l Music Education Conference • February 20–23, 2014 • Fresno, California
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u
Disorienting
by Russ Sperling CMEA President
As the stor y goes, as an infant, my mother brought me to watch the Ventura Count y Fair Parade Apparently I was uninterested in floats and horses to the point that I doz ed off while they went by But when a band marched by, I was wide awake and moving my little body to the beat of the drums. W hile maybe this wasn’t the first indication to my mother of my musical proc livities, it ’ s the stor y she told most fond ly. The rest of my younger life, she ver y deliberately fostered this musical interest by enrolling me in group music lessons (called “ Yamaha,” I think), youth chorus (for the Bicentennial!), piano lessons and then of course, the school band S he certainly laid a firm foundation for me to make music my profession, and I know I made her proud all along the way
My mother passed away on Halloween, coincidently her father ’ s birthday. S he was all dressed up in a jack-o’-lantern T-shirt and attending the part y at my parents’ retirement complex when she told my father that her stomach didn’t feel good and wanted to return to their place S he quickly got worse, and she passed away on the way to the hospital of an internal bleed S he was 83 and had become frail over the last couple of years. W hile the family is relieved that she went quickly instead of suffering more effects of Alpha-1 Antitr ypsin deficienc y, her death came as a shock.
“Disorienting ” is how one friend has described losing a parent That anchor person who has been there your whole life is suddenly gone I know so many CMEA colleagues who have gone through this recently, and they and others have reached out to me and provided so much comfort. I’ve heard over the years about how CMEA can feel like a big family, and that idea is much more real to me now. I’m grateful for this support
A loss like this also gets you to start asking questions about priorities in your life Am I still making Mom proud? Am I still making my family and loved ones a priorit y (a str uggle for many a music teacher)? The answers are complex. I know my mother strongly suppor ted the time that I have put into CMEA and the cause of a first-c lass music education for all students in California. Knowing how she wanted the best music education for me, I also wonder about the children in our state who don’t have a mother like I did, or the family or institutional encouragement to pursue their musical passions If we as music teachers aren’t surrogate parents for these children, who will be? I’m conc luding that for me, this is not the time to back away from our mission, but time to keep pushing fur ther.
We have the plan to make real progress for music education in California – it ’ s our CMEA S trategic P lan We are in the midd le of our membership campaign, which is showing great progress, and we launched this campaign because we know that we will be more effective for our cause if more of the profession is engaged with our association As a profession, we have collectively put the past aside and come
together around the California All-S tate Music Education Conference (CASMEC) Have you been yet? No? P lease let me tell you why you should go F irst off, I know that most music teachers don’t get financial support for registration or travel – that ’ s really unfortunate We all end up making personal decisions about supporting our own professional learning and development However, please know that there are $1.5 billion in funds from the state for Common Core implementation that you might be able to access, as we are offering CCSS and music sessions at CASMEC You might want to ask your administrator about this S econd ly, you may have also heard that the convention in Fresno is getting
C M EA E X E C UTIVE B OAR D
CM EA President
Russ Sperling
Work: 85 8 292-35 47
Fax: 85 8 5 6 9-5 4 82
E-mail: rsperli@cox.net
CM EA Vice President
Scott Hedgecock Work: 714 626-3 9 8 4
E-mail: scotchdir@aol.com
CM EA President-Elect
Michael D Stone Work: 6 61 631-4 810
E-mail: stonem@bcsd.com
CM EA Secret ary
Diana Hollinger Work: 4 0 8 924-4 631
E-mail: Diana.Hollinger@sjsu.edu
CM EA Immediate Past President
Norman Dea Work: 925 28 0-3 970 x7327
E-mail: normdea@yahoo.com
STAF F
CM EA Administrative Coordinator
Trish Adams 2410 Knowlwood Drive, Hanford, CA 9323 0-7253
Cell: 55 9 9 0 4-2002 Office: 55 9 5 87-2632
E-mail: cmea@calmusiced com
B OAR D O F D I R E CTO R S
CM EA Bay
Section President
Andy Collinsworth Work: 707 664-4154
E-mail: racworth@sonoma edu
CM EA Capitol
Section President
Brad North Work: 916 771-6565 x4600
E-mail: bnorth@rjuhsd K12 ca us
crowded and there aren’t enough hotel rooms in the downtown area This is indeed challenging, and one reason CASMEC will be moving to S an Jose in 2016. But there is space for you somewhere in Fresno, and here are some reasons why you shouldn’t just wait for 2016:
NAf ME President Nanc y Ditmer is going to be at CASMEC this year This is important because we in California have been noticed for the changes we ’ ve made and the transition we are going through You should be at CASMEC to hear Nanc y ’ s perspective on our evolution
CASMEC itself is starting to gain more national attention, and our CMEA
“Call for S essions” garnered more qualit y responses than I have ever seen CMEA President-Elect Michael S tone and I agreed that we needed to double the number of professional development sessions at this year ’ s conference as to not lose the opportunit y for our members to have access to many national-level presentations CBDA, our conference hosts, in spite of increasing space limitations as the conference grows, have been wonderfully accommodating for these additions and we appreciate it.
CMEA has just hired a new music education lobbyist, Lynne Faulks, and she will join us (virtually) at our General S ession You should be there for this historic moment this has never happened before. There are many critical issues at
CM EA Central
Section President
Leonard Ingrande Work: 559 276-0280
E-mail:lingrande@ centralusd k12 ca us
CM EA Central Coast
Section President
Drew Lewis Work: 831 423-0658 x230
E-mail: dlewis@kirby org
CM EA North Coast Section President
Judith Schar nberg Work: 707 633-5 6 0 4
E-mail: judimusic@gmail com
CM EA Northern Section President
David Green Work: 775 8 4 8-3 426
E-mail: david alvin green @gmail com
CM EA Southeastern Section Designated Cont act
Armalyn De La O Work: 909 537-5938
E-mail: adelao@csusb edu
CM EA Southern Border
Section President
Pauline Crooks
Work: 858 485-4850
E-mail: pcrooks@powayusd com
CM EA Southwestern Section Designated Cont act
Lisa Crawford Cell: 310 863-6422
E-mail: lisa crawford@usc edu
NAf M E O F F I C E R S
NAf M E President
Nancy E Ditmer
18 0 6 Robert Fulton Drive, Reston, VA 220 91
8 00 33 6-376 8
NAf M E Western Division President
Ellen Kirkbridge Tucson, A Z 8570 4
COU NCI L OF R E PR ESE NTATIVES
CM EA California ACDA Represent ative
Merryl Nelson
E-mail: mnelson@gladdemusic com
CM EA CAJ Represent ative
Michael Galis atus
E-mail: galis atusm@sbcglobal net
CM EA CB DA Represent ative
Brandon Price Work: 20 9 576-4 814
E-mail: p r i c e b r a n d o n j @ r o ck e t -
m a i l c o m
CM EA C ODA Represent ative
Kate Francis Work: 4 0 8 535-63 00
E-mail: msk atefrancis@gmail com
CM EA Advoc acy Represent ative
Steven Venz Work: 818 4 45-8 9 93
E-mail: stevenvenz@yahoo com
CM EA CAAE Represent ative
Russ Sperling
Work: 85 8 292-35 47
Fax: 85 8 5 6 9-5 4 82
E-mail: rsperli@cox net
CM EA CAS M EC Logistics Coordinator
Bill Wilkinson Work: 55 9 5 85-3 8 81
E-mail: bwilkinson@hesd.k12.ca.us
CM EA Membership Chairperson
Regina Pryor Work 6 61 6 6 4-7211
E-mail: rpryor@bak.rr.com
CM EA Collegiate Represent ative
Mary Schliff Work: 818 677-3170
E-mail: mary.a.schliff@csun.edu
CM EA General Music Represent ative
Jean Strickland Work: 310 377-26 61
Fax: 310 377-4 6 41
E-mail: jeansvein1@msn com
CM EA Higher Educ ation Represent ative
Lawrence Stoffel Work: 818 677-316 0
E-mail: stoffel@csun edu
CM EA Music Supervisors Represent ative
Brad Van Patten Work: 9 4 9 93 6-5 0 81
E-mail: bvanpatt@iusd.org
CM EA Music Technology Represent ative
Dennis Mauricio Work: 619 476-4241
E-mail: dennismauricio@cox net
CM EA Research/ Special Learners Represent ative
Ruth Brittin Work: 20 9 9 4 6-24 0 8
E-mail: rbrittin@pacific edu
CM EA Retired Members Represent ative
Nick Angiulo Work: 916 455-353
E-mail: n angiulo@comcast net
CM EA St ate Festival Coordinator
Jim Mazzaferro Work: 916 6 81-75 00
E-mail: jmazz1@surewest net
CM EA World Music Represent ative
Sofia Fojas
Work: 4 0 8 535-6320
Fax: 925 4 62-2321
E-mail: sslfojas@gmail com
Control yourm ie class with an iPad
Yamaha Music in Education (MIE) is a technology-based general music program with a unique and engaging method, a special two-student k eyboard, and now a new iPad app that gives teachers total control of instruments and learning materials from anywhere in the room. The iPad also gives teachers instant access to MIE textbooks and other course materials, making the job of teaching far more fun and effective. The app works with the MIE3 system as well as some older configurations. For more information about MIE, visit 4wrd.it/miecamea or scan the code below.
Or, email miesales@yamaha.com today if you have questions about the iPad app’s compatibility with your current MIE classroom system.
the state level that you should be informed about, and we ’ ll give you an update
In addition, you ’ ll be inspired by the many concerts, presentations, our awards gala and by just interacting with your colleagues (no one understands you and your work like the rest of us)
Before I finish here, I want to encourage you to participate in our CMEA election that will be held electronically for the first time. Members will receive
Music and Common Core
A message from C M EA President Russ Sperling from the C M EA Website Calmusiced com
Aan e-mail in Januar y that will link you to your ballot online Votes can also be cast at our CMEA booth at CASMEC, where voting will c lose at noon on S aturday. We’ ll be voting for CMEA President-Elect, V ice President, S ecretar y (read candidate bios in this issue of the magazine) and on a re-do of our constitution and bylaws that reflect CMEA’s reorganization and priorities Thanks to CMEA Past President Norm Dea and Administrative Coordinator Trish Adams
s C M EA President, I receive many requests from members requesting information on a variety of topics in our profession One topic that I have been receiving quite a few requests for clarification is regarding the new Common Core St ate St andards (C C S S). I have prepared this mess age that has been vetted by the leadership of The California Arts Project (TCAP, one of C M EA’s very strong partners and experts in arts curriculum in California) for your information
I st ated in the fall 2012 C M EA magazine article, “My hope is that we as music educators do not run away from the Common Core, but welcome these st andards as an opportunity to show others the depth of student learning that t akes place in our classrooms!” Supporting students in developing strong literacy competencies in music is the central role of the California music educator The Common Core St andards in Literacy in Technical Subjects asks music educators to overlay literacy st andards with California’s specific music content st andards to prepare students for college and career
In California, music teachers should still be teaching to our st ate’s Visual and Performing Arts (VAPA) st andards cont ained in the framework that you can find here: http://www cde ca gov/ci/cr/cf/documents/vpaframewrk pdf
New national arts st andards (including music) are currently being written and could be adopted by our st ate board of education Until that time, we should use our existing st ate st andards You can follow the development of these new national st andards here: http://nccas wikispaces com
The Common Core in English Language Arts and Literacy in History/Social Studies, Science and Technical Subjects, include the arts, music, visual arts, dance and theater, as “technical subjects” and, as st ated earlier, are designed to work in t andem with the existing California VAPA st andards What is a “technical subject” within the Common Core initiative? You might be asked this question Go here: http://www corest andards org/assets/Appendix A pdf On page 43 you find: Technical subjects - A course devoted to a practical study, such as engineering, technology, design, business, or other workforce-related subject; a technical aspect of a wider field of study, such as art or music The arts continue to also be considered an “academic” course of study, as in all arts classes it is the
for facilitating this new election method. The election signals the approach of the conc lusion of my term as CMEA President, which will end in April My mother has inspired me to make ever y moment count, and so I will be an advocate for music education for all of California’s students up to my last official moments, but also beyond My hope is that you ’ ll join me at CASMEC and in helping to add members to CMEA to move music for ward
combination of the academic and the technical learning that creates powerful learning for students
All music teachers should read the Common Core St ate St andards in History/Social Studies, Science and Technical Subjects To find them, go here: http://www cde ca gov/re/cc/elaresources.asp and click on the first document listed. For the technical subjects, go to page 73 and there you’ll find the 9 pages or so that apply to music and the arts Again, these can help inform your instruction When well applied, they can enhance your students’ musical literacy, which will make them better musicians, and better prepare them for college and career C C S S should not be considered the only st andards that you teach from as a music teacher, but an additional literacy overlay to the music content st andards
At the California All-St ate Music Education Conference (CAS M E C) in Fresno this February, there will be some sessions offered regarding music and the Common Core that could prove helpful for you, and I encourage your attendance There is a lot of Common Core professional development money in this year’s st ate budget that you might try and access to pay for CAS M E C
Here are some additional resources: The California Arts Project is a great resource for professional development, and they have regional sites: http://csmp ucop edu/tcap/
The California Department of Education has posted a number of onlineprofessional learning modules on the Brokers of Expertise website http://www myboe org/ The module Content Literacy for Technical Subjects was created in collaboration with The California Arts Project and provides an overview of the st andards for technical subject educators.
Here is what our National Association (NAf M E) has on music and Common Core: http://advocacy nafme org/common-core-st atest andards/
Also, your county office of education could be a good resource for you
Best wishes in developing music instruction that provides your students a rigorous education in literacy in music!
Introducing: Lynne Faulks
CMEA’s New Music Education Lobbyist
Lynne Faulks, who owns and operates LF Consulting, in S acramento, California, a firm specializing in legislative and strategic solutions, has been named CMEA’s new California music education lobbyist
Her work is focused in the educational arena and covers several polic y areas inc luding school funding, curriculum, charter schools, teacher evaluation and student assessment. Prior manager of legislative relations for the California Teachers Association, Ms Faulks coordinated CTA’s legislative programs and directed the lobbying team in S acramento. Active in both budget and polic y areas, she accomplished CTA’s goals by working in coalitions with educators, labor, parents and communit y groups
“S he is going to be a wonderful advocate for music education for California students” said CMEA
President Russ S per ling on the CMEA website “Ms Faulks will be meeting with the CMEA Board and S tand Up 4 Music organization members at our annual coalition meeting at NAMM It ’ s at this meeting that we will develop polic y priorities for the coming legislative session and beyond.
“Ms Faulks will also appear (virtually) at the CMEA General S ession at CASMEC in Fresno to address our membership (Thursday, Februar y 20 at 3:00 p.m.).”
Prior to her work with CTA, Ms Faulks was a special education teacher in the Novato and Mt Diablo Unified School Districts
In Mt Diablo she ser ved as president of the Mt Diablo Education Association leading almost 2000 members Her background as a S pecial Education teacher and an active participant in school level reform provides her a unique perspective in approaching education polic y issues
Ms. Faulks earned her B.A. in Psycholog y and a teaching credential from UC S an Diego. Further studies in S pecial Education Credential at S an Francisco S tate Universit y brought a S pecial Education credential S he has an M S in Union L eadership and Administration from the Universit y of Massachusetts and is a graduate of the Har vard Universit y Trade Union Program
CMEA Hall of Fame Award
Honoring Lifetime Achievement in Music Education Award Recipients
Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012; Dr David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W Lutt, 2009; Kem F Martinez, 2009; Carl W Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances Benedict, 2005; L Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; Larry Johnson, 2002; Mary Louise Reilly, 2002; William Hill, 2001; Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F John Pylman, 2000; Lawrence Sutherland, 1999; Chuck Schroeder, 1998; Dean Semple, 1997; Burl Walter Jr , 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991; Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983; Aubrey Penman, 1981; Steve Connolly, 1979; Howard Swan, 1977; Russell Howland, 1975
1947–1949
Clarence Heagy Fresno
1949–1951
Elwyn Schwartz
1951–1953
George F Barr
1953–1955
Fred Ohlendorf Long Beach
1955–1957
Harold Youngberg Oakland
1957–1960
Joseph W. Landon Fullerton
1960–1962 Douglas Kidd
1962–1964
Gibson Walters San Jose
1964–1966
Keith D. Snyder Davis
1966–1968
Kenneth D Owens
1968–1970 Judd Chew Sacramento
1970–1972
Anthony L Campagna Foster City
1972–1974
Louis Nash
La Crescenta
1974–1976
Marlow Earle Lakewood
1976–1978
Mary C Reed Elk Grove
1978–1980
Henry Avila Monterey
1980–1982
Charles L Freebern San Diego
1982–1984
David S Goedecke Stockton
1984–1986
Vivian M Hofstetter Bakersfield
1986–1988
John L Larrieu Portola
1988–1990
L. Leroy Roach Walnut Creek
1990–1992
Carolynn Lindeman Greenbrae
1992–1994
Bill Adam Roseville
1994–1996
Don Doyle Pasadena
1996–1998
Jay D. Zorn La Crescenta
1998–2000
Dennis L Johnson Salinas
2000–2002
George DeGraffenreid Fresno
2002–2004
Sam Gronseth Paradise
2004–2006
Rob Klevan Pacific Grove
2006–2008
Cheryl Yee Glass Danville
2008–2010
Jeff Jenkins Chula Vista
2010–2012
Norman Dea Walnut Creek
The Joys and Benefits of the Collaborative Concert
by Lawrence F Stoffel CMEA Higher Education Representative
Iof ten find myself extolling the virtues of California when it might be easier to complain about our state’s ongoing troubles Among California’s bragging points would be our unparalleled collegiate/universit y systems The three-tiered Master P lan for Higher Education in California devised in 1960 created the model which resulted in our incredible communit y college, California S tate Universit y, and Universit y of California institutions of higher education. Along with our state’s acc laimed private colleges and universities, no other state in the Union can rival the opportunities that California’s colleges and universities provide
The 23-campus California S tate Universit y system alone provides the musical education for thousands of students ever y year But given the sheer siz e of the CSU system, we of ten are unaware of the musical activities at our other sister CSU campuses. And this is a shame as we ought to know more about and appreciate the many fine music al accomplishments of students at the UC, CSU, communit y college, and private universities’ music departments.
Through the efforts of Dr. Emily Moss ( C S U L o s A n g e l e s ) a n d D r A n d y Collinsworth (S onoma S tate), a collaborative wind ensemble concert provided the opportunit y to bring together students from three different CSU campuses last October and share in an evening of concert band music. This collaborative concert was hosted on the CSU L os Angeles campus, and featured performances by the CSU L os Angeles W ind Ensemble, the S o n o m a S
No r t h r i d g e W i n d E n s e m b l e ( D r. Lawrence S toffel, conductor) The inherent joys and benefits derived from such a collaborative concer t are many and varied
As Dr. Andy Collinswor th shared:
W hat an inspiration it was for my students and me to hear the two bands. Unfor tunately, it ’ s rare that college students get a chance to hear other universit y groups perform I was extremely proud to be a par t of this collaboration There was no pretense, no egos, it was simply good music making and collegialit y in action
My students enjoyed the rich and varied literature, and the highly musical and sensitive performances. I think it was extremely impor tant for the students in each of our ensembles to hear their peers perform and to see their professors interact in a gracious and friend ly manner. My students came away inspired by two outstanding performances
It was a privilege to watch my fellow CSU colleagues at work I really enjoy watching conducting st yles, and I’m always fascinated by the various ways we are able to communicate with our ensembles I think it ’ s equally important for our universit y students to know that we college instructors are keenly interested in perfecting our conducting craf t and are continuously on a mission to improve our teaching methods.
Dr. Emil y Moss added:
As I mentioned in my remarks at the start of the concert, so much of the musical experience these days, both collegiate and especially high school, is surrounded by an under lying competitive spirit. W hether it ’ s an actual marching band competition, a festival where groups are rated, or even a conference where groups are selected to participate, there always seems to be some degree of “comparing levels of achievement ” instead of the simple enjoyment of the music making experience
W hat was so present for me at our “3 CSU W ind Ensembles” concert was just
the sheer enjoyment of the music from ever yone involved I so thoroughly enjoyed hearing your groups and watching both of you work. It was such an honor to be the host of this event
My students were at first ver y ner vous to put a concert together in such a short time, but in the end were so proud of how we sounded. I think for them to see other college students performing at such a high level was greatly inspiring. I also think that hearing such varied repertoire helped both my students and our department think a bit differently about the W ind Band S ome colleagues still don’t know much about our medium and to see three fine ensembles together on one concert was ver y eye opening for them
For me personally, I am so appreciative to have colleagues nearby to collaborate with and obser ve in action As I am “ newer ” to the California scene (third year at CSULA), I am starting to see that while many college directors are friend ly and collegial when we see each other at conferences, we do not get many opportunities to work together on projects such as this one To have the chance
to share a concert with two directors whom I greatly respect and have it only be about the music was such a rare treat. I also believe our students think that once you “arrive” as a college director that somehow you have learned it all To be able to discuss with my students the wonderful things I learned from both of you (your performances and wonderful conversations with the audience) was a great thing for all of us. Again, the idea of setting aside ego and embracing a musical performance as a learning experience is something we should all strive for
I share the heartfelt sentiments of my colleagues, Drs. Collinsworth and Moss. O ur collaborative concert proved to be inspiring and joyous for myself and equally so for my students I am grateful to be in a state that excels in the musical arts at institutions of higher education
Given the joys and benefits derived from just this one “3 W ind Ensembles” concert, we certainly would encourage more such collaborative concerts among our many fine state collegiate and universit y music department ensembles
Northern Section News
by David Green, CMEA Northern Section President
As I sit here in front of the computer at my little sister ’ s small farm at the edge of the forest some 40 miles southwest of Portland, Oregon, I wonder at the mar vel of techn o l o g y I s e e b e f o re me I seem to be slowl y c a t c h i n g u p w i t h the 21st Centur y but s t i l l n e e d t h e s l ow, careful “ help,” dare I call it mentoring, I get with a simple phone call to my third son, the computer wizard of the family. He quietly laughs as he connects his computer to my sister ’ s even though I am on my separate email account and leaves behind a word document that allows me to combine the artic le that follows with my above ramblings that, if I remember how, as he p u t s i t , s i m p l y a t t a c h i t t o another e-mail I can send to anybody OK Right
The reason I bring this up is that last week I had about an h o u r ’ s c onv e r s a t i on w i t h D r
Royce Tevis, band director at Chico S tate about what we as older, seasoned music educators need, or could/should do about helping younger teachers within our profession. As we talked I thought that it would be more than appropriate to ask him to formulate an ar tic le for this conf e re n c e i s s u e o f t h e C M E A Magazine hoping to begin a c o n v e r s a t i o n a b o u t t h i s v e r y subject He agreed and here it is in its entiret y
From the desk of Dr. Royce Tevis:
Arecent artic le in the November 2014 Instr umentalist, “S tudent for a Day,” made me think about our music teachers in the North S tate The first sentence in the artic le is “ Teaching can be an isolating profession.” How true this statement is and even more so in the North S tate where the c losest music colleague can be several hours away We are experiencing many retirements by experienced music teachers. W hich, of course, means good job availabilit y for our young ver y enthusiastic yet inexperienced teachers.
I think most of us can remember our ear ly teaching years I do remember with great affection my first job It was in W illits, California The joys of those first years stay with me, and so do the horrors of the things the inexperienced me placed on those students Unlike many of my north state music-teaching colleagues, I was not alone. Alan Garcia, the W illits High School choral director, took me under his wing and tried to keep me out of trouble. Roland Nielson was just down the road at U kiah High School and was an ever-present friend, colleague and mentor. W ithout these two mentors I would have made many more errors. I was lucky these folks were c lose to me. But what about those who are in Alturas, S usanville, Yreka whose c losest possible mentor is hours away? W hat are we doing for them?
As the Instr umentalist artic le points out the
David Green
administrator ’ s obser vations are limited W hat can be done? Perhaps the following will help each of us brainstorm some ideas to help our music teachers and hence the students they teach:
• Identify master teachers
S et-up professional days (perhaps even offering credit?) when several teachers can come at the same time to obser ve
• Inc lude a facilitator who would also attend the obser vation and guide the group in discussions regarding the observation and any other subjects that may come up
• Encourage the habit of leaving our c lassroom two times per semester to obser ve a master teacher
• Mini conferences with demonstrations presented by local bands
• These could be tied in with an honor group or ?
• Mini workshops in which all of the attendees study the same relevant music, relevant as in music their group could/would perform
• The workshop could inc lude unit planning, conducting ideas, teaching ideas, how to pull musical elements out of the piece
• Perhaps a performance group could be supplied for the teachers to rehearse/conduct
• Teachers bring untouched videos of their teaching and work with master teachers on ideas to incor porate into their teaching st yle
• Convince music teachers that attending a professional day could result in becoming a better teacher and make up for the loss of the one or two rehearsals
• Continue to encourage attendance at the state conferences
All of these ideas would need to be backed up by CMEA, who could ask school districts to allow their music teachers to attend these functions
I know these are all big dreams, however, in the lyrics of Oscar Hammerstein from S outh Pacific: “If you don’t have a dream, how you gonna have a dream come tr ue?” L ets figure out how to help California’s children by helping California’s music teachers.
The CMEA Nor thern S ection will be hosting the following events during the 2013–14 school year:
November 15–16 2013
The Region V Honor Band, conducted by Dr Andrew Collinsworth of S onoma S tate Universit y, will be hosted at Tahoe-Truckee High School in Truckee, California
Januar y 17–18, 2014
The NorCal Junior High School Honor Band and S elect Choir Jane Brown of the Reno Pops Orchestra and the Ruby Mountain S ymphony of Elko, Nevada will lead the Honor Band and S ue Tevis, choir director in Chico, CA will conduct the S ele Choir They will both be hosted in Colusa, CA at the Communit Theater on the campus of Eglin Midd le School.
Febr uar y 6–8, 2014
The NorCal NCBDA Honor Band and NCCBA Honor Choi will be hosted on the campus of S onoma S tate Universit y with D Eric Hammer of the Universit y o the Pacific conducting the Hono Band and Ken Abrams of Ramo Valley High School leading the Honor Choir
Febr uar y 15, 2014
The Nor thern S ection S olo & Ensemble Festival will be hosted, like last year, at three different sites, as yet to be determined
And finally, our Regional Music Festivals will be hosted during March and April.
Don’t forget that the S tate S olo & Ensemble Festival is happening on the campus of CSU S acramento May 9 and 10, 2014 and the S tate Music Festival, for those who qualify by getting straight superiors at their local/regional Festivals, is being hosted at Delta College in S tockton, California, May 23, 2014
Office of Admission 800.899.SFCM admit@sfcm.edu www.sfcm.edu
The Conservatory welcomes President David H. Stull, former Dean of the Oberlin Conservatory of Music:
“We believe that inspiring the imagination, cultivating the artist, honing the intellect, and developing the professional are the keys to launching innovative graduates who excel in any field of endeavor.”
MUSIC @ U N IVERSITY OF PORTLAN D
Technology to Transform the Ways We Interact with Music
by Dennis Mauricio CMEA Music Technology Representative
The technolog y sessions at the 2014 conference will cover a variet y of topics and applications for the 21st centur y music c lassroom. In particular, several sessions will have a special focus on learning, music making, and assessment with mobile devices like the iPad. You will not believe how easy it is to make music with today ’ s technolog y.
The Internet has a seemingly end less supply of resources for educators, but taking the time to sif t through them to find useful and practical ones can be quite daunting “Free” resources – especially in times like these of tight budgets – can equip music educators and students with sof tware tools and engaging instructional materials I will be presenting the Free Internet Resources for Music Educators session on Thursday, Februar y 20 It will provide you with the Internet “ Top 10” (and then some…) for music education, along with practical applications and lesson ideas.
W ith the presence of c loud computing, social networks, smart phones, and the tablet devices, there are a variet y of technologies that we must incor porate into the educational practices of our music c lasses and rehearsals As music educators, we are experiencing changes in technolog y on a scale and depth that requires us to create new, and innovative strategies for today ’ s students Do we replace traditional approaches to the way in which we teach music or conduct a rehearsal? Not necessarily Can we implement rich, collaborative, and social technologies to augment and enrich how we teach as music educators? Absolutely!
Innovative Technolog y S trategies for Music Educators presented by Chad Zullinger on Friday morning will discuss the answers to those questions and more Attendees are encouraged to BYOD (Bring Your O wn Device) as this session is interactive
For those of you who are S ibelius notation sof tware users, you won’t want to miss the Advanced S ibelius Techniques for Creating Worksheets session presented by Jenny Amaya on Friday af ternoon Creating worksheets in S ibelius requires an understanding of some of S ibelius' most advanced features, and the abilit y to work against the natural tendencies of the program. Jenny Amaya will show you how to work with some of the advanced features in S ibelius that will help you create musical worksheets and other non-traditional score layouts from scratch and with ease
Also scheduled for Friday is “S pring-load ” Your Music L esson Using Multi-media Technolog y! presented by Paulette Miller. S he will show you how to add context and content into “ The Garden,” an ear ly childhood music unit. Also, how to incor porate additional media, such as PowerPoint presentations, PDF charts, and videos that provide a diverse set of learning opportunities for your students as well as supporting language acquisition, language arts, and science curriculums L essons will inc lude ideas for incor porating listening maps, Boomwhackers, bells, movement ideas, and more
On S aturday, Frank Heuser will present 21st Centur y Music L earners: Possibilities through Technolog y, a session that focuses on using iPads in the music c lassroom Music c lasses usually meet performance-based aspects of the VAPA standards ver y effectively. However, helping students improvise, create and notate music remains challenging. This hands-on session demonstrates how technolog y can enable teachers at all levels to develop lessons that allow students to perform, compose, and notate music By using iPads as they gain digital musicianship skills, students become empowered to take responsibilit y for much of their own learning
E xploring the New S mar tMusic: Rubrics, S tate S tandards, iPad and More!, presented by MakeMusic ’ s Dave Hawley on S aturday af ternoon, will showcase the new features of S martMusic for the iPad S martMusic now incor porates rubrics for you to create and edit as one of your grading options. S tate music standards are now in the S martMusic grading sof tware and can easily be associated with any assignment. S tudents can practice and submit assignments from their computer or iPad Rubrics will help both teachers and students show formative practice results as well as summative results S tudents will have more flexibilit y in submitting assignments with an iPad The technolog y presented at this year ’ s conference can transform the way we present and interact with lesson information, as well as how our students learn, practice, and interact with music. You won’t want to miss out on the latest technolog y tools and applications in the c lassroom.
Visit the C M EA website for a list of free and nearly free Internet resources for music educators Here’s the address: http://calmusiced.com/index.php/cmea/special-reps/141-technology
Chad Zullinger
Paulette Miller
Jenny Amaya
David Hawley
Frank Heuser
Dennis Mauricio
Teaching Vibrato in your Orchestra Class
The art of creating a beautiful string
Introduction
In most orchestra programs I visit or adjudicate, the youthful musicians are using vibrato, but often not all of them When queried, the director almost always responds with something to the effect: “Students that vibrate are t aking private lessons ” I never mention but I always think: “If that is so shouldn’t we be teaching the skill of vibrato so that all our students can play with a beautiful sound?”
Vibrato is one of three quintessential elements in the beauty of a string tone (the other two are a clear, vibrant sound and centered intonation). Vibrato – a full, wellcontrolled, beautiful vibrato – is sometimes difficult to teach even in private lessons. Teaching vibrato to thirty-plus middle or high school students may seem daunting, but it is eminently doable This must be so as there are at least two monographs, several articles, and even a blog or two about teaching vibrato 1 Below are basic underst andings, principles, and a variety of suggestions that you may pick and choose from to assist you in teaching or improving student vibrato in your orchestra class We can do this – and we can do this in our warm-ups
U N DE R STAN DI NG S First Theme
• It should be understood that the vibrato motion goes from center pitch – to below pitch – then back to center pitch Otherwise the sound will be heard as sharp.2
• A vibrato is only one third of a beautiful sound; vibrato will not cover up faulty pitch or the lack of a clear sound
• Vibrato is measured by both speed and width (amplitude).
• Generally, the higher in pitch and the louder the music is, the faster and narrower the vibrato
• Lastly, many string players/teachers speak of different vibratos – finger, wrist and arm In truth, a well-developed artistic vibrato is a balanced, fluid combination of all three.
SOM E BAS IC P R I NCI P LE S Second Theme
• Vibrato is as much a sound concept as it is a physical technique
• The foundational principles of a relaxed, balanced, and supple posture are essential
• The vibrato motion includes, to a varying degree, four flexible joints (elbow, wrist, and two finger joints) hinged on a buoyant arm supported by the shoulder and back muscles
• It is best to begin studying vibrato with either the second and/or third finger where the hand is most balanced
Photo I
• In a large group, using pizzicato at the beginning of vibrato study is the best strategy.
• For upper strings vibrato is best learned mid-way up the fingerboard
Notes on Basic Principles
1. To instill that vibrato sound concept in student ears, I often played my violin or viola as they entered our room to prepare for the rehears al If your primary instrument is something other than a stringed instrument and you would like to teach a unit on basic vibrato technique, try playing short C D snippets from slow movements of sonat as or concertos. Any of the st andard literature will do – if you play a violin concerto one day, try a cello concerto the next My personal favorite is the slow movement from Mozart’s Sinfonia Concert ante K 3 6 4, but then I’m a violist
2 Relaxed and appropriate posture is always essential If elbows don’t swing, wrists aren’t supple and in line with the palm and elbow, and relaxed fingers are not lined up with the strings, then that student is not really ready for vibrato study
3 Four joints need to flex – the two finger joints, the wrist, and the elbow: A The joints in the fingers between the fingertip/pad and the knuckle need to be supple and flexible. Tapping fingers (and thumb) is always very helpful. Flexing the joints on the fingerboard or against the thumb is also a good exercise B The wrist needs to be relaxed and supple: knocking on a door, waving air into your face or shaking off an imaginary drop of water from the tip of your fingers are very good to demonstrate and exercise that motion. C. For the elbow, “air violin” with an excessive vibrato motion is fun and can get that elbow in the correct mode and attitude
4 Most students find that st arting vibrato on second or third finger is easiest This is because it is those fingers that are in balance with the hand and thumb Then, it is a matter of transferring that motion and sound, once est ablished, to the less well-balanced first and fourth fingers.
5 In a large group st arting the study of vibrato pizzicato instead of using the bow eliminates all the right hand difficulties and the attendant cluttered sound Students can concentrate only on the vibrato motion and the sound itself A fun exercise is to see how long a single student, or for that matter, the entire group can keep a pitch sounding/ringing by using their vibrato Have the students pizzicato on a second or third finger resonating note (g, d, a, e or c) and count how long they can keep it ringing with vibrato - vibrate into absolute silence Quiet please
6. Upper strings, it is best to st art with the left elbow at an acute angle (less than 9 0 degrees –higher up on the fingerboard) rather
than obtuse angle – (more than 9 0 degrees – first position) Try it, you’ll see.
STRATEG I E S AN D TECH N IQU E S – Development Cello/
Bass
Pre-vibrato exercises include the pre-shifting exercises described in “Teaching the Art of the Shift in Orchestra Class” (“Teaching the Art of the Shift in Orchestra Class” was published in the Fall 2013 Issue of CM EA Magazine It can be downloaded at https://sites google com/a/dslextreme com/cmeamagazine/) including the Rolland Shuttle and the t apping exercises. The motion needed to produce a quality cello and bass vibrato is somewhat easier because the cello and bass are anchored to the floor.
According to Robert Gillespie,3 the cello/bass vibrato is a combination of a sliding motion and a pivot
1 The cello/bass sliding motion ent ails sliding one finger (pad) up and down the string about a minor third with the thumb touching the neck very lightly or even off the neck.
2 Gradually shortening the dist ance while lightly securing the thumb
3 Finally, place a second or third finger in position and continue the motion.
The above is then combined with a slight pivot motion. To create the pivot students touch their left collarbone with the right hand then, placing the tip of a left hand finger on the forearm, pivot or rot ate their arm while keeping their left elbow quiet Keep the initial motion slow and wide Combining the sliding motion and pivot on the fingerboard will create a very accept able beginning cello/bass vibrato.
Phyllis Young,4&5 among other vibrato strategies, uses something like a Tic-Tac mint box with just a few Tic-Tacs included Secure the box to the back of the hand at the base of the left hand knuckles with a rubber band (Photo I on the previous page).
1 Use a large vibrato motion “air cello/bass” to make a rattling sound
2 With the hand in playing position, shake it as if shaking water off the fingertip Then with the fingers lightly touching a middle string, making sure the fingers are in line with the string, create the s ame rattling sound.
3 Finally, place a secured thumb and finger in position and use the s ame shake but with a somewhat smaller motion Make sure there is almost a straight line from the elbow to fingertip/pad of the finger being vibrated
Violin/Viola
• If you are teaching vibrato to pre-high school level stu-
Dr. Tatton is a retired string specialist with the Lincoln Unified School District in Stockton, California. His previous positions include Associate Professor of String Education, Music History, Violist in Residence and Director of Orchestras at both Whittier College and the University of the Pacific His monograph on public school string teaching, Connecting the Dots, was published in 2003 He is currently active as a clinician and adjudicator as well as making appearances at school in-service training conferences He is also the previous CMEA Orchestra Representative E-mail him at ttatton43@gmail com
dents, then some fun games come to mind. Over time I t aught at several K–8 schools. At each school, when it was time to teach vibrato, I called our study of vibrato by the school’s name: The Mable Barron Wobble or The Colonial Heights Wobble Students loved it – vibrato practice became a point of pride and fun
• Using the s ame sliding motion as described above for cello the violinist/violist can hold the instrument in guit ar position and practice that s ame motion in a series of steps (Photo I I)
Hint: I made sure that each student, only if they wanted, received a Tic-Tac before we put them away.
• With the violin or viola st art the vibrato motion with a finger on the upper bout close to the fingerboard This places the elbow at an acute angle and is easier to create the vibrato motion. (Photo IV) Let the thumb just lightly touch on the instrument back. Then transfer this motion on each
Step 1 Move the hand with only the base of the left index finger touching the neck (no thumb) – polish the edge of the fingerboard Step 2 Secure the thumb lightly on the neck and make a polishing motion a little more like a wave Step 3. Place second or third finger on the string while continuing this motion sliding up and down as far as the thumb and hand will allow Step 4 Secure your second or third finger lightly in place and continue that motion Then, try these steps with the instrument in playing position Linda Green, long time master string teacher at Sunnyvale Middle School, successfully used this technique 6
• Using the Tic-Tac technique place the box in the left hand and simulate the vibrato motion using “air violin ” (photo I I I)
Using the box att ached to the hand is less successful with upper strings as the vibrato motion is necess arily smaller
finger to a middle string Only then move down to first position.
• Prepare students to do the vibrato motion on the instrument with the second or third finger in first position – put two or three fingers from their right hand touching the base of the palm and let those fingers help propel the vibrato motion (Photo V) That is a Robert Gillespie strategy for upper strings.
• Have students partner with a friend Prepare the students to vibrato in first position. Have the partner place two or three fingers between the base of the knuckles and in front of the pegs. (Photo VI) Then, have the student(s) vibrato back into the partners fingers This has the advant age of emphasizing the vibrato motion first back and then up to pitch
• As with shifting, students may be aided in some of the above exercises by bracing the scroll against the wall thus supporting the instrument. Protect both the instrument and
Photo V
Photo IV
Photo I I I
Photo I I
the wall by placing a cloth, pad, or sponge between the scroll and the wall
• Sometimes students will move the left hand in a sideways motion in the attempt to create a vibrato. To make sure the vibrato goes the direction of the string have the student(s) place the right hand pointer fingertip in front of the slightly lowered vibrato finger and vibrate into the pointer finger (Photo VI I)
3. For all of your students, learning to vibrate using no sound or pizzicato is one thing. Vibrating while producing a sound with the bow is quite another That must ultimately be the goal I don’t recommend that you rush into using the bow – give students some time When the bow is introduced, use long notes and scales Later introduce slurred notes to help the students use a continuous vibrato motion from note to note. For success st ay persistent – learning to play a stringed instrument beautifully is a lifelong journey
Rec apitulation
Implementing and integrating some or many of the above techniques and strategies into your warm-ups will surely improve the overall sound of your ensemble. You can pick and choose which strategy will work best depending on several factors including: age level, number of classes per week, minutes per class, etc Many of these techniques can also be assigned for home practice They’re just plain fun
Coda
Having s aid that, the best thing about teaching vibrato is that all of your students want to do it Each of your students somehow fell in love with the beauty of a string sound That is why they are in your class Use this desire to motivate and teach your students to create the sound they hear in their mind’s ear Your ensemble sound will begin to glow, resonate, and ring when all of your students create that beautiful vibrato sound together.
1 a Fischbach, G and Frost, R (19 97) Viva Vibrato Neil A Kjos Music Company, S an Diego, California
b. Waller, G (1951) Waller Vibrato Method for Strings. Neil A Kjos Company Park Ridge, Illinois
c. There are multiple articles available by world-class pedagogues including Marla Mutschler (Rolland method material), Robert Gillespie, professor and director of string education at Ohio St ate University and co-author of Essential Elements For Strings (Published by Hal Leonard Corporation) and, Phyllis Young, professor emeritus, University of Tex as, Austin and author of Playing the String Game and The String Play
Full Class
1 One univers ally recommended way to teach vibrato is with a metronome. Again, either no sound or pizzicato. Set the metronome at 6 0: try back and up (down-up for cello/bass) – twos, then back, up, and back – threes, then back, up, back and up – fours Increase the speed of the metronome day by day
2. When working on vibrato in class some of your students may already know how. The goal for them will be to create a more even vibrato with each of their four fingers and to be able to control both the speed and amplitude like “professionals ”
2 The creation of a single pitch is a complex combination of frequency and harmonic partials A tone is heard as unique because the ear blends these “sounds” together Regarding pitch, the ear ret ains (remembers) the highest pitch That is why a vibrato that moves above center pitch and back to center pitch is heard as “sharp” but a vibrato that st arts at center pitch, goes below and returns to center pitch is heard as “in tune ”
3. Gillespie session handout at the 2010 S ant a Clara ASTA Conference
4 Phyllis Young, professor of string education emeritus, University of Tex as, Austin
5 “Great Shakes,” Phyllis Young The Strad, September, 19 9 9, Issue 1313, P 93 4
6 Linda Green, retired master string educator now teaching privately in the Mount ain View/ Palo Alto, California.
Photo VI
Photo VI I
We Have a Choral Session for You
by Merryl Nelson CMEA California ACDA Representative
CASMEC’s choral strand has much to offer this year O ur goal has been to provide interesting, informative sessions for choral directors in a variet y of school settings and program situations S o if you are new to the profession, are a band director who also has a period of choir, are in charge of the school musical, are seeking to recruit boys, are teaching theor y, or are building or maintaining a choral program – we have a session for you Below is a list of the choral strand sessions that will be offered in Februar y, 2014:
Choir for the Non-Choral Teacher
Presenter: Laura W illiams, Choral Director at Mira Mesa High School in S an Diego.
Vocal Technique and Vocal Health for the Choral Director
Presenter: Brigid de Jong, Teacher of studio voice and opera workshop at California S tate Universit y Fresno
Bringing in the Boys
Presenter: Peg Hutson, Choral Director at Valley Oak Midd le School in V isalia Ms Hutson’s choir of 40 boys will perform
W hich Musical Theater Score is a Perfect F it for Your Program?
Presenters: W illiam S auer land, Choral Director at Lick-W ilmerding High School in S an Francisco, and Brandon Adams, Choral and Musical Theater Director at the Urban School in S an Francisco.
S ing Your Way Through Theor y
Presenter: Kristine Adams, S inger and Professor of Harmony at Berklee College of Music in Boston, Massachusetts.
It ’ s Personal: Building and Maintaining a Q ualit y Music Program
Presenter: Dr Jeb Mueller, Assistant Professor of Choral Music at Universit y of Houston in Houston, Texas
E xpressive S inging: Connecting S tudent Emotions with Text and Music
Presenter: Dr Jeb Mueller
Brigid de Jong
Laura Williams
Dr Jeb Mueller
Peg Hutson
William Sauerland
Brandon Adams
Kristine Adams
Searching and Re-Searching…
by Ruth Brittin CMEA Research/Special Learners Representative
Have you had a colleague, neighbor, acquaintance, or random person at a social event ask you something like this: “Isn’t there all kinds of research to show that music really does make children smarter?” (or something along that line). You may be quite up-to-date on the research done in that area, or you may be like hundreds of music educators who know that information is out there but haven’t looked at it recently There are many similar questions I get all the time, ever ything from “ W hich is better, fixed or movable do?” to “ W hat are other states doing about ?” to “Is there a better way to teach ?”
Music is a multi-dimensional field, and many California music educators have the added excitement of teaching in multiple areas or with a range of age levels It is quite common to find a teacher who is expected to be the exper t in both choir and orchestra, or band and recording technolog y, or who teaches both elementar y and secondar y students. L et ’ s face it… it can be a bit daunting to tr y to keep up with the research on ever ything.
S o this ar tic le is to lay out, quickly and easily, some of there ways to get to this information Those in graduate school or a credential program get quite comfy having immediate access to most journals through their institutional libraries But those who are not taking c lasses at a universit y may not have the same access S o let ’ s go through some of the ways you, as a NAf ME member, can quickly find research information
As a NAf ME member, you have access to full-text papers from the following journals:
Music Educators Journal, Teaching Music, General Music Today, Journal for Music Teacher Education, Update: Applications of Research in Music Education, Journal of Research in Music Education. The last two are specifically research journals, and they feature a variet y of t ypes of research, such as quantitative, qualitative, historical, and philosophical papers These have been assessed through a blind, peer-review process This means that the authors sent their papers in and had them reviewed in an anonymous fashion, a bit like a “ behind the screen ” audition for an orchestra Papers have gone through a rigorous process where a team of three reviewers gave comments, and the authors continued editing their papers until ever yone was pleased with their being published
The Journal of Research in Music Education is the premier research journal for NAf ME, with ver y detailed reports and thorough reporting of the research steps, inc luding the statistics for quantitative studies. However, one should not be worried if the research is a bit foreign. The opening section gives the background as to why the topic is important and it lays the groundwork for why the research was conducted as it was. The final section, the “Discussion,” reveals the most important points found and describes ways this information can prove useful The JRME comes out four times per year You can access it for free as a NAf ME member online, and you also can choose to have it delivered to you in hard copy for an additional fee each year
Update: Applications of Research in Music Education is a twice-year ly publication, bringing research in a practitioner-
friend ly writing st yle The review panel for this journal inc ludes editors who read the submissions specifically to gauge and give suggestions regarding the accessibilit y to practitioners Update is published online only. To find all these journals, one simply logs in to the NAf ME page, goes to the “Resources” menu, and then c licks on “Periodicals.” An alternative is to t ype in “periodicals” in the search browser on the NAf ME page
One unique facet of Update is a particular t ype of study it publishes, the literature review A literature review consolidates the work done on a topic over a period of time, not only listing relevant studies but finding commonalities and trends across the line of research For example, a paper that is already showing in Update’s “Online F irst ” (the sneakpeak at papers in the publication queue) is Anita Collins’ literature review, “Music Education and the Brain: W hat does it Take to Make a Change?” Another study that will appear in the S pring 2014 issue of Update is Brian S ilvey ’ s “S trategies for Improving Rehearsal Technique: Using Research F indings to Promote Better Rehearsals ” A quick look at the “S earch this Journal” search bar showed that searching the terms “ literature review” gave 172 “ hits” in Update These literature reviews cover ever ything from specific teaching techniques to studies on gender to special learners to ear ly childhood and more. W hen you want to find a streamlined, reader-friend ly description of the work that has been done on a topic, a literature review can be the best place to start reading W hen you get questions from colleagues or younger teachers you are mentoring, this is an excellent place to go for ideas and information
S o what about Google Scholar as a search tool, or other Internet search engines? You will find “ hits” on many topics by going into Google Scholar, and I have found it generally provides the same sor t of information found through other databases in libraries (such as RILM and IIMP). The difference, however, is that Google Scholar will link the reader to some, but not all, papers in full text For some, it will show only the abstract, or perhaps the abstract and some of the references or other ar tic les that have cited this par ticular paper S ometimes one cannot get to the entire paper without paying an extra fee
Combining a Google Scholar (or similar) search with a NAf ME periodical search can be a powerful and cost-effective approach to learning more about a topic. Are people impressed by research? I think it is fair to say that research gives credibilit y when you are speaking to a school board or convincing parents or your communit y about a certain course of action Reading research inspires one to tr y new things, or at least to consider there might be another viewpoint In today ’ s wor ld, ever yday statistics are quoted readily (median housing price, average salar y, stock market trends, to name a few), so people are accustomed to gauging realit y through quantitative approaches, at least some of the time. More importantly, research is not only numbers, but rather a thorough, sophisticated, objective, systematic approach to learning more about a topic. Research can take more of a narrative st yle Perhaps what separates it from other “ here’s how I do it ” narratives is the authors’ attention to detailing the progression of the work, so that others can retrace those steps and come to a similar conc lusion, or have a solid basis on which to argue if there is an alternative way to inter pret the findings The researcher strives to make the reader knowledgeable about how the research was conducted, and how the conc lusions were made It is more like a chef who is teaching you how to really make a dish, as opposed to one who delights in keeping the process mysterious.
There is one more analog y that might per tain to research. S ometimes I say I am going to go “research” a topic, meaning I am going to sit on the Internet and surf around, looking for some new information, in a rather casual way This is a ver y good thing to do when one is getting interested in something new, or looking for “old wine in new bottles ” W hen I am in this stage, I am not taking notes or keeping track of how I found the information; I am simply getting “ a feel” for what ’ s out there However, this is not really the thorough, systematic approach that is real, in-depth research. The paral-
lel would be when I sit down with my instrument and “dink around ” on it, improvising, brainstorming, playing without care just for the fun of it. That is a ver y refreshing activit y, and leads to its own insights over time, but it is not the same thing as practicing or rehearsing in a methodical way towards a given goal Research is a bit the same way ; we may start by surfing the Internet and asking casual questions of friends (“S o, how do you ”) However, real research takes tenacit y, detail, and a period of hard work that hopefully results in new “Aha’s ” Research, like preparing a beautiful piece of music, is a quest. S o let ’ s be appreciative of those who do research in music education, as we are appreciative of musicians who prepare concerts, recitals, competitions, and commissions All of these t ypes of creative work involve a process and a product, imagination and tenacit y, and a dedication to learning more about oneself and others
S o whether your questions involve performance or listening; composition or improvisation; older students, younger students; band, choir, strings, jazz, theor y, general music; teaching approaches such as Orff, Kodály, Dalcroz e, or Gordon; technolog y ; standards and (coming soon) the Common Core; ear training and sight-reading; rhythm, pitch, or other acoustical issues; neuro-motor development; motivation and participation; race, ethnicit y, gender, and LGBT issues; expressivit y ; health and wellness; conducting; psychological states; formal and informal music processes; or relationship of music study to other academic success, these journals have information for you Furthermore, once you start reading these papers, you will find a number of other wonderful research journals that tell us not only about music education but how others relate to our field, inc luding the International Journal of Music Education, Psycholog y of Music, Journal of Music Therapy, Bulletin of the Council for Research in Music Education, and journals of other countries such as the British Journal of Music Education, Australian Journal of Music Education, and more
Hopefully some of these ideas will inspire a look at the NAf ME periodicals and beyond, and will prove useful in your teaching and advocac y adventures.
National Recognition for Hard-Working Students
by Joel Carlson CMEA Tri-M Representative
Leadership. S er vice. Character. Check, check, check you say? I understand Thankfully I cannot think of a music program that does not pursue these ideals as part and parcel of an outstanding music education, and yet, there is a wor ld of opportunit y to exercise these ideals beyond the c lassroom alongside the opportunit y to offer our students national recognition for, and coordination of, their efforts in these areas.
How many of us have seen the mailer for Tri-M Music Honor S ociet y and said, “I am already doing so much I do not have time for this.” I understand. Thankful l y, Tr i-M is designed to be a student-lead and studentr un organization for high school and midd le school students that offers them the opportunit y to make of it what they will, so before you say no to Tri-M again, ask yourself this question: “Do I want to be able to offer the music students at my school national recognition for their hard work and efforts in and around my c lassroom?”
I would like to take a moment to thank and congratulate those of
you already running Tri-M Chapters in California. As much as your s t u d e n
Tri-M, you are doing a great ser vice for them in providing a place for them to apply and practice all the life lessons they are learning in your c lassroom and be recogniz ed for it on the national stage.
For those of you that are still apprehensive, I think one of the fastest ways to get over any initial hesitations is to visit NAf ME’s Tri-M Music Honor S ociet y page and c lick around a bit You will find a great video there from our National Tri-M Chair, Pat Barnett who is currently leading the Tri-M Revitalization effort that talks about how to get things going L ook for more specific information and ideas at CASMEC this year on how you can start, revitaliz e or further your own Tri-M Music Honor S ociet y Chapter L ooking for ward to seeing you there
I believe without hesitation that all students can learn to sing beautifully All my students cont ribute to the 'sound' of a Mira Costa Choir, a full, rich and mature sound that is well beyond their years I want each student to find his/her voice, never hiding it, bringing out the confidence for which our choirs are known – Michael Hayden, from his 2014 California Department of Education Teacher of the Year Application
Michael Hayden has been teaching music for 31 years S ince 2007, he has been teaching choral music and music appreciation to ninth through twelf th graders at Mira Costa High School in the Manhattan Beach Unified School District Music has been a part of his life since his elementar y days when he was introduced to choral singing As his passion for music developed over the years, so too did his desire to become a teacher. Following his doctoral studies at Michigan S tate Universit y, he got his start as a graduate teaching assistant at the Eastman School of Music in Rochester, New York. It did not take long for his potential and influence as an educator to flourish and positively impact the students in his c lassrooms
Earning many awards and recognitions over the years, Hayden's true passion comes from the impact teaching has on his and his students’ lives Ben Dale, principal of Mira Cost High School, describes Hayden as “teaching with surgeon-like precision, but having the heart of a giant He demands excellence from his students, but shows empathy and understanding during the process Michael is c lear ly in charge, but year af ter year, empowers emerging leaders through his collaborative teaching model. He presents a model of what we want all teachers to be, know, and do.”
Advocacy Really Works
by Judith Scharnberg CMEA North Coast Section President
The dictionar y says that advocac y means “public support for or recommendation of a particular cause or polic y ” That is not sufficient: the support must be paired with effective action We are all asked to throw money at a cause, meaning we are helping someone else act on our behalf My grandmother said, “If you can solve all your problems with money, you don’t have any ” But what about the problems that cannot be solved by money only? Most true advocac y requires both action and finances
Here on the North Coast we have many issues in music education that require both financial support and advocac y.
It is important that advocac y is both bottom up and top down in order to work for the benefit of all. This is particular ly true of the arts in general.
We are fortunate indeed to have Dr. Garr y Eagles, Humboldt Count y superintendent of schools, who is passionate about arts education; he participated in state-level music ensembles in high school and is a lifelong amateur artist
Advocac y
In June of 2012 I met with Dr. Eagles and presented him a list of suggestions hoping to lead to a five-year goal to reinstate music education in all the schools in the Count y. These inc luded what we can do with little or no money :
1. Recognition of music programs by administrators;
2 Released time for professional development (PD);
3 Workshops across the curriculum that emphasiz ed music;
4 Dedicated spaces for all music teachers;
5 Training for fundraising groups on creating foundations to suppor t music programs, and
6 Informing and educating administrators about the value and necessit y of music/ar ts programs at their meetings, and that these experiences do not negatively affect standardiz ed test scores Encourage priorit y scheduling for music/ar ts c lasses to maximiz e oppor tunit y Dr Eagles has made it a point to speak about music programs during meetings with district superintendents He repeated ly encourages the count y ’ s 30 school districts to fund the ar ts, par ticular ly music, as core curriculum in the schools.
“As for For tuna School District, we are extremely grateful to him for his continued suppor t of music,” said For tuna S uperintendent Patti Hafner. “Knowing that the count y superintendent appreciates the impor tance of music in education helps us garner suppor t for continuing our music programs in the district.”
Result
A slow but steady increase in the reinstatement of music programs across the count y, yearly professional development with money for subs and c linicians, plus fully funding travel and fees for students who qualify for state and regional music festivals through his Rising S tars Foundation
Some local music educators have mistakenly viewed our professional organization as not relevant to their needs This is particular ly true of elementar y music teachers or the fair ly large number of part-time teachers in the area. However, we currently have K–12 representation on our section board, inc luding K–8 music teachers. W hile our meetings must inc lude logistics of festivals and field trips, part of each meeting inc ludes at least one topic of relevance to all (How do you differentiate in the music c lassroom? W hat did you do last year that made your teaching better? W hat do you plan to do this year?)
Advocac y
O ur professional development day in October inc luded adjudication training and Common Core with CMEA V ice President Scott Hedgecock. He was asked to present in a way that would help adjudicators be more effective, and also help K–5 teachers see the K–12 continuum of skills in relation to adjudicated performance The feedback sur vey was particular ly effusive regarding his presentation of concepts of Common Core and its relation to music
O ur breakout sessions this year inc luded both technolog y K–12 and an Orff workshop with focus on Common Core/language arts/music connection
Ear lier this year, our Februar y PD featured Jenni Ingram of Clear Lake High School sharing her assessment techniques, and several teachers reported how they used many of her strategies in both elementar y c lassroom music and performance c lasses The Orff-based workshop featured formative assessment techniques through the Orff process
Result
The result: An increase in CMEA/NAf ME membership The PD Days were held at the Humboldt Count y Office of Education, which sponsored the workshops. In Febr uar y we hoped for 20 sign-ups; we had 35 attendees. In October we again hoped for 20 and had 32 par ticipants, the great majorit y of music educators in the Nor th Coast S ection
TheNor th Coast is an area rich in communit y ar ts par ticipation; three dance studios, two symphony orchestras, an internationally renowned school of physical theater, three reper tor y theaters,
a communit y gospel choir and a large communit y band, as well as extensive opportunities for musical theater and communit y choir Humboldt S tate Universit y and College of the Redwoods performing groups inc lude many communit y members. The Humboldt Alliance for Arts Education, part of the California Alliance for Arts Education, is in its fif th year, longer than any other regional Alliance; Dr Eagles is a founding member
Advocac y
A primar y focus of the Alliance is to connect arts resources with education in the schools One of the larger projects is the Schools to S ymphony Program, which provides busing from any area of the count y to the Eureka S ymphony concert program Participating teachers must follow the specially written curriculum that prepares students for the program, and they must provide student feedback.
Result
Many students have heard a live symphony orchestra for the first time Two elementar y/midd le schools have added string instruction to their music performance offerings
Ourlocal College of the Redwoods (CR) has had a histor y of excellence in providing music opportunities for local students As the college is part of the K–14 system, many promising musicians turn to the college directly from high school music programs as a first step to continuing their music education, either as music majors at a four-year universit y or as life-long serious amateurs with other majors.
On March 14 of this year the CR Communications Director Paul DeMark released a statement that because CR was “facing serious financial challenges” they needed to c lose a “$2 million gap in its budget for the 2013–14 fiscal year ” He added that “ cer tain areas [must] have course offerings reduced One area is music [all] the performance c lasses, such things as the concer t band, the jazz ensemble, the wind ensemble, chorale and opera production – are slated to be moved to CR’s Communit y Education.” This meant no performance c lasses would count as credit courses for students wanting to continue in music at four-year colleges, most of which require at least four performance courses for entering music majors
Ed Macan, chair of the music department, crunched the numbers and determined that over the past ten years, the performance c lasses averaged about twice the numbers of students required to cover costs.
Advocac y
W hile the official announcement was in the news on March 14, the cuts were first announced at the Humboldt Light Opera gala anniversar y concert on March 9 Petitions were available for signatures, and the audience was asked to raise their hands if they had taken a music performance c lass at CR About one-third of the audience and one-half of the cast responded; most were locals who had also taken music in the high schools More than 200 signatures were collected An insert into the All-Count y Music Festival program reached an additional audience the same weekend.
S everal high school music teachers surveyed their students. Even those not planning to be music majors were asked to respond; many said that they would not attend CR if they could not inc lude a music performance c lass in their course of studies and would tr y to go out of the area
The Nor th Coast Journal, a weekly paper featuring award-winning investigative journalism, published two in-depth artic les on the cuts One reporter attended the April 2 CR Board meeting, and reported that 50 people attended that meeting. About 20 spoke during the public comment period that lasted over an hour.
Ever y board member and the president received a snail-mail letter from our section The facts were laid out and the Board was urged to “think outside the box” to reinstate the music cuts
Result
S uccess On May 1, Ed Macan announced that students intending to go on to a four-year college as music majors could request credit for the performance c lasses. Other enrollees would take it as a communit y course in a two-tier system.
Advocac y is a series of small steps by committed people with a vision. We will continue to advocate for our dream of music education for all students on the North Coast
General Music Sessions
Learn to Move and Move to Learn
Clinician: Dr. Michelle McConkey
Movement is a vit al means for children’s learning and development This session explores the many forms of musical movement within the element ary general music classroom and how they contribute to a child’s growth
C o m e s p a r k
e
r n i n g t h r o u g h f o l k dancing, creativity, singing games, and other musical movement activities.
12-Bar Blues on the Barred Instruments
Clinician: Richard Lawton
With their ability to be configured in a variety of pent atonic scales, the Orffbarred instruments are ideal for teaching the fundament als of 12 bar blues, the foundation of jazz and rock This workshop will focus on I-IV-V chord progressions, the development of a groove, improvis ational breaks, and jamming within the 12 bar blues form Be ready to rock out!
Recorder Apprentice
Clinician: Dr. Wendy Barden
Huzzah! Visit the time in history when recorders were big – the Renaiss ance! In this clinic we’ll experience strategies for teaching recorder, and naturally connect recorder melodies with playing percussion instruments, moving, improvising, composing, and reflecting. Come join the fun as we travel the Road to Excellence! Recorders and books provided
Embrace the Sounds of Music through Creative Writing and Active Listening
Clinician: Anne Fennell
Participants will delve into the world of creative and descriptive writing using the academic language and emotive powers of music Members will listen a n d c r e a t e p
descriptive writing ex amples while discovering new inroads to writing
Circle the Wagons! A Collection of American Folk Dances
Clinician: Thom Borden
From the east coast to the west coast, folk dances are a long-held tradition In this session, we will dance
across America experiencing a few of the folk dances that have been passed down through the generations of our history. With children's literature connections and soprano recorder experiences shared, be sure to bring along a friend as partners are always welcome!
Rhymes and Rhythms: Using Mother Goose with Children’s Literature Clinician: Thom Borden
Explore musical connections to language and rhyme though movement and body percussion, percussion and Orff instruments Invite children to crea
you share the joy of poems, nursery rhymes and children’s literature
C M EA Professional Development Strand One
Guide to Instrumental Music
Clinician: Marcia Neel
The job of the music educator has a l w a y
s becoming even more complex due to the demands of today's challenging environment The Music Achievement Council has responded by providing one of its most valuable resources the Tips for Success Series This collection of user-friendly tips provides practical organizational strategies that will help make our job a whole lot easier. This session touches on a number of specific tips in a fun, upbeat present ation with compliment ary copies of the entire collection being provided on flash drives at the conclusion
Literacy in Music
Clinicians: Kristine Alexander, Armalyn De La O
The California Common Core St ate St andards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects call for content area educators to share in the responsibility for developing stud e n
Content Literacy Reading and Writing st andards for the music classroom, unpack the expanded view of “text” in t h e m u s i c c l a s s r o o m , a n d p r o v i d e emerging ex amples of music educators’ approaches to implementing the Common Core.
Dr. Michelle McConkey
Richard Lawton
Dr Wendy Barden
Marcia Neel
Kristine Alexander
Armalyn De La O
Anne Fennell
Teaching Festival Music
Clinicians: Russ Sperling, Jonathan Grantham
By t aking session attendees through components of units they have developed for “The Great Steamboat Race” by Robert W. Smith and “Lincolnshire Posy” by Percy Grainger, participants will experience instruction in music informed by the Common Core St ate St andards The clinicians will discuss how you can plan for this type of music instruction and the effect it had on their own students’ underst anding and performance of the music in these units
Advocacy in Your Community
Clinicians: Russ Sperling, Michael Stone
C M EA
President Russ Sperling and President-Elect Michael Stone will present recent developments in C M EA’s work in the area of music education advocacy. C M EA is in the process of developing a systematic and ongoing infrastructure for its advocacy efforts in S acramento California’s St and Up 4 Music Coalition, led by C M EA, provides a unified front for our work in the area of advocacy The annual California Music Education Advocates Convening Event, held at the National Association for Music Merchants Show in Anaheim, as well as the California Music Education Advocacy Day, held at the St ate Capitol in May, will be reviewed As C M EA begins working with its first-ever lobbyist for music education in California, it poises itself to see significant results for our efforts in this area The session will also include practical suggestions for how music educators can advocate for their programs in their own communities and schools. Recent local success stories will be shared C M EA is here to lead and s u p p o r t m u s i c
efforts throughout the St ate of California
National Music Standards
Clinicians: Armalyn De La O, Kristine Alexander
They are almost here! The new national arts st andards will be released soon for st ates to choose to adopt Two of the w r i t e r s , A r m a l y n D e L a O , TCA P Regional Director, music team, and Kris A l e x a n d e r, TCA P E x e c u t i v e D i r e c t o r, visual arts team, will share the process, the st andards framework, and provide an overview of the music st andards. As
C a l i f o r n i a ’ s o r i g i n a l Vi s u a l a n d
Performing Arts content st andards are now thirteen years old, the new National St andards are meant to address not only the present but the future of music, dance, theater, and visual arts education in the 21st Century.
Doctrines, Values and Choices
Clinicians: Dr Frank Heuser, Dr David Fullmer
The daily pressures of preparing concerts, working with students, and advocating for their programs often leave music educators with little time to ex amine beliefs about teaching or to reflect on the enduring values of their work in the lives of their students All too often beliefs and doctrines est ablished early in our careers that might no longer serve the needs of our twenty first century stud e n t s r e m a
n e d I
years, music education researchers have st arted ex amining the ethics underlying many of the doctrines in our profession. In this session, we build on this research to look at some of the tenets of our profession and how the choices we make a b o u t i n t e r a c t i o n s w i
,
e music selected for instructional purposes, the performances we give and the processes we use in our classrooms shape the impact we have with our students and community. The present ation will include some ex amples of untraditional thinking that are in practice in schools (e g North Park M S, Timpview H S, and Bishop Ireton H S)
Ask President Nancy about NAf M E
Clinician: Dr. Nancy Ditmer
New to C M EA/ NAf M E, or just curious about what has been going on in our profession at the national level? This is your chance to ask questions of our profess i o n a
Nancy Ditmer! Nancy will begin her session with a discussion about the characteristics and behaviors of leaders and managers and how these differences impact school music programs and professional organizations
Russ Sperling
Michael D Stone
Dr Frank Heuser
Dr Nancy Ditmer
Dr. David Fullmer
Jonathan Grantham
Professional Development
Strand Two
Fostering Motivation
Clinician: Dr Kenneth Douglas
In addition to teaching music, the most successful music teachers provide the s u p p o r t s n e c e s s a r y f o r s t u d e n t s t o develop the motivation to initiate and regulate their own learning and development Research has demonstrated that the most motivated students possess strong self-perceptions of Autonomy, Competence, and Relatedness Drawing from research into Self-Determination Theory, Dr Douglas will discuss autonomy, competence, and relatedness from a theoretical perspective, as well as give practical ex amples of how to design instruction in order to support student self-perceptions of autonomy, competence, and relatedness
What to do When Your Elementary Program is Cut
Clinician: Bryan Holbrook
This session will be led by a director who restored a district's element ary instrument al program after it had been completely eliminated Find out what stopgap measures to put in place and what actions to t ake to foster a smooth recovery and a successful new element ary instrument al music program. Discover ways to communicate with your element ary students, parents, administration, and community Learn strategies for managing facilities, instruments, teachers, coaches, keeping a student file, and even why you should t ake attendance!
How to be an Analo-Genius
Clinician: Ria Kub ot a
Think about your favorite music teachers. Chances are they used analogies in their rehears als to help the music resonate long after you finished working on a piece In this session both veteran and new teachers alike will have the opportunity to share favorite analogies, as well as go home with some fresh ones ready for your next rehears al.
Teaching Music in the Urban Setting –Success Stories
Clinician: Dr Lawrence Stoffel
A panel of music educators from the Los Angeles Unified School District share their strategies, philosophies, ideas, and
experiences that have produced successful music programs at urban elem e n t a r y, m i d d l e , a n d h i g h s ch o o l s Panelists will share their best-practices and describe their successful models
Essential Time Management
Clinician: Emily Schwartz
Nobody decides to become a music teacher because they particularly enjoy filling out paperwork, going to meetings or keeping track of student records S adly, without excellent time management skills, this extra “stuff” can quickly overwhelm teachers and get in the way of effective and passionate teaching. This session provides ten essential time m a n
teachers rein in the “stuff” so they can shift their focus back where it belongs: their students
Incorporating Meaningful and Useful Assessment into Music Ensembles
Clinician: Dr. Kenneth Douglas
Assessing student outcomes is very import ant, but often difficult to implement in music settings Assessment is essentially dat a collecting There are several basic principles that teachers can use in order to collect meaningful and useful dat a, for the purposes of measuring student learning, communicating s t u d
assessment practical as well as meaningful and useful in your music ensembles and classrooms
Meeting Group Work Challenges in Music Education
Clinician: Lisa Crawford
How to meet challenges of group work in classroom composing and creative music often go unaddressed In this session, topics include differences between i m i
student types, and elements of formal-functional-fun in composing project lesson planning. Participants will be presented group work opportunities and invited to share their favorite composing ideas during the session
Emily Schwartz
Lisa Crawford
Dr. Lawrence Stoffel
Dr Kenneth Douglas
Bryan Holbrook
Please join us at the 2014 CMEA Awards Gala! This event is held as part of the California All-State Music Education Conference – CASMEC, on Friday evening, February 21, 2014 at 5:30 p.m. The gala will be held in the newly renovated social hall of Holy Trinity Church at 537 M Street, Fresno, CA 93721 (across the street from the Radisson Hotel).
Come honor our state awardees and enjoy an evening that will feature authentic Armenian fare. The Awards Gala sold out last year, so order your tickets early!
Tickets can be ordered online through our conference registration page at http://calmusiced com/index php/cmea-conference/2014-conference You do not need to be registered through CMEA to attend the Awards Gala.
Patricia O’Herron
Alfred Elementary Music Specialist from the CMEA Southeastern Section
John Christian Hall of Fame from the CMEA Central Coast Section
Sandra Lewis Richard L Levin Orchestra Educator from the CMEA Bay Section
Jim Kusserow
Byron Hoyt/Don Schmeer Band Educator from the CMEA Central Section
Don Wilson Outstanding Administrator Awardfrom the CMEA Southwestern Section
Kevin Beiser Legislative Music Leadership Award from the CMEA Southern Border Section
Bob Avzaradel Jazz Educator Award from the CMEA Southeastern Section
Cindy Teresi
Peripole General Music Educator Award from the CMEA
Dan Neece
Aubrey Penman Retired Music Educator Award from the CMEA Northern Section
Michael Hayden Pearson-Silver Burdett Choral Educator Award from the CMEA Southwestern Section
Andy Collingsworth
John Swain College/ University Educator Award from the CMEA Bay Section
John Larrieu Lifetime Achievement Award from the CMEA Northern Section
A Reminder
Dr. Garry Eagles Outstanding Administrator Award from the CMEA North Coast Section
I would like to remind you that the California All-St ate Music Education Conference (CAS M E C) will t ake place February 20–23, 2014 in Fresno Our all-st ate conference is a must-attend event CAS M E C offers something for all music educators – not just ensemble directors. Dozens of clinics, workshops in all genres of music education, and concerts will be featured. Be sure to secure release days from your district so you can attend this exciting conference To register, go to www calmusiced com
For collegiate C M EA members, the “Pizza with the President” is a win-win session It’s a chance for collegians to meet C M EA President Russ Sperling and enjoy free food
Invest in yourself One ot two units of upper division college credit will be available through Sonoma St ate University The course title is M U S 4 95 California All-St ate Music Education Conference. Cost is $55 for 1 unit; $110 for 2 units. Registration forms will be available on site in the main lobby of the conference exhibit hall.
Finally, I’d like to invite all members of B ay Section to attend our annual B ay Section Social, co-sponsored by the S ant a Clara County B and Directors Association, Thursday night at the Radisson Hotel Signs with the location and time will be posted in the hotel lobby
I look forward to seeing you at CAS M E C
Dr. Andy Collinsworth
C M EA B ay Section President
Brad Van Patten Outstanding Administrator Award from the CMEA Southeastern Section
Are You Hungry?
Hunger is not always for food and drink As music educators, our souls need to be fed as well We crave collegiality, the opportunity to learn about pedagogy, and to hear the products of our effortsour students, making fabulous music
Breakfast: the “how to” workshops that help us with the nuts and bolts in our teaching to fuel the day
Mid: morning refuels: the exhibits!
Lunch: the concepts of music pedagogy that will keep us fed and moving forward for the coming year
Snack: the opportunity to observe directors as they work with the students toward performance
Dinner: the performances!
Aperitif: the warm collegiality and sharing ideas with members of our profession
What a meal the CAS M E C Conference will provide; I urge all of you to attend: calorie-free, and such a bargain!
Judith Scharnberg
C M EA North Coast Section President
Your Voice and Your Vote Counts
by Norman Dea CMEA Immediate Past President
The new CMEA is continuing its amazing transformation in its quest to ser ve all music educators in California in tangible, significant, and meaningful ways The new CMEA is the state affiliate of our national parent organization NAf ME and advocates for all of us
As one of my final duties as your CMEA Immediate Past President, I will preside over the election of the new Executive Board, and the changes in the CMEA Constitution and Bylaws Following our new CMEA S trategic P lan, you will get an e-mail from CMEA with the voting procedures at the beginning of 2014 You will have three options in which to cast your ballot.
Option 1
The election will be held electronically online from Februar y 1-22, 2014
Option 2
You may also vote at the CASMEC conference at the CMEA Booth in the Industr y Exhibit Hall from Febr uar y 20–22, 2014 in Fresno
Option 3
We are pleased to offer the following candidates for the offices of President-Elect, V ice President, and S ecretar y
Candidates for President-Elect: Scott Hedgecock Lucerne Mottaz
Candidates for V ice President: S teven Hendee Jonathan Pwu
You may contact Administrative Coordinator Trish Adams for a mail-in ballot by sending a stamped, self-addressed envelope to the CMEA S tate Office, 2410 Knowlwood Drive, Hanford, CA 93230-7253
P lease note that requested ballots must be received at the CMEA S tate Office by Febr uar y 1st of an election year Biographies, pictures and candidate statements also will also be posted on the CMEA Website by Januar y 15th of an election year.
Candidates for S ecretar y : Angela Woo D uane Otani
S tone will move into the Presidenc y, and Trish Adams will continue her role as CMEA Administrative Coordinator. The newly elected Executive Board takes office in April 2014 to continue the good work of ser ving the membership
CMEA Constitution & Bylaws Revision:
We also submit for your approval the ne wl y re vised CMEA Constitution & Bylaws P lease read it over and cast your v o t e
Michael S tone for taking the lead on the revision We are pleased with the simplicit y of the new “single constitution/by-laws” document Attorney Bernard C Barmann, S r., created the initial revision pro-bono, and Mr. S tone has made changes on what he prepared for us where necessar y for accurac y, c larit y, and thoroughness It has literally been gone over with a fine-tooth comb! The passage of this document (and working side by side with the CMEA S trategic P lan) will lead us into the foreseeable future For your information, Mr. Barmann is the former Count y Counsel, Chief Civil Attorney, for the Count y of Kern, a post he held for 25 years before retiring in 2009. CMEA thanks him for his generous assistance
Thank you for your consideration and participation in the election process for CMEA Your voice and vote counts Enjoy the ride, as the best is definitely yet to come
Scott Hedgecock Candidate for President
Scott Hedgecock currently ser ves the music educators of California as the V ice President of CMEA. In his second term in office, Mr Hedgecock has been par t of the Executive Board team that took on the difficult job of restr uctur ing CMEA dur ing the past two years Mr Hedgecock ser ved as the leader of the Communications Team of the S trategic P lan process, and currently edits the CMEA Magazine Prior to ser ving as V ice President, M r H e d g e c o c k
S ection President; section President-Elect, and Choral Representative Mr Hedgecock is also a Past President of the S outhern California Vocal Association and ser ved for ten years on the SCVA board
Sc ott Hed g ec oc k is the Fou n d in g D irec tor of the Academy of the Arts at Fullerton Union High School, where he currently holds the positions of Academy CoCoordinator, Performing Arts Department Chair person, and Director of Choral and Vocal S tudies.
Scott Hedgecock has also taught at La Canada High School, Pasadena High School, S an Clemente High School, S horec liffs Jr High School, and John Adams Midd le School. He has appeared at conferences and workshops as a lecturer, facilitator, performance director, and event planner for CMEA, SCVA, and ACDA Mr Hedgecock has been an Honor Choir Director for SCVA and the Capistrano Unified School District.
Scott resides in P lacentia, California, with his partner T im MacDougal l, a member of the voice facult y at California S tate Universit y, L ong Beach, along with their nineteen-year-old son Justin, and their two dogs Ariadne and Donald
Lucerne
Mottaz Candidate for President
I am currently the Choral Director, AP Music Theor y Instructor at California High School and the performing arts teacher at Pine Valley Midd le School in S an Ramon CA This is my 30th year in the field of education I have also taught at Mt Eden High School, instrumental and vocal c lasses, in Hayward and Ohlone College in Mission S an Jose I have ser ved as the President, S ecretar y, Multicultural Representative and Historian for Bay S ection CMEA and S tate S ecretar y for CMEA In ear ly 2000 I participated in the MENC symposium held in Washington, D C and Reston, V irginia that resulted in the changes that were adopted by the Federal Government that allowed our organization to become a 501(c3) In 2003 I was on the Bay S ection CMEA committee that developed our current festival ratings rubric In 2004, I was honored to receive the Bay S ection Music Educator Award and 2011 received the Bay S ection Choral Director Award. In the 2009 Choral Director Magazine I was awarded the California “Choral Director of Note ”
I am excited about the changes that the S tate CMEA Board has made these past few years. I believe that I have the expertise and time available to help move the S tate CMEA organization toward the goals set in the S trategic P lan by the 2012 S tate Board This document has strengthened our position as music educators and will help to educate the polic y makers in S acramento We all know the value in educating the whole child Music education is the subject area that helps the student connect to all areas of the curriculum, builds self-respect/importance, sense of family and pride As an organization we need to do the same for ourselves The revamping of the state conference, priorit y of advocac y and the realigning of the policies are some of the steps that will move us toward these goals.
P lease consider voting for me for the Office of CMEA President
S teven Hendee Candidate for V ice President
I am currently the Director of Bands at Castro Valley High School and am now in my 20th year of teaching
Before coming to Castro Valley I held positions at S an Francisco’s School of the Arts (SF USD), Hayward USD and Oakland USD O ver my career I have been an active member and ser ved CMEA both at the regional and state levels, ser ving as Bay S ection Assistant Area Representative (Area III), Public Relations, President and CMEA S tate Technolog y Representative In addition, I have ser ved as Large Group Festival Coordinator and Webmaster for both S tate and Bay S ection. O utside of the c lassroom I am an active “ Technologist,” developing video content with percussionist Michael S piro for two video-based websites that teach the percussion music of Cuba and Brazil
As an educator I firmly believe that all students should have equal access to a comprehensive first-c lass music curriculum that ser ves the needs of the communities they represent. California is a diverse state with an ever-changing educational landscape and presents many challenges for current and future music educators and a “one-siz ed ” approach to music education is ineffective O ver the past several years the CMEA Board has done an excellent job towards financial solvenc y/stabilit y, facilitating a collaborative discussion between the various music education organizations and dramatic improvements in the relevanc y of the state’s superconference CASMEC. CMEA in collaboration with the many specializ ed music education organization is now positioned to represent and advocate for the diverse needs of our students But, our work is not complete
As your V ice-President I will help to:
• Establish renewed trust, improving channels of collaboration and communication among its members and affiliated organizations
• Advocate for a comprehensive sequential music program for all of California’s students
• Increase the use of technolog y to provide timely and relevant information for music education stakeholders
• Develop tools and resources that will benefit members as they ser ve the music education needs of the state
Jonathan Pwu
Candidate for V ice President
Jonathan Pwu's responsibilities at S aratoga High School inc lude overseeing the marching band, color guard, and percussion program, and also teaching concer t band and orchestras An alumnus of the S aratoga music programs, Jonathan is both honored and humbled to return and ser ve as an educator in the district to provide the same fulfilling experience he received.
Jonathan received his undergraduate degree in Music from U C Davis, where he was awarded a Departmental C i t a t i o n f o r Ac a d e m i c E x c e l l e n c e a n d O u t s t a n d i n g Musical Performance. He was a member of the U.C. Davis Concert Band and W ind Ensemble under the direction of Pete Nowlen, and also ser ved as manager and student conductor Throughout college Jonathan continued to enrich his education with participation in drum cor ps, attending conferences, and volunteering at local programs as well as CBDA
Jonathan’s goal is to teach through music and prepare students for a meaningful life with skills taken from a high school music program inc luding good work ethic, teamwork, and communit y He firmly believes and lives by educator and speaker Scott Lang’s motto, “ The more you give, the more you get.”
Angela Woo Candidate for S ecretar y
“My name is Angela Woo, and I am in my nineteenth year as Director of Instrumental Music at John Adams Midd le School in S anta Monica For over two decades, I have advocated for qualit y music education in our schools, ser ving on leadership teams, governance councils, and district advisor y committees. Working c losely with site and district administrators, parents, and communit y members at-large, I am dedicated to seeing that all students have opportunities to experience a comprehensive music education
In addition to my appearances as a guest conductor, c linician, and adjudicator throughout the United S tates, I have also ser ved on the board of directors for various arts organizations and education-focused charities that expand opportunities for high-need K–12 students.
I hope to ser ve CMEA and its vision of ensuring that all students in California are afforded equal access to a first-c lass education in music ”
Angela Woo is Director of Instrumental Music at John Adams Midd le School in S anta Monica, California where more than 400 students are enrolled in one of four concert bands or four orchestras The John Adams ensembles have consistently earned the highest possible ratings at performance festivals, and in 2011, the John Adams Midd le School W ind Ensemble was selected to perform at the California All-S tate Music Education Conference
An alumna of UCLA, Ms. Woo holds a Bachelor of Arts (Music Education and Piano Performance), a Master of Education, and a Master of F ine Arts (Conducting) S he also holds a Master of Arts (Educational Administration) from CSU, Northridge.
Ms Woo has been an invited guest conductor, c linician, and adjudicator with honor groups throughout the countr y, inc luding those in W isconsin, Georgia, F lorida, Oregon, California, and Colorado S he conducted the 2004 Kentucky All-S tate High School Concert Band as well as the 2007 Oregon AllS tate Midd le School Band In 2005, Ms Woo was the inaugural conductor of the Universit y of Colorado’s Midd le School Honor Band In addition, she ser ved as a c linician with the F lor ida Inter national Universit y Conducting S y mposium from 2003-2007 Recently, she conducted a workshop at Ball S tate Universit y, and is frequently invited to lead similar professional development sessions for midd le and high school educators In 2014, Ms Woo will conduct the California AllS tate Junior High Concert Band
Ms. Woo is recogniz ed by the S anta Monica Rotar y Club as the 2005 S anta Monica-Malibu District Teacher of the Year S he was recently honored at the Midwest Clinic as a 2012 L egion of Honor Laureate by the John P hilip S ousa National Foundation.
D uane Otani is the Director of Bands at Rancho Bernardo High School. He earned a Bachelor ’ s Degree in Music Education and a Master ’ s Degree in Instrumental Conducting from California S tate Universit y, Fresno D uring his undergraduate studies, Mr Otani ser ved as drum major for the Fresno S tate Bulldog Marching Band. W hile earning his graduate degree, he was a graduate assistant with the Fresno S tate Marching Band and co-director of the Fresno S tate Athletic Bands
Mr. Otani ’ s career as a music educator has taken him throughout the state of California as a band director at Clovis East, Aliso Niguel and S aratoga High School prior to arriving at Rancho Bernardo High School His wind ensembles have received consistent unanimous superior ratings and his marching bands have earned numerous sweepstakes awards Mr Otani also travelled with groups across the nation, directing
Performing Arts and on tour in locations throughout Europe. Mr Otani is involved with several local and state music organiz ations inc luding SCSBOA, CMEA, CBDA and NAf ME He annually attends state and national music conferences and has presented at multiple c linics across the state.
D uane Otani Candidate for S ecretar y
Orchestrate Success in Your Career...
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Constitution and Bylaws
California Music Educators Association
ARTICLE I. NAME
The name of this organization is the California Music Educators Association (herein “CMEA”). The organization is a nonprofit California Corporation organized under California law and federal law as an Internal Revenue Code Section 501 (c) (6) corporation, exempt from state and federal taxes. CMEA is a federated unit of the National Association for Music Education (herein “NAf ME) and will cooperate with state and federal agencies and educational organizations in matters relating to music education. CMEA’S Constitution and Bylaws must be consistent with NAf ME’s; in the event of a conflict NAf ME’s provisions will be observed.
ARTICLE II. OFFICES
The principal office of the corporation is located in Hanford, Kings County, California. The Board of Directors will select the location for the principal office and may change that location from time to time. The Board of Directors may establish branch offices at any place where the corporation is qualified to do business, consistent with its purpose
ARTICLE III. CORPORATE PURPOSES AND OBJECTIVES
This corporation exists solely to promote the advancement of music education in the schools of California by means of mutual cooperation and activities throughout the state CMEA’s principal purposes include the following: (a) to ensure that every student shall have access in school to a balanced, comprehensive, and highquality program of music instruction that is sequential and standards-based; (b) to conduct programs and activities to build a vital musical culture and an enlightened musical public for the benefit and the general welfare of all persons; (c) to improve the quality of teaching, research, and scholarship in music; (d) to promote the involvement of persons of all ages in learning music; (e) to foster the utilization of the most effective techniques and resources in music instruction; and, (f) to facilitate the effective pre-service and in-service preparation of music teachers
ARTICLE IV MEMBERS
Section 1 Membership for Music Educators
Membership is open to all music educators working in public and private schools, colleges, and universities in California Membership is contingent on the payment of annual dues and shall run for one year from the month NAf ME receives the dues
Section 2 Classes of Members Membership shall consist of four classes: active, retired, collegiate, and patron
• Active Membership- Active membership is open to individuals engaged in music teaching or other music-related educational work Each active member has the right to vote and hold office and receives a subscription to Music Educators Journal, Teaching Music, and The CMEA Magazine All active members hold concurrent membership in NAf ME. Introductory and life members are also considered active members and have the same privileges Introductory membership is offered at a reduced rate for one year and is open to individuals who have been Collegiate members during the preceding fiscal year Life membership is 3,000% of the current national dues.
• Collegiate Membership- Collegiate membership is open to music students at the college or university level who are not employed full-time as teachers. Collegiate members have the same privileges as active members except the right to vote or hold elective office
• Retired Membership- Retired Membership is open to former music educators who have retired from teaching or other music-related educational work. Retired members have the same privileges as active members except the right to hold elective office
• Corporate Membership- Corporate Membership is open to companies that supply music education products and services Member benefits may include discounts on exhibits at NAf ME/CMEA events, discounts on advertising in NAf ME/CMEA journals, company listing on the NAf ME/CMEA Web site and one issue of an NAf ME/CMEA journal, the opportunity to sponsor NAf ME electronic communications, such as the weekly member news update, and a subscription to Music Educators Journal, Teaching Music, and The CMEA Magazine.
• Life Membership- Life Membership shall be open to persons who are eligible for active membership. Life members shall have the same privileges as active members Each life member shall receive a subscription to those NAf ME/CMEA periodicals and other communication services deemed appropriate by the NAf ME National and CMEA Executive Boards Each life member shall hold concurrent membership in his or her respective federated state association of NAf ME Life membership is 3,000% of the current national dues Call NAf ME Member Services to join.
Section 3. Membership Dues. The Board of Directors by a majority vote shall fix the annual amount of dues for each class of membership, and the amount of such CMEA or state dues shall be in addition to the NAf ME membership
dues. The CMEA Executive Board shall apportion the dues in a manner appropriate for the proper operation of CMEA
ARTICLE V. GOVERNANCE
Section 1. Board of Directors. The Board of Directors shall consist of the State Executive Officers (herein “Executive Board”), which include President, President-Elect, VicePresident, Secretary and Immediate Past President); the President of each section of CMEA ; and, the Administrative Coordinator and Editor/Business Manager of CMEA Magazine, both of whom shall be ex-officio, non-voting members of the Board of Directors. The Board of Directors shall administer the affairs of CMEA together with the management and control of its funds, adopt an annual budget, fill vacancies by temporary appointments pending regular elections, employ personnel as needed to carry out the work of CMEA in an efficient and productive manner, have jurisdiction in all matters pertaining to the geographical divisions or sections of CMEA , and with the concurrence of the Board of Directors of the sections affected, may authorize the combining, dividing or redistricting of sections for the purpose of improving the benefits to members
Section 2. Board of Directors Authority. Any action that would require approval by the members under California or federal law will require only the approval of the Board of Directors All rights that vest in the members vest in the Board of Directors.
Section 3 Executive Board The Executive Board shall consist of the State Executive Board listed in Section 1, as well as the Administrative Coordinator, who shall be an ex-officio, non-voting member. The Executive Board shall conduct the business of CMEA in compliance with the policies and procedures established by the Board of Directors and Bylaws
Section 4. State Council. The State Council includes the Executive Board listed in Section 1, the Board of Directors, and the Council of Representatives. The State Council shall meet as requested by the Executive Board, serve as an advisory body to the Board of Directors, and shall vote to recommend action to be taken by the Board of Directors.
Section 5 Terms of Office The term of office for members of the Board of Directors and the Council of Representatives shall be two years or until their successors take office Successors shall take office at the first Board of Directors meeting after June 30 following their election or appointment, except for Executive Board members, who take office at the first Executive Board
meeting after the California All-State Music Education Conference.
Section 6 Service without Compensation Directors, officers, and members of the Council of Representatives shall serve without compensation but may be reimbursed for out-of-pocket expenses incurred on behalf of the corporation and its operations by the Board of Directors upon submittal of proper evidence of the expenditure
ARTICLE VI. ELECTIONS
Section 1 Nominations The Nominating Committee shall consist of the Section Presidents and be chaired by the Immediate Past President This committee shall meet at the August Board of Directors meeting in odd numbered years and submit a list of nominees to the Executive Board at the fall meeting of the Executive Board This slate shall include two candidates each for President-Elect, VicePresident, and Secretary. Qualified voting members of CMEA may make additional nominations by sending a petition of nomination signed by at least 25 members for each nominee to the President before October 1 of the odd numbered years
Section 2. Elections. Elections may be conducted by ballot at the annual California AllState Music Education Conference under the direction of the Board of Directors or online using a secure system approved by the Board of Directors. If a current active or retired member for any reason cannot attend the conference or does not have access to the CMEA website via the Internet, he/she may request a ballot be mailed to him/her two months prior to the California All-State Music Education Conference of an election year by sending a stamped and self-addressed envelope to the CMEA State Office Requested ballots must be received at the CMEA State Office by February 1 of an election year. In the event of no annual state conference being held in an election year, the Board of Directors shall determine the election procedure Biographies, pictures and candidate statements will be posted on the CMEA Website by January 15 of an election year and appear in the winter issue of the CMEA Magazine
Section 3. Assumption of Office. Those officers elected will assume office at the Executive Board meeting immediately following the California All-State Music Education Conference.
Section 4. Mid-Term Vacancies. In the event an officer or director must vacate his office within the two-year term, the Executive Board by a majority vote may appoint a successor to complete the un-expired term, except that an elect-
ed President-Elect shall not succeed to the presidency without a vote of the membership.
Section 5 Removal of Officer or Director The Board of Directors may remove an officer or director at any time, for cause. Any director may request a removal of a director only at a regular meeting of the Board of Directors The Secretary must record the request and grounds in the minutes Before a vote is taken on removal, the director in jeopardy of removal shall have an opportunity to be heard at a meeting of the Board of Directors or allowed to submit a written statement in lieu of appearing at the meeting
Section 6. Resignation of Officer or Director. Any director may resign by giving written notice to the president, the secretary or the Board of Directors, and will be effective upon delivery of the notice, unless the notice specifies a later time. No director may resign if the resignation would leave the corporation without a duly elected director or directors in charge of its affairs
ARTICLE VII. DUTIES OF OFFICERS
Section 1. President. The President shall be the executive heard of CMEA and shall preside at meetings of the Executive Board, Board of Directors, and the State Council The President appoints members to the Council of Representatives. The President shall have the power to appoint committees not otherwise provided for in these Bylaws The President updates and revises the Board Manual annually.
Section 2 President-Elect The President-Elect shall assume the duties of the President in case of the disability or absence of the President. Upon completion of the term for which he/she is elected, the President-Elect becomes President After serving as President, he/she becomes Immediate Past President and undertakes other duties as assigned by the Executive Board
Section 3. Vice-President. The Vice-President shall assume the duties of the President-Elect in case of the disability or absence of the President-Elect, serve as editor of the CMEA Magazine, act as liaison between the CMEA Magazine and the Executive Board, and undertake other duties as assigned by the Executive Board
Section 4. Secretary. The Secretary shall keep all records of CMEA , record the minutes of all meetings of the Board of Directors, the Executive Board, and the State Council, transact all necessary communication, serve as chair of the Awards Committee, and undertake other duties as designated by the Executive Board.
Section 5. Immediate Past President. The Immediate Past President shall serve as a mem-
ber of the Executive Board, Board of Directors, and State Council. He/she shall chair the Nominating Committee and Constitution & Bylaws and Revision Committee in the second year, serve as parliamentarian, and undertake other duties as designated by the Executive Board
Section 6. Administrative Coordinator. The Administrative Coordinator shall be appointed by the Board of Directors and serve at their pleasure As a non-voting member of the Board of Directors, the Administrative Coordinator shall attend all meetings of the Board of Directors, Executive Board, and State Council, receive all money due CMEA and deposit it in a commercial bank account or accounts as directed by the Board of Directors, and disburse funds only as officially approved and countersigned by the President. The Administrative Coordinator shall receive annual fiscal reports from the sections and may recommend periodic financial reviews of the section financial records and shall be responsible for filing with the Internal Revenue Service, the Secretary of State, and California Attorney General in a timely manner all required reports and forms.
ARTICLE VIII. MEETINGS
Section 1 Board of Directors Meetings The Board of Directors shall meet in regular session at least two times each year or at the call of the President or upon the joint request of not less than four members of the Board of Directors. A majority of the total number of Board of Directors members currently serving and being present shall constitute a quorum for the transaction of business A majority of directors present at any meeting with a quorum will be sufficient to transact any business of the corporation, unless a greater percentage is required for approval of a matter by the Articles of Incorporation, these Bylaws, or a provision of state or federal law If a quorum is initially present at a meeting, directors may continue to transact business after some directors have left, if any action taken is approved by a majority of the quorum required for the meeting.
Section 2. Proxy Voting Prohibited Proxy voting by any voting member of a board of directors is prohibited in California Attendance by telephone is permitted so long as all members can hear one another clearly.
Section 3. Emergency and Virtual Meetings. Emergency voting by e-mail, mail, or by telephone is not illegal so long as the vote is unanimous and a written record of each vote is recorded and retained. Confirmation or ratification at the next official meeting of the Board is recommended.
Section 4. Executive Board. The Executive Board shall meet in regular session at least two times each year or may be called by the President to take care of CMEA business between the times of the regularly scheduled Board of Directors meetings.
Section 5 Association Meetings At the time and place of the California All-State Music Education Conference, an annual meeting of the Association (also called the CMEA General Session) shall be held for the conducting of elections and other business of CMEA . Additional meetings, conferences, or other appropriate activities may be held as determined by the Board of Directors. Business may be transacted at any meeting provided that notice of such meeting is given to all active members of record at least one week before the meeting is to take place.
Section 4. Rules for Meetings. Roberts Rules of Order Revised shall be followed in all business meetings of CMEA in order to provide for due process, fairness, and participation of members of the Association The quorum requirements, absence of proxy voting, and procedures for emergency and virtual meetings shall apply to all business meetings of CMEA
ARTICLE IX. COMMIT TEES
The President may create and appoint committees that are advisory only during his term for specific purposes and such committees shall serve during the administrative term in which they are appointed All committees shall work in cooperation with and report to the President and Board of Directors.
ARTICLE X SECTION ORGANIZATIONS
Section 1. Purpose and number. As part of CMEA’s organization, it officially recognizes geographical sections that provide for affiliation of local and specialized organizations within specific geographical areas, including County Music Association Presently recognized are the following: (1) Bay, (2) Capitol, (3) Central, (4) Central Coast, (5) North Coast, (6) Northern, (7) Southeastern, (8) Southern Border, and (9) Southwestern
Section 2. Collaboration with CMEA . Each section and county affiliate will maintain its own independent legal status, as a corporation, its own bylaws, the provisions of which shall not conflict in any way with the CMEA Bylaws. If the section President is unable to serve for any reason, the President-Elect shall represent the section for all purposes with CMEA including voting as a member of the Board of Directors.
Section 3. Section’s Annual Fiscal Report. Each Section shall submit an annual fiscal report to the Administrative Coordinator at the summer Board of Directors meeting, or by August 1st, whichever comes first.
ARTICLE XI. INSURANCE AND INDEMNIFICATION
Section 1. Insurance. The Board of Directors may adopt a resolution authorizing the purchase and maintenance of insurance on behalf of any agent of the corporation, including a director, officer, employee, or other agent of the corporation, against any liability other than violating provisions of law relating to self-dealing (Section 5233 of the California Nonprofit Public Benefit Corporation Law) asserted against or incurred by the agent in such capacity or arising out of the agent’s status as such, whether or not the corporation would have the power to indemnify the agent against such liability under the provisions of Section 5238 of the California Nonprofit Public Benefit Corporation Law.
Section 2 Indemnification The corporation has the power to indemnify any agent of the corporation as allowed and within the limits imposed by the California Corporation Law
ARTICLE XII. CORPORATE RECORDS, REPORTS AND REGULATORY FILING WITH THE STATE AND FEDERAL GOVERNMENT
Section 1. Maintenance of Corporate Records. The Secretary of the Corporation will keep or cause to be kept all corporate records, including but not limited to, minutes of all meetings of the Board of Directors, books and records of accounts, including accounts of assets and liabilities, receipts and disbursements, and records of business or commercial transactions, and a copy of the corporation’s Articles of Incorporation and Bylaws, as amended from time to time
Section 2. Reports. The Board of Directors will order that an annual report be prepared and distributed to all directors no later than 120 days after the close of the corporation’s fiscal year, whether a financial audit was conducted or not. This report will include a statement of the assets and liabilities of the corporation, the revenue of the corporation, both unrestricted and restricted to a particular purpose for the fiscal year, any indemnification under Article XI, Section 2, extended by the corporation, including the amount and circumstances of any indemnification, and any transactions with interested persons, including the amount of such transactions and the names of the interested persons and their relationship to the corporation.
Section 3. Regulatory Filings with the State
and Federal Government. At the annual meeting each year the Administrative Coordinator will file a report with the Board of Directors detailing the regulatory filings that have been filed with the California Secretary of State, the California Attorney General, and the Internal Revenue Service, and report whether the corporation is in default on any such filings
ARTICLE XIII. AMENDMENTS TO THESE BYLAWS
The Board of Directors may put these Bylaws before the membership for revision at a duly noticed regular or special meeting, or by electronic communication, but only after notice of the fact that revisions to the Bylaws are being considered that includes notice of the text of any proposed amendments.
Happy NewYear Greetings
REVENUES OR PROFITS
ARTICLE XIV PROHIBITION AGAINST SHARING CORPORATE AS SETS,
Section 1. No Private Benefit. No director, officer, employee, or other person connected with this corporation, or any private individual, may receive at any time any of the assets, funds, revenues, earnings or profits from the operations of this corporation This provision does not prevent the payment to any person of reasonable compensation for services performed for the corporation in effecting any of its proper purposes, provided that the compensation is otherwise reviewed and authorized by the Board of Directors and permitted by these Bylaws
Section 2. Distribution of assets on Dissolution. No persons are entitled to share in the distribution of, and will not receive, any of the corporate assets on dissolution of the corporation. On dissolution or winding up of the affairs of the corporation, whether voluntarily or involuntarily, the assets of the corporation then remaining in the hands of the Board of Directors, after all debts have been satisfied, will be distributed as required by the Articles of Incorporation of this corporation, and not otherwise.
CERTIFICATE OF CORPORATE SECRETARY
I certify that I am the current Secretary of the California Music Educators Association, a California nonprofit corporation, and the above Bylaws, consisting of 11 pages, are the Bylaws of the corporation as adopted by vote of the membership, certified on February 20, 2014.
Dated: February 20, 2014
Secretary of the Corporation
from Russ Sperling, CMEA President; Scott Hedgecock, CMEA Vice President; Michael D Stone, CMEA President-Elect; Diane Hollinger, CMEA Secretary; Norman Dea, CMEA Immediate Past President; Trish Adams, CMEA Administrative Coordinator; and Allen Petrinka, CMEA Magazine Editor.
