mr. Kusserow’s baton.

The Panther Band marched down Colorado Boulevard January 1, 2007 in their sixth Pasadena Tournament of Roses Parade.

Mr. Kusserow is also listed in the Who’s Who of American Teachers. In 2010, Mr. Kusserow received the Claes Nobel Educator of Distinction from the National Society of High School Scholars, and the Bandworld Legion of Honor Laureate of the John Philip Sousa Foundation. The Fabulous Studio Band has continued to thrive under his direction recording and touring regularly throughout the United States and Canada. The studio band was invited to perform at the White Spring Issue 2016

showcase his love of quality repertoire from all across the musical spectrum. Brian completed his B.M. in music education at the University of the Pacific, and an M.M. in conducting at the University of Michigan, and then began his long tenure of cultivating the musical ability of students on the Monterey Peninsula with teaching assignments at elementary and middle schools in the area. In addition to the ensembles he directs, Brian also instructs group guitar, digital music, and assists with the Carmel High singer/songwriters guild. He is a member of many professional music educator organizations, including NAf ME, CBDA, CODA, and NCBA, and has served on the CMEA Central Coast Section Board of Directors.

Brian has been the recipient of numerous awards, such as the Carmel High School Mentor of the Year, and the Outstanding Young Educator of the Year Award for Seaside, California. Additionally, he has served as a rehearsal guest conductor for Youth Music Monterey and the Santa Cruz County Youth Symphony, administrator for Monterey Jazz Festival summer camps, and band manager for four international tours with the Monterey Jazz Festival All-Star Bands. Brian is dedicated to his students and to his craft, as evidenced in the multitude of festivals in which his groups have participated, always receiving high scores and praise.

Congratulations, Brian Handley.

Michael D. Stone: From the CMEA Northern Section: The Outstanding Music Educator Award goes to Deb Wiseman from the Redding School District.

Deb Wiseman grew up in Minnesota on a dairy farm. She started playing piano in third grade and clarinet in fifth grade. Deb became the student director of her high school band in the little town of St.

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Francis. That was when she knew she wanted to do this for a long time. Ms. Wiseman attended Crown College in Minnesota, majoring in music education, playing in woodwind groups, and picking up trumpet and playing in the brass ensemble, as well as singing in choir. After graduation, she traveled with an international singing group called “Sound Alliance.” She then went to Nyack College in New York to get her teaching credential. She married her husband John about this time.

Ms. Wiseman has directed many youth choirs and adult choirs. She also worked in an anesthesiologist’s office when her husband was attending seminary. After moving to Ohio to continue her education in the field of church music and youth ministry, she became a stay at

The CMEA North Coast Section Outstanding Music Educator Award goes to Laura Arrington. Accepting the award on her behalf is CMEA North Coast Section President Dan Sedgwick, former North Coast Section President Judith Scharnberg and CMEA Immediate Past President Russ Sperling.

The CMEA Northern Section Outstanding Music Educator Award goes to Deb Wiseman, with CMEA President-Elect Scott Hedgecock and CMEA Northern Section President-Elect Mike Phenicie.

home mom to their daughter. Moving to California in 1992, Deb began teaching with the Redding School District where she has worked for 17 years. She has taught second grade choir, third through fifth grade choir, junior high choir, third grade recorders, and band. A few highlights of her years teaching the Sequoia Middle School Band include marching seven times in the Disneyland Main Street Parade, marching in local parades in the area, and taking students to solo/ensemble festivals and honor bands.

She states that she has had many wonderful mentors along the way and is grateful for all of them.

Congratulations, Deb Wiseman.

schools, helping to grow both their classroom music and elective programs. Laura has continually served the CMEA North Coast Section since beginning her teaching career. She has been the section secretary, chaired the choral festivals, served as an adjudicator and clinician, and conducted junior and senior all-county choirs several times.

Laura’s skills extend to managing her family orchard business, which included catering local events in their beautiful apple orchard. She is married and has two teenage children.

Congratulations, Laura Arrington.

Scott Hedgecock: From the CMEA Southeastern Section: The Outstanding Music Educator Award goes to Kellori Dower from Rio Honda College.

Kellori Dower, also known as “Mama D,” was the director of Moreno Valley’s award-winning Rancho Verde High School choral music program and chair of performing arts for ten years. She went on to lead the Moreno Valley College choral program. Ms. Dower has also served as a vice principal and district arts administrator.

Kellori Dower’s background in music leadership spans more than a decade with work for the California Commission on Teacher Creden-

Steven Hendee: From the CMEA North Coast Section: The Outstanding Music Educator Award goes to Laura Arrington from Humboldt County.

Laura Arrington has been a vibrant part of the CMEA North Coast Section music scene since childhood, when she began Suzuki violin lessons at age four and piano at age six. She joined the Redwood Coast Children’s Choir at age five and toured with them in Eastern Europe in 1989. Throughout her school years she played violin at Eureka High School and in the Humboldt Music Academy Orchestra.

Laura was a soloist with the Eureka Symphony three times, beginning in high school. In addition, she has served as the Symphony Chorus master. She won the Humboldt State Concerto/Aria competition in 1993 and graduated in both music performance and education in 1995 and 1996.

Laura has always had a passion for teaching. She began giving piano lessons at age twelve, and taught piano, voice, and choir at the Music Academy throughout college and beyond. Her greatest gift is the enthusiasm for music education she has brought to several very small 36

The CMEA Southeastern Section Outstanding Music Educator Award goes to Kellori Dower. Accepting the award on her behalf is CMEA Southeastern Section President Armalyn De La O, with CMEA President Michael D. Stone, and CMEA Southwestern Section Board Member Phil Mortensen.

CMEA Magazine

tialing. She assisted with the creation of the California Subject Examinations for Teachers, or CSET, for new music teachers. A choral composer, her ensembles have performed in some of the most distinguished venues in the country, including Carnegie Hall, Lincoln Center and Orchestra Hall. She is currently the director of choral and vocal music at Rio Hondo College and serves as a choral adjudicator and clinician in southern California and throughout the U.S. Congratulations, Kellori Dower.

Russ Sperling: From the CMEA Southern Border Section: The Outstanding Music Educator Award goes to Matt Armstrong from San Marcos High School.

Matthew Armstrong is the coordinator for all visual and performing arts programs in the San Marcos Unified School District. Previously, he served as music director at San Marcos High School. In 2014, he was awarded “Teacher Of The Year” in the district, and in 2015 received the CMEA Southern Border Section Outstanding Music Educator Award. Holding a bachelor of arts degree from San Diego State, he is a highly sought after performer, clinician, and arranger. As a performer he freelances throughout San Diego and regularly performs in

The CMEA Southern Border Section Outstanding Music Educator Award goes to Matt Armstrong, with CMEA Southern Border Section President Marc Dwyer and CMEA Vice President Steven Hendee.

San Diego Symphony chamber ensembles, has held the position of principal percussionist with the California Chamber Orchestra, and works regularly in jazz and Dixie ensembles.

Mr. Armstrong has taken groups to prestigious events all over the world including Japan, England, France, Switzerland, Italy, Austria, Germany, Australia, China and special performances at the Hawaii International Jazz Festival, the Bands of America National Concert Band and Percussion Ensemble Festival and concerts for U. S. Presidents.

Mr. Armstrong is a member of Percussive Arts Society and the Southern California Band and Orchestra Association.

Congratulations, Matt Armstrong.

Michael D. Stone: From the CMEA Southwestern Section: The Outstanding Music Educator Award goes to Robert Eisenhart, from Van Nuys High School.

Robert Eisenhart started teaching with the Los Angeles Unified School District at Van Nuys High School in 1992. Twenty-four years later, he is very happy to still call Van Nuys High School his profesSpring Issue 2016

The CMEA Southwestern Section Outstanding Music Educator Award goes to Robert Eisenhart, with CMEA President-Elect Scott Hedgecock and CMEA Southwestern Section President Lisa Crawford.

sional home.

Mr. Eisenhart has taught beginning through advanced-level classes in all combinations of strings, winds, and percussion. He has many years of experience teaching general music, piano, and AP music theory. Ensembles at Van Nuys High School have included high-achieving concert bands, string orchestras, chamber symphonies, jazz ensembles, and a championship marching band and winterguard.

Mr. Eisenhart, a graduate of UCLA, has been active in cultivating young music educators throughout his career. Twelve of his own former students are currently credentialed music teachers at schools in the Los Angeles area. His work as a master teacher and demonstration teacher has promoted the development of a strong cooperative instructional design which provides a natural laboratory for instructional modeling and professional feedback. Beginning in 2011, Mr. Eisenhart enjoyed four years as an adjunct faculty member at California State University, Northridge, where he taught brass pedagogy classes.

Congratulations, Robert Eisenhart.

Steven Hendee: The CMEA Elementary Music Specialist Award honors excellence in elementary music instruction. The Elementary Music Specialist Award goes to Linda Mouradian from the Los Angeles Unified School District.

Linda Mouradian has had a 38-year career in the music education profession. She believes that the role of teacher of music is to develop and nurture the academic, social, creative, emotional and spiritual capabilities of students. When Ms. Mouradian graduated from Boston University in 1975, she says a very wise professor told her “your professional organizations will be a great resource and support.” With that advice in hand, MENC, now NAf ME, was her first professional affiliation. Moving to California gave her the opportunity to join and support CMEA. She has been a member for more than thirty years.

Ms. Mouradian has spent the last eighteen years as an itinerant elementary music teachers in the LAUSD. A master teacher for the credential students at CA State University, Northridge, she has served as an instrumental music coach for the district as well. She received the CMEA 2005 Alfred Publishing Elementary Music Specialist Award.

Ms. Mouradian has been an institution in the LAUSD for many years.

Congratulations, Linda Mouradian.

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education and our need to advocate for ourselves as arts educators both nationally, and in California, at the school district level. She devoted her time as president-elect and president of the CMEA Southern Border Section to doing her best to make a positive impact on the music education community. She looks forward to doing the same work throughout San Diego County.

Congratulations, Pauline Crooks.

Russ Sperling:

The CMEA Elementary Music Specialist Award, which honors excellence in elementary music instruction, goes to Linda Mouradian, with CMEA Immediate Past President Russ Sperling.

The CMEA Richard L Levin Orchestra Educator Award honors excellence in orchestra education and performance. This year, CMEA is pleased to award Scott Krinjen, music teacher at Castillero Middle School, with the orchestra educator award.

Born in Antwerp, Belgium, Scott Krinjen was raised in an environment of music, conducting, and education. It is with great joy that he gets to continue to grow in these arts everyday in and throughout the Bay Area. After earning a master’s degree in cello performance at the San Francisco Conservatory of Music, he enjoyed traveling throughout the world performing chamber music. He visited Europe, Taiwan,

Scott Hedgecock: The CMEA Middle School Music Specialist Award honors excellence in middle school instrumental and/or choral music instruction.

This year, CMEA is pleased to award Pauline Crooks with the middle school music specialist award.

Pauline Crooks believes that all students have the right to a standards-based music education taught by a credentialed specialist.

After teaching band in the Poway Unified School District for many years, Ms. Crooks was recently named the new visual and performing arts coordinator for the San Diego County Office of Education.

Pauline has served as the president, secretary, and historian for the

The CMEA Richard L Levin Orchestra Educator Award, which honors excellence in orchestra education and performance, goes to Scott Krinjen, with CMEA Vice President Steven Hendee.

Korea, and then headed home to San José to assume the role of principal cellist with the Silicon Valley Symphony. As a conductor, Scott has lead the orchestras of Summer in the City at San José State University, Summer Music at Redwood, and worked with Michael Boitz at Saratoga High School. As an educator, Scott is in his eighth year of teaching at Castillero Middle School, winning Teacher of the Year recognition in 2011. Scott is happily married to his wife of nine years, Aryn, and is the father of two beautiful children who get to grow up in the same wonderful world of music.

Congratulations, Scott Krinjen.

Michael D. Stone: The CMEA Middle School Music Specialist Award, which honors excellence in middle school instrumental and/or choral music instruction, goes to Pauline Crooks, with CMEA President Michael D. Stone.

CMEA Southern Border Section Board of Directors.

During the summer of 2013, Ms. Crooks had the privilege of traveling to Washington, D.C. to participate in NAf ME National Assembly. This experience truly opened her eyes to the bigger picture of 38

The CMEA Pearson Scott Foresman/Silver Burdett Choral Educator Award honors excellence in choral education and performance.

This year, CMEA is pleased to award Anne-Marie Katemopoulos with the choral educator award.

Anne-Marie Katemopoulos has taught at Abraham Lincoln High School in San José for the past 25 years. She teaches two jazz choirs and four classical choirs, provides vocal direction for Lincoln’s musical theatre program, and serves as chairman to the music department.

CMEA Magazine

A graduate of San José State University, Anne-Marie is the recipient of numerous awards, including the Carmen Dragon Memorial Scholarship in Conducting from the CSU System and the Distinguished Alumnus Award from the San José State University School of Humanities and the Arts Alumni Association. She was Teacher of the Year for Lincoln High School in 1999 and 2015.

The CMEA Jazz Educator Award, which honors excellence in jazz education and performance, goes Les Nunes, with CMEA President-Elect Scott Hedgecock.

Counties Music Educators Association, and has received recognition from the National Band Association for his excellence in teaching.

Congratulations, Les Nunes.

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

She is proudest of all to have inspired students to become educators at all levels and in a variety of subjects. Although her schedule keeps her busy, Ms. Katemopoulos enjoys appearances as a guest conductor and adjudicator. In her spare time, she loves to travel, read, take pictures, and spend time playing with her family’s five black-and-white rescue cats.

Congratulations, Anne-Marie Katemoulos.

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

Les Nunes has taught music 32 years and instructs three jazz bands, a concert band, and a brass ensemble at Clovis High School and Clark Intermediate Schools. He is also the jazz trombone teacher at Fresno State University. In addition, he has taught as an adjunct professor at Fresno Pacific University, Fresno City College, and West Hills College.

Les was also was the band director at Roosevelt School of the Arts and Bullard High, previously. Mr. Nunes plays as a freelance trombonist throughout California. He has hosted hundreds of jazz clinicians and concerts at his schools including Plas Johnson, Ed Thigpen, Charlie Shoemake, Gary Smulyan, Bill Cunliffe and other world class jazz musicians.

His school groups consistently earn high superior ratings at festivals they attend. Les is the vice president of Jazzfresno, an organization that promotes educational events and performances by student and professional groups. He was also DJ on the jazz radio station KFSR. He has played for seven years in the Bethel Lutheran Jazz Ensemble led by David Aus for one of the only monthly jazz masses in the United States.

He is the director and founder of the San Joaquin Valley Trombone Ensemble and the retro-folk/rock group Fire and Rain. Les has been named the jazz educator of the year for FMCMEA, Fresno Madera Spring Issue 2016

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

For the past 25 years, Jeanne Christensen has had the pleasure of being a music educator. Music has always been her love and teaching her passion. For her, the creative process of educating students each day is irreplaceable. Jeanne Christensen, aka Mrs. C, was born and raised in San Diego. She attended the University of San Diego and San Diego State University. As a band director in the San Diego Unified School District, the rewards have been many. She has been able to shape the programs in which she has stood in front of and has built a strong foun-

The CMEA Byron Hoyt/Don Schmeer Band Educator Award, which honors excellence in instrumental education and performance, goes to Jeanne Christensen, with CMEA Vice President Steven Hendee.

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dation of music and performance for her students and the Mira Mesa community.

Jeanne has been honored to receive multiple music educator awards over the years. She has sat on the CMEA Southern Border Section Board of Directors, serving as president. Jeanne strongly feels that behind every good teacher are hundreds of students and parents who have followed and “bought into” the teaching that has been done. Her greatest support comes from her husband of more than 18 years, Marlin, who is a math teacher Mira Mesa High School.

The Mira Mesa High School’s music program has grown into the largest instrumental program in the San Diego Unified School District with more than 400 students involved in either band or orchestra. The Mira Mesa High School marching band has been ranked as one of the top groups in Southern California and her concert ensembles each spring have received consistent “superior ratings” at festivals. The school’s marching band represented all of Southern California in the 2016 Tournament of Roses Parade in Pasadena, quite an honor.

Congratulations, Jeanne Christensen.

Russ Sperling: The CMEA John Swain College/University Educator Award honors excellence in music education at the college/university level. This year, CMEA is pleased to award Dr. Gary P. Gilroy with the college educator award.

Gary P. Gilroy is professor of music and director of bands at California State University, Fresno. Previously, he served as associate director of bands and director of the Bulldog Marching Band, also at Fresno State. Prior to this appointment he served for a decade as director of bands at Fred C. Beyer High School in Modesto, California, where the band was awarded several national honors as well as the International Sudler Shield Award from the John Philip Sousa Foundation.

Gilroy has served on the board of California Band Directors Associ-

honor bands throughout the United States. As an adjudicator and guest conductor he has served in 39 states and throughout Canada. Dr. Gilroy has been the conductor for all-state groups in Colorado and Oregon as well as the California Band Directors Association All-State High School Symphonic Band.

An ASCAP Award-winning composer, Gilroy’s music is published for concert band, marching band, and percussion ensembles through the Arrangers Publishing Company, BRS Music, Inc., C. Alan Publications, Daehn Publications, Kagarice Brass Editions, Matrix Publications, TRN Publications, Warner Brothers, Wingert-Jones, Inc., and CPP/Belwin Mills.

Dr. Gilroy and his wife Dena have lived in Clovis, California since 1993. His daughter, Alexandra, graduated from UCLA in 2010 and his son, Nicholas, is a music major at CSU, Long Beach.

Congratulations, Gary Gilroy.

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

Accepting this award is Ben Goodner, Area Manager of Guest Talent Programs at the Disneyland® Resort.

Disney Performing Arts unlocks student potential and helps young people realize their performing arts dreams. Students perform on the stages of Disney Parks where they are able to showcase their talents in front of thousands of guests in the Disney Parks. Since Disney Performing Arts was launched, more than 50,000 groups from every state in America and six different continents have participated in the program. Students may lead a Disney parade down Main Street USA at Magic Kingdom; they can record their own vocal selection for a

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

The CMEA Music Industry Leadership Award, which honors an organization/individual for outstanding leadership in music education, goes to Disneyland Performing Arts. Accepting this award is Ben Goodner, Area Manager of Guest Talent Programs at the Disneyland® Resort, with CMEA President-Elect Scott Hedgecock.

ation for fourteen years and he is a past president of that organization.

He is also a past president of the Fresno Madera Counties Music Educators Association. From 1999 to 2006 he served on the board of the National Band Association as a member-at-large and the western division chairman. Dr. Gilroy is in demand as a guest conductor of many

beloved Disney film; or they can gain a greater understanding about the audition and casting process from a Disney show director.

Mr. Goodner is responsible for leading the operation and creative content of the Disney Performing Arts Program. He began his Disney career at age 16 as a cast member in “Flights of Fantasy Parade.” Ben

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CMEA Magazine

and his wife Kristi live in Norwalk.

Congratulations, Mr. Goodner and Disneyland.

Steven Hendee: The CMEA Legislative Award honors an elected official whose advocacy for music education has made a noteworthy difference in supporting music in our schools. This year, CMEA is pleased to award State Senator Loni Hancock with the legislative award. Senator Hancock is unable to be here tonight.

Senator Hancock has spent nearly four decades as a forceful advocate for open government, educational reform, environmental protection, economic development, and social justice. Prior to her election to the California State Senate in 2008, she served three terms in the California State Assembly (14th District). She also was the first woman elected mayor of the City of Berkeley, the executive director of the Shalan Foundation, and served in both the Carter and Clinton Administrations. Senator Hancock currently represents the 9th State Senate District, which includes the cities of Alameda, Albany, Berkeley, El Cerrito, Emeryville, El Sobrante, Hercules, Kensington, Oakland, Piedmont, Pinole, Richmond, Rodeo, San Leandro and San Pablo.

Born and raised in New York, Loni Hancock received her B.A. from Ithaca College in 1963 and her M.A. from the Wright Institute in 1978. She moved to Berkeley in 1964, where she lives today with her husband, Mayor Tom Bates. Senator Hancock has four children and seven grandchildren.

CMEA is very appreciative of Senator Hancock’s willingness to author SB 725 last year, CMEA’s first-ever sponsored legislation.

Congratulations, Senator Hancock.

Scott Hedgecock: At this point, CMEA would like to recognize our 50-Year Members. This year, CMEA is pleased to recognize five individuals. They are:

CMEA honors 50-Year Member John L. Larrieu, with CMEA President Michael D. Stone.

high school, Ms. Reynolds attended the University of Michigan where she majored in music, playing under the baton of the legendary William Revelli. In 1956, she began teaching in Redwood City, later moving to the Placentia Unified School District, where she taught for 31 years, many as a mentor teacher.

In 1970, Ms. Reynolds had a paper accepted at the International Society for Music Education, and was invited to present it at their international conference in Moscow, USSR. She was active on the PUSD teacher organizations under the California Teachers Association, serving on the Faculty Council and Teacher Negotiating Team for many years. Carol was the Laguna Beach Woman of the Year in 2010, started the Laguna Concert Band in 2000, and received a Lifetime

Joe E. Foster, Sr., Carson City, NV. Carol Reynolds, Laguna Beach.

John L. Larrieu, Portola.

Michael A. Reed, San José.

James E. Fritschel, Pittsboro, NC. We are fortunate that two of our honorees are here tonight.

First, Mr. John Larrieu. John Larrieu graduated from San José State University with a degree in music education and received his master’s degree from Southern Oregon University.

He taught music in high schools in California for 35 years, including seven years in Etna, one year in the San Lorenzo Valley, and 28 years in Portola. Upon retiring, John worked for 14 years in the position of executive director for CMEA. Additionally, he served for two years as chairman of NAf ME’s National State Managers group.

Honors include the CMEA Music Education Hall of Fame Award, the CBDA Don Schmeer Friends of Music Award, the CMEA Lifetime Achievement Award, and the CBDA Lifetime Achievement Award. John has also been recognized as a Lowell Mason Fellow, NAf ME’s highest honor.

CMEA is proud to honor John Larrieu. Congratulations, Mr. Larrieu.

CMEA honors 50-Year Member Carol Reynolds. On her right is John Tebay, choral director at Fullerton College. Carol was his second grade choral director and his inspiration to become a choral director. And on her left is CMEA Immediate Past President Russ Sperling.

Scott Hedgecock: Our next 50-Year Member is Ms. Carol Reynolds. Carol Reynolds was trained at the Juilliard School in New York while in high school in the early 1950s. During that same period of time, she was first chair French horn in the New Jersey All-State Band and Orchestra. After Spring Issue 2016

Achievement Award in the Arts during 2015.

Congratulations, Carol Reynolds.

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Michael D. Stone: The CMEA Aubrey Penman Retired Music Educator Award honors an individual who has demonstrated continued influence in developing teachers. This year, CMEA is pleased to award Mark Bidelman with the retired educator award.

Mark Bidelman has been an active member of CMEA since 1978.

In the late 1970s, he was elected to the CMEA Central Coast Section board, later serving as President from 1982–1984. Mr. Bidelman

The CMEA President’s Award, which honors individuals for their outstanding contributions to the work of CMEA goes to Brad North, with and CMEA Immediate Past President Russ Sperling.

The CMEA Aubrey Penman Retired Music Educator Award, which honors an individual who has demonstrated continued influence in developing teachers, goes to Mark Bidelman, with CMEA Vice President Steven Hendee.

taught at Soquel High School where his students were involved in allstate honor groups and section honor groups each year. In 1983, he instituted the CMEA Central Coast Section Honor Jazz Choir. He attributes CMEA with providing him with a network of music educators who readily shared their experience and expertise throughout his career. While teaching at Soquel High School, he lead choirs as great as 50 students in two choir classes to 150 students in four choir classes.

Mr. Bidelman believes that all students, regardless of socio-economic status, physical or intellectual ability, should be offered the opportunity to discover and explore their innate potential as musicians.

And to increase these natural capacities through formal music instruction.

In the classroom, he worked to bring all of his students a lifelong love of music.

Congratulations, Mr. Mark Bidelman.

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

First, Brad North. Brad North received his bachelors of arts degree in music from California State University Sacramento in 1981. Mr. North has been teaching music in Northern California for the past thirty-five years and is currently the director of bands and performing arts chair at Woodcreek High School in Roseville California. Mr. North has received numerous awards and honors, including Roseville Joint Union High School District Teacher of the Year, The Placer County Teacher of the Year, Northern California Band Directors Di42

rector of the Year, and CMEA Capitol Section Music Educator of the Year. Mr. North has served four terms as president of CMEA Capitol Section, and was instrumental with serving CMEA as it launched its Stand Up 4 Music Advocacy Day several years ago. Because of Mr. North, the Woodcreek High School Band Boosters have provided and transported all the equipment necessary for the annual Advocacy Day at the State Capitol. The estimated savings to CMEA is in the thousands of dollars.

Mr. North says: “I am honored to have served over the years with so many outstanding leaders in the Music Education community. The friendships, support, inspiration, and motivation I have received because of being active in CMEA is unmeasurable.” Above all, Mr. North says that his lovely wife Julie keeps him grounded, allowing him to spend time following his passion of teaching.

I am pleased to honor Mr. Brad North for his “beyond the call of duty” support of CMEA’s mission.

Congratulations, Brad North.

Michael D. Stone: Bill Wilkinson is in his 20th year of teaching and has taught most of his career in the Hanford Elementary School District as a junior high and elementary band director. He is currently band director at Woodrow Wilson Junior High School, where he was once a student, decades earlier. Bill has also taught at John F. Kennedy Junior High School in Hanford, Liberty Middle School in Lemoore and Strathmore Elementary School. In 2006 he was named the Liberty Middle School Teacher of the Year and was named the 2015 Best Professional by the Hanford Elementary Teachers Association. Bill graduated magna cum laude from Fresno State in 1995 with a B.A., music education and earned his associates arts degree from College of Sequoias.

Throughout his career Mr. Wilkinson has been actively serving with music organizations at both the state and local level. Bill is the current CASMEC logistics coordinator for CMEA, a position he’s served since the summer of 2012. He is also currently serving as first vice president of CMEA’s Central Section and will serve as Central Section president beginning in 2017. Prior to his current office Bill served as Central Section’s second vice president from 2011–2015, where he was responsible for its biannual publication Grace Notes. He is a past president of the Tulare-Kings Music Educators Association where he CMEA Magazine

The CMEA President’s Award, which honors individuals for their outstanding contributions to the work of CMEA, goes to Bill Wilkinson, with CMEA President-Elect Scott Hedgecock.

The CMEA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music education in California, goes to Dr. Robert Halseth, with CMEA Vice President Steven Hendee.

served as president from 2009–2011. Bill, with the encouragement from Dr. Gary P. Gilroy, began assisting with the CBDA state convention as a college student and served as an all-state band manager for several years before serving two terms as CBDA’s Vice President from 2005–2009.

Bill resides in Hanford with his wife Julie, where they are both active members of their church and have four children: Samantha, Katie, Kelsey and Garrett. Bill is passionate about playing trumpet in the church’s praise band each Sunday, playing church league rec softball and coaching youth baseball. In his spare time, Bill enjoys studying leadership and philosophies of inspiring leaders and coaches so that he may in turn help his students and colleagues achieve their personal best.

As a personal friend for many years, I have known Bill to be one of the most professional, hard-working individuals in our profession. His work as CASMEC Logistics Coordinator tripled in its scope over the past three years, and yet, Bill just smiled and carried on. It is for this reason that I am pleased to Honor Bill Wilkinson.

Congratulations, Bill Wilkinson.

He has conducted instrumental music at all levels, elementary through professional, since 1966. At the college/university level, he served on the music faculties of Carroll College (Wisconsin) and University of the Pacific (Stockton, California) prior to accepting his present position at Sacramento State in 1993.

Dr. Halseth led CSUS ensembles in performance in Carnegie Hall, the Mondavi Center, Atherton Auditorium and the Faye Spanos Concert Hall, and also conducted performances in Singapore, Guam, Hawaii, and at conferences of the California Band Directors Association, California Music Educators Association, Colorado Music Educators Association, Iowa Intercollegiate Band Association, College Band Directors National Association, and the International Trombone Association. He’s conducted brass soloists Allen Vizzutti, Mike Vax, Ron Romm, Brian Bowman, and Jim Self, and led the 1997 London tour of the Stockton Concert Band. He currently serves as music director and conductor of the Sierra Nevada Wind Orchestra.

His 40-year career as a bass trombonist includes performances with many well-known artists. CMEA is honoured to recognize Professor Halseth.

Congratulations, Dr. Robert Halseth.

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

First, Dr. Robert Halseth, professor of music emeritus and director of bands at California State University, Sacramento, conducts the CSUS Symphonic Wind Ensemble and Concert Band, teaches conducting, and is the founder and co-clinician of the Summer Wind Conducting Workshop, which each June since 1994 has brought to campus some of the finest wind conductors and conducting teachers in the world, including Mallory Thompson, H. Robert Reynolds, Frederick Fennell, Allan McMurray, Gary Hill, Craig Kirchhoff, Eugene Corporon and Jack Stamp.

He holds two degrees in music from California State University, Fresno, and the doctor of arts degree in wind conducting and brass pedagogy from the University of Northern Colorado, where his primary professors were Eugene Migliaro Corporon and Buddy Baker.

Spring Issue 2016

Scott Hedgecock: Our second Hall of Fame Award Winner is Ms. Rose Marie Krovozsa. Rose Marie Krovoza earned an M.A. in music education.

She has served as a string specialist, chamber music coach, and orchestra adjudicator for more then thirty years. She worked as an instrumental music teacher in public and private schools in Pasadena throughout her career. She is a recipient of a Gold Crown Award from the Pasadena Arts Council for excellence in music education. Ms. Krovoza has taught string pedagogy in the music Education department at UCLA. She has served as the assistant conductor of the Pasadena Youth Symphony.

Rose Marie Krovozsa believes in the beauty, the joy and the creativity inherent in music. She has worked as an educator to believe in the potential for developing each student’s musicality and sense of self through music. This discipline through music enlightens a sense of self and gives the student the ability to cooperate and create with others through music. Music enhances and further develops the heart and the soul.

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The CMEA Hall of Fame Award, which honors a lifetime of extraordinary service and commitment to music education in California, goes to Rose Marie Krovozsa, with Peggi Stoffel, the band and orchestra director of Rancho Pico Junior High School in Stevenson Ranch and former student of Rose Marie Krovozsa, and with CMEA President Michael D. Stone.

In the summer Ms. Krovozsa teaches adult chamber music workshops at Humboldt State University and is director of the chamber music workshop for teenagers at the summer Southern California Suzuki Institute at Occidental College. She is a board member of the Coleman Chamber Music Association and through the Friends of Coleman is the co-chairman of their assembly room concerts. She is a violist and violinist and has served as an instrumental teacher for 48 years. Her teaching continues into retirement.

Ms. Krovozsa says life has been wonderful as a music educator, filled with memorable students who are now her friends, as well as helpful and enthusiastic colleagues and her dear family.

Congratulations, Rose Marie Krovozsa.

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

Francis, a music educator and past president of the California Orchestra Directors Association.

Congratulations, Rick Meyer.

Concluding comments by Michael D. Stone: Tonight has been a spectacular celebration of lives. Let’s give another big round of applause to all CMEA award winners. Good night.

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Michael D. Stone: Our last Hall of Fame Award Winner is Rick Meyer. Rick Meyer graduated from California State University, Chico in 1972. Mr. Meyer taught at Acalanes High School in Lafayette for much of his teaching career. Prior to his tenure at Acalanes, he taught with the Yuba City Unified School District, then at Roseville High School, and lastly at Miramonte High School in Orinda.

As a young clarinetist, he remembers being especially thrilled with performances of the Tschaikowsky Fifth Symphony and of the Brahms Clarinet Quintet.

Mr. Meyer has been active as a clinician and guest conductor, working with student and professional ensembles. Rick was a president of CMEA Bay Section from 1987–1989. The band and orchestra at Acalanes High School performed at the CMEA state conference during his tenure.

Mr. Meyer was a Teacher of the Year at Acalanes High School, and has been named the Diablo Symphony Association’s Distinguished Music Educator in 1995. Mr. Meyer is proud of his daughter, Kate

44

CMEA Secretary Duane Otani, CMEA Vice President Steven Hendee, CMEA President Michael D. Stone, CMEA Immediate Past President Russ Sperling, and CMEA President-Elect Scott Hedgecock at the conclusion of the ceremonies.

Background images for the these award pages are details from the stained glass windows of the Cathedral Basilica of St. Joseph. Photography by Allen Petrinka.

CMEA Magazine

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He’s checking directions to the ensemble’s performance site.

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