CMEA Magazine Summer 2019

CMEA Magazine

The News Magazine of the California Music Educators Association Summer Issue 2019 • Volume 72 • Number 4

Stand Up 4 Music California Music Education Advocacy Day • May 10, 2019 • California State Capitol

She’s updating her music festival attendance numbers.

Music in the Parks makes it easy.

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

An Incredible Experience + More Options = Great Satisfaction + We offer festival only packages + You can easily update your numbers and print out a new invoice 24/7 + Audio critique and printable score sheets available online after your performance + We have more dates and locations than anyone else + Our performance schedules are available on-line + We have the most experienced festival staff in the industry + We are open 12 hours a day to answer your questions

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

Dates, locations and pricing are all on our website.

E-mail: cmea@calmusiced.com Website: www.calmusiced.com

musicintheparks.com | 1-800-323-0974 | info@edprog.com

The News Magazine of the California Music Educators Association SUMMER ISSUE 2019 • INSIDE THIS ISSUE

CONTENTS • President’s Message: Looking Back and Looking Ahead

by CMEA President John Burn

3

• Stand Up 4 Music California Music Education Advocacy Day Photos May 10, 2019 • California State Capitol

9

• Getting to Know our CMEA Collegiate Council

by Anne Fennell, CMEA Vice President

10

• Bay Section News

by Bruce C. Lengacher, CMEA Bay Section President

12

• Central Section Expands Reach into Merced/Mariposa Counties

by Rob Bentley, CMEA Central Section Festival Coordinator-North

12

• Report from Central Section

by Bill Wilkinson, CMEA Central Section President

13

• Inspiration

by Holly MacDonell, CMEA North Coast Section President

14

• Southwestern Section News

by Jessica Husselstein, CMEA Southwestern Section President

14

• News from the North

by Todd Filpula, CMEA Northern Section President

14

• Something Old, Something New, Something Borrowed, Something Blues

by Ryan Duckworth, CMEA Southeastern Section President

15

• Meet the CMEA Mentees

by Mark Nicholson, CMEA Mentorship Program Chair

17

• CCDA News and Events

by Jeffrey Benson, Ph.D., California Choral Directors Association President

18

• Music Composition in Your Ensemble Rehearsal

by Alexander Koops

19

• CMEA 2019 State Solo and Ensemble Festivals at Azusa Pacific University and Sacramento State University

21–22

• Technology Enhanced Learning

by Chad Zullinger, CMEA Music Technology Representative

Ad Index u California Music Education Foundation u CMEA Fall Professional Learning Seminar u CMEA Mentorship Program u EPN Travel u Music in the Parks

IBC 28 16 BC IFC

23

u NAMM Foundation u Nick Rail Music u QuaverMusic.com u University of Portland u Yamaha Master Educator Program

6 5 8 7 2

On the Cover: Top photo: Elk Grove High School, Mario Sebastian, director. Middle row, left photo: Cosumnes High School, Christina Ball, director. Middle row, right photo: Smedberg Middle School, John Brashier, director. Bottom row, top photo: Elk Grove High School instrumentalists; Bottom lower and right photos: Smedberg Middle School instrumentalists, John Brashier, director.

Orchestrate Success in Your Career… JOIN CMEA+. Visit www.nafme.org.

CMEA is a federated state association of the National Association for Music Education.

Part of the Educational Programs Network | Festivals, Clinics, Workshops and the Professionals to get you there.

Summer Issue 2019

1

She’s updating her music festival attendance numbers.

Music in the Parks makes it easy.

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

An Incredible Experience + More Options = Great Satisfaction + We offer festival only packages + You can easily update your numbers and print out a new invoice 24/7 + Audio critique and printable score sheets available online after your performance + We have more dates and locations than anyone else + Our performance schedules are available on-line + We have the most experienced festival staff in the industry + We are open 12 hours a day to answer your questions

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

Dates, locations and pricing are all on our website.

E-mail: cmea@calmusiced.com Website: www.calmusiced.com

musicintheparks.com | 1-800-323-0974 | info@edprog.com

The News Magazine of the California Music Educators Association SUMMER ISSUE 2019 • INSIDE THIS ISSUE

CONTENTS • President’s Message: Looking Back and Looking Ahead

by CMEA President John Burn

3

• Stand Up 4 Music California Music Education Advocacy Day Photos May 10, 2019 • California State Capitol

9

• Getting to Know our CMEA Collegiate Council

by Anne Fennell, CMEA Vice President

10

• Bay Section News

by Bruce C. Lengacher, CMEA Bay Section President

12

• Central Section Expands Reach into Merced/Mariposa Counties

by Rob Bentley, CMEA Central Section Festival Coordinator-North

12

• Report from Central Section

by Bill Wilkinson, CMEA Central Section President

13

• Inspiration

by Holly MacDonell, CMEA North Coast Section President

14

• Southwestern Section News

by Jessica Husselstein, CMEA Southwestern Section President

14

• News from the North

by Todd Filpula, CMEA Northern Section President

14

• Something Old, Something New, Something Borrowed, Something Blues

by Ryan Duckworth, CMEA Southeastern Section President

15

• Meet the CMEA Mentees

by Mark Nicholson, CMEA Mentorship Program Chair

17

• CCDA News and Events

by Jeffrey Benson, Ph.D., California Choral Directors Association President

18

• Music Composition in Your Ensemble Rehearsal

by Alexander Koops

19

• CMEA 2019 State Solo and Ensemble Festivals at Azusa Pacific University and Sacramento State University

21–22

• Technology Enhanced Learning

by Chad Zullinger, CMEA Music Technology Representative

Ad Index u California Music Education Foundation u CMEA Fall Professional Learning Seminar u CMEA Mentorship Program u EPN Travel u Music in the Parks

IBC 28 16 BC IFC

23

u NAMM Foundation u Nick Rail Music u QuaverMusic.com u University of Portland u Yamaha Master Educator Program

6 5 8 7 2

On the Cover: Top photo: Elk Grove High School, Mario Sebastian, director. Middle row, left photo: Cosumnes High School, Christina Ball, director. Middle row, right photo: Smedberg Middle School, John Brashier, director. Bottom row, top photo: Elk Grove High School instrumentalists; Bottom lower and right photos: Smedberg Middle School instrumentalists, John Brashier, director.

Orchestrate Success in Your Career… JOIN CMEA+. Visit www.nafme.org.

CMEA is a federated state association of the National Association for Music Education.

Part of the Educational Programs Network | Festivals, Clinics, Workshops and the Professionals to get you there.

Summer Issue 2019

1

President’s Message

Looking Back and Looking Ahead

by John Burn CMEA President

A

s I reflect on the 2018–2019 school year, my first as CMEA President, I first think of gratitude to the CMEA leadership that preceded me: Norm Dea’s difficult and necessary restructuring which lead to the formation of CASMEC; Russ Sperling’s vision and mission process which led to the formation of Stand Up 4 Music; Michael Stone’s adherence to procedure which led to the growth of CASMEC, Stand Up 4 Music, and significant increase in our membership; and Scott Hedgecock’s reframing of our vision and mission through the “IDEA lens” of Inclusiveness, Diversity, Equity and Access, and setting projects in motion to make our philanthropic arm, the California Music Education Foundation, become more active.

When we look back on California and 2018, we remember the devasting fires, including the one that destroyed the entire town of Paradise, California.

Following the fires, CMEA put CMEF (The Foundation) to work and ran an online donation drive. This campaign resulted in us giving $3,390 to music educators affected by the fires.

As I look back, I remember our CASMEC Vision and Planning Retreat in the Spring of 2018. CBDA, the California Band Directors Association, had made the difficult and necessary decision to move CASMEC from San José to Fresno, and CCDA, formally ACDA California, had decided to stay in San José. After our retreat, where we set aside ego and distrust and calmly looked at what had happened, and how best to proceed for the betterment of all students, we drafted a Memorandum of Understanding between our organizations, and we excitedly look forward to the return of CCDA to CASMEC in February 2020.

The CASMEC 2019 in Fresno was a wonderful conference including fan-

AND YOUR STUDENTS WILL GO FURTHER The Yamaha Master Educator Program The musical journey never ends. That’s why we brought Master Educators together to inspire teachers and students to realize their full potential. Workshops are designed for middle school through collegiate level and include topics such as: Habits of Successful Middle School Band Directors, Building Leadership In Your Ensemble, Developing a Programming Philosophy and more.

Master Educators include: Dr. Rodney Dorsey

Dr. Travis J. Cross

Dr. Emily Threinen

Professor of Music in Bands, Indiana University

Professor of Music and Music Department Chair, UCLA

Director of Bands and Associate Professor of Music, University of Minnesota

To learn more about the program and choose from 19 specialized Master Educators who will help you reach

...continued on page five

your goals, please contact Jalissa Gascho at jgascho@yamaha.com. Visit us at YamahaEducatorSuite.com.

Summer Issue 2019

3

President’s Message

Looking Back and Looking Ahead

by John Burn CMEA President

A

s I reflect on the 2018–2019 school year, my first as CMEA President, I first think of gratitude to the CMEA leadership that preceded me: Norm Dea’s difficult and necessary restructuring which lead to the formation of CASMEC; Russ Sperling’s vision and mission process which led to the formation of Stand Up 4 Music; Michael Stone’s adherence to procedure which led to the growth of CASMEC, Stand Up 4 Music, and significant increase in our membership; and Scott Hedgecock’s reframing of our vision and mission through the “IDEA lens” of Inclusiveness, Diversity, Equity and Access, and setting projects in motion to make our philanthropic arm, the California Music Education Foundation, become more active.

When we look back on California and 2018, we remember the devasting fires, including the one that destroyed the entire town of Paradise, California.

Following the fires, CMEA put CMEF (The Foundation) to work and ran an online donation drive. This campaign resulted in us giving $3,390 to music educators affected by the fires.

As I look back, I remember our CASMEC Vision and Planning Retreat in the Spring of 2018. CBDA, the California Band Directors Association, had made the difficult and necessary decision to move CASMEC from San José to Fresno, and CCDA, formally ACDA California, had decided to stay in San José. After our retreat, where we set aside ego and distrust and calmly looked at what had happened, and how best to proceed for the betterment of all students, we drafted a Memorandum of Understanding between our organizations, and we excitedly look forward to the return of CCDA to CASMEC in February 2020.

The CASMEC 2019 in Fresno was a wonderful conference including fan-

AND YOUR STUDENTS WILL GO FURTHER The Yamaha Master Educator Program The musical journey never ends. That’s why we brought Master Educators together to inspire teachers and students to realize their full potential. Workshops are designed for middle school through collegiate level and include topics such as: Habits of Successful Middle School Band Directors, Building Leadership In Your Ensemble, Developing a Programming Philosophy and more.

Master Educators include: Dr. Rodney Dorsey

Dr. Travis J. Cross

Dr. Emily Threinen

Professor of Music in Bands, Indiana University

Professor of Music and Music Department Chair, UCLA

Director of Bands and Associate Professor of Music, University of Minnesota

To learn more about the program and choose from 19 specialized Master Educators who will help you reach

...continued on page five

your goals, please contact Jalissa Gascho at jgascho@yamaha.com. Visit us at YamahaEducatorSuite.com.

Summer Issue 2019

3

...continued from page three

CMEA State Council CMEA EXECUTIVE BOARD CMEA President John Burn jburn@calmusiced.com 408 522-2541

CMEA North Coast Section President Holly MacDonell hollymacdonell@gmail.com 707 499-1399

CMEA President-Elect Armalyn De La O adelao@calmusiced.com 909 838-3716

CMEA Northern Section President Todd Filpula tfilpula@chicousd.org

CMEA Vice President Anne Fennell afennell@calmusiced.com

CMEA Southeastern Section President Ryan Duckworth Ryan_Duckworth@cjusd.net 909 856-5777

CMEA Secretary Sandra Lewis slewis@calmusiced.com 408 806-5550 CMEA Immediate Past President Scott Hedgecock shedgecock@calmusiced.com 714 626-3984 CMEA OFFICE cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632 CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002 CMEA Administrative Assistant Heather Adams hadams@calmusiced.com 559 410-2425 CMEA Legislative Advocate Lynne Faulks consultLF@gmail.com SECTION PRESIDENTS CMEA Bay Section President Bruce C. Lengacher blengacher@auhsdschools.org CMEA Capitol Section President Joshua Luedtke Jluedtke86@hotmail.com 916 214-5674 CMEA Central Section President Bill Wilkinson bwilkinsoncmea@gmail.com 559 816-6141 CMEA Central Coast Section President Maria Carney mcarney@mpusd.net

4

CMEA Southern Border Section President Laura Smith lsmith11@sandi.net 619 246-0092 CMEA Southwestern Section President Jessica Husselstein jessicahusselstein@gmail.com NAfME OFFICERS NAfME President Kathleen Sanz 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768 NAfME Western Division President Sam Tsugawa sundevilsam@gmail.com COUNCIL OF REPRESENTATIVES CMEA CAJ Representative Barbara Shinaver barbshinaver@gmail.com 559 451-4320 CMEA CASMEC Coordinator/CMEA Representative on the CBDA Board Joseph Cargill cargill.joseph@gmail.com 559 474-3064

CMEA CODA Representative Bill Harrington billharrington@sbcglobal.net 510 507-9738 CMEA Advocacy Day Performance Coordinator Jeremiah Jacks jeromejacks30@gmail.com 530 417-7021 CMEA Public Relations Coordinator Mario Sebastian mariohsebastian11@gmail.com CMEA Advocacy Representative Russ Sperling sperlingruss@gmail.com CMEA Collegiate Council Chairperson Leah Musker lmusker@sdsu.edu CMEA Collegiate Representative Dr. Dennis Siebenaler dsiebenaler@fullerton.edu 657 278-3510 CMEA Creating and Composition Representative Dr. Lisa A.Crawford lisacrawfordmusic@gmail.com 310 863-6422 CMEA CTA Liaison James Benanti jamesbenanti77@gmail.com CMEA Elementary Representative Coralie Prince coralie.prince@gmail.com CMEA General Music Representative Emma Joleen emmajoleen@gmail.com

CMEA CBDA Representative Phil Vallejo philvallejo@gmail.com

CMEA Innovations Representative Danielle Collins danielle@pulsepercussion.org 909 214-8527

CMEA/CCDA Representative Dr. Rob Istad robert.istad@gmail.com 562 822-5952

CMEA Membership Chairperson Ryan Clippinger Ryan_Clippinger@kernhigh.org 661 854-5561 x70701

CMEA/CCDA Choral Leadership Academy Coordinator Willow Manspeaker wmanspeaker@stevensonschool.org 831 625-8339

CMEA Mentorship Program Chairperson Mark Nicholson mnicholson@sandi.net 858 256-2702

CMEA Music Supervisors Representative Michael Stone meuph@att.net 661 319-8218 CMEA Music Technology Representative Chad Zullinger chad.zullinger@gmail.com 925 817-7757 CMEA Higher Education and Research Representative Dr. Ruth Brittin rbrittin@pacific.edu 209 946-2408 CMEA Retired Members Representative James Mazzaferro jmazz1@surewest.net 916 690-1992 CMEA Special Learners Representative Angela Holmes Holmesangie@yahoo.com

tastic sessions for general music educators, updates on our state standards and framework, and many other fantastic sessions, concerts and social events too numerous to mention, but it was not without issues.

The leadership of CMEA, CBDA, CCDA, CODA (California Orchestra Directors Association) and CAJ (The California Alliance for Jazz) continues to meet regularly via video conference, and with the same spirit of trust and common purpose I can assure that CASMEC 2020 will have some exciting improvements.

For me, this past year included lots of travel: Washington, D.C. for the National Assembly and Hill Day, Florida for the All-National Honor Ensembles, Salt Lake City for our Western Division Meetings, and back and forth all across our great state. From these travels, I learned that NAf ME, like CMEA, is working on meaningful progress with regard to IDEA;

CMEA State Band and Orchestra Festival Coordinator Keith Johnson keith@echsbands.com 510 231-1437 x26418

CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org 925 552-3044 CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com 714 626-3975

Nick Rail Music 800-649-5354

CMEA World Music Representative Dr. Lily Chen-Hafteck lhafteck@ucla.edu 310 825-4668

seen as a model with regard to increasing participation of underrepresented populations in our classrooms, within our teaching ranks, and within our music education leadership.

This past year included four excellent statewide CMEA festivals, which will continue, some in exciting new venues, next year. The 2020 CMEA State Band

and Orchestra Festival presented by World Projects will be held on Friday, March 27 at Soka University in Aliso Viejo. The acoustics of this venue are fabulous. The 2020 CMEA State Choral Festival presented by World Projects will be held on Thursday, April 9, in the beautiful Weil Hall at Sonoma State University. These locations formally institute a plan to move the state festivals back and forth from North to South each year. Even years (2020, 2022, 2024...) band/orchestra will be in the south, and choral will be in the north; odd years (2019, 2021, 2023...) band/orchestra will be in the north, and choral will be in the south. By establishing a pattern and continuing to provide superb adjudication and stellar venues, it is my hope that these festivals will continue to grow in participation and prestige. We will also continue to hold two CMEA State Solo Ensemble Festivals in May, one in

Nick Rail Music and YAMAHA present the 31st Annual “SOUNDS OF SUMMER” Marching Percussion Drum Camp

CMEA State Choral Festival Coordinator Nancy Ludwig nancyludwig6@gmail.com 626 443-6181 x5895

CMEA Urban Schools Representative Zack Pitt-Smith zackpittsmith@gmail.com

Inclusiveness, Diversity, Equity and Access. It is my hope that just as California is seen as a model for other states with regard to our collaborative conference, we can be

California’s Premier School Music Dealer

Featuring Yamaha Artist Dr. Brian West and this year’s BEST PRICES* on Yamaha Marching Percussion!

Saturday August 3, 2019 Bakersfield High School * Details & Registration online at nickrailmusic.com Agoura Hills Bakersfield Redlands San Diego Santa Barbara Valencia

CMEA Magazine

Summer Issue 2019

5

...continued from page three

CMEA State Council CMEA EXECUTIVE BOARD CMEA President John Burn jburn@calmusiced.com 408 522-2541

CMEA North Coast Section President Holly MacDonell hollymacdonell@gmail.com 707 499-1399

CMEA President-Elect Armalyn De La O adelao@calmusiced.com 909 838-3716

CMEA Northern Section President Todd Filpula tfilpula@chicousd.org

CMEA Vice President Anne Fennell afennell@calmusiced.com

CMEA Southeastern Section President Ryan Duckworth Ryan_Duckworth@cjusd.net 909 856-5777

CMEA Secretary Sandra Lewis slewis@calmusiced.com 408 806-5550 CMEA Immediate Past President Scott Hedgecock shedgecock@calmusiced.com 714 626-3984 CMEA OFFICE cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632 CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002 CMEA Administrative Assistant Heather Adams hadams@calmusiced.com 559 410-2425 CMEA Legislative Advocate Lynne Faulks consultLF@gmail.com SECTION PRESIDENTS CMEA Bay Section President Bruce C. Lengacher blengacher@auhsdschools.org CMEA Capitol Section President Joshua Luedtke Jluedtke86@hotmail.com 916 214-5674 CMEA Central Section President Bill Wilkinson bwilkinsoncmea@gmail.com 559 816-6141 CMEA Central Coast Section President Maria Carney mcarney@mpusd.net

4

CMEA Southern Border Section President Laura Smith lsmith11@sandi.net 619 246-0092 CMEA Southwestern Section President Jessica Husselstein jessicahusselstein@gmail.com NAfME OFFICERS NAfME President Kathleen Sanz 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768 NAfME Western Division President Sam Tsugawa sundevilsam@gmail.com COUNCIL OF REPRESENTATIVES CMEA CAJ Representative Barbara Shinaver barbshinaver@gmail.com 559 451-4320 CMEA CASMEC Coordinator/CMEA Representative on the CBDA Board Joseph Cargill cargill.joseph@gmail.com 559 474-3064

CMEA CODA Representative Bill Harrington billharrington@sbcglobal.net 510 507-9738 CMEA Advocacy Day Performance Coordinator Jeremiah Jacks jeromejacks30@gmail.com 530 417-7021 CMEA Public Relations Coordinator Mario Sebastian mariohsebastian11@gmail.com CMEA Advocacy Representative Russ Sperling sperlingruss@gmail.com CMEA Collegiate Council Chairperson Leah Musker lmusker@sdsu.edu CMEA Collegiate Representative Dr. Dennis Siebenaler dsiebenaler@fullerton.edu 657 278-3510 CMEA Creating and Composition Representative Dr. Lisa A.Crawford lisacrawfordmusic@gmail.com 310 863-6422 CMEA CTA Liaison James Benanti jamesbenanti77@gmail.com CMEA Elementary Representative Coralie Prince coralie.prince@gmail.com CMEA General Music Representative Emma Joleen emmajoleen@gmail.com

CMEA CBDA Representative Phil Vallejo philvallejo@gmail.com

CMEA Innovations Representative Danielle Collins danielle@pulsepercussion.org 909 214-8527

CMEA/CCDA Representative Dr. Rob Istad robert.istad@gmail.com 562 822-5952

CMEA Membership Chairperson Ryan Clippinger Ryan_Clippinger@kernhigh.org 661 854-5561 x70701

CMEA/CCDA Choral Leadership Academy Coordinator Willow Manspeaker wmanspeaker@stevensonschool.org 831 625-8339

CMEA Mentorship Program Chairperson Mark Nicholson mnicholson@sandi.net 858 256-2702

CMEA Music Supervisors Representative Michael Stone meuph@att.net 661 319-8218 CMEA Music Technology Representative Chad Zullinger chad.zullinger@gmail.com 925 817-7757 CMEA Higher Education and Research Representative Dr. Ruth Brittin rbrittin@pacific.edu 209 946-2408 CMEA Retired Members Representative James Mazzaferro jmazz1@surewest.net 916 690-1992 CMEA Special Learners Representative Angela Holmes Holmesangie@yahoo.com

tastic sessions for general music educators, updates on our state standards and framework, and many other fantastic sessions, concerts and social events too numerous to mention, but it was not without issues.

The leadership of CMEA, CBDA, CCDA, CODA (California Orchestra Directors Association) and CAJ (The California Alliance for Jazz) continues to meet regularly via video conference, and with the same spirit of trust and common purpose I can assure that CASMEC 2020 will have some exciting improvements.

For me, this past year included lots of travel: Washington, D.C. for the National Assembly and Hill Day, Florida for the All-National Honor Ensembles, Salt Lake City for our Western Division Meetings, and back and forth all across our great state. From these travels, I learned that NAf ME, like CMEA, is working on meaningful progress with regard to IDEA;

CMEA State Band and Orchestra Festival Coordinator Keith Johnson keith@echsbands.com 510 231-1437 x26418

CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org 925 552-3044 CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com 714 626-3975

Nick Rail Music 800-649-5354

CMEA World Music Representative Dr. Lily Chen-Hafteck lhafteck@ucla.edu 310 825-4668

seen as a model with regard to increasing participation of underrepresented populations in our classrooms, within our teaching ranks, and within our music education leadership.

This past year included four excellent statewide CMEA festivals, which will continue, some in exciting new venues, next year. The 2020 CMEA State Band

and Orchestra Festival presented by World Projects will be held on Friday, March 27 at Soka University in Aliso Viejo. The acoustics of this venue are fabulous. The 2020 CMEA State Choral Festival presented by World Projects will be held on Thursday, April 9, in the beautiful Weil Hall at Sonoma State University. These locations formally institute a plan to move the state festivals back and forth from North to South each year. Even years (2020, 2022, 2024...) band/orchestra will be in the south, and choral will be in the north; odd years (2019, 2021, 2023...) band/orchestra will be in the north, and choral will be in the south. By establishing a pattern and continuing to provide superb adjudication and stellar venues, it is my hope that these festivals will continue to grow in participation and prestige. We will also continue to hold two CMEA State Solo Ensemble Festivals in May, one in

Nick Rail Music and YAMAHA present the 31st Annual “SOUNDS OF SUMMER” Marching Percussion Drum Camp

CMEA State Choral Festival Coordinator Nancy Ludwig nancyludwig6@gmail.com 626 443-6181 x5895

CMEA Urban Schools Representative Zack Pitt-Smith zackpittsmith@gmail.com

Inclusiveness, Diversity, Equity and Access. It is my hope that just as California is seen as a model for other states with regard to our collaborative conference, we can be

California’s Premier School Music Dealer

Featuring Yamaha Artist Dr. Brian West and this year’s BEST PRICES* on Yamaha Marching Percussion!

Saturday August 3, 2019 Bakersfield High School * Details & Registration online at nickrailmusic.com Agoura Hills Bakersfield Redlands San Diego Santa Barbara Valencia

CMEA Magazine

Summer Issue 2019

5

Sacramento and one in Southern California.

On Thursday, May 9, we held our eighth Annual Stand Up 4 Music Day at the State Capitol in Sacramento. CMEA state and section leadership from across the state, representatives from statewide and regional band, choir and orchestra associations, and an impressive number of industry representatives coordinated by NAMM (National Association of Music Merchants) all met together early in the morning to review and unify our message, then off we went into the Capitol building advocating for music and arts Education for all students in California!

I was excited to be joined at the steps of the Capitol by State Senator Connie Levya to formally begin the day, and we welcomed a surprise address by Senator Steven Bradford at the noontime press conference. Our new legislative advocate, Martha Zaragoza Diaz, did a fantastic job coordinating the day. Her connections and

•

• • • •

understanding of how things get done in Sacramento is serving us well. I am so thankful to Jeremiah Jacks for organizing the Concerts at the Capitol so that as we visited legislators inside, beautiful music created by California students filled the air outside.

As we reflect on the past year and look ahead to 2020, I encourage you to address inclusiveness, diversity, equity and access in your situation.

Are there students, teachers or parents deserving of opportunity that in the past may have been inadvertently excluded?

Are there EL students in your program?

Are special-needs students receiving arts education in your school?

Is your classroom a safe place, free of bullying and supportive of LGBTQ students?

Does your leadership group, be it our state board, your section board, or the student leaders/Tri-M at your school, represent the diversity of your student body?

treat, when conflict arises in your situation try to: • Seek first to understand, then be understood.

• Agree on a common purpose, then be trustworthy.

Attend CASMEC 2020: • Celebrate CCDA being with us again.

• Attend sessions, concerts and enjoy the camaraderie.

Band, orchestra and choir folks, consider state festival participation.

Support Stand Up 4 Music: • Consider bringing an ensemble to perform on the Capitol steps.

• Attend with your section representatives and meet with your legislators.

And most importantly: • Keep your membership current and encourage your colleagues to join CMEA. • The more we put into CMEA, the more CMEA can do for us.

CMEA Past Presidents 1947–1949

1974–1976

1996–1998

Clarence Heagy

Marlow Earle

Jay D. Zorn

Fresno

Lakewood

La Crescenta

1949–1951

Elwyn Schwartz 1951–1953

George F. Barr 1953–1955

Fred Ohlendorf Long Beach 1955–1957

Harold Youngberg Oakland 1957–1960

Joseph W. Landon Fullerton 1960–1962

Douglas Kidd 1962–1964

Gibson Walters San José

Elk Grove 1978–1980

Henry Avila Monterey

1998–2000

Judi Scharnburg, 2019; Jeri Webb, 2019;

Dennis L. Johnson Salinas

Dean Hickman, 2018; Dr. Lawrence Stoffel, 2018; Dr. Michael Corrigan, 2017;

2000–2002

Dr. Edward Harris, 2017; James Mazzaferro, 2017; Dr. Robert Halseth, 2016;

George DeGraffenreid

Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015;

Fresno 1980–1982

Charles L. Freebern San Diego

Ann Marie Haney, 2015; Dr. Thomas Lee, 2015; Jon Christian, 2014; 2002–2004

Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012;

Sam Gronseth Paradise

Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010;

1982–1984

David S. Goedecke Stockton

2004–2006

Robert W. Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009;

Rob Klevan Pacific Grove

Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007;

2006–2008

Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007;

1984–1986

Vivian M. Hofstetter Bakersfield

Cheryl Yee Glass Danville

Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006;

2008–2010

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

1986–1988

John L. Larrieu Portola

Jeff Jenkins

Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004;

Chula Vista 1964–1966

Keith D. Snyder Davis

1988–1990

L. Leroy Roach Walnut Creek

Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; 2010–2012

Norman Dea

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

Walnut Creek 1966–1968

Reflecting on our CASMEC Vision Re-

1976–1978

Mary C. Reed

CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award

Kenneth D. Owens 1968–1970

Judd Chew Sacramento

1990–1992

Carolynn A. Lindeman Greenbrae

Russ Sperling San Diego

1992–1994

Bill Adam Roseville

2014–2016

Michael D. Stone Bakersfield

1970–1972

Anthony L. Campagna

1994–1996

Foster City

Don Doyle

1972–1974

Helynn Manning, 2001;Wesley “Colonel” Moore, 2001; 2012–2014

Pasadena

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;

2016–2018

Scott Hedgecock Placentia

Louis Nash

Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977; Russell Howland, 1975.

La Crescenta

MUSIC AT UNIVERSITY OF PORTLAND

Photo credit: Rob Davidson Photography

BE A PART OF THE NAMM FOUNDATION

Located minutes from downtown, the University of Portland combines personal attention with challenging academics in our nationally accredited music program.

The NAMM Foundation promotes music education and music making for people of all ages and abilities

Now offering a pre-music education track to prepare you for a Master of Arts in Teaching.

Get Involved

Be a Champion

Celebrate music making with NAMM Foundation programs, including: Music Making Day of Service, Make Music Day, Best Communities for Music Education, GenNext and Music Education Days.

Use advocacy resources and become a champion for music education. The NAMM Foundation believes in a world where all children have a right to a music education and where every adult is a defender of that right.

Make a Gift

ENSEMBLES

Contribute and be part of a community that promotes and celebrates music making.

University Singers • Wind Symphony • Orchestra • Women’s Chorale Jazz Ensemble • Vocal and Instrumental Chamber Music

LEARN MORE AT NAMMFOUNDATION.ORG

NAMMFOUNDATION.ORG NAMMFOUNDATION.ORG 6

CMEA Magazine

INTIMATE CLASSES. INNOVATIVE PROGRAMS. OUTSTANDING ENSEMBLES. Summer Issue 2019

FOR MORE INFORMATION up.edu/music UPMusic@up.edu 503.943.7228

7

Sacramento and one in Southern California.

On Thursday, May 9, we held our eighth Annual Stand Up 4 Music Day at the State Capitol in Sacramento. CMEA state and section leadership from across the state, representatives from statewide and regional band, choir and orchestra associations, and an impressive number of industry representatives coordinated by NAMM (National Association of Music Merchants) all met together early in the morning to review and unify our message, then off we went into the Capitol building advocating for music and arts Education for all students in California!

I was excited to be joined at the steps of the Capitol by State Senator Connie Levya to formally begin the day, and we welcomed a surprise address by Senator Steven Bradford at the noontime press conference. Our new legislative advocate, Martha Zaragoza Diaz, did a fantastic job coordinating the day. Her connections and

•

• • • •

understanding of how things get done in Sacramento is serving us well. I am so thankful to Jeremiah Jacks for organizing the Concerts at the Capitol so that as we visited legislators inside, beautiful music created by California students filled the air outside.

As we reflect on the past year and look ahead to 2020, I encourage you to address inclusiveness, diversity, equity and access in your situation.

Are there students, teachers or parents deserving of opportunity that in the past may have been inadvertently excluded?

Are there EL students in your program?

Are special-needs students receiving arts education in your school?

Is your classroom a safe place, free of bullying and supportive of LGBTQ students?

Does your leadership group, be it our state board, your section board, or the student leaders/Tri-M at your school, represent the diversity of your student body?

treat, when conflict arises in your situation try to: • Seek first to understand, then be understood.

• Agree on a common purpose, then be trustworthy.

Attend CASMEC 2020: • Celebrate CCDA being with us again.

• Attend sessions, concerts and enjoy the camaraderie.

Band, orchestra and choir folks, consider state festival participation.

Support Stand Up 4 Music: • Consider bringing an ensemble to perform on the Capitol steps.

• Attend with your section representatives and meet with your legislators.

And most importantly: • Keep your membership current and encourage your colleagues to join CMEA. • The more we put into CMEA, the more CMEA can do for us.

CMEA Past Presidents 1947–1949

1974–1976

1996–1998

Clarence Heagy

Marlow Earle

Jay D. Zorn

Fresno

Lakewood

La Crescenta

1949–1951

Elwyn Schwartz 1951–1953

George F. Barr 1953–1955

Fred Ohlendorf Long Beach 1955–1957

Harold Youngberg Oakland 1957–1960

Joseph W. Landon Fullerton 1960–1962

Douglas Kidd 1962–1964

Gibson Walters San José

Elk Grove 1978–1980

Henry Avila Monterey

1998–2000

Judi Scharnburg, 2019; Jeri Webb, 2019;

Dennis L. Johnson Salinas

Dean Hickman, 2018; Dr. Lawrence Stoffel, 2018; Dr. Michael Corrigan, 2017;

2000–2002

Dr. Edward Harris, 2017; James Mazzaferro, 2017; Dr. Robert Halseth, 2016;

George DeGraffenreid

Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015;

Fresno 1980–1982

Charles L. Freebern San Diego

Ann Marie Haney, 2015; Dr. Thomas Lee, 2015; Jon Christian, 2014; 2002–2004

Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012;

Sam Gronseth Paradise

Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010;

1982–1984

David S. Goedecke Stockton

2004–2006

Robert W. Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009;

Rob Klevan Pacific Grove

Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007;

2006–2008

Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007;

1984–1986

Vivian M. Hofstetter Bakersfield

Cheryl Yee Glass Danville

Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006;

2008–2010

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

1986–1988

John L. Larrieu Portola

Jeff Jenkins

Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004;

Chula Vista 1964–1966

Keith D. Snyder Davis

1988–1990

L. Leroy Roach Walnut Creek

Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; 2010–2012

Norman Dea

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

Walnut Creek 1966–1968

Reflecting on our CASMEC Vision Re-

1976–1978

Mary C. Reed

CMEA Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award

Kenneth D. Owens 1968–1970

Judd Chew Sacramento

1990–1992

Carolynn A. Lindeman Greenbrae

Russ Sperling San Diego

1992–1994

Bill Adam Roseville

2014–2016

Michael D. Stone Bakersfield

1970–1972

Anthony L. Campagna

1994–1996

Foster City

Don Doyle

1972–1974

Helynn Manning, 2001;Wesley “Colonel” Moore, 2001; 2012–2014

Pasadena

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;

2016–2018

Scott Hedgecock Placentia

Louis Nash

Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977; Russell Howland, 1975.

La Crescenta

MUSIC AT UNIVERSITY OF PORTLAND

Photo credit: Rob Davidson Photography

BE A PART OF THE NAMM FOUNDATION

Located minutes from downtown, the University of Portland combines personal attention with challenging academics in our nationally accredited music program.

The NAMM Foundation promotes music education and music making for people of all ages and abilities

Now offering a pre-music education track to prepare you for a Master of Arts in Teaching.

Get Involved

Be a Champion

Celebrate music making with NAMM Foundation programs, including: Music Making Day of Service, Make Music Day, Best Communities for Music Education, GenNext and Music Education Days.

Use advocacy resources and become a champion for music education. The NAMM Foundation believes in a world where all children have a right to a music education and where every adult is a defender of that right.

Make a Gift

ENSEMBLES

Contribute and be part of a community that promotes and celebrates music making.

University Singers • Wind Symphony • Orchestra • Women’s Chorale Jazz Ensemble • Vocal and Instrumental Chamber Music

LEARN MORE AT NAMMFOUNDATION.ORG

NAMMFOUNDATION.ORG NAMMFOUNDATION.ORG 6

CMEA Magazine

INTIMATE CLASSES. INNOVATIVE PROGRAMS. OUTSTANDING ENSEMBLES. Summer Issue 2019

FOR MORE INFORMATION up.edu/music UPMusic@up.edu 503.943.7228

7

Let

Help Your Work Sing!

My Checklist Engage students in making music Meet standards and ACE evaluations Spend less time planning—more time teaching Differentiate to every student Integrate technology with a purpose

Stand Up 4 Music California Music Education Advocacy Day • May 10, 2019 • California State Capitol

Keep learning and growing (PD!)

j Enjoy teaching!

ALL OF T HE ABOVE!

Meet your goals with a FREE 30-Day Preview of Quaver’s curriculum resources and teaching platform!

QuaverMusic.com/CMEASummer19

@QuaverMusic

©2019 QuaverMusic.com, LLC

Top photo, front row: Scott Hedgecock, CMEA Immediate Past President; Martha Zaragoza-Dias, CMEA Legislative Advocate; John Burn, CMEA President; Anne Fennell, CMEA Vice President. Photos starting clockwise, middle left: Scott Hedgecock, CMEA Immediate Past President. Middle photo: Anne Fennell, CMEA Vice President; Armalyn De La O, CMEA President-Elect; Justin Emord, CMEA/SU4M/NAMM Artist Spokesperson; David Jewell, Yamaha; State Senator Steven Bradford; Russ Sperling, CMEA Advocacy Representative; John Burn, CMEA President. Right photo: David Jewell. Bottom left, top row: Scott Mandeville, Tim's Music; Michael Winger, Recording Academy; David Jewell, Yamaha Corp. of America; Jo Ann Crabtree, Taylor Guitars; Eric Ebel, NAMM. Bottom left, bottom row: Eric Chun, Creative Music Services; Laurel Partin, Tim’s Music; Qiana Conley,The Recording Academy; Kathie Rollins, Creative Music Services; Amanda Muddle, Taylor Guitars; Justin Emord, Love and a 48. Bottom middle photo: Jeff Bertrand, Bertrand’s Music; Scott Mandeville, Tim’s Music; Eric Ebel, NAMM. Armalyn De La O, CMEA President-Elect.

Armalyn De La O Summer Issue 2019

9

Let

Help Your Work Sing!

My Checklist Engage students in making music Meet standards and ACE evaluations Spend less time planning—more time teaching Differentiate to every student Integrate technology with a purpose

Stand Up 4 Music California Music Education Advocacy Day • May 10, 2019 • California State Capitol

Keep learning and growing (PD!)

j Enjoy teaching!

ALL OF T HE ABOVE!

Meet your goals with a FREE 30-Day Preview of Quaver’s curriculum resources and teaching platform!

QuaverMusic.com/CMEASummer19

@QuaverMusic

©2019 QuaverMusic.com, LLC

Top photo, front row: Scott Hedgecock, CMEA Immediate Past President; Martha Zaragoza-Dias, CMEA Legislative Advocate; John Burn, CMEA President; Anne Fennell, CMEA Vice President. Photos starting clockwise, middle left: Scott Hedgecock, CMEA Immediate Past President. Middle photo: Anne Fennell, CMEA Vice President; Armalyn De La O, CMEA President-Elect; Justin Emord, CMEA/SU4M/NAMM Artist Spokesperson; David Jewell, Yamaha; State Senator Steven Bradford; Russ Sperling, CMEA Advocacy Representative; John Burn, CMEA President. Right photo: David Jewell. Bottom left, top row: Scott Mandeville, Tim's Music; Michael Winger, Recording Academy; David Jewell, Yamaha Corp. of America; Jo Ann Crabtree, Taylor Guitars; Eric Ebel, NAMM. Bottom left, bottom row: Eric Chun, Creative Music Services; Laurel Partin, Tim’s Music; Qiana Conley,The Recording Academy; Kathie Rollins, Creative Music Services; Amanda Muddle, Taylor Guitars; Justin Emord, Love and a 48. Bottom middle photo: Jeff Bertrand, Bertrand’s Music; Scott Mandeville, Tim’s Music; Eric Ebel, NAMM. Armalyn De La O, CMEA President-Elect.

Armalyn De La O Summer Issue 2019

9

“I chose to apply for a position on the collegiate council because I wanted to become more involved in the collegiate community and help advocate for my peers. As a music educator, advocacy is essential, and being involved allows me to use my unique strengths to improve support for and the experiences of my fellow collegiate members.”

Amanda N. Ezell, Collegiate Council Secretary

What do you enjoy about the council?

Amanda N. Ezell

Getting to Know our CMEA Collegiate Council

by Anne Fennell CMEA Vice President.

T

he CMEA Collegiate Council is the voice of CMEA collegiate members throughout the state of California and is also the bridge between the CMEA Executive Board and the CMEA collegiate population. The council is made up of collegiate members from all nine sections of CMEA and its members advocate for music education, the professional development of CMEA’s collegiate members, and Tri-M chapters throughout the state. The council is dedicated to guide and teach collegiate members to reach their highest professional standards to become a well-rounded future educator, while providing value, support, and community to CMEA Collegiate Members across California.

We asked our Collegiate Council members a few questions and their answers are inspiring! How wonderful to know that the future of music education in California is in the hands of these aspiring music educators and leaders. Read on.

Why are you on the collegiate council?

“I am on the collegiate council because I want to help

establish and strengthen the connection between collegiate chapters around the state. I want to help inform future music educators and enable them to get involved with CMEA and other music education organizations as well as attend conferences like CASMEC early in their careers. One of my goals as a member of the council is to help increase the visibility of the collegiate council to chapters and their members. Leading on from that, my other goal is to help establish relationships between the chapters in my section, so that there is more communication between them.”

Ivan Alcantar, Southwestern Section Representative “I am on the collegiate because I want to represent smaller music programs like CSU Bakersfield. I want to help bridge our local music education community with other communities throughout the state” Nicolo Salum, Central Section Representative

Ivan Alcantar

José Ledesma, Jr.

Update from CMEA Collegiate Council Liaison, Dr. Dennis Siebenaler

Dr. Dennis Siebenaler Music Education School of Music, California State University, Fullerton

10

Leah Musker

“Definitely the connections. The rest of the council is made up of incredible individuals who are gearing up to become phenomenal educators.”

José Ledesma, Jr.

How do you think this council experience will help you as a future music educator?

“CMEA has helped me improve my ability to advocate for music education and build connections across the state and Southern Border Section.

Everyone has been very welcoming and willing to offer advice along the way.”

Leah Musker “My involvement in the council has led me to meet so many incredible music educators that I will feel comfortable in asking for advice and guidance in my first few years of teaching. I think this will also help me in continuing to remain involved in CMEA as I transition into the field of music education so I may continue to help shape music education in California for future music educators.”

Ivan Alcantar • CMEA Collegiate Council Members

Section 1 (Bay Section): David Sanchez, San Jose State University Rene Canto-Adams, San Jose State University Section 3 (Central Section): José Ledesma, Jr., Fresno State University Nicolo Salum, CSU Bakersfield Section 6 (Northern Coast): Colin Kirkwood, Humboldt State University Section 8 (Southern Border): Leah Musker, San Diego State University Collegiate Council Chair Amanda N. Ezell, University of San Diego Collegiate Council Secretary Section 9 (Southwestern): Ivan Alcantar, CSU Long Beach • These collegiates are dedicated and eager to lead their peers in California and to connect our present to the future of music education.

If you are interested in creating or joining a NAfME Collegiate Council, please e-mail: collegiate@nafme.org The CMEA Collegiate Council information is found: www.calmusiced.com/index.php/cmea/collegiate

“This experience has provided a closer look at the inner workings of music education statewide. It has shown me ways that I can not only contribute to music education, but also advocate for it and keep it thriving for generations to come.”

José Ledesma, Jr.

Nicolo Salum

CMEA Magazine

“I love that all of my fellow council members are so passionate about music education and excited to join the profession. As a council, I am glad that we are helping to bridge the gap between current music educators and aspiring music educators. It felt great to have seen and met so many collegiate members at CASMEC this year and I hope more continue to attend each year.”

Ivan Alcantar “The council is such a great group of motivated and like-minded Music Education students looking to gain more experience and make a difference in CMEA and music education. I love that we are able to bring ideas for collegiate involvement and growth to the CMEA leaders and be heard.”

Leah Musker, Collegiate Council Chair and Southern Border Section Representative

“I was looking for a way to get involved in a much bigger way. It was also a chance to meet future colleagues who share a similar passion for music education.”

José Ledesma, Jr., Central Section Representative

As the liaison from the California Music Educators Association (CMEA) Council of Representatives to the collegiate members of NAfME and CMEA, and to the CMEA Collegiate Council, it is my responsibility to communicate the needs of our collegiate members to the state organization and vice versa. The Council is currently revising and editing their handbook to more closely align it with the CMEA 2017 strategic plan, mission, goals, and values. The Council members are working on sections individually and I will compile their work and forward it on to the Executive Committee. This handbook is designed to provide guidelines and direction for the members of the Collegiate Council, which typically change annually. The handbook will describe the purpose and goals of the Council, and also contain information regarding the role and responsibilities of members. As you know, the collegiates are the future of our profession, and it is my privilege to facilitate their participation and leadership in CMEA.

“Although there are many things I appreciate about the council, perhaps the biggest for me is having the opportunity to learn from the other council members. Because the music education program at my university is so new, I am currently the only member of our collegiate chapter, meaning that I sometimes feel isolated from the community. Being on the council has helped me get to know other collegiate members and provides an opportunity for me to learn from their experiences, helping me support and promote the growth of my own program.”

Amanda N. Ezell

as a student will help me become an effective, wellrounded music educator.”

Nicolo Salum

Summer Issue 2019

“As a future music educator, I hope to transfer the values and skills that we develop through our time in the CMEA Collegiate Council. I believe fostering professionalism, collaboration, and responsibility

11

“I chose to apply for a position on the collegiate council because I wanted to become more involved in the collegiate community and help advocate for my peers. As a music educator, advocacy is essential, and being involved allows me to use my unique strengths to improve support for and the experiences of my fellow collegiate members.”

Amanda N. Ezell, Collegiate Council Secretary

What do you enjoy about the council?

Amanda N. Ezell

Getting to Know our CMEA Collegiate Council

by Anne Fennell CMEA Vice President.

T

he CMEA Collegiate Council is the voice of CMEA collegiate members throughout the state of California and is also the bridge between the CMEA Executive Board and the CMEA collegiate population. The council is made up of collegiate members from all nine sections of CMEA and its members advocate for music education, the professional development of CMEA’s collegiate members, and Tri-M chapters throughout the state. The council is dedicated to guide and teach collegiate members to reach their highest professional standards to become a well-rounded future educator, while providing value, support, and community to CMEA Collegiate Members across California.

We asked our Collegiate Council members a few questions and their answers are inspiring! How wonderful to know that the future of music education in California is in the hands of these aspiring music educators and leaders. Read on.

Why are you on the collegiate council?

“I am on the collegiate council because I want to help

establish and strengthen the connection between collegiate chapters around the state. I want to help inform future music educators and enable them to get involved with CMEA and other music education organizations as well as attend conferences like CASMEC early in their careers. One of my goals as a member of the council is to help increase the visibility of the collegiate council to chapters and their members. Leading on from that, my other goal is to help establish relationships between the chapters in my section, so that there is more communication between them.”

Ivan Alcantar, Southwestern Section Representative “I am on the collegiate because I want to represent smaller music programs like CSU Bakersfield. I want to help bridge our local music education community with other communities throughout the state” Nicolo Salum, Central Section Representative

Ivan Alcantar

José Ledesma, Jr.

Update from CMEA Collegiate Council Liaison, Dr. Dennis Siebenaler

Dr. Dennis Siebenaler Music Education School of Music, California State University, Fullerton

10

Leah Musker

“Definitely the connections. The rest of the council is made up of incredible individuals who are gearing up to become phenomenal educators.”

José Ledesma, Jr.

How do you think this council experience will help you as a future music educator?

“CMEA has helped me improve my ability to advocate for music education and build connections across the state and Southern Border Section.

Everyone has been very welcoming and willing to offer advice along the way.”

Leah Musker “My involvement in the council has led me to meet so many incredible music educators that I will feel comfortable in asking for advice and guidance in my first few years of teaching. I think this will also help me in continuing to remain involved in CMEA as I transition into the field of music education so I may continue to help shape music education in California for future music educators.”

Ivan Alcantar • CMEA Collegiate Council Members

Section 1 (Bay Section): David Sanchez, San Jose State University Rene Canto-Adams, San Jose State University Section 3 (Central Section): José Ledesma, Jr., Fresno State University Nicolo Salum, CSU Bakersfield Section 6 (Northern Coast): Colin Kirkwood, Humboldt State University Section 8 (Southern Border): Leah Musker, San Diego State University Collegiate Council Chair Amanda N. Ezell, University of San Diego Collegiate Council Secretary Section 9 (Southwestern): Ivan Alcantar, CSU Long Beach • These collegiates are dedicated and eager to lead their peers in California and to connect our present to the future of music education.

If you are interested in creating or joining a NAfME Collegiate Council, please e-mail: collegiate@nafme.org The CMEA Collegiate Council information is found: www.calmusiced.com/index.php/cmea/collegiate

“This experience has provided a closer look at the inner workings of music education statewide. It has shown me ways that I can not only contribute to music education, but also advocate for it and keep it thriving for generations to come.”

José Ledesma, Jr.

Nicolo Salum

CMEA Magazine

“I love that all of my fellow council members are so passionate about music education and excited to join the profession. As a council, I am glad that we are helping to bridge the gap between current music educators and aspiring music educators. It felt great to have seen and met so many collegiate members at CASMEC this year and I hope more continue to attend each year.”

Ivan Alcantar “The council is such a great group of motivated and like-minded Music Education students looking to gain more experience and make a difference in CMEA and music education. I love that we are able to bring ideas for collegiate involvement and growth to the CMEA leaders and be heard.”

Leah Musker, Collegiate Council Chair and Southern Border Section Representative

“I was looking for a way to get involved in a much bigger way. It was also a chance to meet future colleagues who share a similar passion for music education.”

José Ledesma, Jr., Central Section Representative

As the liaison from the California Music Educators Association (CMEA) Council of Representatives to the collegiate members of NAfME and CMEA, and to the CMEA Collegiate Council, it is my responsibility to communicate the needs of our collegiate members to the state organization and vice versa. The Council is currently revising and editing their handbook to more closely align it with the CMEA 2017 strategic plan, mission, goals, and values. The Council members are working on sections individually and I will compile their work and forward it on to the Executive Committee. This handbook is designed to provide guidelines and direction for the members of the Collegiate Council, which typically change annually. The handbook will describe the purpose and goals of the Council, and also contain information regarding the role and responsibilities of members. As you know, the collegiates are the future of our profession, and it is my privilege to facilitate their participation and leadership in CMEA.

“Although there are many things I appreciate about the council, perhaps the biggest for me is having the opportunity to learn from the other council members. Because the music education program at my university is so new, I am currently the only member of our collegiate chapter, meaning that I sometimes feel isolated from the community. Being on the council has helped me get to know other collegiate members and provides an opportunity for me to learn from their experiences, helping me support and promote the growth of my own program.”

Amanda N. Ezell

as a student will help me become an effective, wellrounded music educator.”

Nicolo Salum

Summer Issue 2019

“As a future music educator, I hope to transfer the values and skills that we develop through our time in the CMEA Collegiate Council. I believe fostering professionalism, collaboration, and responsibility

11

Bay Section News

by Bruce C. Lengacher CMEA Bay Section President

A

s the school year winds down, it’s nice to look back at everything you’ve accomplished, and plan for next year.

In the Bay Section we put on our annual Winter Conference, 39 festivals, and had several ensembles perform at CASMEC, Monterey Next Generation Jazz, Folsom, Reno and the State B/O and S/E festivals.We are fortunate to have so many talented educators and programs in the Bay Area.

I am excited to share an update on the Outreach Project, CMEA In The Classroom. Directors at Title I schools in Oakland, Richmond and East Palo Alto were invited to participate as a pilot school for this new Program. Two middle schools and one high school responded. The visits took place in May and we’re hoping that word of mouth about this opportunity will spread over the summer and we can reach even more schools, teachers and students next year.

Coincidentally, one of the directors was the first Outreach Project-sponsored director at the Bay Section Conference in 2017 and another was the first to have sponsored students participate in the Winter Conference Honor Ensembles in 2018.

We’re so pleased that we got this off of the ground this year.

This idea was hatched by Rita Zigas-Brown and me at the NAfME Western Division Leadership Seminar three years ago and it’s gratifying to see it come to fruition. We’re looking forward to seeing it grow even more next year. I would strongly encourage you to take advantage of this valuable professional development opportunity. It’s three days right after school gets out and provides information and materials on a wide variety of subjects.

We held elections in April and the following people will be

serving on the Bay Section board for the next two years:

• Randy Porters – Jazz Representative, • Angelina Fitzhugh – Choral Representative (incumbent),

• Dr. Kara Ireland D’Ambrosio – Higher Education Representative(incumbent).

We are lucky to have such talented individuals willing to serve our Bay Section music educators.

I had the privilege to attend SU4M Advocacy Day in Sacramento on May 9, 2019 and was able to meet with assembly persons and staff to advocate for supporting AB 39, seeking increased levels of funding for LCFF, informing legislators of statute requiring the arts (including music), talking about the new VAPA standards, thanking them for their vote on our Standards Bill (AB 2862), and giving them the current developments of the Curriculum Framework on VAPA standards, and the need for professional development for teachers on the new VAPA standards.

I know that we’ll all be learning new music for next year, developing curriculum, and trying to front load as much as we can.

Even so, make sure you also dedicate time to relax and do those things that bring you happiness. Wishing you all a productive and relaxing summer.

• “We will be more successful in all our endeavors if we can let go of the habit of running all the time, and take little pauses to relax and re-center ourselves. And we'll also have a lot more joy in living.” – Thich Nhat Hanh

Central Section Expands Reach into Merced/Mariposa Counties

by Rob Bentley CMEA Central Section Festival Coordinator-North

A

s the largest section (geographically speaking), the Central Section has desired to expand their reach into all areas including Merced and Mariposa Counties.

These areas have been part of the section for quite awhile but it wasn’t until two years ago when a team of board members traveled north to meet with music educators in the area that the idea of hosting festivals became a reality. Last year, a CMEA CS concert band and jazz band festival were held with a warm reception. Those festivals grew this year with great hosts Maria Brouillard and Michael Vasquez.

Raymond Willis, a recent graduate of CSU Stanislas and edu-

12

cator in the Merced area, approached me with the idea of hosting a solo and ensemble festival this spring. On April 13th, our inaugural festival was held at El Capitan High School with the assistance of the student volunteers from CSU Stanislas.

Michael D. Stone was the adjudicator for all of the entries. Mike said that he was very impressed with the level of musicianship and he was especially impressed with the level of professionalism of the student volunteers.

CMEA Central Section will seek continue to expand opportunities in the North San Joaquin Valley area.

CMEA Magazine

Report from Central Section

by Bill Wilkinson CMEA Central Section President

T

his has been a productive end of the school year for Central Section. In the past weeks alone we have held an election, lobbied for music education and potentially changed the way we participate at ratings festival. A new day is dawning in Central Section.

May began with our biannual executive board elections. Once again, there was presented a slate of strong candidates to choose from. Congratulations to Michael Tackett, director of bands at College of Sequoias, who was elected as Central Section’s next president-elect/first vice president of festivals. Mr. Tackett is a well-respected music educator and adjudicator in our section and his leadership will prove to be an asset to both the Central Section and CMEA boards. Congratulations also to incumbents Dr. Tony Mowrer, music education coordinator at Fresno State, and Dr. Leo Sakamoto, director of bands at CSU Bakersfield, winning their elections as Central Section secretary and second vice president/bulletin editor, respectively. We are pleased to see these gentlemen re-elected to the board not only for what they do in their board capacity but what personal qualities they bring to the table as fellow board members.

Central Section participated again this year at the Stand Up 4 Music Advocacy Day in Sacramento. Our delegation included Immediate Past President Kirk Clague, President-Elect Steve McKeithen, Legislative Action Representative Walt Crider and myself. Together we met with five legislative offices to lobby for the greater good of music education.

Summer Issue 2019

This was the largest delegation from Central Section to date and we hope to expand in the future to ensure that our voice reaches every legislator – it is vital that they hear our message!

Within our board we often speak of moving the needle to advance or improve what we do as an organization for the betterment of the educators and music students we serve. Recently one of our festival coordinators, Peggy Biller, proposed to our executive board that we convene to discuss the possibility of incorporating sight-reading as a mandated component to our ratings festival. In the past, some of our festivals had included sigh-reading as an option but it was never mandated and the option soon fell by the wayside. I applaud Mrs. Biller for being dauntless in her pursuit to advocate for sight-reading. She understands the importance and benefit of assessing this skill and she seized the opportunity to call for action within our board to examine the merits and consider mandating sight-reading at our large group festivals.

As Peggy penned it, we are better fulfilling our mission statement by Empowering Educators to Inspire All Students Through Music Education. I couldn’t agree more. This measure will go to a board vote in an upcoming meeting. Stay tuned for what changes may come.

We had the opportunity to witness one of the most brilliant and inspiring minds in music education today when Dr. Peter Boonshaft came to speak at the Central Valley Music Education Summit held at Fresno City College. This event was coordinated by Aaron Bryan, VAPA Fresno

County Office of Education and VH1 Save The Music. Since 1997, VH1 Save The Music has granted 192 schools in California and has donated $225,000 to seven schools in Fresno County alone.

The rural school districts of Firebaugh, Fowler, Caruthers and Riverdale have all reaped the benefits of these grants. The VH1 Save The Music foundation has strict standards that align with CMEA’s vision of music advocacy. For a school district to qualify for an instrument grant, the course of study must be taught during the school day by a credentialed teacher with a school district’s ten-year commitment to the project. This was great to hear. I applaud VH1 Save The Music and program director Jaclyn Rudderow for their efforts in California and more specifically Central Section for providing access to quality music education for thousands of our students.

On a personal note, with the completion of this writing I close a six-year chapter of serving CMEA. I have thoroughly enjoyed my time serving as a section president and before that as logistics coordinator for CASMEC. I have met many fantastic people and have served alongside California’s best and brightest music educators and leaders. I encourage all music educators to serve in some capacity big or small, for the state or for your community – it all makes a difference.

Thank you for this opportunity to serve.

13

Bay Section News

by Bruce C. Lengacher CMEA Bay Section President

A

s the school year winds down, it’s nice to look back at everything you’ve accomplished, and plan for next year.

In the Bay Section we put on our annual Winter Conference, 39 festivals, and had several ensembles perform at CASMEC, Monterey Next Generation Jazz, Folsom, Reno and the State B/O and S/E festivals.We are fortunate to have so many talented educators and programs in the Bay Area.

I am excited to share an update on the Outreach Project, CMEA In The Classroom. Directors at Title I schools in Oakland, Richmond and East Palo Alto were invited to participate as a pilot school for this new Program. Two middle schools and one high school responded. The visits took place in May and we’re hoping that word of mouth about this opportunity will spread over the summer and we can reach even more schools, teachers and students next year.

Coincidentally, one of the directors was the first Outreach Project-sponsored director at the Bay Section Conference in 2017 and another was the first to have sponsored students participate in the Winter Conference Honor Ensembles in 2018.

We’re so pleased that we got this off of the ground this year.

This idea was hatched by Rita Zigas-Brown and me at the NAfME Western Division Leadership Seminar three years ago and it’s gratifying to see it come to fruition. We’re looking forward to seeing it grow even more next year. I would strongly encourage you to take advantage of this valuable professional development opportunity. It’s three days right after school gets out and provides information and materials on a wide variety of subjects.

We held elections in April and the following people will be

serving on the Bay Section board for the next two years:

• Randy Porters – Jazz Representative, • Angelina Fitzhugh – Choral Representative (incumbent),

• Dr. Kara Ireland D’Ambrosio – Higher Education Representative(incumbent).

We are lucky to have such talented individuals willing to serve our Bay Section music educators.

I had the privilege to attend SU4M Advocacy Day in Sacramento on May 9, 2019 and was able to meet with assembly persons and staff to advocate for supporting AB 39, seeking increased levels of funding for LCFF, informing legislators of statute requiring the arts (including music), talking about the new VAPA standards, thanking them for their vote on our Standards Bill (AB 2862), and giving them the current developments of the Curriculum Framework on VAPA standards, and the need for professional development for teachers on the new VAPA standards.

I know that we’ll all be learning new music for next year, developing curriculum, and trying to front load as much as we can.

Even so, make sure you also dedicate time to relax and do those things that bring you happiness. Wishing you all a productive and relaxing summer.

• “We will be more successful in all our endeavors if we can let go of the habit of running all the time, and take little pauses to relax and re-center ourselves. And we'll also have a lot more joy in living.” – Thich Nhat Hanh

Central Section Expands Reach into Merced/Mariposa Counties

by Rob Bentley CMEA Central Section Festival Coordinator-North

A

s the largest section (geographically speaking), the Central Section has desired to expand their reach into all areas including Merced and Mariposa Counties.

These areas have been part of the section for quite awhile but it wasn’t until two years ago when a team of board members traveled north to meet with music educators in the area that the idea of hosting festivals became a reality. Last year, a CMEA CS concert band and jazz band festival were held with a warm reception. Those festivals grew this year with great hosts Maria Brouillard and Michael Vasquez.

Raymond Willis, a recent graduate of CSU Stanislas and edu-

12

cator in the Merced area, approached me with the idea of hosting a solo and ensemble festival this spring. On April 13th, our inaugural festival was held at El Capitan High School with the assistance of the student volunteers from CSU Stanislas.

Michael D. Stone was the adjudicator for all of the entries. Mike said that he was very impressed with the level of musicianship and he was especially impressed with the level of professionalism of the student volunteers.

CMEA Central Section will seek continue to expand opportunities in the North San Joaquin Valley area.

CMEA Magazine

Report from Central Section

by Bill Wilkinson CMEA Central Section President

T

his has been a productive end of the school year for Central Section. In the past weeks alone we have held an election, lobbied for music education and potentially changed the way we participate at ratings festival. A new day is dawning in Central Section.

May began with our biannual executive board elections. Once again, there was presented a slate of strong candidates to choose from. Congratulations to Michael Tackett, director of bands at College of Sequoias, who was elected as Central Section’s next president-elect/first vice president of festivals. Mr. Tackett is a well-respected music educator and adjudicator in our section and his leadership will prove to be an asset to both the Central Section and CMEA boards. Congratulations also to incumbents Dr. Tony Mowrer, music education coordinator at Fresno State, and Dr. Leo Sakamoto, director of bands at CSU Bakersfield, winning their elections as Central Section secretary and second vice president/bulletin editor, respectively. We are pleased to see these gentlemen re-elected to the board not only for what they do in their board capacity but what personal qualities they bring to the table as fellow board members.

Central Section participated again this year at the Stand Up 4 Music Advocacy Day in Sacramento. Our delegation included Immediate Past President Kirk Clague, President-Elect Steve McKeithen, Legislative Action Representative Walt Crider and myself. Together we met with five legislative offices to lobby for the greater good of music education.

Summer Issue 2019

This was the largest delegation from Central Section to date and we hope to expand in the future to ensure that our voice reaches every legislator – it is vital that they hear our message!

Within our board we often speak of moving the needle to advance or improve what we do as an organization for the betterment of the educators and music students we serve. Recently one of our festival coordinators, Peggy Biller, proposed to our executive board that we convene to discuss the possibility of incorporating sight-reading as a mandated component to our ratings festival. In the past, some of our festivals had included sigh-reading as an option but it was never mandated and the option soon fell by the wayside. I applaud Mrs. Biller for being dauntless in her pursuit to advocate for sight-reading. She understands the importance and benefit of assessing this skill and she seized the opportunity to call for action within our board to examine the merits and consider mandating sight-reading at our large group festivals.

As Peggy penned it, we are better fulfilling our mission statement by Empowering Educators to Inspire All Students Through Music Education. I couldn’t agree more. This measure will go to a board vote in an upcoming meeting. Stay tuned for what changes may come.

We had the opportunity to witness one of the most brilliant and inspiring minds in music education today when Dr. Peter Boonshaft came to speak at the Central Valley Music Education Summit held at Fresno City College. This event was coordinated by Aaron Bryan, VAPA Fresno

County Office of Education and VH1 Save The Music. Since 1997, VH1 Save The Music has granted 192 schools in California and has donated $225,000 to seven schools in Fresno County alone.

The rural school districts of Firebaugh, Fowler, Caruthers and Riverdale have all reaped the benefits of these grants. The VH1 Save The Music foundation has strict standards that align with CMEA’s vision of music advocacy. For a school district to qualify for an instrument grant, the course of study must be taught during the school day by a credentialed teacher with a school district’s ten-year commitment to the project. This was great to hear. I applaud VH1 Save The Music and program director Jaclyn Rudderow for their efforts in California and more specifically Central Section for providing access to quality music education for thousands of our students.

On a personal note, with the completion of this writing I close a six-year chapter of serving CMEA. I have thoroughly enjoyed my time serving as a section president and before that as logistics coordinator for CASMEC. I have met many fantastic people and have served alongside California’s best and brightest music educators and leaders. I encourage all music educators to serve in some capacity big or small, for the state or for your community – it all makes a difference.

Thank you for this opportunity to serve.

13

Inspiration

by Holly MacDonell CMEA North Coast Section President

A

s the year closes, inspiration is everywhere. Festivals are wrapping up, Stand Up 4 Music Day in Sacramento was a great success, and the buzz of students and teachers getting ready for the end of the year are all inspiring. As president of the North Coast Section of CMEA, I’m inspired to continue to improve the success of and streamline our section’s festivals. As a music educator, I’m inspired to continually advocate for music locally by inviting the local community and our local and state representatives to concerts and festivals. And as a hard-working teacher, I’m excited to start recharging for next fall.

Looking back at some of the inspiring events of the year, we had a few great firsts. We added a jazz band to the All-County Music Festival, we held our All-County concert in an auditorium instead of a gym, and we held a workshop for general music students. We plan to continue these activities as they give more students access to a positive musical experience.

Looking forward, let’s let inspiration push us outside of our comfort zones while bringing our students with us to help lead the way. Enjoy your summer and assuredly, inspiration will find you.

Southwestern Section News

by Jessica Husselstein CMEA Southwestern Section President

H

ello, fellow music educators. I hope this update finds everyone enjoying the rest and relaxation of summer vacation. Time to recharge and create goals to match the vision you have for your next amazing school year. We have had a great year of growth in the Southwestern Section. This spring included several members stepping out to try hosting a festival, and they were great successes. Our northern region solo and ensemble festival, hosted by Mr. Charles Kim at Righetti High School, resulted in three student groups advancing to the regional festival. After a fifteen-year solo and ensemble hiatus, we celebrate this opportunity for our students’ musical growth. Congratulations!

Planning for member events is underway as well. In addition to our traditional events, we are very excited to announce the development of a series of hands-on workshops. These workshops will be specifically designed to give members time to get streamlined information about a particular subject and have the hands-on time to practice techniques for classroom implementation. Think Woodwind Day (flute and clarinet technique), Double Reed Day (bassoon time, anyone?), Technology Training (sound systems? Smart Music, Google Classroom?), Literature and Conducting (for all of our disciplines), Games and Techniques (for the general music classroom). We could go on.

Instead, we will be using the member interest survey to decide what areas are most important to you. Any members who would be interested in presenting on their specialty, or opening up their classroom to host a workshop, please reach out to: jessicahusselstein@gmail.com.

The goals of the Southwestern Section are to facilitate connections between our members and provide applicable professional development to better our practice. Through these means, we will increase the capacity for music education in our region. The best way to be involved is to get involved. If you missed the call for nominations but would like to get involved, just let us know. We are happy to help you develop and lead the music activities in your sphere of influence.

News from the North

by Todd Filpula CMEA Northern Section President

A

s the school year comes to a close, it is important to reflect on the past year to see what has been achieved and what has yet to be done. We filed our first tax return as a non-profit organization. Our Section had its first conference in many years in January in conjunction with our Junior High Honor Band and Select Choir weekend. I would like to thank Scott Hedgecock, Michael Stone, Armalyn DeLao, and Kristine Alexander for presenting at our conference and sharing their extensive knowledge and expertise with our teachers and music education students. In addition, we started our first High School Honor Band with the hope of adding a choir component in the coming years. We are looking forward to having Leonard Ingrande from Sheldon High School conduct our ensemble next year.

Elections were held in April and I am happy to report that Mitch Bahr will continue for another term as Vice President and Michael Phenicie will be our next treasurer. A huge thank you goes out to Deb Wiseman as our outgoing treasurer. She has done a fantastic job. Also this year, the Board added a student representative, Rebecca Solis, from the Chico State music education department.

May 9th was an outstanding day for music education as the Stand Up 4 Music coalition gathered at the State Capitol to advocate for music education for all of California’s students! We met with our legislative leaders to impress upon them the importance of a great music education for all. We also had the opportunity to listen to outstanding ensembles perform on the north steps of the Capitol building. Showing/demonstrating a unified view is vital if anything is ever going to happen. I was proud to be a part of this amazing event and encourage all who can to attend and participate next year.

I wish everyone a great summer doing whatever it is you do.

14

CMEA Magazine

Something Old, Something New, Something Borrowed, Something Blues

by Ryan Duckworth CMEA Southeastern Section President

A

s a practicing music educator in a public school on a traditional schedule, I really enjoy my summers. It’s a chance to recharge and reevaluate. It’s like having a built-in annual “reset button” when you can examine critically how things went in the last year and what your hopes and plans are for the future.

Ours is often a very busy profession and if we do not consciously make space to evaluate our practice, we risk running on autopilot and potentially ending somewhere we never intended to be. With that in mind, let us take a few moments and consider our teaching practices through the lens of a (slightly modified) wedding aphorism.

Something Old

What did you do last year that worked really well? Many of us have systems in place that allow our year to run like a welloiled machine. Don’t abandon the things that are working well, but have you ever really examined those practices? I know many of my novice educational choices were built in early-career “survival mode.”

Don’t get me wrong. Panic and inspiration have a remarkable relationship. Yet I do have to acknowledge that some early and regular practices could be refined even more. Years ago, one of my mentors, Dr. Carl Schafer, said to me over a lunch: “four concerts does not a curriculum make.” It was such a simple yet profound statement, which caused me to for the first time examine my calendar and begin asking questions about how my concert cycle served the educational needs of my students.

Many of the curricular structures I had built were solid, but some were unnecessary, and some could be improved. Consider your structure. What is working for you? Is there anything that is unintentionally working against you? Now is the time to examine these things. Keep what works and adapt what doesn’t.

Something New

I like to try adding something new every year. It keeps things interesting for me as a professional. This past year I added com-

Summer Issue 2019

position lessons into my performing ensemble classes. It was interesting for me, informative for my students, and paid real dividends in my students’ abilities in sightreading. True literacy in a culture includes speaking, reading, and writing. Music is no different. What is something you have wanted to try with your classes? Even if it turns out to be a one-day, one-time lesson, why not make your plans and give it a shot? It might work perfectly. It might not.

But that’s how we learn as educators. Take small, informed risks and then learn from both your mistakes and successes. I had tried composition with my classes before and it did not go well. I was discussing my failure with Dr. Randall Allsup at a Casting a Wider Net conference and he said to me: “You didn’t fail miserably. You failed happily, because you can learn from those mistakes.” That statement evolved the way I thought about trying new things.

Something Borrowed

No one wants to reinvent the wheel.

That’s one of many reasons why I encourage all my colleagues to keep their membership in CMEA up to date and to attend conferences. You inevitably will pick up a new idea from somebody there. Just like you have to examine your past practices, it can be valuable to learn what has worked in the past for others. Just because something worked for them does not mean it will work for you, but if we share our more creative ideas, new ideas may gain a space in which to grow. One idea that I am borrowing for next year came from Dr. Jennifer Garret’s session on “Empowering Singers: Finding Success in a Choral Ensemble of Mixed Abilities” at CASMEC this year. It is to start each week with a few minutes where students can share “good news.”

I’m hoping it will help build a safer and inclusive culture within my classroom where we celebrate each others’ successes instead of always dwelling on the often-inherent competition we find in our schools.

It will likely take only a few minutes each week, but if it works, my classroom culture

will be all the better for it. What ideas did you glean from your conference experiences this year? Is there a note in a margin of a book you read that you need to revisit?

Something Blues

What’s your relationship with popular styles in your curriculum? Or world music?

Or 20th century techniques? Or electronic music? When was the last time you seriously thought about the styles of music your curriculum includes and excludes? Do you consider the composers? Who is represented in your programming? It’s sometimes too easy to fall into a trap of what is conveniently available, but with a little planning we can open our students’ eyes to a much broader range of music. This year I chose to theme my final “pops” concert around the blues. As a point of entry, we talked about the blues scale and typical chord progressions. Two amazing things happened from that single lesson. First, my choirs started tuning their major and minor scales more accurately. And second, some of my students started improvising blues using their guitars and our classroom piano. I absolutely love it when I get to witness student creativity at work. What can you consider doing next year that might ignite your students’ creative interests?

There are many online resources that can help you on your quest.

Finally, please know that this process of self-reflection and course correction is something your CMEA Southeastern Section does as well. We are always looking for new ideas of ways we can support you, our local music educators, and your students. If you have any ideas of programs, trainings, or experiences that you would like your CMEA Southeastern Section board to consider, please feel free to share them with us. Keep an eye on our Facebook page and on our new website (www.cmeasoutheast.org) to keep up to date on those events we already have planned. Your section is here to support you. Best wishes for the next school.

15

Inspiration

by Holly MacDonell CMEA North Coast Section President

A

s the year closes, inspiration is everywhere. Festivals are wrapping up, Stand Up 4 Music Day in Sacramento was a great success, and the buzz of students and teachers getting ready for the end of the year are all inspiring. As president of the North Coast Section of CMEA, I’m inspired to continue to improve the success of and streamline our section’s festivals. As a music educator, I’m inspired to continually advocate for music locally by inviting the local community and our local and state representatives to concerts and festivals. And as a hard-working teacher, I’m excited to start recharging for next fall.

Looking back at some of the inspiring events of the year, we had a few great firsts. We added a jazz band to the All-County Music Festival, we held our All-County concert in an auditorium instead of a gym, and we held a workshop for general music students. We plan to continue these activities as they give more students access to a positive musical experience.

Looking forward, let’s let inspiration push us outside of our comfort zones while bringing our students with us to help lead the way. Enjoy your summer and assuredly, inspiration will find you.

Southwestern Section News

by Jessica Husselstein CMEA Southwestern Section President

H

ello, fellow music educators. I hope this update finds everyone enjoying the rest and relaxation of summer vacation. Time to recharge and create goals to match the vision you have for your next amazing school year. We have had a great year of growth in the Southwestern Section. This spring included several members stepping out to try hosting a festival, and they were great successes. Our northern region solo and ensemble festival, hosted by Mr. Charles Kim at Righetti High School, resulted in three student groups advancing to the regional festival. After a fifteen-year solo and ensemble hiatus, we celebrate this opportunity for our students’ musical growth. Congratulations!

Planning for member events is underway as well. In addition to our traditional events, we are very excited to announce the development of a series of hands-on workshops. These workshops will be specifically designed to give members time to get streamlined information about a particular subject and have the hands-on time to practice techniques for classroom implementation. Think Woodwind Day (flute and clarinet technique), Double Reed Day (bassoon time, anyone?), Technology Training (sound systems? Smart Music, Google Classroom?), Literature and Conducting (for all of our disciplines), Games and Techniques (for the general music classroom). We could go on.

Instead, we will be using the member interest survey to decide what areas are most important to you. Any members who would be interested in presenting on their specialty, or opening up their classroom to host a workshop, please reach out to: jessicahusselstein@gmail.com.

The goals of the Southwestern Section are to facilitate connections between our members and provide applicable professional development to better our practice. Through these means, we will increase the capacity for music education in our region. The best way to be involved is to get involved. If you missed the call for nominations but would like to get involved, just let us know. We are happy to help you develop and lead the music activities in your sphere of influence.

News from the North

by Todd Filpula CMEA Northern Section President

A

s the school year comes to a close, it is important to reflect on the past year to see what has been achieved and what has yet to be done. We filed our first tax return as a non-profit organization. Our Section had its first conference in many years in January in conjunction with our Junior High Honor Band and Select Choir weekend. I would like to thank Scott Hedgecock, Michael Stone, Armalyn DeLao, and Kristine Alexander for presenting at our conference and sharing their extensive knowledge and expertise with our teachers and music education students. In addition, we started our first High School Honor Band with the hope of adding a choir component in the coming years. We are looking forward to having Leonard Ingrande from Sheldon High School conduct our ensemble next year.

Elections were held in April and I am happy to report that Mitch Bahr will continue for another term as Vice President and Michael Phenicie will be our next treasurer. A huge thank you goes out to Deb Wiseman as our outgoing treasurer. She has done a fantastic job. Also this year, the Board added a student representative, Rebecca Solis, from the Chico State music education department.

May 9th was an outstanding day for music education as the Stand Up 4 Music coalition gathered at the State Capitol to advocate for music education for all of California’s students! We met with our legislative leaders to impress upon them the importance of a great music education for all. We also had the opportunity to listen to outstanding ensembles perform on the north steps of the Capitol building. Showing/demonstrating a unified view is vital if anything is ever going to happen. I was proud to be a part of this amazing event and encourage all who can to attend and participate next year.

I wish everyone a great summer doing whatever it is you do.

14

CMEA Magazine

Something Old, Something New, Something Borrowed, Something Blues

by Ryan Duckworth CMEA Southeastern Section President

A

s a practicing music educator in a public school on a traditional schedule, I really enjoy my summers. It’s a chance to recharge and reevaluate. It’s like having a built-in annual “reset button” when you can examine critically how things went in the last year and what your hopes and plans are for the future.

Ours is often a very busy profession and if we do not consciously make space to evaluate our practice, we risk running on autopilot and potentially ending somewhere we never intended to be. With that in mind, let us take a few moments and consider our teaching practices through the lens of a (slightly modified) wedding aphorism.

Something Old

What did you do last year that worked really well? Many of us have systems in place that allow our year to run like a welloiled machine. Don’t abandon the things that are working well, but have you ever really examined those practices? I know many of my novice educational choices were built in early-career “survival mode.”

Don’t get me wrong. Panic and inspiration have a remarkable relationship. Yet I do have to acknowledge that some early and regular practices could be refined even more. Years ago, one of my mentors, Dr. Carl Schafer, said to me over a lunch: “four concerts does not a curriculum make.” It was such a simple yet profound statement, which caused me to for the first time examine my calendar and begin asking questions about how my concert cycle served the educational needs of my students.

Many of the curricular structures I had built were solid, but some were unnecessary, and some could be improved. Consider your structure. What is working for you? Is there anything that is unintentionally working against you? Now is the time to examine these things. Keep what works and adapt what doesn’t.

Something New

I like to try adding something new every year. It keeps things interesting for me as a professional. This past year I added com-

Summer Issue 2019

position lessons into my performing ensemble classes. It was interesting for me, informative for my students, and paid real dividends in my students’ abilities in sightreading. True literacy in a culture includes speaking, reading, and writing. Music is no different. What is something you have wanted to try with your classes? Even if it turns out to be a one-day, one-time lesson, why not make your plans and give it a shot? It might work perfectly. It might not.

But that’s how we learn as educators. Take small, informed risks and then learn from both your mistakes and successes. I had tried composition with my classes before and it did not go well. I was discussing my failure with Dr. Randall Allsup at a Casting a Wider Net conference and he said to me: “You didn’t fail miserably. You failed happily, because you can learn from those mistakes.” That statement evolved the way I thought about trying new things.

Something Borrowed

No one wants to reinvent the wheel.

That’s one of many reasons why I encourage all my colleagues to keep their membership in CMEA up to date and to attend conferences. You inevitably will pick up a new idea from somebody there. Just like you have to examine your past practices, it can be valuable to learn what has worked in the past for others. Just because something worked for them does not mean it will work for you, but if we share our more creative ideas, new ideas may gain a space in which to grow. One idea that I am borrowing for next year came from Dr. Jennifer Garret’s session on “Empowering Singers: Finding Success in a Choral Ensemble of Mixed Abilities” at CASMEC this year. It is to start each week with a few minutes where students can share “good news.”

I’m hoping it will help build a safer and inclusive culture within my classroom where we celebrate each others’ successes instead of always dwelling on the often-inherent competition we find in our schools.

It will likely take only a few minutes each week, but if it works, my classroom culture

will be all the better for it. What ideas did you glean from your conference experiences this year? Is there a note in a margin of a book you read that you need to revisit?

Something Blues

What’s your relationship with popular styles in your curriculum? Or world music?

Or 20th century techniques? Or electronic music? When was the last time you seriously thought about the styles of music your curriculum includes and excludes? Do you consider the composers? Who is represented in your programming? It’s sometimes too easy to fall into a trap of what is conveniently available, but with a little planning we can open our students’ eyes to a much broader range of music. This year I chose to theme my final “pops” concert around the blues. As a point of entry, we talked about the blues scale and typical chord progressions. Two amazing things happened from that single lesson. First, my choirs started tuning their major and minor scales more accurately. And second, some of my students started improvising blues using their guitars and our classroom piano. I absolutely love it when I get to witness student creativity at work. What can you consider doing next year that might ignite your students’ creative interests?

There are many online resources that can help you on your quest.

Finally, please know that this process of self-reflection and course correction is something your CMEA Southeastern Section does as well. We are always looking for new ideas of ways we can support you, our local music educators, and your students. If you have any ideas of programs, trainings, or experiences that you would like your CMEA Southeastern Section board to consider, please feel free to share them with us. Keep an eye on our Facebook page and on our new website (www.cmeasoutheast.org) to keep up to date on those events we already have planned. Your section is here to support you. Best wishes for the next school.

15

'&&HQRR:::P/(674<./+*P/#7R.3*+SPH'HR/7+(R/7+(T7+3&#0<'.HTH0#90(7!

Are you a new teacher looking for some powerful tools of the trade and new ways to advance your practice?

!!!!!!!!"#$%!&'(!)&*+!,$%!-.#-/!&$!(0+!,11.#-,(#&$!.#$/2!(&%,34!

! !

Meet the CMEA Mentees

by Mark Nicholson CMEA Mentorship Program Chair

C

alifornia music teachers and CMEA mentees Patricia Jekel and Jeremy White are experiencing tremendous professional growth and development in their work as music educators. As participants of the CMEA Mentorship program, both Jekel and White receive ongoing professional coaching and guidance from their assigned CMEA mentors who, notably, volunteer their time in support of newer teachers. Our mentees have taken some time out of their day to share their impressions about the mentorship program and how they have personally and professionally benefitted from their mentor’s inspirational coaching and guidance.

MMMM!

Q: Tell us, how have your encounters and communications with your CMEA Mentor been?

Are you eager to develop new skills and create new relationships?

Patricia: My mentor has been patient and positive, and he puts in a lot of time to help me.

Jeremy: Mine is very positive, too. In addition to providing excellent advice and encouragement, my mentor has been a wealth of information and resources.

Q: In what ways has your CMEA Mentor been supportive of you?

Patricia: So far, my mentor has listened and asked questions, as we're in the “gathering information” phase. But he has given me ideas to consider, and a lot of information. I am implementing many of his suggestions, which is helping my program already. I look forward to more of the same as we proceed.

MMMM!

Jeremy: My mentor is very positive and encouraging. Specifically, he has been supportive in helping me strengthen my booster organization, learn to manage my program more effectively, become more efficient in administering assessments, and develop a stronger before-school extracurricular jazz band.

Are you ready to be greatly influenced by an expert music teacher?

CMEA MENTORSHIP PROGRAM

Q: What progress have you made towards reaching your goals?

Patricia: My mentor told me about the solo and ensemble festival, and encouraged me to bring students. He helped me get music together quickly, as there was a time crunch to do it this year. This helps retention in my program, and gives students an exciting experience to grow from. He has also started to help me with ideas for improving assessment and addressing scheduling issues.

MMMM!

Jeremy: My mentor has greatly helped me in my work toward reaching my goals. Through our time together, I have learned to be more efficient when assessing students in class, how to better advocate for my music program within the school and community, and how to better enlist parent help and to delegate responsibilities.

Sign up today for the mentorship program!

!"#$%&&'()*+,-./$012%$1.34'#,$ "#$!%&'()*+!,!-.&/'!"('0!,!1(2.*!"+&(3/#40&!,!-(05!".*+67(3!!

80+9!"0#:3!,!;.<(!"4&&<!,!=#$+0&!>(6#3./#!,!?0#)!1(2.<!!!!!!!!! @#07!1+(!,!".66!A390(7!,!B#'3!C#<'(5!,!B#'3!-(6&+<&+0!!!!!! =./'(0*!-+<<+39+0!,!@(3/)!-#<+0!,!;(00)!@+:7(3!,!B.7!@#07(3!

-./'(+6!D'+3./.+!,!B(/5!E0$!,!F'(0#3!E2(3<!,!B#'3!G+6*+0!!!!! >(&')!G.3*6+)!,!>)04<!8.3:(6(!,!B#3(&'(3!80(3&'(7!!!!!!!!!!!!

F(7!80#3<+&'!,!G0+*!?+7H(<!,!>.3*)!?+0+<.!,!@.3(!I.9.6!!

E6.J($+&'!K(6<'!,!E66(!K+$$!,!=#$.3!K.67+0!!!!!!!!!!!!!!!!!!!

Q: What would you like to share with other music teachers who might wish to participate in the mentoring program?

Jeremy: I hope to offer the perspective of an experienced teacher who has benefited from the program through the meeting of specific needs I discovered in my teaching. I am in my eighth year, and I have always taught in small schools/districts in which I was either the only music teacher or one of a few. While I have stolen many ideas from my wonderful coworkers over the years, I never had a “mentorship” relationship with any of them. I would say, to anyone in a similar situation who feels and finds themselves in a bit of a rut, this will take you out of your comfort zone and reinvigorate your teaching. Everyone can benefit from mentorship and collaboration.

MARK NICHOLSON -+3&#0<'.H!>'(.0!

F(3!1.+9#!N3.L.+*!F1!

Jeremy’s mentor, Bob Athayde, and Patricia’s mentor, Michael Phenicie, are two highly esteemed veteran music teachers with over 74 years of experience between them. Athayde and Phenicie are part of a 30-member mentor pool which serves the CMEA community of music educators. We appreciate every CMEA music educator mentor for their generosity in sharing their great wisdom, expertise, and knowledge with our younger generation.

Sign up today to be a CMEA mentee.

73./'#6<#3O<(3*.P3+&! !

E*:(0*!K#6L+!,!1(6+!K#6L#0*! !

!16

CMEA Magazine

Summer Issue 2019

17

'&&HQRR:::P/(674<./+*P/#7R.3*+SPH'HR/7+(R/7+(T7+3&#0<'.HTH0#90(7!

Are you a new teacher looking for some powerful tools of the trade and new ways to advance your practice?

!!!!!!!!"#$%!&'(!)&*+!,$%!-.#-/!&$!(0+!,11.#-,(#&$!.#$/2!(&%,34!

! !

Meet the CMEA Mentees

by Mark Nicholson CMEA Mentorship Program Chair

C

alifornia music teachers and CMEA mentees Patricia Jekel and Jeremy White are experiencing tremendous professional growth and development in their work as music educators. As participants of the CMEA Mentorship program, both Jekel and White receive ongoing professional coaching and guidance from their assigned CMEA mentors who, notably, volunteer their time in support of newer teachers. Our mentees have taken some time out of their day to share their impressions about the mentorship program and how they have personally and professionally benefitted from their mentor’s inspirational coaching and guidance.

MMMM!

Q: Tell us, how have your encounters and communications with your CMEA Mentor been?

Are you eager to develop new skills and create new relationships?

Patricia: My mentor has been patient and positive, and he puts in a lot of time to help me.

Jeremy: Mine is very positive, too. In addition to providing excellent advice and encouragement, my mentor has been a wealth of information and resources.

Q: In what ways has your CMEA Mentor been supportive of you?

Patricia: So far, my mentor has listened and asked questions, as we're in the “gathering information” phase. But he has given me ideas to consider, and a lot of information. I am implementing many of his suggestions, which is helping my program already. I look forward to more of the same as we proceed.

MMMM!

Jeremy: My mentor is very positive and encouraging. Specifically, he has been supportive in helping me strengthen my booster organization, learn to manage my program more effectively, become more efficient in administering assessments, and develop a stronger before-school extracurricular jazz band.

Are you ready to be greatly influenced by an expert music teacher?

CMEA MENTORSHIP PROGRAM

Q: What progress have you made towards reaching your goals?

Patricia: My mentor told me about the solo and ensemble festival, and encouraged me to bring students. He helped me get music together quickly, as there was a time crunch to do it this year. This helps retention in my program, and gives students an exciting experience to grow from. He has also started to help me with ideas for improving assessment and addressing scheduling issues.

MMMM!

Jeremy: My mentor has greatly helped me in my work toward reaching my goals. Through our time together, I have learned to be more efficient when assessing students in class, how to better advocate for my music program within the school and community, and how to better enlist parent help and to delegate responsibilities.

Sign up today for the mentorship program!

!"#$%&&'()*+,-./$012%$1.34'#,$ "#$!%&'()*+!,!-.&/'!"('0!,!1(2.*!"+&(3/#40&!,!-(05!".*+67(3!!

80+9!"0#:3!,!;.<(!"4&&<!,!=#$+0&!>(6#3./#!,!?0#)!1(2.<!!!!!!!!! @#07!1+(!,!".66!A390(7!,!B#'3!C#<'(5!,!B#'3!-(6&+<&+0!!!!!! =./'(0*!-+<<+39+0!,!@(3/)!-#<+0!,!;(00)!@+:7(3!,!B.7!@#07(3!

-./'(+6!D'+3./.+!,!B(/5!E0$!,!F'(0#3!E2(3<!,!B#'3!G+6*+0!!!!! >(&')!G.3*6+)!,!>)04<!8.3:(6(!,!B#3(&'(3!80(3&'(7!!!!!!!!!!!!

F(7!80#3<+&'!,!G0+*!?+7H(<!,!>.3*)!?+0+<.!,!@.3(!I.9.6!!

E6.J($+&'!K(6<'!,!E66(!K+$$!,!=#$.3!K.67+0!!!!!!!!!!!!!!!!!!!

Q: What would you like to share with other music teachers who might wish to participate in the mentoring program?

Jeremy: I hope to offer the perspective of an experienced teacher who has benefited from the program through the meeting of specific needs I discovered in my teaching. I am in my eighth year, and I have always taught in small schools/districts in which I was either the only music teacher or one of a few. While I have stolen many ideas from my wonderful coworkers over the years, I never had a “mentorship” relationship with any of them. I would say, to anyone in a similar situation who feels and finds themselves in a bit of a rut, this will take you out of your comfort zone and reinvigorate your teaching. Everyone can benefit from mentorship and collaboration.

MARK NICHOLSON -+3&#0<'.H!>'(.0!

F(3!1.+9#!N3.L.+*!F1!

Jeremy’s mentor, Bob Athayde, and Patricia’s mentor, Michael Phenicie, are two highly esteemed veteran music teachers with over 74 years of experience between them. Athayde and Phenicie are part of a 30-member mentor pool which serves the CMEA community of music educators. We appreciate every CMEA music educator mentor for their generosity in sharing their great wisdom, expertise, and knowledge with our younger generation.

Sign up today to be a CMEA mentee.

73./'#6<#3O<(3*.P3+&! !

E*:(0*!K#6L+!,!1(6+!K#6L#0*! !

!16

CMEA Magazine

Summer Issue 2019

17

CCDA News and Events

by Jeffrey Benson, Ph.D. California Choral Directors Association President

Music Composition in Your Ensemble Rehearsal

S

ummer break is often time for relaxation, reflection, and rejuvenation. Yet, how many of us are working on plans for the start of the school year during this “time off ”? There are always too many tasks on the to-do list: repertoire to choose, scores to study, and concerts to plan.

As the brand-new President of the California Choral Directors Association, I’m thrilled to also serve the dual role of CMEA CCDA Representative for the next two years. In partnership with CMEA, CCDA hopes to provide opportunities to our members where they gain new ideas and classroom tools to help us all reflect and return to our students inspired.

Under the recent presidency of Rob Istad, CCDA became its own nonprofit organization. The board of directors for CCDA has spent the past two years creating our mission, vision, and strategic plan – a truly daunting and thrilling task. Thank you to Rob for his tremendous leadership in guiding us through this process. I’m quite proud of and grateful for the work of our board and am thrilled to share our mission statement: “California Choral Directors Association empowers choral musicians to create transformative experiences for California’s diverse communities.”

This statement hits at our core values as teachers and mentors. On a daily basis, we strive to create transformative experiences for our students. However, are we helping create these experiences for ourselves? Summer break cannot last all year, but we can stay engaged in our professional communities and continue to reflect and rejuvenate throughout the school year. CCDA provides many opportunities for all of us to transform ourselves and grow as teachers and humans.

Please plan to empower yourself by attending one of our transformative conferences this coming school year. We would love to see you and share ideas together. Mark your calendars now:

by

I

am passionate about helping teachers and students engage in music composition. The National Core Arts Standards (2014) emphasize creativity, and leaders in the field of music education encourage composition because it allows students to express themselves in a personal way that is different from performing or listening to music. I believe composition is equally as important a musical activity as performance, improvisation and analysis. The benefits of composition are many, including the development of musicianship skills, listening skills, an understanding of contemporary music and music theory, as well as simply providing training for the beginning composer and a creative outlet for all music students.

Although many would agree that being involved with the process of music composition is important for young music students, many school music teachers shy away from including this field of study in their classrooms because of a lack of time, training, or performance pressure. However, my experience has been that composition lessons may be accomplished in a relatively short amount of time (twenty to twenty-five minutes) in the midst of a regular ensemble rehearsal or group music class. Teachers who face significant performance pressure may consider arranging their rehearsals and concerts with one or two easier pieces, or perhaps fewer pieces, in order to accommodate more classroom time for composing.

Another issue with many school ensemble settings is that students working individually or in small groups struggle to hear themselves amidst the noise and chaos of everyone trying out compositional ideas in the same room. A solution is to empower the entire ensemble to work together as one large group rather than as individual composition projects. However, if facilities are conducive to having individuals or small groups work on composition ideas during the class time, this is recommended. Of course, teachers should regularly encourage students to compose music on an individual basis outside of class. Even a simple assignment given once a week to compose a short phrase or rhythm or piece will inspire students to work outside of class and nurture their creativity without taking away from performance preparation time.

Knowing how to launch into composing lessons can be daunting.

One way to introduce composition in your own classroom is with an “elements of music” approach, covering areas such as melody, harmony, timbre, and rhythm. Personally, I love starting with a les-

Saturday, September 7, 2019 Northern Region CCDA Conference at Cal State, East Bay Saturday, September 14, 2019 Southern Region CCDA Conference at Cal State, Fullerton February 20–22, 2020 CCDA State Conference at CASMEC, Fresno I hope this final few weeks of “time off ” provides you with as much inspiration as you need to carry you through the start of your school year.

18

Alexander Koops

CMEA Magazine

Summer Issue 2019

son on soundscapes. By encouraging students to create non-traditional made-up sounds, it puts them all on the same level playing field, rather then dealing with one student who might be a very weak musician alongside other students who are very advanced. I like to start with a piece of repertoire that the class can perform that has a soundscape built in it. Here are a few band and orchestra pieces that have some element of soundscapes embedded in them.

(Choir teachers, I know you have lots of great pieces with “soundscapes” to share as well. I’d love to hear from you which your favorites are.)

Band

Blackshaw, Jody Whirlwind (Grade 1) Bukvich, Daniel Dinosaurs (Grade 2) Broege, Timothy The Headless Horseman (Grade 2) (Introduction) Jennings, Paul A Prehistoric Suite Shapiro, Alex Paper Cut (Grade 2.5) Colgrass, Michael Old Churches (Grade 3) Duffy, Thomas Snakes! (Grade 3) Smith, R.W. In a Gentle Rain (Grade 4) Pennington, John Apollo (Grade 4) Whitacre, Eric Cloudburst (Grade 4.5) Duffy, Thomas Crystals (Grade 4/5) Orchestra Easy to Medium:

Brown, Earle Rands, Bernard Meyer, Richard Adler, Samuel Balmages, Brian Cummings, Walter Reznicow, Joshua McBrien, Brendan` Medium to difficult Punwar, Katherine Meyer, Richard

Modules 1 and 2 Agenda Ear-igami A little Bit Of . . .Space . . .Time Creatures (Aleatoric) Water Reflections (Soundscape) Avian Dance (Soundscape) Contraption (band or orchestra versions) Follow the Drinking Gourd Rosin Eating Zombies from Outer Space

On my first composition lesson with students I also like to engage them in a discussion of what a definition of music is, as well as 19

CCDA News and Events

by Jeffrey Benson, Ph.D. California Choral Directors Association President

Music Composition in Your Ensemble Rehearsal

S

ummer break is often time for relaxation, reflection, and rejuvenation. Yet, how many of us are working on plans for the start of the school year during this “time off ”? There are always too many tasks on the to-do list: repertoire to choose, scores to study, and concerts to plan.

As the brand-new President of the California Choral Directors Association, I’m thrilled to also serve the dual role of CMEA CCDA Representative for the next two years. In partnership with CMEA, CCDA hopes to provide opportunities to our members where they gain new ideas and classroom tools to help us all reflect and return to our students inspired.

Under the recent presidency of Rob Istad, CCDA became its own nonprofit organization. The board of directors for CCDA has spent the past two years creating our mission, vision, and strategic plan – a truly daunting and thrilling task. Thank you to Rob for his tremendous leadership in guiding us through this process. I’m quite proud of and grateful for the work of our board and am thrilled to share our mission statement: “California Choral Directors Association empowers choral musicians to create transformative experiences for California’s diverse communities.”

This statement hits at our core values as teachers and mentors. On a daily basis, we strive to create transformative experiences for our students. However, are we helping create these experiences for ourselves? Summer break cannot last all year, but we can stay engaged in our professional communities and continue to reflect and rejuvenate throughout the school year. CCDA provides many opportunities for all of us to transform ourselves and grow as teachers and humans.

Please plan to empower yourself by attending one of our transformative conferences this coming school year. We would love to see you and share ideas together. Mark your calendars now:

by

I

am passionate about helping teachers and students engage in music composition. The National Core Arts Standards (2014) emphasize creativity, and leaders in the field of music education encourage composition because it allows students to express themselves in a personal way that is different from performing or listening to music. I believe composition is equally as important a musical activity as performance, improvisation and analysis. The benefits of composition are many, including the development of musicianship skills, listening skills, an understanding of contemporary music and music theory, as well as simply providing training for the beginning composer and a creative outlet for all music students.

Although many would agree that being involved with the process of music composition is important for young music students, many school music teachers shy away from including this field of study in their classrooms because of a lack of time, training, or performance pressure. However, my experience has been that composition lessons may be accomplished in a relatively short amount of time (twenty to twenty-five minutes) in the midst of a regular ensemble rehearsal or group music class. Teachers who face significant performance pressure may consider arranging their rehearsals and concerts with one or two easier pieces, or perhaps fewer pieces, in order to accommodate more classroom time for composing.

Another issue with many school ensemble settings is that students working individually or in small groups struggle to hear themselves amidst the noise and chaos of everyone trying out compositional ideas in the same room. A solution is to empower the entire ensemble to work together as one large group rather than as individual composition projects. However, if facilities are conducive to having individuals or small groups work on composition ideas during the class time, this is recommended. Of course, teachers should regularly encourage students to compose music on an individual basis outside of class. Even a simple assignment given once a week to compose a short phrase or rhythm or piece will inspire students to work outside of class and nurture their creativity without taking away from performance preparation time.

Knowing how to launch into composing lessons can be daunting.

One way to introduce composition in your own classroom is with an “elements of music” approach, covering areas such as melody, harmony, timbre, and rhythm. Personally, I love starting with a les-

Saturday, September 7, 2019 Northern Region CCDA Conference at Cal State, East Bay Saturday, September 14, 2019 Southern Region CCDA Conference at Cal State, Fullerton February 20–22, 2020 CCDA State Conference at CASMEC, Fresno I hope this final few weeks of “time off ” provides you with as much inspiration as you need to carry you through the start of your school year.

18

Alexander Koops

CMEA Magazine

Summer Issue 2019

son on soundscapes. By encouraging students to create non-traditional made-up sounds, it puts them all on the same level playing field, rather then dealing with one student who might be a very weak musician alongside other students who are very advanced. I like to start with a piece of repertoire that the class can perform that has a soundscape built in it. Here are a few band and orchestra pieces that have some element of soundscapes embedded in them.

(Choir teachers, I know you have lots of great pieces with “soundscapes” to share as well. I’d love to hear from you which your favorites are.)

Band

Blackshaw, Jody Whirlwind (Grade 1) Bukvich, Daniel Dinosaurs (Grade 2) Broege, Timothy The Headless Horseman (Grade 2) (Introduction) Jennings, Paul A Prehistoric Suite Shapiro, Alex Paper Cut (Grade 2.5) Colgrass, Michael Old Churches (Grade 3) Duffy, Thomas Snakes! (Grade 3) Smith, R.W. In a Gentle Rain (Grade 4) Pennington, John Apollo (Grade 4) Whitacre, Eric Cloudburst (Grade 4.5) Duffy, Thomas Crystals (Grade 4/5) Orchestra Easy to Medium:

Brown, Earle Rands, Bernard Meyer, Richard Adler, Samuel Balmages, Brian Cummings, Walter Reznicow, Joshua McBrien, Brendan` Medium to difficult Punwar, Katherine Meyer, Richard

Modules 1 and 2 Agenda Ear-igami A little Bit Of . . .Space . . .Time Creatures (Aleatoric) Water Reflections (Soundscape) Avian Dance (Soundscape) Contraption (band or orchestra versions) Follow the Drinking Gourd Rosin Eating Zombies from Outer Space

On my first composition lesson with students I also like to engage them in a discussion of what a definition of music is, as well as 19

what composing is. Building music vocabulary is an important part of our students’ education. When students understand that composing involves organizing sounds, it easily transfers to a soundscape lesson where students make up various sounds and then organize them. A good analogy is that composing is organizing and combining the sounds like a cook does with a recipe; we gather the ingredients, organize them, then combine them and cook them up for the final product. Here is a sample soundscape that works well as starter for getting students to compose their own soundscapes.

1.Say “Shhhhhhhhhhhhhhhh.”

2. Laugh repeatedly until cued to stop.

3. Snap fingers.

4. Tap pencil on stand.

(Optional: Together, as conducted on cue.)

This sample soundscape can be performed straight through in order, or as more than one box at the same time, since the conductor could point to two boxes simultaneously. Try different orders/sequences and repetitions to “create” different pieces, as well as combining different boxes and different orders. Have some students come up to be the conductor and point to various boxes (they love this.) If possible, record and play back the composition (students love this also.) After performing the soundscape a number of different ways, ask the students to create a brand-new soundscape together as a class.

Draw a set of empty boxes on the board, and begin by having everyone explore some sounds individually. Then take time to listen to students’ ideas as short solos.

Finally, build a composition by voting on ideas and putting them in the boxes on the board. Practice the new composition, and be open to student input for changing the order of sounds, or combining sounds.

Also, be sure to build some rhythmic pulse into the composition, as rhythm can really add a lot of energy to the music. At the end of your time, record it and listen back – students love getting to hear their own recordings, and it is an important part of the compositional process.

Teachers should attempt whenever possible to connect composition lessons to actual music the students are performing or studying in class in an effort to help deepen the learning experience. Think of 20

teaching your “regular” repertoire as if you were the composer yourself. Ask yourself and your students questions like “why is there a ritard there?” and “what feelings is the composer trying to portray here and why?” rather than just teaching students to slow down when they see the word “ritard.”

In conclusion, my experience in teaching music composition in ensemble settings has been very rewarding and exciting. Students generally love to engage in composition and it creates an entirely different feeling and level of learning and engagement that is a complete contrast to the typical performance emphasis of many of our classroom settings. If any of you want more information on teaching composing, I’d be happy to share some more of the lessons I created (to be published soon by Rowman & Littlefield.) Additionally, I’d be happy to visit your class in person if you are close by in Southern California, or by video chat if you are farther away, and either talk through some of the composing lessons with you, or co-teach a sample lesson with you and your students! Now, take a break from reading this article and go compose a joyful tune.

Feel free to contact me at: akoops@apu.edu • Recommended Resources

Hickey, M. (2012). Music Outside the Lines: Ideas for Composing in K–12 Music Classrooms. New York, NY: Oxford University Press.

Kaschub, M. and Smith, J., eds. (2013).

Composing Our Future: Preparing Music Educators to Teach Composition. Oxford University Press.

Koops, A. and Whitener, J., Composition Concepts for Band and Orchestra. Rowman & Littlefield. (in final editing stages, coming soon) Randles, C. and Stringham, D., eds. Musicianship: Composing in Band and Orchestra. Chicago: GIA, 2013.

Stringham, D., Musicianship: Composing in Choir. Chicago: GIA, 2013. https://www.giamusic.com/store/resource/musicianship-composing-in-choirbook-g9082, Kerchner, J. & Strand, K. editors. (2016) Musicianship: Composing in Choir. GIA

Deutsch, D. (2016). Authentic assessment in music composition: Feedback that facilitates creativity. Music Educators Journal, 102(3), 53–59. https://doi.org/10.1177/0027432115621608

1

3

2019 CMEA State Solo and Ensemble Festival presented by World Projects Azusa Pacific University, May 11, 2019

Kaschub, M., and Smith, J., Minds on Music: Composition for Creative and Critical Thinking Experiencing Music Composition in Grades 3–5, (The authors are in the process of developing new books in this series for use with various ages of students.) Facebook group: Experiencing Music Composition Kratus, J. (2016). Songwriting: “A New Direction for Secondary Music Education.” Music Educators Journal, 102(3), 60–65. https://doi.org/10.1177/00274321156206 60

2

4

5

6

Music-COMP: Formerly known as the Vermont MIDI Project, this organization has connected professional composers with K–12 students for more than twenty years.

Their websites has valuable insights and resources for helping kids learn to compose.

Randles, C. and Sullivan M., (2013).

“How composers approach teaching composition: Strategies for music teachers.”

Music Educators Journal, 99(3), 51– 57. https://doi.org/10.1177/00274321124713 98

9

7

8

10

1. Adriana/Rudolfina Studio, Visalia, CA 2. Tyler/Oak Grove Elementary School, Kingsburg, CA 3. Ethan/Highland High School and CMEA Board 4. Henry/Dexter Middle School, Whittier, CA 5. Julianne/Rudolfina Studio, Visalia, CA 6. Jana/Harmony Magnet Academy and Board, Strathmore, CA 7. Jana/Harmony Magnet Academy, with Cristian Guzman, accompanist, Strathmore, CA 8. Rachel/Agoura High School, Agoura Hills 9. Tri-M: James, Kathleen, Valerie, Yurie, Mark, Alison, Wendy/Bloomington High School, Bloomington, CA 10. Cameron, Benjamin, Joanna, Bianca, Antonio, Saugus High Woodwind Quintet, Santa Clarita, CA

Ruthmann, A. (2007). “The composers’ workshop: An approach to composing in the classroom.” Music Educators Journal, 93(4), 38–43. https://doi.org/10.1177/00274321070930 0416 Stauffer, S. L. (2002). “Connections between the musical and life experiences of young composers and their compositions.”

Journal of Research in Music Education, 50(4), 301. https://doi.org/10.2307/3345357 Stringham, D. (2016). “Creating compositional community in your classroom.”

Music Educators Journal, 102(3), 46–52. https://doi.org/10.1177/00274321156219 53 Wilson, D. (2001). “Guidelines for coaching student composers.” Music Educators Journal, 88(1), 28. https://doi.org/10.2307/3399774

CMEA Magazine

Following Page:

11. Heidi/Reedley High School, Reedley, CA 12. Ethan/Highland High School, Bakersfield, CA 13. Samuel/Providence High School, Burbank, CA 14. Michael, Roman, Peter, Isabella/Golden Valley High School, Newhall, CA

Summer Issue 2019

21

what composing is. Building music vocabulary is an important part of our students’ education. When students understand that composing involves organizing sounds, it easily transfers to a soundscape lesson where students make up various sounds and then organize them. A good analogy is that composing is organizing and combining the sounds like a cook does with a recipe; we gather the ingredients, organize them, then combine them and cook them up for the final product. Here is a sample soundscape that works well as starter for getting students to compose their own soundscapes.

1.Say “Shhhhhhhhhhhhhhhh.”

2. Laugh repeatedly until cued to stop.

3. Snap fingers.

4. Tap pencil on stand.

(Optional: Together, as conducted on cue.)

This sample soundscape can be performed straight through in order, or as more than one box at the same time, since the conductor could point to two boxes simultaneously. Try different orders/sequences and repetitions to “create” different pieces, as well as combining different boxes and different orders. Have some students come up to be the conductor and point to various boxes (they love this.) If possible, record and play back the composition (students love this also.) After performing the soundscape a number of different ways, ask the students to create a brand-new soundscape together as a class.

Draw a set of empty boxes on the board, and begin by having everyone explore some sounds individually. Then take time to listen to students’ ideas as short solos.

Finally, build a composition by voting on ideas and putting them in the boxes on the board. Practice the new composition, and be open to student input for changing the order of sounds, or combining sounds.

Also, be sure to build some rhythmic pulse into the composition, as rhythm can really add a lot of energy to the music. At the end of your time, record it and listen back – students love getting to hear their own recordings, and it is an important part of the compositional process.

Teachers should attempt whenever possible to connect composition lessons to actual music the students are performing or studying in class in an effort to help deepen the learning experience. Think of 20

teaching your “regular” repertoire as if you were the composer yourself. Ask yourself and your students questions like “why is there a ritard there?” and “what feelings is the composer trying to portray here and why?” rather than just teaching students to slow down when they see the word “ritard.”

In conclusion, my experience in teaching music composition in ensemble settings has been very rewarding and exciting. Students generally love to engage in composition and it creates an entirely different feeling and level of learning and engagement that is a complete contrast to the typical performance emphasis of many of our classroom settings. If any of you want more information on teaching composing, I’d be happy to share some more of the lessons I created (to be published soon by Rowman & Littlefield.) Additionally, I’d be happy to visit your class in person if you are close by in Southern California, or by video chat if you are farther away, and either talk through some of the composing lessons with you, or co-teach a sample lesson with you and your students! Now, take a break from reading this article and go compose a joyful tune.

Feel free to contact me at: akoops@apu.edu • Recommended Resources

Hickey, M. (2012). Music Outside the Lines: Ideas for Composing in K–12 Music Classrooms. New York, NY: Oxford University Press.

Kaschub, M. and Smith, J., eds. (2013).

Composing Our Future: Preparing Music Educators to Teach Composition. Oxford University Press.

Koops, A. and Whitener, J., Composition Concepts for Band and Orchestra. Rowman & Littlefield. (in final editing stages, coming soon) Randles, C. and Stringham, D., eds. Musicianship: Composing in Band and Orchestra. Chicago: GIA, 2013.

Stringham, D., Musicianship: Composing in Choir. Chicago: GIA, 2013. https://www.giamusic.com/store/resource/musicianship-composing-in-choirbook-g9082, Kerchner, J. & Strand, K. editors. (2016) Musicianship: Composing in Choir. GIA

Deutsch, D. (2016). Authentic assessment in music composition: Feedback that facilitates creativity. Music Educators Journal, 102(3), 53–59. https://doi.org/10.1177/0027432115621608

1

3

2019 CMEA State Solo and Ensemble Festival presented by World Projects Azusa Pacific University, May 11, 2019

Kaschub, M., and Smith, J., Minds on Music: Composition for Creative and Critical Thinking Experiencing Music Composition in Grades 3–5, (The authors are in the process of developing new books in this series for use with various ages of students.) Facebook group: Experiencing Music Composition Kratus, J. (2016). Songwriting: “A New Direction for Secondary Music Education.” Music Educators Journal, 102(3), 60–65. https://doi.org/10.1177/00274321156206 60

2

4

5

6

Music-COMP: Formerly known as the Vermont MIDI Project, this organization has connected professional composers with K–12 students for more than twenty years.

Their websites has valuable insights and resources for helping kids learn to compose.

Randles, C. and Sullivan M., (2013).

“How composers approach teaching composition: Strategies for music teachers.”

Music Educators Journal, 99(3), 51– 57. https://doi.org/10.1177/00274321124713 98

9

7

8

10

1. Adriana/Rudolfina Studio, Visalia, CA 2. Tyler/Oak Grove Elementary School, Kingsburg, CA 3. Ethan/Highland High School and CMEA Board 4. Henry/Dexter Middle School, Whittier, CA 5. Julianne/Rudolfina Studio, Visalia, CA 6. Jana/Harmony Magnet Academy and Board, Strathmore, CA 7. Jana/Harmony Magnet Academy, with Cristian Guzman, accompanist, Strathmore, CA 8. Rachel/Agoura High School, Agoura Hills 9. Tri-M: James, Kathleen, Valerie, Yurie, Mark, Alison, Wendy/Bloomington High School, Bloomington, CA 10. Cameron, Benjamin, Joanna, Bianca, Antonio, Saugus High Woodwind Quintet, Santa Clarita, CA

Ruthmann, A. (2007). “The composers’ workshop: An approach to composing in the classroom.” Music Educators Journal, 93(4), 38–43. https://doi.org/10.1177/00274321070930 0416 Stauffer, S. L. (2002). “Connections between the musical and life experiences of young composers and their compositions.”

Journal of Research in Music Education, 50(4), 301. https://doi.org/10.2307/3345357 Stringham, D. (2016). “Creating compositional community in your classroom.”

Music Educators Journal, 102(3), 46–52. https://doi.org/10.1177/00274321156219 53 Wilson, D. (2001). “Guidelines for coaching student composers.” Music Educators Journal, 88(1), 28. https://doi.org/10.2307/3399774

CMEA Magazine

Following Page:

11. Heidi/Reedley High School, Reedley, CA 12. Ethan/Highland High School, Bakersfield, CA 13. Samuel/Providence High School, Burbank, CA 14. Michael, Roman, Peter, Isabella/Golden Valley High School, Newhall, CA

Summer Issue 2019

21

12

11

13

14

2

1

4

3

2019 CMEA State Solo and Ensemble Festival presented by World Projects Sacramento State University May 3–4, 2019

5

Technology Enhanced Learning

by Chad Zullinger CMEA Music Technology Representative

6

7

I

hope you’re having a relaxing, rejuvenating and restful summer. As I am drafting out this article, I came across a tweet that will be apropos by the time this issue reaches your mailboxes:

8

9 1. Emma/Monica Williams Private Studio, San Francisco, CA 2. Jennifer/Leonardo daVinci School, Sacramento, CA 3. Joshua/Harper Jr. High School, Davis, CA 4. Kenya/Conservatory of Vocal-Instrumental Arts High School, Oakland, CA 5. Leigha/Woodcreek High School, Roseville, CA 6. Loor/Emerson Jr High School, Davis, CA 7. Nina/Valley Christian School, San Jose, CA 8. Adrian/Harper Jr High School, Davis, CA 9. Cryxian, Bryan, Angel, Maribel, Damion, and Sandra Kelly, director, with their familes/Madera South High School, Madera, CA

22

CMEA Magazine

Before I share some amazing apps you can try out this summer, allow me to frame some of these technology tools in the context of personalized learning and student-centered learning environments.

The paradigms the profession has been operating under are shifting rapidly. How we view music education in the present, as well as into the future, includes essential questions all educators must ask themselves at this critical point in the 21st century. If we were to use a 21st-century lens at teaching and learning in the music program, this could include a “particular focus on the intent behind our music making, rather than the ‘quality’ in terms of techno-musical outcomes; stress on the individual and group choices that develop musical identity; and demonstration of the ways in which this paradigm may contribute to voluntary, rather than enforced, involvement (West, p 3).

What if we were to cultivate the idea of a learner-centered Summer Issue 2019

pedagogy so that students can direct their own learning experiences in the music classroom?

In the educational landscape of makerspaces, personalized and project-based learning, and an ever increasingly connected classroom, the opportunity to allow students to explore and make music has never been more attainable. One form of engagement could take the form of community-based musical learning experiences that enhance the music program within a particular school’s community. Key components of such a relationship would be: 1) shared curricular objectives geared towards unique experiences; 2) shared resources such as facilities, space, and arts professionals operating both in and outside of the school, etc.; 3) collaboration between schools, arts agencies, organizations, universities, community colleges, etc (Snowden, p 4).

Here come some questions to consider before we review some applications to use in the classroom: 1 What does a student-centered learning environment mean for students?

2 How can we create situations for students to explore and invent original music?

3 Do we create and sustain spaces so that students can direct their own learning in the language of music in an academic setting?

By creating music classrooms that are not defined only by portraits of more established musical practices, tested by time, music educators may invite their students to join communities where different views of musicianship exist simultaneously and are negotiated, shared and critically explored (Partti, p 15).

Now that the philosophical musings of our time together have 23

12

11

13

14

2

1

4

3

2019 CMEA State Solo and Ensemble Festival presented by World Projects Sacramento State University May 3–4, 2019

5

Technology Enhanced Learning

by Chad Zullinger CMEA Music Technology Representative

6

7

I

hope you’re having a relaxing, rejuvenating and restful summer. As I am drafting out this article, I came across a tweet that will be apropos by the time this issue reaches your mailboxes:

8

9 1. Emma/Monica Williams Private Studio, San Francisco, CA 2. Jennifer/Leonardo daVinci School, Sacramento, CA 3. Joshua/Harper Jr. High School, Davis, CA 4. Kenya/Conservatory of Vocal-Instrumental Arts High School, Oakland, CA 5. Leigha/Woodcreek High School, Roseville, CA 6. Loor/Emerson Jr High School, Davis, CA 7. Nina/Valley Christian School, San Jose, CA 8. Adrian/Harper Jr High School, Davis, CA 9. Cryxian, Bryan, Angel, Maribel, Damion, and Sandra Kelly, director, with their familes/Madera South High School, Madera, CA

22

CMEA Magazine

Before I share some amazing apps you can try out this summer, allow me to frame some of these technology tools in the context of personalized learning and student-centered learning environments.

The paradigms the profession has been operating under are shifting rapidly. How we view music education in the present, as well as into the future, includes essential questions all educators must ask themselves at this critical point in the 21st century. If we were to use a 21st-century lens at teaching and learning in the music program, this could include a “particular focus on the intent behind our music making, rather than the ‘quality’ in terms of techno-musical outcomes; stress on the individual and group choices that develop musical identity; and demonstration of the ways in which this paradigm may contribute to voluntary, rather than enforced, involvement (West, p 3).

What if we were to cultivate the idea of a learner-centered Summer Issue 2019

pedagogy so that students can direct their own learning experiences in the music classroom?

In the educational landscape of makerspaces, personalized and project-based learning, and an ever increasingly connected classroom, the opportunity to allow students to explore and make music has never been more attainable. One form of engagement could take the form of community-based musical learning experiences that enhance the music program within a particular school’s community. Key components of such a relationship would be: 1) shared curricular objectives geared towards unique experiences; 2) shared resources such as facilities, space, and arts professionals operating both in and outside of the school, etc.; 3) collaboration between schools, arts agencies, organizations, universities, community colleges, etc (Snowden, p 4).

Here come some questions to consider before we review some applications to use in the classroom: 1 What does a student-centered learning environment mean for students?

2 How can we create situations for students to explore and invent original music?

3 Do we create and sustain spaces so that students can direct their own learning in the language of music in an academic setting?

By creating music classrooms that are not defined only by portraits of more established musical practices, tested by time, music educators may invite their students to join communities where different views of musicianship exist simultaneously and are negotiated, shared and critically explored (Partti, p 15).

Now that the philosophical musings of our time together have 23

been established, let’s take a look at some of my favorite apps to engage with students that you can play around with here in the summer and perhaps implement for the next school year. Each one of these apps will have a “give it a try” link below each description. The apps can be synchronized through Google Classroom, as well as another important feature: these applications are free.

Padlet Padlet is an app so that you can create an online bulletin board you can use to display information for any topic. “Perfecting the art of collaboration,” Padlet is a great place for gathering ideas, sharing them and modifying them later. Collaborators can add links, YouTube videos, files and images to Padlet notes.

And most importantly, any Padlet ‘wall’ is shareable. Since it is basically a webpage, you can send and post content from a Padlet wall in Google Classroom or any LMS (learning management system) of your choosing.

I use Padlet as a way to introduce an idea or question with a group (students or teachers!) and have them contribute their thoughts or ideas as a conversation starter. This helps frame the activity or lesson that I want the group to learn from in a class or professional development session. The thoughts and ideas generated never go away. Anyone from the group can access it later at any time to be used as a reference point or create subsequent learning activities.

Want to engage with a Padlet? Go here [bit.ly/CMEA_tech2]

edPuzzle Have you ever wondered, “how can I make a YouTube video interactive, or can 24

I use a YouTube video to check for understanding?” Here is that tool.

Videos are a great way to bring content into the classroom. With edPuzzle you can turn any online video into an interactive formative experience. For example, find or import any video into edPuzzle and enhance your students’ learning with an audio note that pauses the video and adds a quick audio instruction with your voice. How about creating a multiple-choice or openended question that opens at a specific point in the video?

In the teacher dashboard the teacher can see how many students have watched the video, as well as questions that need to be graded. Also, maybe you just want to use the statistics in the dashboard to see how students are watching and what they’ve done. The grading feature groups common questions together making it easier and faster to grade. All of the data can be synced with Google Classroom or other common LMS. Want to see what a video in edPuzzle looks like? Go here [bit.ly/CMEA_tech1]

Flipgrid Flipgrid is a social learning platform that allows educators to ask a question and students to record short videos as their response. Students are then able to respond to one another by creating a video discussion. The ensuing Q&A becomes a video grid of student/teacher tiles; the possibilities are endless for students to verbalize their learning!

My colleague and Da Capo podcast partner Stephen Keys @TheStephenKeys uses Flipgrid for playing tests with his middle school band students. He says the advantage of both audio and video information is that in addition to hearing the music, he can observe his students’ hand positions on the instrument, posture, embouchure, etc. Students get to record

their video posts as many times as they like, which in turn causes them to practice.

At first Stephen was concerned about student videos being visible to the entire class. However, he was pleasantly surprised at the positive comments made about their peers’ playing ability and overall improvement on both the music and their instrument proficiency. He says Flipgrid has encouraged them to work together as a team in a safe, supportive environment (you can also set the grid up so that just the teacher can view/hear the videos as well).

Want to see what a video in Flipgrid looks like? Go here [bit.ly/CMEA_tech3] And finally, all of these resources, and even more can be found at our CMEA Google Classroom (join code: z3s4aw).

What is a CMEA Google Classroom?

Last year I had this idea that we could continue the sharing and learning long after a 50-minute session, once a year at CASMEC, had concluded. As of this article, we have a little over 80 music teachers from across the state from a variety of backgrounds, places in their careers, all experimenting with technology to enhance their students’ learning experiences in music.

• Allsup, R. E. (2003). “Mutual Learning and Democratic Action in Instrumental Music Education.” Journal of Research in Music Education, 51(1), 24–37.

Professionalism at the Heart of Creating a Positive Culture in Our Work by

Michael D. Stone

Professionalism: Kids, Music, and Self

S

ummer provides music educators the opportunity for self-reflection and meaningful selfassessment. Music education is a dynamic profession providing us with the opportunity to refresh our work with inspiration as we plan for the future. But, what does it mean to be part of a “profession” anyway? We often think of teachers, doctors, and lawyers as being part of a profession, but other occupations are simply viewed as careers. My good friend Dr. Lawrence Stoffel tells his university students that Madonna has a “career,” but we are part of the music education “profession.” So, what’s the difference between a career and a profession?

The answer is quite simple. Those of us in a profession share common goals and standards that take us beyond ourselves in serving others.

Ryan Dirlam, music teacher, Firebaugh High School.

Partti, H. (2014). “Cosmopolitan musicianship under construction: Digital musicians illuminating emerging values in music education.” International Journal of Music Education, 32(1), 3–18.

Snowden, La Gretta, "Music programs that engage our communities: Making a stronger connection" (2003). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/1482 West, Susan. “A New Paradigm in Music Education: the Music Education Program at the Australian National University.” A New Paradigm in Music Education: the Music Education Program at the Australian National University, 2007.

CMEA Magazine

The new Performing Arts Building in the Firebaugh-Las Deltas Unified School District in Central California. In 2012, music teacher Ryan Dirlam went to work as the only music teacher in the District. After planting his roots, the program has blossomed with four full-time music teachers today and a new performing arts center.

Summer Issue 2019

25

been established, let’s take a look at some of my favorite apps to engage with students that you can play around with here in the summer and perhaps implement for the next school year. Each one of these apps will have a “give it a try” link below each description. The apps can be synchronized through Google Classroom, as well as another important feature: these applications are free.

Padlet Padlet is an app so that you can create an online bulletin board you can use to display information for any topic. “Perfecting the art of collaboration,” Padlet is a great place for gathering ideas, sharing them and modifying them later. Collaborators can add links, YouTube videos, files and images to Padlet notes.

And most importantly, any Padlet ‘wall’ is shareable. Since it is basically a webpage, you can send and post content from a Padlet wall in Google Classroom or any LMS (learning management system) of your choosing.

I use Padlet as a way to introduce an idea or question with a group (students or teachers!) and have them contribute their thoughts or ideas as a conversation starter. This helps frame the activity or lesson that I want the group to learn from in a class or professional development session. The thoughts and ideas generated never go away. Anyone from the group can access it later at any time to be used as a reference point or create subsequent learning activities.

Want to engage with a Padlet? Go here [bit.ly/CMEA_tech2]

edPuzzle Have you ever wondered, “how can I make a YouTube video interactive, or can 24

I use a YouTube video to check for understanding?” Here is that tool.

Videos are a great way to bring content into the classroom. With edPuzzle you can turn any online video into an interactive formative experience. For example, find or import any video into edPuzzle and enhance your students’ learning with an audio note that pauses the video and adds a quick audio instruction with your voice. How about creating a multiple-choice or openended question that opens at a specific point in the video?

In the teacher dashboard the teacher can see how many students have watched the video, as well as questions that need to be graded. Also, maybe you just want to use the statistics in the dashboard to see how students are watching and what they’ve done. The grading feature groups common questions together making it easier and faster to grade. All of the data can be synced with Google Classroom or other common LMS. Want to see what a video in edPuzzle looks like? Go here [bit.ly/CMEA_tech1]

Flipgrid Flipgrid is a social learning platform that allows educators to ask a question and students to record short videos as their response. Students are then able to respond to one another by creating a video discussion. The ensuing Q&A becomes a video grid of student/teacher tiles; the possibilities are endless for students to verbalize their learning!

My colleague and Da Capo podcast partner Stephen Keys @TheStephenKeys uses Flipgrid for playing tests with his middle school band students. He says the advantage of both audio and video information is that in addition to hearing the music, he can observe his students’ hand positions on the instrument, posture, embouchure, etc. Students get to record

their video posts as many times as they like, which in turn causes them to practice.

At first Stephen was concerned about student videos being visible to the entire class. However, he was pleasantly surprised at the positive comments made about their peers’ playing ability and overall improvement on both the music and their instrument proficiency. He says Flipgrid has encouraged them to work together as a team in a safe, supportive environment (you can also set the grid up so that just the teacher can view/hear the videos as well).

Want to see what a video in Flipgrid looks like? Go here [bit.ly/CMEA_tech3] And finally, all of these resources, and even more can be found at our CMEA Google Classroom (join code: z3s4aw).

What is a CMEA Google Classroom?

Last year I had this idea that we could continue the sharing and learning long after a 50-minute session, once a year at CASMEC, had concluded. As of this article, we have a little over 80 music teachers from across the state from a variety of backgrounds, places in their careers, all experimenting with technology to enhance their students’ learning experiences in music.

• Allsup, R. E. (2003). “Mutual Learning and Democratic Action in Instrumental Music Education.” Journal of Research in Music Education, 51(1), 24–37.

Professionalism at the Heart of Creating a Positive Culture in Our Work by

Michael D. Stone

Professionalism: Kids, Music, and Self

S

ummer provides music educators the opportunity for self-reflection and meaningful selfassessment. Music education is a dynamic profession providing us with the opportunity to refresh our work with inspiration as we plan for the future. But, what does it mean to be part of a “profession” anyway? We often think of teachers, doctors, and lawyers as being part of a profession, but other occupations are simply viewed as careers. My good friend Dr. Lawrence Stoffel tells his university students that Madonna has a “career,” but we are part of the music education “profession.” So, what’s the difference between a career and a profession?

The answer is quite simple. Those of us in a profession share common goals and standards that take us beyond ourselves in serving others.

Ryan Dirlam, music teacher, Firebaugh High School.

Partti, H. (2014). “Cosmopolitan musicianship under construction: Digital musicians illuminating emerging values in music education.” International Journal of Music Education, 32(1), 3–18.

Snowden, La Gretta, "Music programs that engage our communities: Making a stronger connection" (2003). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/1482 West, Susan. “A New Paradigm in Music Education: the Music Education Program at the Australian National University.” A New Paradigm in Music Education: the Music Education Program at the Australian National University, 2007.

CMEA Magazine

The new Performing Arts Building in the Firebaugh-Las Deltas Unified School District in Central California. In 2012, music teacher Ryan Dirlam went to work as the only music teacher in the District. After planting his roots, the program has blossomed with four full-time music teachers today and a new performing arts center.

Summer Issue 2019

25

We adhere to particular norms and expectations for those who serve in our ranks. Teachers must earn degrees and teaching credentials, be positive role models, and do ongoing professional learning.

Madonna’s number one career goal may be to sell recordings, perform at a certain venue, or make more money, all for herself.

As music education professionals, we get to reach outside of ourselves to serve others through music education. A profession is an opportunity to serve.

My personal educational philosophy was inspired by Mr. Gerald E. Anderson, former Head of Music Education at UCLA, when I earned my bachelor’s degree in the 1980’s. Mr. Anderson spoke to us about kids, music, and self as they related to his educational philosophy: Kids. Music. Self.

These three words, in that order, are why I work in the music education profession.

We must keep each element in this order to enjoy our work as music education professionals. When what is best for kids stays at the front of our work, everything else we do will fall into place.

All decisions we make as professional educators must be made first and foremost based upon how they impact our students, the kids. My superintendent, Doc Ervin, likes to say: “I make decisions based upon how students are affected, not the adults.”

As a music supervisor, I could not agree more. I like to think that if I provide the adults with what they need to be effective teachers, the students will be successful as well. All of our decisions as educators must be centered around how students are affected. This is a crucial factor when I make decisions in my work as an administrator.

When I speak to college and university music education classes I see the passion that each student has for “music.” There is no doubt that many of us would probably not be in the education profession if not for our passion in music. Music is a significant part of our lives, and we hope to pass on that love for music to our students. But I would argue that “music” must be second to “kids” when it comes to why we teach music. The instrumental music teacher who decides to program Beethoven’s Fifth Symphony for his elementary orchestra because he puts great music first is putting his personal “musical” interests and ambition above what is best for students. Surely these elementary school musicians would not be able to get meaning out of performing something that they cannot technically 26

play on their instruments. The middle school vocal music teacher who only teaches music by rote so that the students can sing more music is not serving the students first since they will not learn musical literacy. Simply put, music is a catalyst for teaching kids, and not the other way around. We should be passionate about music, but remember that it serves as a conduit for developing students who are good citizens and healthy adults. Music helps us along the way, but is only part of why we teach.

As members of the music education profession, it is important that we take care of ourselves. Long days, numerous rehearsals, and a variety of public performances are part of any vibrant music program. We are expected to provide leadership and work hard, as we should. But it’s my belief that as professionals, we must also take the time to care for our personal goals and needs. It’s okay to have ambition to conduct an honor band, or present a clinic, or perhaps stay at home on weekends with family. Feeding our soul is important in this profession. Unfortunately, though, I see some music educators who put “self ” in front of “kids” and “music” through their actions. The band director who wants to chase trophies will attend ten field tournaments in the fall, instead of three, because that ambition comes before what’s best for students who have busy lives. The competitive nature of this band director places “self ” in front of “kids” and “music,” since to him it’s about the end result (i.e., trophies) rather than students’ music education. The elementary music teacher who only sings pop music with students is putting personal interest above a balanced diet of repertoire that is rich and varied. Students need to learn music in a variety of genres and styles. The band director who is not interested in learning to teach strings because it is out of his comfort zone is not doing what is best for students who need a teacher to learn string pedagogy, or there will be no orchestra class. So, remember: 1. Kids; 2. Music; and 3. Self. Keep your priorities in that order.

You can’t go wrong.

Follow the Golden Rule in Relationship Building

How do you create a culture of high expectations for music students in your school district or school? Music educators as a group are great human beings. Our

backgrounds in music give us an advantage in effective communication, and our backgrounds performing, composing, creating, and living as musicians make us more adept at communicating than others. In my work as a music supervisor, I have seen some teachers go into any environment and thrive. Others struggle with issues such as communication and establishing a positive environment for student learning.

What is the key ingredient to success? It’s all about personal relationships. The teacher who is loved by students can be forgiven for small inadequacies and still succeed. But the expert musician who has splendid pedagogical knowledge can fail due to lack of good interpersonal communication skills. Remember, if you have a warm and caring disposition, as opposed to being aloof or harsh, people will view you as successful and want to get to know you and be part of your music program. It is our responsibility to develop positive relationships with students, colleagues, administrators, and parents. There are no shortcuts here. You either work to be a good communicator, or you will fail.

The golden rule for music educators is to develop strong interpersonal relationships with all stakeholders in the school community. Let’s face it: Clicking “send” on an email may be a more efficient means of communication sometimes, but face-toface communication or a phone call will better accomplish clear communication and relationship-building in certain matters. I work with one fabulous teacher who calls our Department Office at least three or four times a week. We sometimes tease him for having so many questions. But when push comes to shove, this teacher understands that communication is his responsibility. There are no bad questions, and communication is crucial when developing interpersonal relationships. Another teacher I work with texts throughout the day, but calls when it’s something more important. This teacher has good communication skills and we have a strong professional relationship because I am kept well-informed. I appreciate over-communication. It’s the teachers who I rarely hear from who may be viewed by the school community as being aloof or disjointed.

How you communicate may vary in given circumstances, but you must develop a strong interpersonal relationships with your principal, parents, and students in order to succeed, and communication is CMEA Magazine

crucial. Err on the side of too much communication. Build relationships.

Honesty and Specific Solutions

I’m often asked how we have assembled such a terrific team of music educators in the Bakersfield City School District (BCSD). As a large, urban school district with close to 90 percent of our students living at the lower socioeconomic level, we have children with big challenges. Yet, in spite of these obstacles, our team stays in the district year after year. A key ingredient, from my perspective, is that when it comes to our work, we build our team by addressing issues that may arise with honesty and a mindset of finding specific solutions to problems. As CMEA President-Elect, I had the opportunity to learn strategic planning skills, which provided me with the idea that any objective must have a metric attached in order to be successfully implemented. If a teacher has a problem doing his job, and cannot solve the matter on his own, then I want to be involved to support. Sometimes that means just being a sounding board for the teacher. Other times it may be giving direction or speaking to another administrator, a parent, or a colleague. My good friend Jim Mazzaferro has built a culture of excellence at Cazadero Performing Arts Camp by saying “We do not have problems at Caz; only solutions.” This view of collaborating to solve problems is at the core of successful organizations. People are generally not motivated by fear, outside pressure, or negative consequences. Professional educators will perform at their best when self-motivated, and when given the tools necessary to accomplish a given task.

In BCSD we strive to create a work environment where stakeholders are free to collaborate with colleagues and administrators for the benefit of the students. It's not to say that we do not face challenges, but we try to work together with honesty and openness in service to students. Actions speak louder than words.

Part of my work is to supervise and evaluate the work of music teachers. At times it is necessary to have honest conversations about a given teacher’s work, and that may be uncomfortable for me and the employee. I have found that the best approach is to come at the matter with a variety of solutions to address the issue, whatever it may be. Sometimes I may have several ideas for a solution, but the employee may Summer Issue 2019

have another great idea. It’s important to trust the professional educator to choose the best solution. If Plan A doesn’t work, then go to Plan B, Plan C, and so on. People do not need to be micromanaged. Let them thrive by becoming their own problem solver. Be their sounding board. In this sense, my work as a supervisor is sometimes as a coach, rather than a boss.

Trust Your Team; Encourage Creativity

The term “boilerplate” is popular in management circles to mean a standard practice or template used for organizational purposes. A boilerplate schedule for music would mean that we each have the same exact teaching schedule. I have found that one size does not fit all in every situation. This does not mean that some schools should offer some core music classes while another does not. But, at the same time, one school may need to have two beginning band classes where another may only need one class. One teacher may want to add a guitar class or Mariachi class to serve students at a given school site. In my work I have found that when a professional educator has a special passion for a part of the curriculum, or a methodology as to how to teach a particular concept, that teacher should run with it. There are many means to reach a given end result.

Creativity lies in how we get there. Trust your team, your colleagues, and provide the support necessary to enjoy great results.

High standards will develop over time, and a cookie-cutter approach will not get you there. It’s more than structure. Create, create, create.

as instructional leaders, teachers, and even student leaders. A special kind of dynamism will develop when the entire instructional team views their work through the lens of the growth mindset.

Accountability Comes Full Circle

Any successful organization has clear values, vision, and mission. The values of an organization include ways in which the group interacts with one another; vision is where the group is headed; and the mission is the work to get to the point of fulfilling the vision. In Bakersfield City School District, one of our core values is accountability. We believe that administrators must hold teachers to high standards, teachers must do the same for students, and administrators must be held accountable to teachers and parents. In other words, the accountability model goes multiple directions. If as the instructional leader I fail to follow our core values, I expect a parent, teacher, or community member to confront me with the matter. It’s important that all stakeholders in an organization view accountability as multi-directional. A top-down model will not result in the building of trust in an organization. Trust is earned by transparency and accountability being at the heart of the work.

Dynamism Comes From a Growth Mindset

As professionals, we must always work to be better. We must grow and develop our learning, and inspire such growth in our students. The juxtaposition of the growth and fix mindsets provides a good framework for how to build synergy within your instructional team. A teacher who views work through the lens of personal growth will face problems with solutions.

One with a fixed mindset will only identify problems, and offer no solutions. This educator will have excuse after excuse as to why things are not working well. We can never succumb to seeing the glass half empty. View the glass half full with optimism, and question what you can do to grow more. We must model this behavior

Face Challenges with Tenacity and Persistence: Rome Was Not Built in a Day

As an instructional leader first appointed to my role as Visual and Performing Arts Coordinator in 2003, I remember being so frustrated in the first year or two because change was coming so slowly. It seemed like all I faced each day was problems, and I was running around like a chicken with his head cut off trying to put out fires on multiple fronts. After settling into the job a couple of years later, and after facilitating 27

We adhere to particular norms and expectations for those who serve in our ranks. Teachers must earn degrees and teaching credentials, be positive role models, and do ongoing professional learning.

Madonna’s number one career goal may be to sell recordings, perform at a certain venue, or make more money, all for herself.

As music education professionals, we get to reach outside of ourselves to serve others through music education. A profession is an opportunity to serve.

My personal educational philosophy was inspired by Mr. Gerald E. Anderson, former Head of Music Education at UCLA, when I earned my bachelor’s degree in the 1980’s. Mr. Anderson spoke to us about kids, music, and self as they related to his educational philosophy: Kids. Music. Self.

These three words, in that order, are why I work in the music education profession.

We must keep each element in this order to enjoy our work as music education professionals. When what is best for kids stays at the front of our work, everything else we do will fall into place.

All decisions we make as professional educators must be made first and foremost based upon how they impact our students, the kids. My superintendent, Doc Ervin, likes to say: “I make decisions based upon how students are affected, not the adults.”

As a music supervisor, I could not agree more. I like to think that if I provide the adults with what they need to be effective teachers, the students will be successful as well. All of our decisions as educators must be centered around how students are affected. This is a crucial factor when I make decisions in my work as an administrator.

When I speak to college and university music education classes I see the passion that each student has for “music.” There is no doubt that many of us would probably not be in the education profession if not for our passion in music. Music is a significant part of our lives, and we hope to pass on that love for music to our students. But I would argue that “music” must be second to “kids” when it comes to why we teach music. The instrumental music teacher who decides to program Beethoven’s Fifth Symphony for his elementary orchestra because he puts great music first is putting his personal “musical” interests and ambition above what is best for students. Surely these elementary school musicians would not be able to get meaning out of performing something that they cannot technically 26

play on their instruments. The middle school vocal music teacher who only teaches music by rote so that the students can sing more music is not serving the students first since they will not learn musical literacy. Simply put, music is a catalyst for teaching kids, and not the other way around. We should be passionate about music, but remember that it serves as a conduit for developing students who are good citizens and healthy adults. Music helps us along the way, but is only part of why we teach.

As members of the music education profession, it is important that we take care of ourselves. Long days, numerous rehearsals, and a variety of public performances are part of any vibrant music program. We are expected to provide leadership and work hard, as we should. But it’s my belief that as professionals, we must also take the time to care for our personal goals and needs. It’s okay to have ambition to conduct an honor band, or present a clinic, or perhaps stay at home on weekends with family. Feeding our soul is important in this profession. Unfortunately, though, I see some music educators who put “self ” in front of “kids” and “music” through their actions. The band director who wants to chase trophies will attend ten field tournaments in the fall, instead of three, because that ambition comes before what’s best for students who have busy lives. The competitive nature of this band director places “self ” in front of “kids” and “music,” since to him it’s about the end result (i.e., trophies) rather than students’ music education. The elementary music teacher who only sings pop music with students is putting personal interest above a balanced diet of repertoire that is rich and varied. Students need to learn music in a variety of genres and styles. The band director who is not interested in learning to teach strings because it is out of his comfort zone is not doing what is best for students who need a teacher to learn string pedagogy, or there will be no orchestra class. So, remember: 1. Kids; 2. Music; and 3. Self. Keep your priorities in that order.

You can’t go wrong.

Follow the Golden Rule in Relationship Building

How do you create a culture of high expectations for music students in your school district or school? Music educators as a group are great human beings. Our

backgrounds in music give us an advantage in effective communication, and our backgrounds performing, composing, creating, and living as musicians make us more adept at communicating than others. In my work as a music supervisor, I have seen some teachers go into any environment and thrive. Others struggle with issues such as communication and establishing a positive environment for student learning.

What is the key ingredient to success? It’s all about personal relationships. The teacher who is loved by students can be forgiven for small inadequacies and still succeed. But the expert musician who has splendid pedagogical knowledge can fail due to lack of good interpersonal communication skills. Remember, if you have a warm and caring disposition, as opposed to being aloof or harsh, people will view you as successful and want to get to know you and be part of your music program. It is our responsibility to develop positive relationships with students, colleagues, administrators, and parents. There are no shortcuts here. You either work to be a good communicator, or you will fail.

The golden rule for music educators is to develop strong interpersonal relationships with all stakeholders in the school community. Let’s face it: Clicking “send” on an email may be a more efficient means of communication sometimes, but face-toface communication or a phone call will better accomplish clear communication and relationship-building in certain matters. I work with one fabulous teacher who calls our Department Office at least three or four times a week. We sometimes tease him for having so many questions. But when push comes to shove, this teacher understands that communication is his responsibility. There are no bad questions, and communication is crucial when developing interpersonal relationships. Another teacher I work with texts throughout the day, but calls when it’s something more important. This teacher has good communication skills and we have a strong professional relationship because I am kept well-informed. I appreciate over-communication. It’s the teachers who I rarely hear from who may be viewed by the school community as being aloof or disjointed.

How you communicate may vary in given circumstances, but you must develop a strong interpersonal relationships with your principal, parents, and students in order to succeed, and communication is CMEA Magazine

crucial. Err on the side of too much communication. Build relationships.

Honesty and Specific Solutions

I’m often asked how we have assembled such a terrific team of music educators in the Bakersfield City School District (BCSD). As a large, urban school district with close to 90 percent of our students living at the lower socioeconomic level, we have children with big challenges. Yet, in spite of these obstacles, our team stays in the district year after year. A key ingredient, from my perspective, is that when it comes to our work, we build our team by addressing issues that may arise with honesty and a mindset of finding specific solutions to problems. As CMEA President-Elect, I had the opportunity to learn strategic planning skills, which provided me with the idea that any objective must have a metric attached in order to be successfully implemented. If a teacher has a problem doing his job, and cannot solve the matter on his own, then I want to be involved to support. Sometimes that means just being a sounding board for the teacher. Other times it may be giving direction or speaking to another administrator, a parent, or a colleague. My good friend Jim Mazzaferro has built a culture of excellence at Cazadero Performing Arts Camp by saying “We do not have problems at Caz; only solutions.” This view of collaborating to solve problems is at the core of successful organizations. People are generally not motivated by fear, outside pressure, or negative consequences. Professional educators will perform at their best when self-motivated, and when given the tools necessary to accomplish a given task.

In BCSD we strive to create a work environment where stakeholders are free to collaborate with colleagues and administrators for the benefit of the students. It's not to say that we do not face challenges, but we try to work together with honesty and openness in service to students. Actions speak louder than words.

Part of my work is to supervise and evaluate the work of music teachers. At times it is necessary to have honest conversations about a given teacher’s work, and that may be uncomfortable for me and the employee. I have found that the best approach is to come at the matter with a variety of solutions to address the issue, whatever it may be. Sometimes I may have several ideas for a solution, but the employee may Summer Issue 2019

have another great idea. It’s important to trust the professional educator to choose the best solution. If Plan A doesn’t work, then go to Plan B, Plan C, and so on. People do not need to be micromanaged. Let them thrive by becoming their own problem solver. Be their sounding board. In this sense, my work as a supervisor is sometimes as a coach, rather than a boss.

Trust Your Team; Encourage Creativity

The term “boilerplate” is popular in management circles to mean a standard practice or template used for organizational purposes. A boilerplate schedule for music would mean that we each have the same exact teaching schedule. I have found that one size does not fit all in every situation. This does not mean that some schools should offer some core music classes while another does not. But, at the same time, one school may need to have two beginning band classes where another may only need one class. One teacher may want to add a guitar class or Mariachi class to serve students at a given school site. In my work I have found that when a professional educator has a special passion for a part of the curriculum, or a methodology as to how to teach a particular concept, that teacher should run with it. There are many means to reach a given end result.

Creativity lies in how we get there. Trust your team, your colleagues, and provide the support necessary to enjoy great results.

High standards will develop over time, and a cookie-cutter approach will not get you there. It’s more than structure. Create, create, create.

as instructional leaders, teachers, and even student leaders. A special kind of dynamism will develop when the entire instructional team views their work through the lens of the growth mindset.

Accountability Comes Full Circle

Any successful organization has clear values, vision, and mission. The values of an organization include ways in which the group interacts with one another; vision is where the group is headed; and the mission is the work to get to the point of fulfilling the vision. In Bakersfield City School District, one of our core values is accountability. We believe that administrators must hold teachers to high standards, teachers must do the same for students, and administrators must be held accountable to teachers and parents. In other words, the accountability model goes multiple directions. If as the instructional leader I fail to follow our core values, I expect a parent, teacher, or community member to confront me with the matter. It’s important that all stakeholders in an organization view accountability as multi-directional. A top-down model will not result in the building of trust in an organization. Trust is earned by transparency and accountability being at the heart of the work.

Dynamism Comes From a Growth Mindset

As professionals, we must always work to be better. We must grow and develop our learning, and inspire such growth in our students. The juxtaposition of the growth and fix mindsets provides a good framework for how to build synergy within your instructional team. A teacher who views work through the lens of personal growth will face problems with solutions.

One with a fixed mindset will only identify problems, and offer no solutions. This educator will have excuse after excuse as to why things are not working well. We can never succumb to seeing the glass half empty. View the glass half full with optimism, and question what you can do to grow more. We must model this behavior

Face Challenges with Tenacity and Persistence: Rome Was Not Built in a Day

As an instructional leader first appointed to my role as Visual and Performing Arts Coordinator in 2003, I remember being so frustrated in the first year or two because change was coming so slowly. It seemed like all I faced each day was problems, and I was running around like a chicken with his head cut off trying to put out fires on multiple fronts. After settling into the job a couple of years later, and after facilitating 27

a strategic planning process with all stakeholders, I realized that change can come over time with tenacity and persistence.

Some things just take longer to accomplish than others. Avoid being frustrated when there are obstacles in your path. Sometimes you have to create a new path around an obstacle. Other times, you simply wait for the obstacle to move. Regardless, persistence is the key ingredient in getting from A to Z. As a person who thrives on overcoming challenges, it’s rewarding to work for positive change that will affect students’ lives.

An example of an obstacle I faced when becoming music supervisor in Bakersfield City Schools is that I had no authority to evaluate the work of the music team. Yet I held unique background in instruction that a principal would not. The paradigm at that time was that principals would do teacher evaluation and supervise the work of their music teachers. After several months I was able to provide justification that a music educator could better evaluate music instruction, and this could be accomplished without usurping the authority and input of the principal. This moment only came after months of work establishing trust with principals. It didn’t happen immediately. Principals slowly understood that it was not me trying to take away their authority, but putting the right person in the role of evaluating teachers where I had expertise and they did not.

Since becoming the evaluator of itinerant music teachers, principals and I have worked together to ensure all students get the best possible instruction in music.

Raising Standards Takes Time

As musicians, we are impatient and perfectionistic. We want everything in its place as soon as possible so that we can get on to being creative and expressive with our music making. We often want to get to the fabulous performance without all the practice. But we sometimes forget as educators that we must thrive on the process of getting to the performance, rather than creating the actual performance. The great Lida Beasley once told me that she would rather not have concerts, as that was not important to her. It was all about the learning along the way. I see performance as important, but only as the icing on the cake. When building new structures to support strong instruction in music we must focus on changing process rather

Summer Issue 2019

than product. It is necessary to be patient.

There will be road blocks along the way to increasing standards. The early bird catches the worm. Get up and do the work each day, and over time, there will be success. Work, evaluate how things went, work some more, evaluate again, and work yet again. There are no short cuts to achieving musical excellence. The persistent and hard-working music educator can accomplish so much in providing children with high standards of excellence in music education.

Giving Opportunities California Music Education Foundation

Plant Yourself and Grow

As I reflect on my first thirty years in the music education profession (I just finished year thirty), I am sometimes asked what the key ingredients are for a long and fulfilling time in the profession. My best advice is to plant yourself in a school community and grow right there. All kids need music education, and you can provide it in a variety of environments. So often young music teachers think the grass is greener across the valley. While it may be, you can get the hose and start watering your own grass. Principals will come and go, but successful music teachers thrive in spite of difficult circumstances. Ryan Dirlam is a young music educator in the Central Valley. In 2012, he started as the only music teacher with the Firebaugh-Las Deltas Unified School District, without a classroom, and teaching everything music: fourth through fifth grade general music, middle school choir and band, and high school choir and drumline. After planting roots, and with Ryan’s hard work and relationship-building, the district today employs four full-time music educators and has a new performing arts center for rehearsals and performances. Way to go, Mr. Dirlam! Ryan has established positive relationships with his superintendent and principals. Perhaps your principal just doesn’t get it. Remember that principals come and go. Push forward. Onward. The teacher is the catalyst to everything good in education. No problems, only solutions.

I sometimes reflect back on my first thirty years as a music education professional. What are the key ingredients that have made all these years so rewarding? Kids; Music; and Self. You are the only one who can impact the lives of your students. Have a great 2020–2021 school year and beyond. Kids; Music; Self.

1, 2, 3.

Supporting the professional development of our members and future leaders.

CMEF Foundation Programs: Future Leaders Scholarship Dr. Randi Carp Choral Music Education Scholarship Don Schmeer Memorial Scholarship Fund CMEA Annual State Awards Endowments

Scan this code to learn more about the CMEF.

29

a strategic planning process with all stakeholders, I realized that change can come over time with tenacity and persistence.

Some things just take longer to accomplish than others. Avoid being frustrated when there are obstacles in your path. Sometimes you have to create a new path around an obstacle. Other times, you simply wait for the obstacle to move. Regardless, persistence is the key ingredient in getting from A to Z. As a person who thrives on overcoming challenges, it’s rewarding to work for positive change that will affect students’ lives.

An example of an obstacle I faced when becoming music supervisor in Bakersfield City Schools is that I had no authority to evaluate the work of the music team. Yet I held unique background in instruction that a principal would not. The paradigm at that time was that principals would do teacher evaluation and supervise the work of their music teachers. After several months I was able to provide justification that a music educator could better evaluate music instruction, and this could be accomplished without usurping the authority and input of the principal. This moment only came after months of work establishing trust with principals. It didn’t happen immediately. Principals slowly understood that it was not me trying to take away their authority, but putting the right person in the role of evaluating teachers where I had expertise and they did not.

Since becoming the evaluator of itinerant music teachers, principals and I have worked together to ensure all students get the best possible instruction in music.

Raising Standards Takes Time

As musicians, we are impatient and perfectionistic. We want everything in its place as soon as possible so that we can get on to being creative and expressive with our music making. We often want to get to the fabulous performance without all the practice. But we sometimes forget as educators that we must thrive on the process of getting to the performance, rather than creating the actual performance. The great Lida Beasley once told me that she would rather not have concerts, as that was not important to her. It was all about the learning along the way. I see performance as important, but only as the icing on the cake. When building new structures to support strong instruction in music we must focus on changing process rather

Summer Issue 2019

than product. It is necessary to be patient.

There will be road blocks along the way to increasing standards. The early bird catches the worm. Get up and do the work each day, and over time, there will be success. Work, evaluate how things went, work some more, evaluate again, and work yet again. There are no short cuts to achieving musical excellence. The persistent and hard-working music educator can accomplish so much in providing children with high standards of excellence in music education.

Giving Opportunities California Music Education Foundation

Plant Yourself and Grow

As I reflect on my first thirty years in the music education profession (I just finished year thirty), I am sometimes asked what the key ingredients are for a long and fulfilling time in the profession. My best advice is to plant yourself in a school community and grow right there. All kids need music education, and you can provide it in a variety of environments. So often young music teachers think the grass is greener across the valley. While it may be, you can get the hose and start watering your own grass. Principals will come and go, but successful music teachers thrive in spite of difficult circumstances. Ryan Dirlam is a young music educator in the Central Valley. In 2012, he started as the only music teacher with the Firebaugh-Las Deltas Unified School District, without a classroom, and teaching everything music: fourth through fifth grade general music, middle school choir and band, and high school choir and drumline. After planting roots, and with Ryan’s hard work and relationship-building, the district today employs four full-time music educators and has a new performing arts center for rehearsals and performances. Way to go, Mr. Dirlam! Ryan has established positive relationships with his superintendent and principals. Perhaps your principal just doesn’t get it. Remember that principals come and go. Push forward. Onward. The teacher is the catalyst to everything good in education. No problems, only solutions.

I sometimes reflect back on my first thirty years as a music education professional. What are the key ingredients that have made all these years so rewarding? Kids; Music; and Self. You are the only one who can impact the lives of your students. Have a great 2020–2021 school year and beyond. Kids; Music; Self.

1, 2, 3.

Supporting the professional development of our members and future leaders.

CMEF Foundation Programs: Future Leaders Scholarship Dr. Randi Carp Choral Music Education Scholarship Don Schmeer Memorial Scholarship Fund CMEA Annual State Awards Endowments

Scan this code to learn more about the CMEF.

29

A RECOGNIZED YOUTH TRAVEL PLANNER FOR

WHATEVER YOUR GOALS—

THE DISNEY PERFORMING ARTS PROGRAM OFFERS OPPORTUNITIES

THERE’S A DREAM HOW TO MATCH

in world-class educational clinics, adjudicated festivals, and performances for guests at the Walt Disney World® Resort and Disneyland® Resort. Our experienced travel coordinators at EPN Travel will work with you to build these events into a comprehensive tour plan that is a perfect fit for your student musicians.

…

WHETHER IT’S CREATING A DREAM PERFORMANCE, A ONE-OF-A-KIND WORKSHOP, OR A COMPETITIVE FESTIVAL EXPERIENCE—we’re here to guide you. EPN Travel Services is proud to be a Disney Parks recognized Youth Travel Planner.

LET US START CREATING MAGIC FOR YOUR STUDENTS.

CONTACT… As to Disney artwork, logos, and properties: ©Disney

888-323-0974 info@epntravel.com epntravel.com