MEET BRIAN ROSSICK
YOUR EPN TRAVELPROFESSIONAL
"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. 1 '
PERFORMANCE TOURS
CUSTOM
CLINICS PARADES BOWL GAMES FESTIVALS
DISNEY PERFORMING ARTS
Brian ha,; been a tour coordinator with EPN Travel Scrv,:cs ,ince 2003, and ha;, been working with student groups for m.111yyears. Brian spent the early yc.>-ars of his careeras a tour director for S(hool groups visiting the Orlando area. His past experiences gavt: h11na keen perspective on what :t tak~ to plan a truly successful trip from start to finish. Brian's hobbie-sinclude coachinghis son .Robbie'sfootball team, c.1mpingand helping neighbors in bis community.
WHAT DO YOU LIKE BEST ABOUT BEING A TOUR PLANNER?
I alway, look forward to the follow up call,;wuh my teachers and group leader~ .iiicr their trip. We work very closely togclhcJ' throughout the year to bi: 1..~'fl.llll .:very J~~lectof their tr11,•~simpk Jnd worry free. Heanng th.11 I helped crc.11c., mcmor,,hk 1:xp~nwcc for 1hc1r~tudt·nh i:,.the moi.l n:w.mlmg p.irl ofhcmg .1 lour planner.
POS'l'MASl'Ea
CMEA Maga.tine {ISSN 1099-6710) is published quarterly (Fall. Winter, Spring, Summer) byCMEA.
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Mailing Address: 9923 Hirondelle Lane TUjunga, CA 91042-2605
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The ExecutiveBoard of CMEA serves as the Editorial Committee. The observationsand oplnlons expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Assoctation. CMEAdoes not necessarily endorse any product or service advertised 1n this magazine.
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CONTENTS
CMEA Magazine
• President's Message:Who Are We All? by CMEAPres'ClentScott Hedgecock
• Daily Warm-up Tips: Improving Toneand Intonation by Dr. ThomasTatton
• Mentorship: Are You In? by Mark N1choison,CMEAMentorshipProgramChair
• Chorales and Ballads: A Must for Middle School Bands bv Bill Ingram
• Become Part of the Continued Growth of Tn-M in California by TroyTrimble,CMEATri-MRepresentative
• A Call on Behalf of Music EducatorsTeachingin Urban and Rural School Districts by Or. LawrenceF.Stoffel, Special Representativeto the CMEAPresident
• Higher Education Happenings by Dr. LawrenceF. Stoffel
• Special Learners:Howto Preparefor InstructionalInclusion by AngelaHolmes,M A. Ed., CMEA.Special LearnersRepresentative
• Student as Guide for Using and Innovating Music Technology by TamaraT. Thies,Ph.D., CMEAMusic TechnologyRepresentative
• CMEAState Band and Orchestra and State Choral Festivals at the Universityof CaliforniaDavisand Cal State Univen;ityFullerton
• CMEAState Solo and Ensemble Festivals at Cal State UniversitySacramentoand Cal Slate UniversitySan Bernardino
• Elementary Music Education: Right for Every Child and the Right of EveryChild by RichardLawton,CMEAGenersl Music Representative
Onthe OOYet": Stl.ldeotsaxopnonistin l'he BuhachCOionyHighSchOolThunderBandfromAtwater,California;BCHSlhunder Band Director,ChadJ. Humpal;BCHSstudent flutist;AnthonyWilliams,Director of GovernmentRelations,BoeingCompany:the 2016 Stand-Up4 AcMX:aeyDaypressconferenceat the ~ifomia StateCapitolBuilding,Andl'eaHansen,Presidentof the l'em DanceAlliancerepres,entingCaliforniaDanceEclucatiooAssociation;Joe Lamond,NAMMPresidentandCEO,Russ Sperling.NAfMEWesternDMsionPresident;LynnTuttle,NAfMEDirectorof Contentaod Pol,cy;Joe Lamon<!,NAMM Presidentand CEO;ScottHedgeoook,CMEAPresident; Shaniee Pa~, 2016 Mi5SMalibu Coast;SoonHedgecock,CMEAPresident.
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this mission and work to insure that all people have the opportunity to make music?
Werethink.traditionalmethods!While the choral and instrumental programs that have been the mainstay of music programs
CMEAEXECUTIVEBOARD
CMEAPre!>ldent
Scott Hedgecock
in schools will continue to be a focus, there is also room for new, emerging, ensembles in schools: mariachi bands, guitar ensembles, steel drum groups, ukulele choirs, to name but a few.There is room for all styles of music and performance opportunities
CMEAState Council
CMEANorthern
CMEAAdvoeacyDay
within every music program. In some situations, these, shall we say, non-traditional ensemble$ may provide the only opportunity ava.ilablethat can draw a student to parricipatc in making music.
Consider our suburban schools and cheic
CMEAMusicTed'lnology
Section President PerformanceCoordinator Representative shedgecockC..@calmusiced.com
Michael Phenicie
Position open as of June 9, 2016, TamaraT. Thies,Ph.D. 714 626-3984 pheoicie@frontiemet.net Uhies~hotmail.com 530 458-21561
CMEAAdvoe&cyDay Public
CMEAPresident-Elect Re-latlonsCoordinator
John Bum
CMEASoutheastern
CMEAReseardiRepresentative
Mario Sebastian Dr. Ruth Brittin jbum@(:atmusiced.com
SectionPresident msebasti@egusd.net rbrittin@pacific.edu 408 522-2541
CMEAAdvocacyRepres.ntative CMEAVioePresident 909 838-3716
ArmalynDe La O 209 946-2408 adelao@csusb.edu
Steve Venz
CMEARetl..-dMernber5
Diana Hollinger stevenvenz@yahoo.com Repr'eSentaUve dlloll:nger@calmusiced.com
CMEASouthernBorder 714 966-4000
Position open as of June 9, 2016. 408 924•4631
SectionPresident
Marc 0-...yer
CMEASecretary mdv.yer@sandl.net
Sandra Lewis 619 222-0476
CMEACollegiate CMEASJ)41dalleamer5
Rep,esentatlve
AngelaHolmes
Dr. Dennis Siebenaler Holmesangie@yahoo.com s1ewis@calmusk:ed.com dsiebenaler@fuNerton.edu 408 806-5S50
CMEASouthwestern 657 278-3510
CMEASpecial~ Sec:tlonPresident RepAIMl'llalive
CMEAlmm.diate Past President Or.AtexanelefKoops
CMEAC111atingand Russ Sperling
Michael D. Stone akoops@apu.edu CompositionRepresentative rsperli@cox.net meuph@an.net 626 815-6000 x3583
Dr. Lisa A Crawford 661 631-4810 lisacrawfordmusic@gmail.com
CMEAState Bandand NAfMEOFACERS 310 863-6422
On:hestntFfftival Coordinator
CMEAOFFICE NAfME President KeithJohnson
E-mail: cmea@calmus•~d.com
Denese Odegaard
CMEACTAliaison keith@echsbands.com 2417 North Uth Aveni.le 1806 Robert Fulton Drive, Nora Allstedt 510 231-1437 x26418 Hanford,CA 93230 Reslon, VA 22091 nallstedt@gmailcom 559 587-2632 800 336·3768 559 592-9421
CMEAState Choral ffltlval Coordinator
CMEAExec:ullveAdminls1ra1or NAfMEWestern
CMEAEtem.n\ary Nancy Ludwig TrishAdams DivisionPresident Repre-,tative nancyluclwig6@gmail.com cmea@catmusiced.com Russ Sperling Coralie Prince 626 443·6181 x5895 559 904-2002 rsperli@eox.nst coralie.prince@gmail.com
CMEASlate Soloand
CMEALegislativeAdvocate COUNCILOF REPRESENTATIVES CMEAGeneralMusic EnsembleFestive!Coordinator LynneFaulks CMEACAACOARepresentative Representative Cheiyl YeeGlass consultl.F@gmail.com Willow Manspeaker Richard Lawton cglass@srvhs.org wmanspeaker@st8WT'lsonsdlool.onaricha.rd@richardlawtonmusic.com 925 552-3044 SECTIONPRESIDENTS 831 625-8339 323 854·4401
CMEABaySection President CMEATri·MRepresentative Rita Zigas-Brown CMEACAJRepresentative CMEAHigherEducation TroyTrimble rzigas.brown@gmall.com BarbaraShinaver Repnisentetlve troyatrimble@gmail.com 650 354,8264 barbshinaver@gmail.com Dr. EmilyMoss 714 626·3975 559 451-4320 Emily.Moss2@cals1ate1a.edu
CMEAcapitolSectionPresident 323 343-4086
CMEAUrban/RuralSchools SantiagoSabado CMEACASMECCoordlnatOf/ Representative ssabado@pioneer.k12.ca.us CMEARepresentativeon the CMEAMembershipChairperson Dr. LawerenceF.Stoffel CBDABoard RyanClippinger stoffel@csun.edu
CMEACentralSectionPresident Bill Wilkinson
Ryan_Clippinger@kemhigh.org 818 677-3160
KJl1( Clague bwilkinsoncmea@gmeil.com 661 854-5561 x70701 clague_cmeacentral@lcioud.com 559 686-3881
CMEAWorldMusic 559 592·2127 x391
CMEAMentorship R&P"aentalive
CMEAC8DA Representative Pn,gramChairperson Dr. LilyChen·Hafteck
CMEACentralCoast Adam Wike Mark Nicholson tiafteck@ucla.edu Section Presldel\t aw~ke76@abcglobal.net mnicholson@sandi.net 310 825-4668
ChristyLatham 610 471-2510 x60216 858 256-2702 clatham@sccs.net
CMEACODARepreMfttalive CMEAMusicSupervison CMEANorthCoast Donna Harrison Representative SeetionPresident harrison.donna3@g,nail.com Phil Mortensen Dan Sed~ck 209613·8273 pmortensen@pyklsd.org dsedgwlck@delnorte.k12.ca.us 714 986·7024 707 4645-0274
music program~. Most of them survived the great recess:ionof the past eight years, and have now rebounded bade to levels equal to or higher than prior to the economic down-· rum. But this is to be expected. Most suburban schools have their music programs because the commu.nity expects it. Theimportance of music is recognized in these schools, and hard working parents help to keep this running. But, what about our programs in urban and rural areas? Djd they survive the recession in the same manner? Did they completely disappear? Theyoften represen.tsome of the greatest challenges in surviving -aneconomic crisis, and therefore, could easily have been some of the first programs to suffer elimination. How do we insure that our urban and rural schools are going to have strong music programs when so many other constraints are facing these schools?
What about the teachers of music in the urban and rural school settings? Are we meeting their needs? Are we, as CMEA,an organization that they feel connected with, are we doing our part to demonstrate support to these teachers? From their point of view, can they see a time and place for their students to demonstrate their skills at CASMEC?
New Directions
Urban and RuraJ Schools Representative: This is one of the new positions ere~ ated for the CMEA State Council for the 2016-2018 term. The goal is to identify schools that are outside of our traditional music program realm, who have schoolwide challenges that are uniquely different than most suburban schools. It is our goal to reach out to those music educators and let them know that CMEA and NAfME are for them and th.cir unique needs. Being included in our mission and vision statements, we will be living up to those statements as we work to provide greater access for all students to music education programs in California. In doing so, please watch for further information about this new area of focus.
Special Learners Represcntarive: For many years there has been one representa tive for both research and special learners. While one can argue that the two do have a connection, the random joining of both singularly important areas did not allow either to fully develop the resources and rep• resentation that are uniquely theirs. Everyone one of us has the responsibility to provide music education to all students, and this includes students with special need~.
During the past three years CMEA has seen a tremendous growth in our membership. We are cu11entlyat some of the highest levels of active and total membership in recent his· tory. Our collegiate membership, the next generation of music edu· cators, is on fire with enthusiasm and anticipation.
BU1are we at our peak? Is there room for continued growth in our membership? Absolutely!
The membership growth of recent years was led by the outstand· ing efforts of CMEA Membership Chairperson Regina Ptyor. Regina undertook a systematic approach to identifyingand contacting po· tential members throughout each CMEA section, and worked tire· lessly with the section presidents and their appointed membership chairs. We all give Regina and all of the membership chairpersons a huge ovation for a job well done.
For our next phase of membership growth I would like to see us, the current membership of CMEA, take on the goal of personally reaching out and bringing new members into the professional music education organization in California... CMEA. From our affiliation with our national organization to our unique section structure within the state, we offer the best connection for all music educators in Ce.lifomiawho seek professional development, collegialsharing opportunities, and a great annual state conference.
Mychallenge to each CMEAmember is simple: Bring in one new member by October 1, 2016. Only one.
Another new position on the state council is our special learners representative, a stand alone appointment, as will be the important area of research.
Providing access for all students, including those with special needs, can often be a source of concern and frustration for teachers. The completion and maintenance of documentation for our special education colleagues is overwhelming, and every school has a different wayof incorporating their SpEd into the schoolwide plan. CMEAis committed to an ever increasing focus on special learners in the mnsic classroom as will be evidenced by the continued articles in CMEA Magazine,as well as increasing the number of special learners sessions at CASMEC.
Inclusion of all srudents in our mu.sic programs is non-negotiable. Diversity in our programs, the students within them, and the tcac'hers who teach them is a goal of ongoing importance fromwhich we will not be deterred.
It is with deep appreciation and gratitude that I acknowledge the compassionate professional music makers that you all are and will continue to be.
Each One Reach One
A simple task, really.Over the next several months you will be receiving further encouragement in this challenge from Ryan Clippinger, our new membership chairperson on the council of representatives. Ryan is a young, recent collegiate member who is eager to participate in the workings of CMEA and to serve his col· leagues in the vision and mission of CMEA
I offer the followingsuggestions to you, dear friends, at thlS time to help you in meeting this challenge (remember, it's only one new member): Consider your own district. Are all music educators members of CMEA? What about your teaching partner(s) at your own school?
Contact them over the summer, share CMEA Magazine with them, and get them interested in what we do. And encourage them to join now so that they will be the recipients of our Constant Con· tact e-mail blaats, section newsletters, CMEA Magazine, and our social media communications as they return to school in the fall.
C.O,wlncethem that CMEA needs to be a tool in their school sup· plies for the fall of 2016.
Thank you, for your membership in CMEA, and I look forward to hearing your stories about your membership adventures in this "Each One Reech One" challenge.
201e CMEA Membershlp Campeign Each One Reach One
A message and challenge from CMEA President Scott Hedgecock
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CMEA Hall of FameAwardRecipients HonoringLifetimeAchievement in MusicEd~lon Award
Of. Robert Halselh, 2016; Rose Mane tvowza, 2016: Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015; Or. Thoma$lee,2015: Jon Christian,2014: OrrinCross,2013; Gerald E. Anderson, 2012; Gayenne Kon<mazian,2012; Dr.DavidWhitwell,2011; NicholasAl'lgiuto,2010; VincentGomez,2010; Robe-1w. Lun, 2009; ti,em F. Mattfnez, 2009: CarlW. Scharer.2009; TerrySumma, 2008; Du- Weston, 2008; John Larrieu,.2007; Barbara CoryBlack, 2007; Bill lngnim, 2007; Mary Val Marsh, 2007; Carolyl'tnA. Lindeman,2006; Joe Foster,2006; Paul Shagtioian,2006; Frances Benedict,2005; L Leroy Roadl, 2005; Si!ws!er McElJ17)',2005; Je11)1Killcpalrick, 2005; Robert Greenwood, 2004; Arthur Hull, 2004; Lyie StullSOn.2004; l.oisVil1\,2004; JohnFarr,2003; ThomasEagan,2003; lalT\I Johnson,2002; MaryLouiseReilly,2002; WilliamHill, 2001; Helynn Manning. 2001;WeSley •eo1one1• Moore,2001; VivianHoffsletter, 2000; F. John Pylman, 2000;Lawrence Sutherland,1999Gluck Schroe<ler.1998; DeanSemple,1997: BurlWanerJr.. 1996; JerTYMoore,1994; Mike PapPOne,1992; David Goedeeke, 1991; MartoweEMe, 1987; Arthur Dougherty,1985; WilhamBuri<e,1983; Aub,eyPenman.1981: SteveConnolly,1979:HowartlSwan.1977; Russell Howland, 1975.
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Warm-up Tips
IiiImproving Tone and Intonation
by Dr. Thomas Tatton
Youthful orchestras learn to move toward superior intonation and a beautiful tone during their daily warm-up; 10-15 minutes of tone building and. intonation strategies in addition to right and left hand technique, rhythm, and ensemble exercises.
Universal Truths
Posture:Posture is everybody's responsibility. Every orchestra member should:
• Sport a relaxed and supple posture
• Be seated upright
• Have relaxed should~ and arms
• Both feet flat on the floor
• Upper strings • top of instrument somewhat parallel to the floor
• Celli and Bass • F-holes and eyes in line with the music and the director
• Basses • right hand should easily reach mid·way between the end of the fingerboard and the bridge
• Everybody should have ample space to bow
Strings: The quickest, easiest and least expensiveway to im· prove tone and intonation is to have a clean, true (not false) newer set of reasonably priced strings on every instrument.
I use Thomastik "Dominant" strings for violins, violas and celli and D'Addario "Helicore" for basses. There are certainly other strings that are quite good but don't go "cheap" here.
Keep instruments and strings clean: Place a cleaning cloth in every case. Make sure the youthful musicians use it. Dirty strings and strings caked with rosin will not vibrate properly and produce a gravelly, unclear tone.
Bowe:A well-rosined bow with a full, clean ribbon of hair that is the correct size for the instrument is a must. An adjusting screw that works smoothly is also essential.
Bow grips: Right hand bow grips should be flexible, relaxed, supple and appropriate to the instrument.
Shoulder rests: All violinists and most violists require a shoulder pad or support. Sponges work well, come in Yarious
thicknesses, can be cut to size requirement (from a fractional sized violin to a larger viola) and are inexpensiYe. (Secret: some professionals put sponges under their lapels). Commercial Zaret pads work well as do Resonan shoulder pads. Select to each students' needs and budget. Have a tune· tional "stop" for every cellist and bass player.
Intonation: Intonation is partly a factor of expectations. If orlf: expects that "kids" will play out of tune, they will. If one expects that students should play in tune then students will gradually and incrementally improve their intonation.
Bach Chorales: Bach chorales are like the universal elixirsomehow chorales improve everything from following the conductor, reading and listening skills, balance and ensem· ble issues, and to the topic at hand, tone and intonation.'
Tone Strategies
In point of fact -good intonation depends on and enhances a fine tone! It cannot be any other way.
Every Note in Every pjece: In each string section use:
• Uniform direction
• Bow geography (Lower third, middle third, upper tl'lird)
• Placement or contact point (See bowing lanes below)
• Speed
• Weight
• Tilt
Creating a full, mature and musical sound depends almost totally on the mastery of these six elements. This may seem daunting yet if one places the six in order of importance to a public school orchestra program we have a sequence of doable pedagogical objectives; bow: ( 1) direction, (2) geog· raphy, (3) placement, (4) speed, (5) weight, (6) tilt.
Bow lanes: From sul tasto to sul ponticello. In reality there are an infinite number of lanes. This graphic2 easily explains the changes in timbre, color and tone quality possibilities as the bow, always parallel to the bridge, moves either closer or further from the bridge. Mastery of bowing lanes leads, along with the mastery of the other five elements, to the mastery of the range of color and timbre possibilities of bowed stringed instruments.
Sul tasto - Wispy, thin, perhaps distant "flute-like" sound.
Lane 1 Light but clear sound.
Lane 2 - Warm and rich, can be a darker sound.
Lane 3 -Bright and intense, can be a forceful sound.
Sul ponticello - scratchy, glassy, crackly sound.
Scales: With dynamics: down bow then up bow; crescendo then decrescendo (Requires control of pronation and supination)3
Two-octave scale: down·bow and then up-bow; add one note at a time.
Bow S1retcher:Exercise for bow speed, bow control, bow geography, arm freedom and flexibility and, tone. Use a whole bow for each note with the metronome set at 60:
IntonationStrategies
It should be noted here that there are different kinds of "in· tonation~ We will concern ourselves here with vertical/har· monic and horizontal/melodic intonation.
Tuning prO<:eSS:Have onel"
Use the power of sympathetic vibration: (resonating or ringing tone). This is the sound and feel of in·tune fingered notes (e's g's d's a's and e's) with the open string overtone series. Imagine the sonic power if everybody's instrument was in tune with itself, everybody's strings were in tune with every other instrument and everybody placed their fingers where they achieved the maximum resonance! That's the power you hear with the finest orchestras.
Sul P~
Drone siring scales: Play a simple scale against the tonic note or chord. Students listen for the quality/textural sound of in-tune unisons, seconds, thirds, etc.
Pick a note: Director puts hands together. We all need compar· isons. Put the problem note in-tune. Hands together equals in tune: hands moving apan students gradually move fingered note out of tune (hi or lo}; moving hands together brings the problem pitch back in tune. Variation: finger pointed up • students play sharp; pointed down -students play flat; finger moving to parallel to the floor· students play in tune.
Climb inside a selected pitch: One student plays the problem pitch in tune. Quickly, add students one at a time -each added student listens, plays, listens, and adjusts. Goal - keep that problem note centered and in tune. ""\
Follow ma; Select a difficult section and the director plays it. If the director can't lead on a string instrument -use a piano or another instrument. Have a student, a stand, or a section simply follow/echo the teacher. Add students/sections.
Rhythm only: Don't blame the le~ hand for every problem. Try rehearsing difficult sections with open str1ngs. I also suggest singing and/or clapping the rhythm of a section that is "out of tune~ Start with one string section and add others. Often a pitch and/or tone problem is actually a rhythm/bowing/ensemble problem. One will be surprised how much better a section of difficult music sounds once the rhythm/bowing and, ultimatelythe ensem· ble is improved!
In rehearsal, rotate seata, often: Back to front/front to back so that every student is engaged, involved and responsible, not just
those up front. Judges at festivals often stand so that they can see that those students in the back of sections are equally involved and feel responsible and integral to the successful sound of the entire ensemble. Set up a system of rotation.
Rehearse In a clrcle or In quartets or divide the orchestra in two: one half of the orchestra on one side of the room and half on the other. Play back and forth for each other with musicians continually critiquing pitch, tone, dynamics, etc.
Prepare a note or chord: Sound an "in-tune" note or chord, Direct everybody, "close your eyes:'Tap a person to begin playing "out of tune" gradually louder or more out of tune until others hear the problem.
Achieving a superior tone. and Intonation is not a destination, rather it is lifetime journey for all musicians. We are on this pilgrimage together.
1. Bech Chorales, arr. Thurston, Southern Music Company/Hal Leonard Corp.
2. The graphic was rendered by Raymond Bracken of Los Osos, California.
3. Scales are most profitably done in a moderate slow tempo allowing musicians toi listen and adjust.
4. Michaer Alexander wrote a marvelous article on every aspect of the tuning process. "Teaching Tuning to the String Orchestra~ American String Teacher, November 2008, Volume 58, No. 4, Pages 20-26.
There'sroomto play.
Mentorship: Are You In?
by Mark Nicholson CMEA Mentorshlp Program Chair
Every professional music educator I know can improve their teaching skills and learn something new. PerhaJ>$it's looking for that sisnple quick and easy teaching technique that gets your beginning band playing better in tune. Maybe you're seeking better ways to communicate those expressive nuances through long, sweeping conducting patterns. Or might it be simply wanting to learn some new tips and tricks of the trade that will enhance your students tone quality or intonation. Whatever shiny new tools needing to be added to one's toolbox, know that there are some very brilliant people in our profession who are willing to share their knowledge and experiences with others in the field. Music teachers, from rookies to veterans, are encouraged to seek out opportunities to ]earn from these masters. It's almost magical when teachers and master teachers partner together to fonn a mentor/mentee relationship.
Do you sce yourself as a motivated, conscientious music edncator with a passion for success? These are essentially the keyingredients for a teacher to enter into a snccessful mentorship. Teamjng up with an experienced mentor will help teachers learn how to receive feedback productively and later to begin using that feedback strategically to improve their instructional delivery and rehe11J"Saltechnique. A mentor can help a teacher increase his or her own self-confidence in the classroom and will shed. a new and healthy perspective for achieving student excellence and success. A mentor can also provide a vei:y important network of professional colleagues that we all know is vitally important in our line of work. No longer should any teacher feel isolated on their school campus when cxpen mentol.'5 arc available to serve.
The good news is CMEA has a mentorship program. The better news is that CMEA has mentors all throughout the state who are ready to work with you! Simply put, CMEA mentors are eager to invest their personal time and energyto help you develop your "A" game. CMEA mentors bring to the table a wealth of experience that is second to none in California and range in grade level experience from kindergarten through university.They engage in regional, state and national boards. They adjudicate, clinic, consult, and guest conduct at festivals throughout the state. They have numerous distinguished music educator awards listed on their resumes and they consistently gamer top ratings at festivals. Some are producers, arrangers, and composers of musical works. Others are published authoi., grant writer.;, and reviewers of national core arts standards. A few arc Orff-Schulwcrk certified and quite a few represent our profession in leadership roles both at the local level and statewide. We even have national board certified teachers and BTSAsupport providers! So the time is now to get in the game. Axeyou.ready to be ex.posedto new ideas and new ways of thinking? Are you willing to try di.ffe~nt tactics with your srqdents and be open to teaching music with a fresh perspective?Ar.eyou primed to develop new teaching skills and pedagogical mastery? One thing is for sure by taking advantage of the CMEA Mentorship Program, you will be assigned a highly qualified CM EA mentor who will take a personal interest in you, your students and your school community. Together you will find success. Now what are you waiting for? Get dialed in with a CMEA mentor. It willsurely be one of the sman:est career decisions you will ever make!
Choralesand Ballads \
A Must for Middle School Bands
by Bill Ingram
lbelieve there is a missing link with pre-high school concert band literature, or more attention is needed to produce better instruction and performances with slow, ballad and chorale type band literature tor middle school ensembles. I have been a CMEA adjudicator for about ten years now and have listened to many ele· mentary, middle school, and high school concert bands during the busy month of March every year. CMEA music festivals are statewide through March, and of course, some in the month of April. But the problem that I wit· ness every year at festivals is the slower, ballads and chorale pieces that are played too fast, with wrong artic• ulation, and, sometimes, too loud. Unfortunately, some ensembles don't even include a slow piece in thei.r pro· gram, which just brings an absence to the program repertoire. Please bear with me now, I'm basically just talking about some groups, not all middle school bands. When I hear a slower ballad-type piece at festival, usually the second piece in a normal three-song program, I really want to hear something that will move me and to relay some emotion to all who are listening. And it can be done.
If you pick a selection that is marked 76mm, don't play it 96mm -104mm, or a piece marked 84mm and play it 108mm- 112mm plus. In fact, practice the piece10 to 20 BPM (beats per minute) slower to have students re· ally feel the reduced tempo over and over again, and then you can make the move to the requested marking, or play it a little less than suggested. Too many songs are just played too quickly. Right after your first number whichis usually a march or an up-tempo piece, students need to completely relax into a different mood (think soft), change your tonguing style and position, and let yourself really experience a soothing and a laid-back tempo. The mood has to change! I've seen and heard too many groups keep the same items that it takes to play a umarch" or faster tune to the second number that doesn't use them. This includes articulation.
A softer "d"·type tonguing needs to be used, not •t• tonguing which I hear too many times. Young students can usually slur and "Mongue; and legato is the one ar· ticulation that is hard for them to understand and play. If there is difficulty with this activity, have them slur these passages first. The process from slurring to a legato tongue will come much easier for them later. Band members need to not use any kind of edge or attacic on notes in a ballad type arrangement. It just doesn't work.
Now we come to phrasing/breathing. If you ck>n'tsay or teach young musicians anything about this and really express the issue, then students will breathe anytime they feel the need That is something that I hear way too many times. It becomes a convenient action. Taking a breath under a slur mark ls a big no-no and we all know that, but you really have to teach and stress this because it's being done more than we think. Four-bar phrasing is where I really see and hear this problem. Students, with proper breath control, can get accustomed to this with the proper training. Usually we see a four-bar phrase with a breath by many students after only two measures, this can and should be changed. Ifyou work with them on breathing oorrectly and taking a breath after a phrase, they will do it!
I worked with an ensemble a few weeks ago where the slur mark was over four measures -one long phrase. I saw many taking a breath after two bars, some after only one bar, but no one for the full length. Alter working with thern about air intake and making it last for four meas· ures, it was done, and they were smiling. Also make sure that all musicians don't take their breath too early leaving "gaps• at the end of the phrase. Convenient breathing has to change in order to make the song sound full and connected. It makes such a big difference, so work on thia with your students. It will sound so much fuller and smoother.
Other items I need to mention are the ritardando and allargando markings in a ballad, which usually have a
crescendo followed by a fermata and/or luftpause. This really needs attention by many bands. These are areas in the music that are played too quickly and with little change in the tempo or dy· namics. Don't treat them as an obstacle or interlerence. Play them with heart and compassion. If property performed, the ritardando coming into a fermata can be the super dramatic part of the piece. So, stretch-out and bring the crescendo to a peak, not quickly but veryslow,and hold-out the fermata for a respectful length. It just makes sense and will definitely enhance your music.
Balance is also very important. It's so easy for the brass 8fld.percussion to dominate a piece of this type, Brass and percussion players need to really listen to the woodwinds, especially the flutes and clarinets and make sure that they can hear them. It is so easy to play over them, when indeed they should be per· fonning under them. This has been a continuous problem with so many groups. Thedirector needs to some· times stand back and listen to the group more often from a distance. You will hear things, especially balance, that
don't seem to be a problem when they are on the podium right in front of the band.
Unfortunately, there are middle school ensembles who completely avoid the slower, chorale/ballad type literature. 'Why,I'm not really sure. Maybe they feel it doesn't excite the audience or adjudicators that much because it's usually an easier piece to play including many sus• tained notes and simpler rhythms. But believe me; you can spend a lot of time working on a ballad type arrangement trying to engage all of the elements listed above which so many young musi· cians absolutely need.
So, let's review what I wrote about and the suggestions made:
• To include a ballad or chorale type (slow)piece in your festival program.
• Playing the arrangement close (on the slower side) to the MM/ BPM tempo marking, but never faster.
• To train your m1.1sicianson proper breathing/phrasing, and to refrain from convenient breathing.
• Taking away the t-tongue or placing em· pha.sis on each note when there is a slur or legato marking.
• To stretch-out a ritardando or allargando marking, and to bring a highlight to the crescendo leading to a fermata sign; very relaxed and never rushed.
• And, to really listen to your section to make sure that you don't break the bal· ance with other instrumental sections. Many band directors record their groups periodically, but especially before festival and/or for a concert. If you don't record your bands, try to find a way to do so. You will hear things that you didn't realize or know were happen· ing. All of the items that I mentioned in this article will surface when listening, both good and bad, making i1easier for you to fix. Also don't listen to your recording just once, but at least twice. You will always pickup on something different the second time around. And of course, have your score laid out with your notepad when you listen back.
A music educator since 1969, Bill Ingram is a CMEA Hall of Fame Aw8J'd recipient.
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IDeer CMIA Member:
BecomePart of the ContinuedGrowth of Tri-Min C&lifomla
by Troy Trtmble CMBATrt·MRepresentative
t is exciting to be able to report back to our membership and say with enth\1$ia.&mthat Tri-M continues to grow in California. Thanks to the wo.iitof so many,Tri-M has a solid base in California that I know will continue co increase in ttnns of membership, broaden in its musical impact around the state, and dc:cpenin outside undemanding as more and more educators and students experience the lasting benefits of memberahip. Remember, as busy educators the best part ofTri-M is that it is a studeut-led and student-run organization. Dr. Tun
Lautzenheiser likes to remind us, the musical benefits of Tri-M a.rethe main goal, but the resu.lts of creating srudent leaders in your program who help run
back to their music teachers about Tri-M and about ow upcoming Leade.rshipSummit. Maybe that's how you fi.nltheard aboutTri-M. Also at CASMEC, West.em Division Tri-M Committee Representative Elizabeth Robertson and I were able to host a session on Tri-M and we felt those who attended left much more informed about Tri-M and wete all ready to implement their own chapter$ within the coming schoolyear.There was some gn:at disruss.ionand dialogue that reallyWM moriwting to me as I returned to my own school and Tri-M chapter following the conference.
Tri-M®Music
HONOR SOCIETY
the ins and outs of things and who talte ownership of their program arc the extra pluses that rcilly make having a Tri-M chapter at your school site to be such a great thing.
The recent efforu by NAfME the pa.stfew years to really push for a rebranding and promotion ofTri-M across the country via online tools, merchandise,and a great social media presence has helped us here in California to tab: on the continuing challengeto increase ourTri-M chapter numbers by 10 percent each yeai-for the past several~- The support of the CMEA State Council has also made my job easier at the ~ce levelto promote T ri-M at the CaliforniaAll State MU6ic Education Confecence in San Joseand by facilitating the holding of the 6.rstever California Tri-M Leadership Summit. These moves ha\lChad a huge success on the increased chapter and srudcnt membership numbers in California.
At CASMEC I was able 110visit nearly all of the honor groups and talk directly with all choral music students at the Choral Leadership Academy about the importance and benefits ofTri-M. Each student received two handouts to take
A couple of weeks following CASMEC, Eli?.abeth Robertson and I were able to finally realiu our goal of a statewide Tri M Leadership Sum-
mit, first dreamed up at the Western Division Leadership Seminar in June of 2015. The event was hosted at two school sites,one in Northern and one in Southern California.In total we ~re able to host about 50 attendees from nine schools for a productive morning geared towards motivating and equipping students to get started and be successfulin Tri-M at their O'INll &<:hoo)!lites. Students and leaders ~re able to make connections and collaborate with others, wo.iitthrough the hwdles and brainstonn realistic and ;.chool·specificgoals in small groups, as well es leave with the tools and excitement necessary to ma.lu:it all happen.
I wanted to leave you with some great data on how well Tri-Mis doing in California:Data from the end ofM:iy shows that we have 75 registered Tri M chapters with an estimated Tri-M membership of3,000 students here in Oilifurnia. California is leading the way in the Western Division and now we look to make it one of the top five states in Tri-M membership in NAfME.
A Call to All on Behalf of Music Educators Teaching in Urban and Rural SchoolDistricts
by Dr Lawrence f Stoffel Special Representative to the CMEA President
0ver the past three years CMEA has sponsored CASMEC sessions targeted to music educators who teach in urban school districts. The panelists ar these well~attended se~ sions included teachers and administrators &om urban school districts throughout California. These elementary and secondary teachers, principals, and visual and performing arts coordinators shared their success stories about vibrant choral. instrumental, and general musjc programs. These panelists also gave practical and ionovative advice to attendees at each of the session'sQ&A segments.
From these CASMEC sessions,it was made clear that: (1) students at urban schools are deserving of quality, sequeutial, curriculum-based music instruction, but in many such districts this is not being pro vided; (2) music educators teaching in urban school disrricts contend with added and unique challenges; (3) many urban music educators have become disenfranchised; {4) many urban music educators betieve that CMEA does not or cannot provide the professional services that urban music teachers and their srudenrs are needing; and (5) music teachers in rural districts cxpcrie-0ccmany of the same sorts of challenges that are found in urban schools.
Simply stated, these three years of CASMEC sessions confirmed that mosic educators in urban and rural school districts cooteod with compounded problems and challenges in order to deliver quality music instruction.
Therefore, at the CMEA State Council meeting on February 11, 2016, a recommendation was made for CMEA to address the special needs facing music educators and their students in urban and rural schools. CMEA President Scott Hedgecock has stated that the creation of an urban and rural schools representative be added to the CMEA Council of Representatives during his 2016-2018 term. As he has stated (see page three in this issue of CMFA Magazine), "The goal is to identify schools that are outside of our traditional music program realm, who have schoolwide challenges chat arc uniquely different than most suburban schools. It is our goal to reach out to those music educators and let them know that CMEA and
NAfME are for them and their unique needs. Being included in our mission and vision statements, we will be living up to those statements as we work to provide greater access for all students to music education programs in California."
Scott Hedgecock has asked me to serve in a special assignment to prepare for the creation of this new state representative position, which I gladly accepted. During this coming academic year I will explore how CMEA could best address the needs of urban and rural music educators. I will communicate to the CMEA membership at-large about the need for urban and rural representation in CMEA, solicit input from the membership to better understllnd the netds of urban and rural music educators, and seek to know how CMEA can best assist in their efforts.
In the coming months I will be communicating to the CMEA membership through CMEA Magazine and with e-mailings. NonCMEA members who are teaching in urban or rural schools will also be contacted through direct mailings. We will conclude this exploratory period with a formal, open m~ting at CASMEC 2017 to allow everyone the opporrunity to share ideas and thoughts about the needs of urban and rural teachers and how CMEA may assist in those efforts.
UltimateJy, from these activities we should be able to identify: (1) the role and purpose of an urban and rural representative on the CMEA Council of Representative; (2) identify a CMEA member who would be the first urban and rural representative on the council; and (3) have that person begin serving in this newly created position immediately after CASMEC 2017. (hiite possibly we may discover the need for the creation of two positions - one urban representative and one rural representative.
Please be looking for my communication to the CMEA membership in the fall.Th.is call is going out to lll1CMEA members on behalf of our colleagues who are teaching in urban and rural school districts. Perhaps the best tirst step that each of us can take is to pass along this article to those urban and rural music teacher.s you ma.yknow who are not presently members of CMEA. Let them know that "CMEA and NAfME are for them and their unique needs. Being included in our mission and vision statements, we will be living up to those statements as we work to provide gr:eateraccess for .ill srudents to music education programs in California.•
Higher Education Happenings
A Sampling of the Many Music Education Activities Taking Place on out State's College and University Campuses
by Dr. Lawrence F. Stoffel
CALSTATELA
/ Celifomia State University, Los Angeles
Cal State L.A.has been selected as an official universiry affiliate
ofThe Grammy Museum at L.A. Live. As a Grammy Museum
university affiliate, Cal State L.A. will have access to the rich mnsica) history and archives of the Grammy Museum for educational purposes, cuITicul.umresources, research programs, internship op-
portunicies, professional development seminars, collaborative marketing and promo6ons, and project-based learning. Cal State L.A.
joins fivt: other universities in the United States that have been se- lected as Grammy affiliates.
-since the launch of our universiry affiliate program in 2014, we've invited five educational instirutions from across the country to
- engage in a unique resource-sharing opportunity,~ said Bob Santelli, executive director of the Grammy Museum. "We're excited for Cal
JState L.A. to join us as our second Los Angeles-based university affiliate, and are pleased to make this announcement during the first~
ever L.A. insrallment of our Music Revolution Project."
"We are proud to be able to join other top music programs in
partnering with the Grammy Museum as a unive.rsiryaffiliate," said Peter McAllister, dean of the college of arts and letters. "Cal State
• L.A. and its students will benefit from this collaboration by having access to the rich and unique materials that have been compiled and
developed by the museum."
hnp-J /www.otlmtela.olu/uruY/ppVpubli"t
MT.SAC
Mt.SanAntonioCollege
Mt. San Antonio CoUege
The Mt. San Antonio College (Walnut, CA) Wind Ensemble celebrated the ensemble's 70th year on campns by undertaking a five-day performance tour of Chicago, Illinois. The Mt. SAC Wind Ensemble performed on the Armour Stage at Chicago's· Symphony Center (home to the Chicago Symphony Orchestra). The Mt. SAC Wind Ensemble's Chicago performance was billed as the "Showcase Ensemble" as pan of the 2016 Chicago International Music Festival.The Mt. SAC Wind Ensemble's concert, "Connections," featured the music of Reed, Cross, Delibes, Bach, and Ticheli.
Additionally the Mt. SAC Wind Ensemble featured a concert on Mt. San Antonio College campus that featured interactive program notes. The program notes were linked to QR Codes, that when scanned by audience members (che QR Codes were placed in the printed concert program), took the audience to professionally produced videos containing the Mt. SAC Wind Ensemble in short tutorials about each work to be performed. The Mt. San Antonio College music department welcomes the addition of two new faculty members; Dr. Luis Zuo.iga (applied alto saxophone instructor), and Laura Stoutcnborough (applied clarinet instructor). You can find out more about the Mt. San Antonio College Wind Ensemble by vis·itingthe band's website at www.mtsacband.com.
Submitted by Gregory X.Whitmore
Mt. San Jacinto College
A new music degree and CD recordings are taking the program to a new level.Jeremy Brawn has been dividing his tlme between the classroom at Mt. San Jacinto CoJJege and the recording studio. Brown, associate professorIt hair of the music department at MSJC and director of the college's Menifee Jazz Ensemble, recently released two CDs: Hop &otch audJeremy BrownQyartet. He is also at the helm of the new associate in arts transfer degree in music at MSJC. The degree will allow MSJC music students to transfer to four-year institutions. Brown said recording in a studio gives MSJC music sru.dems real world experience and a taste of the pressures involved in that aspect of the industry. As an instructor, Brown said being in the studio as both musician and producer keeps him current and. enhances what he can bring to students in the classroom.
"The recording experience finds itS way back to the classroom in several ways,"'Brown said. "I can speak from my own experience, and when I play or demonstrate or offer advice, it's coming from someone who's actively making music. Ultimately, though, it's all about having fun and creating music. The spirit of creation is hopefully what translates and inspires students."
http://www.msjc.edu/PublicloformationOffice
'
I SIMPSON
,· U N 1 V E 1t S I T Y
/ Simpson University
An original composition by Simpson University (Redding, f CA) music professor Dan Pinkston has been published by Al-
liance Music Publications, lnc. \VhenJesus \.Veptis a piece writ·
A--.
ten for four-part choir and piano. It was commissioned and lliiii
premiered by Dr. Cyril Myers, assistant professor of choral music, 'WHl!,TIEll f and the Simpson Chorale during a spring 2015 concert on cam· WhittierCollege c O LL E G E
Jpus. Alliance Publishers is a leader in qualiry choral music pub~
lishing, with an editorial board made up ofluminaries in the Classical music enthusiasts attended Whittier College's 79th
choral field.The company aims at producing challenging yet ac- Annual Bach Festival with several performances taking place at / • cessiblechoral music. When Jesus Wept was largely inspired by the College's Memorial Chapel and the Ruth B. Shannon Center
words from the book oflsaiah, " ... by His stripes we are healed." of the Performing Arts, as well as \Vhittier's First Friends
"I wrote the words and melody as a contemplation of Chcist's Church. This year's festival featured a new concert quality harpsi-
suffering and death," Dr. Pinkston said. This is Dr. Pinkston's chord, an instrument gifted by members of Whittier College's second composition to be published by Alliance. In 2008, My class of 1963. Soul Magnlties the Lord, also for choir and piano, was primed. The three-day festival.,Whittier College's signature event, fea·
During his tenure at Simpson as professor of theory and compo· tured Whittier students, faculty,alumni, and special guests persition, Dr. Pink.5tonhas won several composition awards and forming sacred and secular works by Johann Sebastian Bach.
Jr composed two symphonies, premiered by the North State Sym Guest performers included artists from Chorale Bel Canto and
phony and Shasta Symphony,respectively. Chamber Ensemble, the Los Angeles Guitar Quartet, as well as Grammy winning flautist and \Vhittier College professor of j http://simpsonu.edu/Pages/ About/News/2016/
music Danny Lozano, and alumnus and noted Bach scholar Ray-
mond Erickson. Whittier's new harpsichord was crafted by the renowned German firm J.C. Neupert and is a fitting gift for the
Uc D.MI 5
college,given th.at the festival is one of the nation's oldest Bach
. festjvals.The harpsichord is a gift from members of the Class of f 1963, notably, Robert Burchit, Raymond Erickson, Catherine
UNIVERSITYOF CALIFORNIA
"Kiny' Gasper Jessup,James and.Mjke Mitchell,J. Stanley f
Sanders, and E. Guy Talbott, which will directly beuefit students.
j J Univeraity of California, Davis "Students encountering the works of Bach.and others in their
Four faculty members from the University of California, Davis studies will now be able to truly appreciate the unique experience have been elected to the American Academy of Arts and Sciences of practicing and performing on a period iustrument," said Asso-
/ • including Christopher A. Reynolds, professor of music.They are ciate Professor of Music Stephen Cook. ., among 213 scientists, artists, writers and leaders in busiuess, poli- http://www.whittier.edu/new,;/02·9·16
., • tics and philanthropy to be selected this year.
• .1,. Christopher A Reynolds has been at UC Davis for 31 years.
• His research areas include music of 19th-century Gecmauy and
j the Renaissance.He has collected about 6,200 pieces of sheet
If you have an item for a future "Higher Education Happen- ,
/ music by women composers,mostly donated to the UC Davis ings" column, please e-mail your item (in 200 words or less) to .., Shields Library. Reynolds has also taught classes ou rock music, Larry Stoffel at stoffel@csun.edu.Submissions will be included f )
• and has won both the UC Davis Prize for Undergraduate Teach- on a first-come/space-availablebasis.This column contains
ing and Scholarly Achievement and the Academic Senate Distin items receivedby submission as well as from culling the Inter-
guished Teaching Award. He was president of the American net. •
Musicological Society for the years 2013 and 2014. His recent ..4e ( books include Wagner, Schumann, and the Lessons of
Beethoven's Ninth and Motives for Allusion: Context and Con-
tent in Nineteenth-Century Music. / http://arts.ucdavis.edu/music-news
Optlmidng the Music Experience for Special Learners
-Hbw to Prepare for Instructional Inclusion
by Angela Holmes, M.A.Ed. CMEASpecialLearnersRepresentatlve
The most imporrant first step any educator can take to become instructionally inclusive of special learners is to first, be familiar -withthe definitions of the thirt(:Cfl federal 1pecial.edUOLtioncategories. Althouf h a teacher in a public school setting will more frequet'1ly come in contact with the high.erincidence disabilities, such as specific learning disabilities, attention deficit hyperac- 1 tivity'disorder, under the category of other health .impairment, autism spectrum disorden. and speech or language impairrnenlll, it is always good to: remain familiar with all categories; 6}r teachers who work with younger children, developmental ' delay may be encountered more frequently.
f As a teacher in training, an introductory special education I course is required for credentialing, followed by in-service training and activities to qualify for a clear California credential. The introductory course is designed to pro-;cle a com ~li~ovep,-iew ,._9[~,,peci,1 ed~cat~on~ategori~ plus gifted and talented education. The obJetttve 154'0 pr~e thc·ttacher to recogniu children who may need to be rekm:d for potential support services through special educa1:iof le is also designed to provide th.e teacher with an understanding of the learning characteristics that may affect.instructional, behavioral and environmental planning. L~ttuctional planning, curriculum planning, and classroom m'lnagement will be further addressed through the sequence of teacher credentialing courses leading to completing pre-and post-service training. Other courses will address the accommodations required for culturally, linguistically and economically diverse populations.
While writing lesson pl.ans,it is expected that cone"!einstructors and supervising teachers arc monitoring the teacher candidates classroom instruction, as well as monitoring lesson planoiog to assure that accommodations ahd modifiC'!tions are utilized durin'g instruction for SJ):ecie.ll~arncrs. Although we would like to believe that we can all teac~ toithe highest level of student potential in a "label•free" ed~cacional environment, the reality is that we need to fully understand learning characteristics, behaviors and learning styles ~f diverse population which is inclusive of speciallearners, in order to be effective instructors for all students. We acknowledge,because ' .. of research, the fact that spe<.."iallearners achieve at a ·higher rate when their educational placement is alopgside ilieir nonchallenged peers. Supporting this belief a.ndfor other con- < cems, is the State of California. Californi~'s State Department of Education is actively responding to a f~de.ralorder to "deVll.te academics for students with disabilities.I'The response by Califoritia wi1Jlbe,ane.[ort'to build an educational structure that willlbccome "one coherent system." , With the achievement of California special learners as among the lowest in the fifty states, with•rescarch supporting higher achie~ment in general education cla&srooms,and tb.e increasing decreas~ of special learners in :egregated educational settings, there is a strong need for !very educator to respond to all learners by preparing themsclv~ with the information that they will need in order to plan and teach effectively.The word to emphasize in this process is preparation. So we ask, "Whe.t do we need to do to prepare for a
diven;e classroom oflearners, specifically, special learners?"
The following is a list of activities that can be followoo before the school year begins. It is a compR:hensi~ list, but in the R:ality of the day to daymanagement of time, it may not seem realistic to employ every activity suggested. It is ffll'Ommendedthat each teacher review the list below and select the items that providethe information that is helpful to them in teaching the special learnen in their program. Some of the suggested strategies arc common sense.All of these strategics will tab: extra time to implement. Any rime inYCStedin obtaining information to identify the needs of special leaml!rs, will ensure and increase, the ability to effectively plan instruction, create a positive classroom environment and increase parental support.
To begin, C\'e.Iy public school is expecred to provide an annualupdate of current special education information to their cenili.cated staff on or before the beginning of the school year. In most schools, a schoolwi~ or tcachc:r specific l.i5tof students who hai.i: an Individuali-ied Education Plan (IEP) is provided for all teachers. This fut will usually include a list of students with health issues cvcn if they do not ha= an IEP,but may need special anrncion while attending school. Once a teacher has identified their students who arc special learners, they can begin the process of getting to know the specific needs that their stu&nts have that may a.ffttr.their inscructional planning, org,anizc wir behavior management strategies and identify 11.nyadditional support strattgies so that the students ca.ne1lperiencesuccess in a music education serting.
Preparation: Before the Beginning of the School Tear
• Every teacher needs to know where IEP's are stored and the proce!ISfor accessing the IEP.
• Every te2cher needs oo know who the pri mary CIISC carrier is for each student who is a special learner. Although this will vary from elemenrary, middle school to high school, all teachers need to know their special education &erVicesprovidc:rs.These staff members become the colleagues who can beiefured to for as,istancc. Assistv.nce is defined as observing the:swdcnt, making suggestions for behavior intervention or instruction, interpreting IEP notc!I, etc.
• Access the IEP for ea.chsrudent who has qualified for a Special Education.
• Read the entire IEP.Makenotes.
• Note the strengths of ellChsru<knt. their present level of academic functioning, and
language ability if the student is an English language learner. This infonnation will usually be refemd to on the fim two pagesof the IEP.
• NoR! commenrs about social interaction and behavior.
• If a student has a Behavior Intervention Plan (BIP) in addition to an IEP.read that plan to note cxpecred behavior intcrventio.ns that the classroom teacher should monitor or participate with and/or behavior S\lggesti.onsto follow in the classroom. A BIP will usually accompany an IEP for a student who had the: identification of emotion or behavior disordered, but is not limited to that category.
• Read the IEP fur any nolation regarding mus.ic:interest, previous mu&icinstruction, privatt lessons, music mated activities, en:.
• While reading the IEP,write down any quations that may need clarifiation from either the case carrier, psychologist or parentsllcgal guardian.
• Listen to concerns and insights regarding the student.
• Cluify the expectations of the music program, and perhaps performance cxpecb.tiol'Ul. auditions. etc.
• Rni~ the curriculum for the grade and/or program.
• Clarify any qw:.stionsnoted in the IEP that affects music.
• Determine a communication 5)'Str:mand frequency of contact need between home and school
• If the student dOC9not attend the first meeting, a second meeting to review most, if not all of the information of the fust meeting, should be arrang.:d, with the second meeting including a tour of the classroom. Any other rdevant features of the music program that may affect student achievement and behavior should be explored, such as seating location, sensory sensitivity, need for breaks, etc.
• After lnstrocrion Begins
• Note any accommodation that is necdco for • Makeregularteuher-student contact. mllllicinstruction that may not be included
• Consistently apply instructional and accomin the lEP. Dctccmine, with the CaliC can:icr, modation plan stratr.gic:sbased on the cornif the music accommodation needsto be menrs in the IEP or accommodacions added to the IEP. <ktcrmined by the cxpec11tions of the music
• Begin an informaJ file fur each student that is a spc:ciallearner. Throughout the year include any notc!Ior student work product that you clcfttlnine is important for parent information, gra.ding purposes, md/or support data for a.ccommodations. lrus file will be w;cfut when the teacher is ai;kcd to attend the students annual or tri-1nnual IEP meeting.
Student and Parente/Legal Guardian
In an i<kal setting, a teacher has the time to meet individually with each family.The following list is only a ffll'Ornmendation. TheTCare many ways to structure acrivi.ties that engage a positive ~tionship with the home for the pwposc of securing the additional support that many special learnerS need in on::lerto be suc.cessfulin a music program. The teacher is encouraged to review the following ~commendarions and utilize the srrattgies that are most useful to them. For inslllno:, a group meeting to discuss program expectation& may be more l'CWlltic.
• Cont2£T.the parr:nts to arrange a meeting at school. The ideal time fur this meeting i.8before school begins. The first meeting mayor may not include the student. Attendance may depend on the recommendation of the parr:ntllegal guardian. The purpose for this meeting is to;
program, i.e. pccvicwing new music at home or before clai;s,performance apectations.
• Determine if a student needs an in-class support system plan: buddy system, ~c.
• Keepjournal notes for all interaction with home and student accommodations, as well as other conlll.ctswith staff regarding the student. Notes will also be hdpful as a sup· port for II request for support pcrsonnd or materials.
In conclusion, preparation iii the an:nerstone of a succcsdi.tl experience in any cwsroom, but especially the music cbssroom. The S\lggesrionspttscnted rcquitt what seems to be "extra" worlc.Ali forcca.stearlier, the int.:gntion of students with special necdii will ronrinue to increue, therefore suggesting that we 11.Rin an era of developing a nrw attitude toward instructional responsibility and ao:ountability fur all learners. Embrac ing the need to be proacrive will yield a richer music experience fur all leamcn, but espccwly for the special learner who has the same need and right to express the music from within them. It is the most committed mus:icteacher who will embrace the need to develop an cffectavempport system to realize music a,;dlence in all srudenrs.
IStudent as Guide for Using and Innovating Music Technology
by TamaraT. Thies.Ph.D. CMEAMusic TechnologyRepresentauve
t is.my h.ono.r to serve as the new technology represen° tatlve for CMEA. I will join the ralented and accomplished music faculty at California State University Long Beach as an assistant professor of music education in August. Prior to this appointment, I taught fifteen years as a high scli.qolband director before pursuing my Ph.D. at the University oflowa. While I am a native Iowan, my professional education and appointments offer diverse perspectives from the Midwest, deep South, East Coast, and Europe. As a newly minted Californian, I look forward to engaging with you and continuing to build on the foundation and projecrs of my pred.ecesson and the state.
The core of my interest in music technology is the cross pollination of established music-making experiences, practices, and pedagogies with technological possibilities in order to best serve studencs' developing musical and artistic skills while using diverse formats. I began this journey at a small, private institution where many young music education majors struggled to understand core concepts that were historically presented in reacling-observarion-disrussion formats. The need for these studentli to experience the concepts in a different context became dear, so I developed a set of informal learning challenges that used JamHub technology and instruments associated with rock bands. The challenges explored recreating a cover song, arranging that cover song in another style, then composing a new song using a motive from one of the previous experiences in another musical style. In addition to developing instrument technical skills, collaborating, performing, responding, and creating which can be achieved without technology, the JamHub layered fimher experiences with personal needs (e.g. improvisiug over only a bass line while allowing everyone to practice/play at the same time) and balance/blend as students used indl· vidual mixing boards. Subsequent skills in recording andediting offered yet another layer.At first, students were hesitant bnt quickly engaged with the process after embracing discovery and play in this "new" setting. As a result of this approach, students offered more thoughtful, detailed, and insightful responses to reflective questions while developing stronger musical and mnsic educator skills. Even thongh this project was teacher-designed, it was student-driven out of need for internalizing music education concepts that wonld be integrated thronghont the program.
In presenting this project to three classes in the fall of 2015 at Indiana University Bloomington, a group ofinstru-
mental students emerged from these classes with an interest to explore music making and music education in formats using technology. Two examples of student-driven projects in the spring of2016 offer possibilities for further exploration. Grayson Mento, a juni.or music education srodent who studies euphonium, developed a "showcase" of his musi• cal interests that included his performance on multiple in~ struments (euphonium, piano, £lute,guitar, ukulele, voice) through established repertoire, his own arrangements, and his own compositions. Grayson's digital composition representing game music while he performed a lyrical melody on euphonium illustrated how one musical medium can enhance the other, effectively demonstrating cross~pollination for artistic means.
Austin Simon, a spriog 2016 student teacher, developed a composition activity with his students in England using
HIT RD
hitRECord (an online collaborative production company), GarageBand, MIDI keyboards, and acoustic instruments. Eighth and nioth gr.tde students in the equivalent of a genenJ music class in the United Stares participated in several individual and collaborative challenges that expanded from a single musical idea created.by their peers.The goal of this project, entitled "Bits and Pieces" (https://hirrecord.org/projects/2811640/interests/12), was to expose students to the possibilities of composing and gain insights into the composhion process. Because the focus of building musical skills and knowledge revolved around a concept as opposed to a musical medium, Austin efficiently jntroduced students to compositiou based on their own musiail interest. while interacting with another platform in technology.
Students who are becoming more technologically literate and enjoy exploring diverse musiL-alopportunities are guiding us in music edncarion. As students reveal their interests, directly or indirectly, we can help navigate their interests more effectively,efficieutly,and educatioually. With students at the center of the Learningprocess, diverse formats in mnsic making and potenrial platforms in technology offer a plethora of possibilities foe us as music educators. This is a great opportunity for us to share our ideas, and I look forward to deYC!opingthese conversations.
CMEAState Band and OrchestraFestival at the MondaviCenter.UC. Davis
Mey 20, 2016 et UC Davis
Top left: Scott Hedgecock, CMEA President;John Born, CMEA Presiden1Elect; Keith Johnson,CMEAStale Band and Orchestra FestivalCoordina· tor fot 2017 and 2018.
Top right: Scott Hedgecock, CMEA President with State Band and Or· chestra FestivalAdjudicators Dr. Steven Thompson,Or. Emily Moss, and Dr. Robert Halseth.
Bottom:JimMauaferro, CMEA State Band and Orchestra FestlvalCoordi· nator for 2014, 2015, and 2016, pictured with the student vol1a1teersfrom the Sheldon High School Music Department.
CMEAState Choral Festival at Meng Hal~CSU Fullerton
April 1, 2016
Choir in red: Los Cerritos Middle School Contempo, Janice Hague, DirectOf.
Adjudicators: Scott Hedgecock (current CMEA President) , William Hatcher, Or. Charlene Archibeque, Or. Christopher Peterson, and Michael D. Stone (CMEA Immediate Past President).
Choir in black: Palmdale High School A Cappella Choir, Michael McCullough, Director.
CMEAState Solo and EnsembleFestival (NorthernCalifornia)at CSU Sacramento
May6- 7, 2016
Chawanakee Academy Guitar Ensemble (Natalie Samuelson, Claire Samuelsoo, Emma Johnson, and Ben Johnson) with Dlrector Bill Samuelson from O'Neals, CA.
Bottom letl: Tiara Abraham with her private voice teacher, Kate Murphy. Tiara received a command performance rating.
Special Thanks to our CMFLJ C::#.,,fo Alu<";,,., t=.::u.~t;,,,.,J<:'r\l•"ln~~-s
Santa Clara Vanguard Silver Sponsor
CMEAState Solo and EnsembleFestival (SouthernCalifornia)at CSU San Bernardino Mey14,2016
Top left: Eva Gomez, Oak Crest M ddle School; top center: brass quintet from F{edondo High School (Christ·an Umernura trombone, Jacob Ray tuba, Anlhooy Rojas • trumpet, Eliana Pomfret trumpet, Michele Cheaure French horn); top right: DevonMcCreafrom San Diegurto Academy.
Middleleft: Keegan Randeen, Santiago High School; Middle center, clarinet quartet from Patrick Henry High School {Marina Burkett - clannet, Noah Krasner· bass clarinet, Kevin Nguyen • clarinet, Kim Nguyen - clarinet); Midd e center single: Deanna Bunngrud from TehachapiHigh School; Middle nght: flute duet member,Natalie Ramirez from Chipman Junior High School; Bottom left: Madison Karzin • percussion duet, Michelle Sun • percussion solo, and Joshua Cama1oni• percussion duet, from Saugus High School.
Bottom right: Sara, Joshua and Ethan Howard from Bakersfield. Sara, cello solo, 1sfrom Hightand High School, Joshua,French hom solo, is from Dr. Juliet Thomer Elementary School, and Ethan, trombone solo, 18 from Chipman Junior High School.
Top left: Saicophonequartet from La Costa Canyon High School (TaylorBailey • alto Sax,Corinne Demolder• so· pra110 sax,Jacob L n baritonesax, Cody e·shop • tenor sax); top right: Ginelle and Brent Sunio • violin solo and his sister GineUeSunio • volin solo, from St. Paul's School,Visalia
Middle left: Brass quartet from ChipmanJuniorHigh School (KristineCisneros • trumpet,JavierOsorio • trumpet, Gabriel Paniagua· tuba, EthanHoward· trombone);middle left single:Devon McCrea rromSan Dieguito Acad· emy.
Bottom: (Commandperformancerecipien1swothCMEA officers left to right) Dr. AlexanderKoops,CMEA PreSt· dent-ElectSouthwesternSection; AnnalynOe La 0, CMEA SoutheasternSection President;La Costa Canyon SaxophoneQuartet (TaylorBailey• alto SQJI,Corinne Demolder• soprano sax,Jacob Lin • baritonesax, Cody Bishop • tenor sax); DeannaBuringrudfrom TehachapiHigh School; Devon McCrea from San DieguitoAcademy; and Scott Hedgecock. CMEA President.
SouthernCalifomia solo and ensemblephotoa by RyanDuckwo,,11
ElementaryMusic EducatiOn Right for Every Child and the Right of Every Child
by Richard Lawton CMEAGeneralMusk: Representative
In Califom.ia,music education in public elementary schools is something that every child is entitled to.
Since I joined CMEA, I have heard this: that we should be pursuing a goal of quality music education for every public school student not only because it is the right thing to do, but because it is mandated by the California State Education Code.
Recently,I decided to look up the relevant ed code section to see what the actual language was. I had some apprehension thatit would not be explicit, that music edncation advocateswere reaching a bit when they spoke or wroce of music being a mandated part of the core curriculum. Not so. California Education Code Section 51210 states:
"The adopted course of study for grades 1 to 6, inclusive, shallincludeinstruction, beginning in grade 1 and continuing through grade 6, in·the following areas of study: (S) Visual and performing arts, including instruction in the subjects of dance, music,theatre,andvisual arts, aimedat the development of aesthetic appreciation and the skills of creative expression."1 (Italicsadded.)
In other words, music is every bit as much a legal instructional requirement in California elementary schools as languageans and math, science,social sciences, and physical education (in grades 7-12, music is required to be made availableas an elective).Section 51210 even ~lains how complaints can be filed in the event that schools fail to comply.This is what happened.in 2013 when parent Marc Babin and the advocacygroup Cal200, relying on precisely this ed code section, filed a lawsuit in San Francisco Supe· rior Court to compel 37 California school districts to pro-
vide adequate P.E, which is defined in the code as 200 min· ates a week.2
If you've noticed your classroom colleagueslogging their P.E. minutes this year, it is one way public school districts arc attempting to demonstrate ed code compliance with regard to P.E.And while we are a long way from counting music minutes (although I like co fantasize that the.reis some music-loving public school parent out there with a I.aw degree and time on their hands,) it's clear that many districts arc also trying to make good on the promise of music education for all. Employment opporturuties for music teachers are up across the state, and many large districts report that they arc providing music programs in all or nearly all of their elementary schools. At this year's Califom.iaAllState Music Education Conference (CASMEC), CMEA unveiled a one-day mini-conkrence for classroom teachers to provide them with strategies for adding music to their instruction (it is dementaiy classroom teachers who an: ul:i:imately responsible for instruction in all areas of the core curriculum). The mini-conferenceWllS highly successfuland will become a.regularfcatwc ofCASMEC going forward. & school districts bring them~s into compliance with 51210, however,it is important for CMEA to morutor and evaluate what direction the effort is taking and now effective it is in reaching everychild. For ex.ample,during CASMEC 2016's "Setting A Better Table" panel discussion,we learned that in many districts, "music in every elementary school~consists of one day a weekinstruction provided by a rotacing music spccialist.S.Sincethis translates to six to eight cl.assesper school per week,an applied music ensemble in
chorus or on:hcsu-a fur selected fourth. fifth and sixth graders is inVllriablythe instructional option :administratoB choose. This ammgemcnt makes good economic sense for districts, but it also means the visiting mus;icspecialin has lit tie time for students in gr.i.des1-3 (Ed Code 51210 does not address the instructionaJ needs fur kindergarten).
As mentioned, in the absence of a dedi• cated muiic teacher the instructional responsibility for mwic falls on the classroom teacher. Theon:tically, teachers should find the time to teach music alongside language arts and math,just like they teach science and social studies. Unlike those subject areas, however, there are very few TC6ourcesthat explain to non· musi cians how music should best be integnted into daily instruction. Then: is no mui.ic equivalent of the Foss science kit. Grade levels do not meet to develop appropriate music strategics, and music specialists don't usually attend school site staff meet· ings. California content standards for music, naturally, are writnm for musicians.
Mon:ovu, whatever our K-3 students are getting in terms of music, it i6 likdy that students of color from low socio eco nomic status schools are receiving the least ofit. In 2014, Paul Mibu and Brent Gault analyz.eddata that ha.dbeen collected in an earlier longitudinal study that followed studenl'.6&omsever.alSl':ttcS between 1998 and 2006 from kindergarten to their eighth gra& year.They found a persi.stent and substantial cquiry gap between Jaw poverty and high poiverty schooh with regard to ll\U5icand arts education.•
What can be and should be done? Then: are three things CMEA ought to be doing or doing more of that will en• hance the efforts of schools to improve their elementary music prognms and adw.nce the caus,cof universal music educa• tion.
Dcvdop a Model:The ed oode i&silent on the subject of whatoonstitutcs an adequate IC'Ytlof music instruction. It would be useful for CMEA to begin to develop irs own idea of what the minimum requin:ments for music education arc. I'm not tallcing about a suuunary of the content standards here, but something broader and more practical - a simpk set of guidelines that all schooh have a chance to be successfuJfollowing. The best programs from arowid the state and from outside California should be ev:alu-
atcd to find what they arc doing that works, that is efficient and that is transferable.
Many California schools have entctcd into partnership with third party providers of music instruction that are funded in a variety of ways, including by the distrim themselvn. A list of these providen and w:i.ysof doing business should also be complied, so that schools in~tcd in de· V\'!lopingtheir own programs am be pointed in the direction of resources.
Advoc11te:Once CMEA develops a clear picture of what an elemenrary music program should look.like, the next step is to pitch it to districts and individual administtators. As wc knowfrom trying to get our students to do anything challenging, demanding that they "do it because it is the ls:w"is rarely sufficient. lrn.tead, we need to per~ade them that music daSSC!I provide juat the son of creative problem solving opportunities that today's aClldemic standards require. Specifically,elementary music has been shown to be an excellent vehicle for reinforcing Common Core ELA and Mathstandacds.1 Other studies show that the development of music skills in young children parallels (and, therefore. enhances) the dcvelo}>" ment of language acquisition slti&. 6 PrincipaJs at Title 1 schools should be reminded that mwsic is part of the core rurric:ulumand, therefore, one of the areas in whu:h they mu spend their federal discn:tionary funds.
An appreciation for the impomnoc of advocacy needs to be aw>mpanied by the realization that persuasion will t:a1a:more than a single conversation. It ru:eds to be pm of an ongoing effort that music education advocak:s must engage in regularly. Change our own thin.king:Elementary school music programs that act as feeder progr.uns for middle school and high school ensembles have obvious appeil to school districts that see vertically integrated instruction as an ideal. The problem is that too many music educators conceive of elementary music as an ~ctive orercis-c:as \rell AB we all know, students who sign up for orchestra or chorus are oftffl kids who are $Uccessfulin school in general. While there is nothing wroug with developing the music potential of exceptional students. we have an obligation as teachers to resch out to the ones who are not accustomed to thinking of them• selves as talented or whose parents don't know how to take advantage of resources
or who simply need a little more coa~ng. Of all the arguments that favor a general music approach Gl/1:l' applied music in elementary schools, this one is the most pawe.rful no program can be oons.idued universal if kids have to opt in.
In making the case for every child's right to music education in California public element:uy schools wc must be per· suasi.veand pen,istcnt but also patient. Students, parents. and administrators move on and are replaced bynew groups of stakeholders who need to be convinced all over again that mulliceduation is right for every child. Studies overwhelmingly suggest that people want music in the schools, but in the face of increased instructional demands, testing requirements, and right budgets, it is inevitable that some may loie track of the fact that music education is something our children are entitled to. 1 The important thing is that wc in CMEA do not lose track ofit.
Footnote&
1. StatcofCalifumia F.ducationCode 51210:http:/ /www.lcginfo.ca.gov/cgi• bin/displaycodc ?scction•edc&group,.5100 1-52000&:file~s1210-s1212
2. Hayden,S. (2014, July 27) "California schools face lawsuit over physical education is schools." Los AngelesTimes. http://www.latimcs.com/local/educarion/l a-me-pe-lawsuit-20140728-story.html
3. Lawton, R. (2016) "What We Learned at CASMEC 2016: a Report of the State of GeneraJ Music Education in California." Prepared for CME.A.
4. Miloze, P. &. Gault, B. (2014) "Classroom Music Experiences of U.S. Elementary Schoo) Children: An Analysis of Early Childhood Longitudinal Study 1998-1999." Joumalof~sea.rch in MU8~ Education. 62(1). 4-17
5. Caroany, A.B. (2013) "General Music and the Common Core; A Brief Discussion." General MusicToday. 27(1). 35-39
6. Scott, L. K. (2004). "Ear)y Childhood Brain De-m.opment and Elemenrary Music Cwncula:: Arc They In Tune?" Genuul Music Today. Fall, 2004. 20-27
7. Abril. C. &Gault. B. (2006) "The State 0£ Music in the Elementary School: a Principal's Penrpc:ctin."Journal of Research in Music Education, 54 (1), 6-20.
