Winter 2015 ➡ Conference Issue ➡ Volume 69 ➡ Number 2 Ticket Number: 100100011010010100100111010010111101011 The News Magazine of the California Music Educators Association
Music in the Air at San José
CASMEC 2016
Arrive February 11, 2016
Depart February 14, 2016
San
Acoustic Products
Audience Seating
Conductor’s Equipment
oducts rching Band P
Marching Band Products
yW
ching Band PMar P educ
Music Chairs
Music Stands Risers, Staging & Platforms
Sound Isolation Solutions
Storage Products
Whether you’re building a new music suite or just adding or replacing equipment, the experience is always easier with Wenger.
oductsrAcoustic P ators all enger enger. ays W Wenger eplacing equipment, the or just adding or r
Teaching Tools
s. T s. formanceinspire great per
ful new website experience to furIn addition, we’ve just launched a power ators. , and embolden music educenhance, empower oday
Our seventy years of experience with educators all around the world has given us insights no other resource can match. Our focused understanding of customer needs allows us to provide innovative, high-value products and services that enable and inspire great performances. Today we have the industry’s most trusted product line, designed to enhance, empower, and embolden music educators.
e P heatr heatreT eaching T T age P Stor Platf e power empower per product insight e!and Mor oducts re P ools oducts rage P ormsRisers, Staging & Platf s your space and budget. st suitstimate a vision that beto develop and e
Theatre Products and More!
ou’r ou’re Mor
s no other rearound the world has given us insight s ther enhance your ability ful new website experience to fur ators. s that enable and s and servicecustomer us to provide innovative, high-value product an match. Our focused understsourcecs no other re ther signed to oday we have the industry’s most trusted product line, de s that enable and anding of an match. Our focused underst
In addition, we’ve just launched a powerful new website experience to further enhance your ability to develop and estimate a vision that best suits your space and budget. Please visit today!
POSTMASTER CMEA Magazine (ISSN 1099–6710) is published quarterly (Fall, Winter, Spring, Summer) by CMEA.
Mailing Address: 9923 Hirondelle Lane, Tujunga, CA 91042–2605. Periodical postage paid at Tujunga, CA and at additional mailing offices.
Subscription price of $4.00 is included in the CMEA annual dues. Non-member subscription rate is $12.00 per year. Single copies are $3.00
POSTMASTER: Send address changes to CMEA Magazine, 9923 Hirondelle Lane, Tujunga, CA 91042–2605
CMEA Magazine Art Director/Business Manager: Allen Petrinka
Mailing Address: 9923 Hirondelle Lane Tujunga, CA 91042–2605
Voice: 818 353–3356
E-mail: cmeamagazine@dslextreme.com
Rates and advertising information available at: www.calmusiced.com
The Executive Board of CMEA serves as the Editorial Committee. The observations and opinions expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Association. CMEA does not necessarily endorse any product or service advertised in this magazine.
CMEA Administrative Office
Mailing Address: 2417 North 11th Avenue Hanford, CA 93230
Office: 559 587–2632 Cell: 559 904–2002
E-mail: cmea@calmusiced.com Website: www.calmusiced.com
• President’s Message: CASMEC 2016 Will Be A Highlight In California Music Education History byCMEA President Michael D. Stone3
• CMEA Responds to Convening of Panel on Arts Education Quality 7
• CMEA and 4 ArtsEd Orgs Leaders Testify Before Joint Committee on Arts 9
• CMEA Position Statement on STEAM Education 11
• Andy Collinsworth and Jennifer Stanley Announced as New CMEA Adjudication Committee Chairs byCMEA President Michael D. Stone13
• Concert Programming For Music Educators by Gregory X. Whitmore15
• Anyone Who Keeps Learning Stays Young by Todd L. Summers, CMEA Bay Section President19
• My Music Teachers by Nicholas Hernandez20
• The Innate Value of Risk-Taking by Gale Caswell21
• Higher Education Happenings by Dr. Lawrence F. Stoffel, CMEA Higher Education Representative23
• CASMEC Preview of Clinics and Performances by Bill Wilkinson, CMEA CASMEC Coordinator and CMEA Representative on the CBDA Board25
• Orchestra Offerings at CASMEC by Donna Harrison,CODA PresidentandCMEACODA Representative31
• Come to Experience Diverse Cultures Through World Music at CASMEC by Lily Chen-Hafteck, CMEA World Music Representative33
• CMEA Awards Gala Invitation and CMEA State Award Winners 35
• Using Fundamental Blues Elements in General Music Class by Richard Lawton, CMEA General Music Representative37
• Why You Need Tri-M in Your Music Program, at Your School, This Year by Troy Trimble, CMEA Tri-M Representative39
• CBDA President’s Article by Norman Dea, CBDA President40
• CMEA’s Membership Committee Report by Regina Pryor, CMEA Membership Chairperson40
• Leadership in CMEA by Scott Hedgecock, CMEA President-Elect41
• Welcoming New CMEA State Council Members by Steven Hendee, CMEA Vice President42
• My Last Official Duty: CMEA Election 2016 by Russ Sperling, CMEA Immediate Past President and NAfME Western Division President-Elect44
• Candidates for CMEA 2016–2018 Statewide Offices 46
• Proposed Changes to the CMEA Constitution and By-Laws 49
On the cover: The California All-State Music Education Conference convenes for the first time in San José on February 11–14, 2016.
Ad Index
u EPN TravelIBC
u Festival of Music/California’s Great America45
u Festival of Music/Knott’s Berry Farm22
u FundTube.com/Crowdfunding for Schools17
u Glen D. Lienhart Arrangements39
u MusicFirst18
u Music in the ParksBC
u NAMM36
u Nick Rail Music2
u Organization of American Kodály Educators2
u San Francisco State University52
u University of Oregon18
u University of Portland34
u Wenger CorporationIFC
u YamahaMusical Instruments5
by MichaelD.Stone CMEAPresident
As the California All-State Music Education Conference, or CASMEC, quickly approaches, it’s hard to believe that it was just a few short years ago that this collaborative event was launched. In case you are new to California, CASMEC is a collaboration between California’s statewide music education associations, including California Alliance for Jazz (CAJ), California Band Directors Association (CBDA), California Music Educators Association (CMEA), California Orchestra Directors Association (CODA), and the California Chapter of the American Choral Directors Association (CA ACDA).
I want to thank CBDA President Norm Dea and his amazing team who are responsible for negotiating the many contracts for facilities at CASMEC. We would not be in San José in 2016 without the leadership of CBDA’s volunteer board. Kudos to CBDA and all of the collaborative partners for working together to make this year’s event what will surely be a big success.
I also want to thank CMEA’s CASMEC Logistics Coordinator Bill Wilkinson and CMEA Executive Administrator Trish Adams for their countless hours spent planning and coordinating the many clinicians and presenters associated with CMEA session offerings in 2016.
In addition, several CMEA State Council members have provided leadership creating the various strands that make up CMEA’s CASMEC offerings. I would like to acknowledge:
CMEA General Music Representative Richard Lawton,•
CMEA Music Technology Representative James Knight,•
CMEA Mentorship Chairperson Mark Nicholson,•
CMEA Music Supervisors Representative Phil Rydeen,•
CMEA Collegiate Representative Dr. John Eros,•
CMEA Collegiate Council Chairperson Kelly McCarley,•
CMEA Higher Education Representative Dr. Lawrence Stoffel,•
CMEA Research/Special Learners Representative Dr. Ruth Brittin,•
CMEA World Music Representative Dr. Lily Chen-Hafteck, and•
CMEA Retired Members Representative Jon Christian.•
Each of these individuals will be leading various session strands at CASMEC. Please take a moment to thank these folks when you see them at our conference.
Now to the highlights for 2016. You will also see more information about specific session offerings in this edition of CMEA Magazine. CASMEC 2016 will be bigger and better than ever!
With regards to CMEA offerings at CASMEC, we will have the annual CMEA State Council Meeting on Thursday morning to provide updates on our work. All members are invited to hear what’s happening with the CMEA State Council. President’sMessage
Session offerings will begin shortly after lunch on Thursday.
National Association for Music Education (NAfME) President Dr. Glenn E. Nierman will present the keynote address at this year’s CMEA general session later on Thursday afternoon. You will not want
CMEA EXECUTIVE BOARD
CMEA President
Michael D. Stone
E-mail: stonem@bcsd.com Work: 661 631-4810
CMEA President-Elect
Scott Hedgecock
E-mail: scotchdir@aol.com Work: 714 626-3984
CMEA Vice President
Steven Hendee E-mail: sjhendee@sbcglobal.net
CMEA Secretary
Duane Otani
E-mail: Dotani916@yahoo.com Work: 858 485-4800
CMEA Immediate Past President
Russ Sperling E-mail: rsperli@cox.net Work: 858 292-3547
CMEA OFFICE
E-mail: cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230
CMEA Executive Administrator
Trish Adams Work: 559 587-2632 Cell: 559 904-2002
SECTION PRESIDENTS
CMEA Bay Section President Todd L. Summers E-mail: tsummers@pausd.org Work: 650 354-8264
CMEA Capitol Section President
Santiago Sabado E-mail: ssabado@pioneer. k12.ca.us
CMEA Central Section President
Kirk Clague E-mail: clague_cmeacentral@ icloud.com Work: 559 592-2127 x391
CMEA Central Coast Section President Willow Manspeaker E-mail: wmanspeaker@ stevensonschool.org Work: 831 625-8339
to miss out on Dr. Nierman’s address as he outlines the work of our national association.
For the first time in my memory, all of California’s all-state honor ensembles will
CMEA North Coast Section President
Dan Sedgwick E-mail: dsedgwick@yahoo.com Work: 707 4645-0274
CMEA Northern Section President
Todd A. Filpula E-mail: tfilpula@chicousd.org Work: 530 891-3026 x321
CMEA Southeastern Section President
Armalyn De La O E-mail: adelao@csusb.edu Work: 909 537-5938
CMEA Southern Border Section President
Marc Dwyer E-mail: mdwyer@sandi.net Work: 619 222-0476
CMEA Southwestern Section President
Lisa A. Crawford E-mail: lisa.crawford@usc.edu Work: 213 740-6935
NAfME OFFICERS
NAfME President Dr. Glenn E. Nierman 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768
NAfME Western Division President Dr. David C. Fullmer Orem, UT 84058
COUNCIL OF REPRESENTATIVES
CMEA Advocacy Day Performance Coordinator
Nicholas A. Cooper
E-mail: rcoopermusic@gmail.com Work: 925 609-9341
CMEA Advocacy Representative Steve Venz
E-mail: stevenvenz@yahoo.com Work: 714 966-4000
be participating in the same city at the same time for CASMEC 2016. Honor bands, choirs, jazz ensembles and orchestras will all be part of CASMEC in 2016. Additionally, CA ACDA will be leading all things choral as they relate to CASMEC. The CASMEC choral strand will
CMEA CA ACDA Representative Willow Manspeaker E-mail: wmanspeaker@ stevensonschool.org Work: 831 625-8339
CMEA CAJ Representative Michael Galisatus E-mail: galisatus@comcast.net and galisatusm@smccd.edu Work: 650 574-6163
CMEA CASMEC Coordinator/ CMEA Representative on the CBDA Board Bill Wilkinson E-mail: bwilkinsoncmea@gmail.com Work: 559 585-3870
CMEA CBDA Representative Norm Dea E-mail: normdea@yahoo.com Work: 925 280-3970 x7327
CMEA CODA Representative Donna Harrison E-mail: harrison.donna3@gmail.com Cell: 209 613-8273
CMEA Collegiate Representative Dr. John Eros E-mail: john.eros@csueastbay.edu Work: 510 885-3135
CMEA CTA Liaison Nora Allstedt E-mail: nallstedt@msn.com Work: 559 592-2144 x2200
CMEA General Music Representative Richard Lawton E-mail: richard@ richardlawtonmusic.com Work: 323 654-4401
CMEA Higher Education Representative Dr. Lawrence Stoffel E-mail: stoffel@csun.edu Work: 818 677-3160
CMEA Membership Chairperson Regina Pryor E-mail: reginapryor78@gmail.com Work: 661 831-8331
CMEA Mentorship Program Chairperson
Mark Nicholson E-mail: mnicholson@sandi.net Work: 858 256-2702
CMEA Music Supervisors Representative Fillmore Rydeen E-mail: fillmore.rydeen@ousd.k12.ca.us Work: 510 336-7609
CMEA Music Technology Representative
James Knight E-mail: jamesknight@mac.com Work: 714 536-2514 x4116
CMEA Research/Special Learners Representative Dr. Ruth Brittin E-mail: rbrittin@pacific.edu Work: 209 946-2408
CMEA Retired Members Representative
Jon Christian E-mail: jonchristian41@gmail.com
CMEA State Band and Orchestra Festival Chairperson Jim Mazzaferro E-mail: jmazzafe@egusd.net Work: 916 681-7500
CMEA State Choral Festival Coordinator
Nancy Ludwig E-mail: nancyludwig6@gmail.com Work: 626 443-6181 x5301.
CMEA State Solo and Ensemble Festival Chairperson Cheryl Yee Glass E-mail: cglass@srvhs.org Work: 925 552-3044
CMEA Tri-M Representative
Troy Trimble E-mail: troyatrimble@gmail.com
Work: 714 626-3975
CMEA World Music Representative Dr. Lily Chen-Hafteck E-mail: lhafteck@ucla.edu Work: 310 825-4668
“When I'm looking for that ‘Upright’ sound, I reach for my Silent Bass. The sound quality is rich and full and the feel is very comfortable. In my arsenal of basses, my SVB-200 has become an important instrument for live gigs as well as in the studio.”
be large and diverse. The CMEA/CA ACDA partnership will continue this year with our Choral Leadership Academy, bringing together top high school/college students interested
in careers in music education to work with outstanding leaders in choral music education. Finally, the all-state choirs will be featured at CASMEC. It’s exciting to see all of the best young music students in our great state gathered together to learn and grow together.
CMEA will be tripling the number of general music/world music strands this year. General music specialists will be provided with many professional learning opportunities.
CMEA will be adding a new collegiate strand. For the first time in CMEA history, the new collegiate council will be actively involved in the running of CASMEC as they facilitate sessions for collegiates.
CMEA Research/Special Learners Representative Dr. Ruth Brittin will be overseeing the first Research Poster Session in California in many years. Our California research community will be sharing their work with practitioners in our profession.
I have invited the presidents of California’s family of music education associations to join me for “Pizza with the Presidents,” an opportunity for collegiate members to meet state and national music education leaders.
CMEA’s professional development strands and its technology strand will continue, with a variety of interesting topics and dynamic presentations. There will also be a session on mentoring led by CMEA Mentorship Program Chairperson Mark Nicholson. Participants in CMEA’s new Mentorship Program will discuss their work this past fall.
A new CMEA “Meet Your Section
President” Reception will take place this year. There will be a jazz performance associated with this reception.
Finally, CMEA is offering a mini-conference within CASMEC for multiple subject teachers. “The JAM! Just Add Music!” one-day professional learning experience will take place side-by-side with other CMEA offerings at CASMEC.
Remember to hear the all-state ensembles rehearse and perform, and enjoy seeing colleagues and friends at the various other activities and sessions held by CA ACDA, CAJ, CBDA, and CODA. Remember, your registration allows you to fully participate in all CASMEC activities.
I look forward to seeing you in San José!
A presentation and panel discussion was convened at UCLA on Tuesday, November 17, 2015, from 7:00 –10:00 p.m. in the EDA, Broad Art Center on the UCLA Campus. The topic was “quality” in arts education. The panel discussion was void of arts education practitioners and representatives from the 4 ArtsEd Organizations (i.e., California Art Education Association, California Dance Education Association, California Educational Theatre Association, or California Music Educators Association). CMEA believes that educators and their professional organizations should be front and center for any discussion on arts education quality. The letter on the next page was sent to the event’s organizers by CMEA.
Executive Board
Michael D. Stone
President
Scott Hedgecock President-Elect
Steven Hendee Vice President
Duane Otani Secretary
Russ Sperling
Immediate Past Presiden
Trish Adams Executive Administrator
November 13, 2015
Associate Dean Barbara Drucker
Director of Visual and Performing Arts Education Program
University of California, Los Angeles School of the Arts and Architecture Broad Art Center, Room 2101
240 Charles E. Young Drive North Los Angeles, CA 90095-1427
Dear Associate Dean Drucker,
I have received information about the upcoming presentation by Steven Seidel, Ed.D., as well as the panel discussion that will follow, set to take place on Tuesday, November 17, 2015, both co-sponsored by the University of California Los Angeles (UCLA) Visual and Performing Arts Education Program in the School of Arts and Architecture.
rofessional organization, the California Music Educators Association, or CMEA, I notice that your panel does not include professional arts education practitioners or leaders from th Organizations Coalition (i.e., California Art Education Association, California Dance Education Association, California Educational Theatre Association, and California Music Educators Association). highly respected music education faculty members, Dr. Frank Heuser and Dr. Lily Chen-Hafteck, are also absent as panelists.
Any substantive discussion regarding the quality of arts education must include representatives from all four arts disciplines, including arts education researchers, professional association leaders, and arts education practitioners who are experts in the field of arts education.
While non-educator arts education supporters, elected officials, and leaders from the vast field of the arts can positively contribute to a discussion on a topic such as this, the exclusion of key stakeholders at your event reduces its legitimacy. Arts educators are experts in both content and pedagogy. Their voice is imperative in any dialogue regarding
CMEA will have several members observing at your event next week. We are certainly interested in this topic, and look forward to having a meaningful conversation with you about quality in arts education at your convenience.
You may contact me at meuph@att.net or (661) 319-8218 cell.
Sincerely,
Michael D. Stone President, California Music Educators Association
2417 North 11th Avenue
Hanford, CA 93230
(559) 904-2002
Email: cmea@calmusiced.com Website: www.calmusiced.com
Cc: Ms. Nancy Andrzejczak, President, California Art Education Association
Ms. Carol Hovey, President, California Educational Theatre Association
Ms. Jessy Kronenberg, President, California Dance Educators Association
1947–1949
Clarence Heagy Fresno
1949–1951
Elwyn Schwartz
1951–1953
George F. Barr
1953–1955
Fred Ohlendorf Long Beach
1955–1957
Harold Youngberg Oakland
1957–1960
Joseph W. Landon Fullerton
1960–1962
Douglas Kidd
1962–1964
Gibson Walters San José
1964–1966
Keith D. Snyder Davis
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 A. Lindeman Greenbrae
1992–1994
Bill Adam Roseville
1994–1996
Don Doyle Pasadena
1996–1998
Jay D. Zorn La Crescenta
1998–2000
Dennis L. Johnson Salinas
2000–2002
George DeGraffenreid Fresno
2002–2004
Sam Gronseth Paradise
2004–2006
Rob Klevan Pacific Grove
2006–2008
Cheryl Yee Glass Danville
2008–2010
Jeff Jenkins
Chula Vista
2010–2012
Norman Dea Walnut Creek
2012–2014
Russ Sperling San Diego
CMEA President Michael D. Stone and the leaders of the other three professional arts education organizations in California –the California Art Educators Association, California Dance Education Association, and California Educational Theatre Association –testified before the State Legislature’s Joint Committee on Arts on Friday, November 6, 2015, at the Paley Center for Media in Beverly Hills. Chaired by State Senator Ben Allen, the purpose of the hearing was to examine the issue of school districts being out of compliance with Education Code that requires arts education for California students. The Hearing resulted in a column by Huffington Post Columnist John M. Eger: http://www.huffingtonpost.com/john-m-eger/steam-ishere--to-get-it_b_8382234.html . As a result, CMEA and the 4 ArtsEd Orgs sent a collective response asserting the fact that discrete arts education provided by highly qualified teachers must be the foundational learning necessary before any arts integration to take place. CMEA’s STEAM position paper, printed here on page 11, was also referenced in the letter.
CMEA
Hall of Fame Award Recipients Honoring Lifetime Achievement in Music Education Award
Dale Anderson, 2015; Ann Marie Haney, 2015; Dr. Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013; Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012; Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010; Robert W. Lutt, 2009; Kem F. Martinez, 2009; Carl W. Schafer, 2009; Terry Summa, 2008; Duane Weston, 2008; John Larrieu, 2007; Barbara Cory Black, 2007; Bill Ingram, 2007; Mary Val Marsh, 2007; Carolynn A. Lindeman, 2006; Joe Foster, 2006; Paul Shaghoian, 2006; Frances Benedict, 2005; L. Leroy Roach, 2005; Silvester McElroy, 2005; Jerry Kirkpatrick, 2005; Robert Greenwood, 2004; Arthur Huff, 2004; Lyle Stubson, 2004; Lois Vidt, 2004; John Farr, 2003; Thomas Eagan, 2003; Larry Johnson, 2002; Mary Louise Reilly, 2002; William Hill, 2001; Helynn Manning, 2001; Wesley “Colonel” Moore, 2001; Vivian Hoffstetter, 2000; F. John Pylman, 2000;Lawrence Sutherland, 1999; Chuck Schroeder, 1998; Dean Semple, 1997;Burl Walter Jr., 1996; Jerry Moore, 1994; Mike Pappone, 1992; David Goedecke, 1991; Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983; Aubrey Penman, 1981; Steve Connolly, 1979;; Howard Swan, 1977; Russell Howland, 1975.
Dear CMEA Member:
I am pleased to announce that Dr. Andy Collinsworth, director of bands and program director for music education at Sonoma State University, and Jennifer Stanley, director of choral activities at Arroyo High School in El Monte, have agreed to serve as co-chairs of a new CMEA Adjudication Committee.
The CMEA Adjudication Committee is tasked with developing model rubrics and adjudicator forms that will be used at future CMEA state festivals, including the state band and orchestra festival and new state choral festival. These materials will be offered to CMEA sections and other collaborative music educator organizations throughout the state when the project is complete.
I want to thank Dr. Collinsworth and Ms. Stanley for their willingness to serve in this capacity!
Dr. Andy Collinsworth is the director of bands and program director for music education at Sonoma State University in Rohnert Park, California. In addition to leading the university symphonic wind ensemble and chamber winds ensemble, he teaches courses in conducting, instrumental music methods and music education. As director of the music education program at SSU, he advises and guides students aspiring to become music educators and supervises graduate students in the single subject credential program in music.
Dr. Collinsworth received a doctor of the musical arts degree in conducting from Arizona State University, and he holds degrees in music education and in saxophone performance from the University of Nevada at Reno.
Dr. Collinsworth maintains an active schedule as a guest conductor, adjudicator and clinician. He is the founder of the Sonoma Invitational High School Wind Band Festival, an annual event which features topnotch high school bands from throughout the Western states, and the Sonoma Wind Band Conducting and Music Education Symposium, an annual summer professional development seminar for teachers. In addition to his university duties, he is an active member of several professional organizations. He currently serves as president- elect for the Western Division of the College Band Directors National Association (CBDNA), and as immediate past-president of the Bay Section of the California Music Educators Association (CMEA). In addition to these organizations, he is a member of the National Association of Music Education, the California Band Directors Association, the Northern California Band Directors Association, and is an honorary member of the Kappa Kappa Psi band fraternity.
Dr. Collinsworth was recognized in 2014 with the John Swain Outstanding University Music Educator Award for outstanding contributions to music education at the collegiate level by the California Music Educators Association. In 2011, he received the CMEA Don Schmeer/Byron Hoyt Band Educator Award honoring excellence in instrumental instruction and performance.
Jennifer Stanley earned her bachelor of arts degree in choral music education and her California teaching credential from California State University, Northridge. She studied music education with Mary Schliff, conducting with Paul Smith and Dr. Nicole Baker, and voice with Larry Jarvis. She was twice named music education student of the year.
Ms. Stanley has been director of choirs at Arroyo High School in El Monte since 2000. The program has grown to over 275 students in five ensembles: chamber singers, a cappella choir, treble choir, men’s glee, and handbell choir. The Arroyo High School choirs consistently earn superior and excellent ratings at choral festivals, and the advanced ensembles tour to major cities in the western U.S. Arroyo students are consistently accepted in Southern California and all- state honor choirs. Ms. Stanley has served as VAPA department chair since 2003, and has mentored student teachers from Cal Poly Pomona and USC.
Ms. Stanley has served on the board of the Southern California Vocal Association since 2004. As vice president of high school festivals, Ms. Stanley coordinated the expansion of SCVA festivals, designed online festival registration, and implemented digital audio recording of festival adjudicator comments. As executive vice president, Ms. Stanley instituted analysis of festival scores and repertoire, online adjudicator scheduling, and the inclusion of sight-reading at selected festivals.
Ms. Stanley has sung in the Angeles Chorale, a community chorus specializing in the performance of choral masterworks. Conductors have included Donald Neuen, Dr. John Sutton, Paul Salamunovich, and Dr. Thea Kano. Ms. Stanley lives in North Hollywood with her husband Michael, son Gregory, and dogs Dodger and Ralphie.
Sincerely,
Michael D. Stone
CMEA President
When you become a member of National Association for Music Education (NAfME), you’re joining the largest and most active group of music educators in the country –addressing all aspects of music
and advocate for keeping music education in our
Join today, visit www.NAfME.org/join.
by Gregory X. Whitmore
“Children should be taught with only the most musically valuable material. For the young, only the best is good enough. They should be led to masterpieces by means of masterpieces.” –Zoltan Kodály
As music educators, we recognize the inherent educational and artistic value in providing literature of only the highest artistic merit. As collaborators in the music making process with our students, the literature we select must be aesthetically edifying for ourselves, and those we conduct. Additionally, as arts educators, the literature we select to perform for our audience serves an additional role in allowing our local communities to have a transformative cultural experience through the patronage of our concerts. With the educational and artistic experiences of so many effected by the literature we select to perform, the act of programming for our ensembles is perhaps the most important act we will undertake as music educators. Yet, how do we undertake the process of programming in an effective way? I would like to offer the following suggestions for music educators of all levels and ensemble types.
Core Beliefs Pertaining To Programming It is important to remember that programming1
for our ensembles is more than just “picking music.” I submit that our concerts are curated. This is a high-end, intensive, deliberate, artistically centered process with both artistic and educational outcomes.
Consider your connections to the titans in our2 profession. Your work in programming for a concert season is also undertaken by the great conductors of the world’s great orchestras, choirs, and concert bands. We should come to the literature planning process with the same enthusiastic effort, creativity, and artistic energy as those at the vanguard of our art.
The act of programming for a concert season is3 akin to selecting ingredients for a meal. Be very careful about where you are sourcing your “produce.”
Central Question: “Why am I forsaking all other4 pieces of wind/orchestral/choral literature to perform this work?”
All ensembles in our music programs deserve5 and require concerts that are well curated both educationally and artistically.
“For only through immersion in music of lasting quality can we engage in aesthetic experiences of breadth and depth.” –H. Robert Reynolds
Inspiration For Well-Informed Programming.
Join the mailing lists for the New1 York Philharmonic, Los Angeles Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Master Chorale, etc. Use the concert season brochures as inspiration for your own programming. For instance, if the Los Angeles Philharmonic is featuring a series of concerts based around the work of a singular composer, perhaps in your own program you can do the same thing for all of the ensembles in your charge.
Study any forthcoming domestic2 or international anniversaries, historical events, or dates of institutional significance, and allow these to inform your programming.
Consider compositional premiere3 anniversaries for works in the core repertoire; allow these dates to inform your programming.
Consider studying the concert4 programs from honor ensembles from across the United States (many times a simple Google search will find the concert programs online). This is often a great place to begin your investigation into works previously unknown to you.
Educational Criterion In Literature Programming
The work has clearly-evident1 artistic and compositional craftsmanship. The work has a formal structure, with textural mixture, and overall coherence. Motivic, rhythmic, and thematic development is proportional to the overall structure of the work.
The work possesses educational2 and artistic value. The work is appropriate to the overall ability of the ensemble, yet still allows for the ensemble to be “stretched” in as many ways as possible. The work is neither too difficult, nor too easy. The work possesses artistic depth, and the voice of the composer is clear throughout the composition.
The work challenges the ensemble3 in technical, and emotive aspects. The publisher’s grade is not the final
determining factor in the selection to be programmed.
The conductor should consider the4 instrumentation needs of the ensemble, even if in some cases additional players or substitutions are required.
Thematic Programming Suggestions I would submit that our concerts1 be thematically structured. Programming thematically allows for a central idea to unify our concerts, and provide structure to the literature we consider for our ensembles. Also, programming in this way allows for our concerts to “open up” to collaboration within other academic or artistic programs on our campuses and in our communities (consider guest artists, student groups, guest ensembles).
Thematic programming allows for2 an increased audience experience, and allows for the audience and ensemble to be taken along a journey through the concert-going experience.
Concerts should feature works for3 large and small ensemble, as well as overall variety in compositional style, genre, and compositional period.
The conductor should establish4 and maintain a commitment to programming work from the core repertory.
Conductors should think “outside of the standard concert program,” and look to provide their ensemble and audience with unique and “curious” concert going experiences. Perhaps unique pairings of works to perform, trying new ways to immerse an audience in a piece, or including innovative ideas to take the concert experience outside the norm.
Each conductor should establish a1 functioning repertoire that comprises his or her own central repertoire. Concert programming will be centered from this repertoire, and extended outward into new works and new composers. “Someday Study:” Each conductor2
should study literature that they would like to “someday” perform with their ensembles, even if their ensemble is not yet able to perform the work. Additionally, each conductor should make an effort to become as “well-versed” in as much of the literature and masterworks of their medium as possible.
Each conductor should find a “Big3 Five” list of cornerstone literature that can be performed on a rotational basis with his or her students.
Programming for the next concert1 season should begin in earnest in the late winter of the current concert season, and follow a “macro – micro” approach. Conductors should begin the process simply by laying out a calendar, and brainstorming how and when concerts are planned (as well as all sectionals, dress rehearsals, and necessary extended rehearsals). Once the date planning process is complete, conductors should begin to think in large terms of programmatic themes, as well as collect the scores of works they are generally interested in conducting. Once thematic ideas are2 organized, the act of what to program becomes central. The conductor should spend time considering/studying each piece for each concert – considering the rehearsal experience for their students, ensemble ability level as it pertains to each piece, and consider the concert outcome for ensemble and audience.
Questions to consider: What is the3 trajectory of your concert season? Is there a “high point” to your concert season? If so, when? How does this affect the concerts before, or after this high point?
Consider what I call “The4 Programmatic Arc:” The relationship each concert has with each other. Are there works selected for one concert that will in some way prepare the ensemble and audience for the next concert? Is there an overall journey we can take our students and audience on through
our concert season programming on a macro level?
By mid-spring, concert5 programming should begin to crystalize (yet there is still time for additions and subtractions). The conductor should formally list (type) the entire concert season, with concert and rehearsal dates, and sectionals listed. The conductor should study the completed programmatic “map” of the concert season. Also at this point, the conductor should critically question each concert against the criterion above. It may be prudent for conductors to invite suggestions from trusted colleagues.
By late spring, the entire concert6 season is complete, with all initial study and concert season forecasting complete. At this point, parts should be ordered and copied, along with all necessary scores required for each piece. If needed, dates can be set for concert session part reading, part distribution, etc. By the last day of school: All music7 is copied and prepared for
distribution. The concert season is set and posted with all requisite information for ensemble comprehension. The conductor now has the entire summer (which is hopefully “down-time” for music educators) to complete in-depth score study of the coming season’s literature.
In closing, the compositional quality of the literature selected, the literature’s ability to assist in the individual and collective ensemble technical and artistic development, and the inherent artistic value of the literature selected speaks volumes about the educational and artistic intent of the music educator selecting said literature. It is my experience that the aforementioned suggestions allow for conductors of various ensembles at various levels to program concerts that are artistically and educationally invigorating for students, conductors, and audiences alike.
• Reynolds, R. (2000). Repertoire is the curriculum. Music Educators
Journal, 87(1), 31-33. Retrieved from http://eduproxy.tc-library.org /?url=/docview/62252885?accountid =14258
• Gregory Xavier Whitmore is director of bands at Mt. San Antonio College in Walnut, California. Whitmore is also music director of the Pacific Symphony Orchestra Youth Wind Ensemble in Costa Mesa, California, and conductor of the Cal Poly Pomona Concert Band. Whitmore received his bachelor’s degree in instrumental music education from the University of Michigan School of Music. He received his master's degree in music with an emphasis in wind conducting from California State University, Fullerton. He is also a doctoral candidate in music education at Columbia University (Teacher’s College) in the city of New York, and spent thirteen years as director of bands at Cathedral City High School in the Palm Springs Unified School District.
sary y be neces aising ma aising may be neces e enough e aretheruro ens t ’n, it issuniforms and instrument ,ear ear, . This yoneys fun for an s entespartgivaiserthatry a fundr pload s. U, not candy barmemories s ching band’ourmara video of y ,ubeundT undTube o Fformancetest per s pload
While fundr o enst uniforms and instrument s fun for an ya ayalw try a fundr memories a video of y est pertla
est per e with the kids’ parshar ch the donataw
t yarst s and ente with the kids’ par tions come in.ch the dona
s aVisit u
t s a com.ubeundT.Fwww e oro learn mort y!oda oday! aiser tundrourft y com
Northwest. The University of Oregon offers a large
and performance
powered by MatchmySound™
Finally here’s a truly affordable way to allow your students to practice anytime, anywhere, on any internet-enabled device with instant feedback and flexibility that has never been seen before. It’s , the new interactive practice tool created by MusicFirst in partnership MatchmySound™.
Perfect for band, orchestral AND choral practice, PracticeFirst, powered by MatchmySound technology, gives teachers easy-to-use tools for creating assignments that are broad or individualized to each student. Assessment and feedback are instantaneous. Student progress is accelerated and learning is fun!
www.musicfirst.com/
by Todd L. Summers CMEA Bay Section President
enry Ford was a master businessman who was committed to creating the highest quality goods at the lowest possible price. He paid substantial wages to hire and retain the best employees who became highly specialized experts on the assembly line. He was innovative and resourceful in all aspects of his life. From 1915 to 1921, he spent his summer vacations learning with fellow visionaries Thomas Edison, John Burroughs, and Harvey Firestone on motor camping caravans. On these trips, Ford and Edison built small dams and explored old mills to determine their power output. Ford was 82 years old when he retired from the company that bore his name and died a year and a half later. He lived as lifelong learner and was quoted as saying: “Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young.”
As music educators, we can heed the advice and follow the exemplar of Mr. Ford. Whether you are just starting your teaching adventure, you are a seasoned veteran, or somewhere along the educational path, there are innovations, techniques, and teaching strategies to learn and new connections to make with colleagues. You will have this op-
portunity at the 2016 California All-State Music Education Conference (CASMEC) in San José this February.
As part of CASMEC, the CMEA Bay Section will be presenting a session Friday, February 12, at 8:00 a.m. in the Glen Ellen Room at the Fairmont Hotel on our new adjudication process that we are implementing –designed to incorporate standards-based rubrics for band, orchestra, choral and jazz ensembles. Our work includes the development of a new, comprehensive festival evaluation system as well as an extensive overhaul of the sight-reading process. We believe these changes will enable adjudicators to deliver a more objective assessment while providing directors and their students with specific qualitative feedback. The primary goals of the new CMEA Bay Section Festival Evaluation System are to clearly align our method of assessment with standards of performance and to provide directors and students with authentic positive and critical feedback that is meant to encourage and foster musical growth. Please join CMEA Bay Section Past President Dr. Andy Collinsworth and myself as we present the new forms and explain how the process will positively impact the future of festival evaluation. We
encourage members from all sections of our great state to attend.
In addition to the great work the Bay Section board has done around our adjudication process and forms, we have also made major improvements in our registration process. CMEA Bay Section hired a programmer to build a website to meet our needs for festival registration, conference group registration and conference registration. We worked with the web designer/engineer for more than 18 months and did a highly successful rollout for our festival registration this fall.
More professional development and learning took place at the CMEA Bay Section Conference at Chabot College on January 8–9, 2016. This two-day conference featured more than 40 sessions representing all areas: general music, multicultural, technology, higher education, band, choir, orchestra, jazz. We had more than 300 students involved in our conference high school jazz band, middle school orchestra, middle school band, and middle school choir, with between more than 350 music educators in attendance.
Information about the CMEA Bay Section can be found on our website: cmeabaysection.org.
by Nicholas Hernandez
In the early Spring of 2015 I landed in London, England, anticipating the next eleven days I would spend touring the United Kingdom with the Bakersfield Youth Symphony Orchestra. The journey was one of length, seemingly an eternity of preparation; it took four years, three teachers, two schools, and one inspired student.
When Mr. Geoffrey Ruud handed me a double bass on the first day of junior high, I assumed not that I would study with the finest musicians in America, or travel the world performing in a youth orchestra. The year was 2011, and I was in orchestra because woodshop was the alternative. I was compliant, however – eager, almost – to learn the ins-and-outs of the giant mass of wood. I adored Yo-Yo Ma’s rendition of The Swan, and that was enough to fuel my earliest creative practices. Mr. Ruud noticed I approached the bass curiously, not quite accepting the instrument as it was. So he encouraged me to audition for the Bakersfield Youth Symphony that summer, despite my lack of sufficient experience. I have since served as the principle double bassist.
The following year, Mr. Ruud transferred schools, and Mr. Kyle Dooley was his replacement. Among my first memories of Mr. Dooley is the day he told me that Mr. Ruud had kept an eye out for me. Mr. Ruud told Mr. Dooley I had potential, and to help me where he could. Mr. Dooley recommended that I audition for the junior high All-State Orchestra, but he had to explain to me multiple times what it was, and even after I did not understand. I did not understand until I was accepted. 2013 was the year that changed my life; I collaborated with the best musicians in California, and I realized that in an orchestral setting I had found a sense of belonging. Because of Mr. Dooley, I auditioned in high school and was accepted again in both 2014 and 2015.
Entering high school, I wasn’t sure what to expect. I had begun practicing 2-3 hours a day, motivated to explore the world of music and hone my technical and musical skills for the 4 days out of the year that I spent at All-State. My new orchestra director, Ms. Regina Montaño, saw my passion for the instrument. Because of my
mom’s new job, I was walking my double bass to school every morning and walking it home every afternoon – I refused to give it up even when I was faced with no automobile transportation. Generously, Ms. Montaño and Principal Vasquez sat down with me and discussed the issue of transportation, and they soon purchased a second instrument to eliminate the daily walking of the beast. The high school administration and staff have provided an invaluable amount of support in the past three years. The choir accompanist serves as my accompanist for auditions, the multimedia teacher records my auditions, the administration provided the wonderful instrument I now play, and Ms. Montaño helps me find new opportunity. We have begun discussing college auditions and, in July of 2015, she helped arrange a special lesson in which I received instruction from the co-principal double bassist of the Los Angeles Philharmonic, Christopher Hanulik.
In the past five years it has been my music teachers that influenced me the most, and encouraged me to practice and develop a strong work ethic to balance my studies with my music. I dedicated myself to the art, so much, that in March of 2015 I played as a substitute in the Bakersfield Symphony with the Bakersfield Master Chorale in a performance of Mozart’s Requiem. I have toured Europe with a youth orchestra, and I have met the co-principal bassist of the LA Phil. And I cannot begin to imagine where I would be, or what my life would be like, had I not been blessed with such dedicated, amazing teachers.
by Gale Caswell
News item: Finding that their employees are “risk-averse,” Boeing gives millions to arts education.
Since 1957, with the launching of Sputnik, arts education has been fighting for its life. That relatively small 23-inch sphere, the first man-made orbiting satellite, caused widespread panic in the U.S. and propelled the powers that be to mandate more math and science instruction in our schools to insure that we would not be surpassed by the then Soviet Union. So great were the fears of domination that they made the mistake of replacing arts courses with math and science courses. The result, in Boeing’s findings, is that we now have highlytrained scientists who are not getting the job done because they are afraid to take risks.
As arts educators, we have fought back against the loss of arts courses with a variety of arguments (arts educated students score higher on SATs, arts educated students have higher graduation rates, and so on), but one argument in favor of arts education seems to have been lost in the shuffle, left out of our conversations, and that is the innate value of risk-taking
The Erie Canal
n. the chance of injury, damage, or loss. the potential of losing something of value.
The critical importance of risk-taking became apparent to me recently when I was working with a group of L.A.U.S.D. drama students who were preparing to perform a collection of Shel Silverstein’s poems. When I suggested that it might be fun to sing The Unicorn, rather than simply recite it, the eighth graders all but ran for the door. Comments ranged from “I don’t sing” to “everyone will laugh at us,” and when I asked them about previous singing experiences, most said that they had none. None. Hadn’t they sung Grandfather’s Clock in first grade and The Erie Canal in fourth grade? Hadn’t they learned songs to celebrate holidays, explore cultures, and learn history? Hadn’t they worn a paper pilgrim costume and sung Thanksgiving songs for the school assembly? Apparently not.
In the 1950s, before the launch of Sputnik, school children sang often. They sang, and they also painted, drew with crayons, and sculpted with clay. Those of us who were students in the 50s shared a common collection of songs, and this connected us to one another, became our common language, helped us to feel safe together and to gradually increase both our willingness and our ability to try new things.
Singing was simply part of what we did, and while some of us may have experienced stage nerves when called upon to sing before an audience, we were able to meet that challenge fairly easily because we were experienced as singers. More importantly, we were experienced risk-takers. How did we become confident singers and willing risk-takers? Our risk experiences were spread over years, each experience building on the previous ones.
What the eighth grade drama students had been deprived of was the opportunity to take risks. What dominated their minds was, of course, the fear of failure and humiliation, and they were powerless against this fear because they had not been offered opportunities to face it and to deal with it. Creative thinking (use the term “thinking outside the box,” if you must) cannot occur without the willingness to take risks, and the willingness to take risks is engaged and nurtured through experience. Recent articles in
Forbes, The Huffington Post, and The Atlantic Monthly have addressed the importance of risk-taking for success in business, leadership, and social interaction. So, Boeing is not alone in focusing on the importance of this issue.
Fearing failure, we do not create. We play it safe. We do not grow, and our culture, the progress of our nation, and the happiness of our people becomes stunted. Both the engineers at Boeing and those eighth graders were the outcome brought to us by more science and less art.
We are now in our third full generation of elementary students who have been shorted in the area of arts education, and this, of course means that their parents and most of their teachers and administrators have come from that same scorched earth. So, what we have is a perfect storm for failure: elementary teachers who may themselves be riskaverse when it comes to including the arts in their classrooms, parents who are
unaware of the value of arts education, and administrators who are unlikely to advocate for arts education.
Those of us who know the value of arts education, who know that students benefit in an untold spectrum of ways from their arts experiences, now have a new arrow in our quivers: we teach risk-taking.
•
Gale Caswell holds a degree in English and art from UCLA. She has taught drama/theatre at all levels K–12 with an emphasis on secondary education. She developed and taught a K–12 drama curriculum for the La Cañada Unified School District, and as a classroom consultant, she has worked with scores of teachers to promote the teaching of music and drama in the K–12 classroom. Gale currently serves on the board of the California Educational Theatre Association and manages adjudication for the CETA High School Theatre Festival.
A Sampling of the Many Music Education Activities Taking Place on our State’s College and University Campuses
by Dr. LawrenceF.Stoffel
CMEA Higher Education Representative
University of California Berkeley
World-renowned composer Kaija Saariaho was in residence in the department of music during the fall 2015 semester. In addition to master classes and private lessons with student composers, she participated in a number of appearances, including five public Bloch Lectures featuring conversations with several of her distinguished collaborators. The Eco Ensemble with David Milnes; Regents’ lecturer and cellist Anssi Karttunen, soprano Lauren Snouffer, and baritone Nikolas Nackley presented a monograph concert of the music of Kaija Saariaho.
The Bloch Lecture Series 2015 included:
Secret Gardens & Public Persona: Secret Gardens and 1 Public Persona: Kaija Saariaho in conversation with UC Berkeley’s Matias Tarnopolsky, Mary Ann Smart, and Edmund Campion.
Making Music, Sharing Music : Kaija Saariaho in conver-2 sation with conductor Susanna Mälkki, cellist Anssi Karttunen, UC Berkeley’s David Milnes and Matias Tarnopolsky.
Intuition, Collaboration, Discovery: Kaija Saariaho dis- 3 cussed her decades-long process of collaboration with flutist Camilla Hoitenga and moderator Matias Tarnopolsky, director of Cal Performances. Ms. Hoitenga performed selections from Ms. Saariaho’s works.
Center for New Music and Audio Technology (CNMAT):4
From the Avant-Garde through IRCAM, to the Present Moment: Kaija Saariaho in conversation with composer JeanBaptiste Barrière and UC Berkeley’s Adrian Freed, Edmund Campion and Deirdre Loughridge.
Continuing Thoughts on Music: Kaija Saariaho discussed 5 her current views on a life in music, music composition, and upcoming projects, with violinist Jennifer Koh, and moderator Matias Tarnopolsky.
http://events.berkeley.edu/index.php/calendar/sn/music.html
In September, APU’s Chamber Singers became the first American choir to headline the prestigious Voci nella Città choral festival in Sassari, Sardinia, Italy. Led by Michelle Jensen, the Chamber Singers were also the first collegiate choir showcased in 70 years. The international festival featured professional-level choirs representing several European countries. The event honored Gabriele Verdinelli, retiring director of the Polifonica Santa Cecilia choir.
The choir’s nine-day trip to Italy included three days in Rome, where they performed at the Vatican in Saint Peter’s Basilica, toured the Vatican museums and the Sistine Chapel, and sang L. Fleming’s Give Me Jesus in the cell where the Apostle Paul suffered imprisonment. Lyrica Taylor, Ph.D., assistant professor of art history and the director of the master of arts in modern art history, theory, and criticism program, provided the group with historical context for the museums, galleries, and historical sites they visited in Rome.
“She enlivened the art of the past, giving it a genuine significance to us,” said Stephen P. Johnson, Ph.D., dean of the college of music and the arts.
This prestigious honor builds on past Chamber Singers’ achievements, which include eleven awards from the Llangollen competition in Wales last summer and placing first overall in the competition for choirs in Austria in 2013.
“The Chamber Singers draw upon a legacy that inspires current members,” said Juliana Lyons, a chamber singer and junior at APU.
http://www.apu.edu/articles/
The Master’s College Chorale was recently asked to premier a recording with Ligionier Ministries. Their newest CD, Light All Around, has been published in World Magazine as a “must have” in classical Christian music.
http://www.masters.edu/academics/undergraduate/music/ newsandendorsements/
Alison Poteracke’s Body and Soul. It is only fitting for jazz studies major Alison Poteracke to name her first book of fiction after the jazz standard, Body and Soul. Wait. Book of fiction? By a music student? It is true, Alison’s love story about two forty-something musicians has been published by Tate Publishing. Of the tens of thousands of submissions that Tate receives every year, only a few are selected for publication. Alison, who plays the tenor saxophone and studies jazz composition and audio engineering, wrote the book during recovery from hand surgery.
“I sent it to a publisher that helps to get beginning writers off the ground,” she said. “I signed a contract with them but couldn’t believe it was true until I received a proof copy in the mail.”
Alison says that her family is even more thrilled than she is. Her dad, uncle and aunt are all writers but Alison is the first in the family to have a completed, published book. http://www.sonoma.edu/music/spotlight/
The Shasta Youth Symphony Orchestra is entering its 11th season under the direction of Dr. Richard Fiske. The orchestra is a course offering of Shasta College, and affiliated with the Shasta Symphony Orchestra. The Shasta Youth Orchestra is a college course for .5 units; as such, students not only gain the opportunity to perform in a quality orchestral setting, they also may earn college credit prior to graduating from high school. Their mission is to provide young music students the opportunity to participate in a performing ensemble that includes regular and frequent rehearsals in an educational setting alongside performers of the highest caliber. The objectives for this orchestra are:
Develop instrumental and performance skills.•
Develop interested and discriminating listeners.•
Develop music appreciation through study and• performance of quality orchestral literature as well as general music education.
Provide an opportunity for students from community-wide• schools and diverse educational backgrounds to work together.
http://www.shastacollege.edu/Academic%20Affairs/ACSS/ MUS/
As a complement to its highly successful five-year-old popular music major and its redesigned music industry degree program, the USC Thornton School of Music Division of Contemporary Music announced a new bachelor’s degree in music production that encompasses the creative, technical, and business aspects of professional music. The inaugural class enrolled in fall 2015. The new music production major was designed by music technology chair Rick Schmunk and USC Thornton Vice Dean Chris Sampson with help from legendary audio engineer and educator Gimel “Young Guru” Keaton, who is a USC Thornton artist-in-residence. Assistance also was provided by Miami-based DJ and producer Greg “Stryke” Chin. The major reflects the current and evolving nature of professional music making in the digital age, where the job description of today’s contemporary musician often includes composing and arranging, live and studio performance, audio engineering/editing and mastering, music synthesis and programming, as well as most of the business responsibilities related to music.
“We’ve seen first-hand the power of creating a highly collaborative music community at USC Thornton,” said vice dean Sampson. “Adding musicians from the new music production major into this community will greatly enhance the experience for all our students.”
Students enrolled in the program will develop skills in the recording studio and in live performance. New digital technologies have expanded innovative opportunities for live performance, allowing for real time filtering, manipulation and combination of tracks to create more elaborate live experiences. Performing producers, who are some of the highest grossing touring musicians today, synchronize highly elaborate stage design, lighting and video with their music. Music production students will be expected to collaborate with songwriters, artists and bands at USC Thornton, as well as video directors/designers and video game designers in USC’s School of Cinematic Arts, the USC Roski School of Art and Design, the USC Viterbi School of Engineering and the USC Annenberg School for Communication and Journalism.
https://music.usc.edu/category/press-releases/
If you have an item for a future “Higher Education Happenings” column, please e-mail your item (in 200 words or less) to Larry Stoffel at stoffel@csun.edu.
Submissions will be included on a first-come/space-available basis. This column contains items received by submission as well as from culling the Internet.
by Bill Wilkinson
CMEA CASMEC Coordinator
CMEA Representative on the CBDA Board
After years of looming on the horizon, CASMEC 2016 with our big move to San José is finally here. Making the move to our new home even more special is the collaborative efforts of the vested organizations. Each association brings to the table the best of what it has to offer in its specialized area of music education to create a super–conference unlike any other our state has seen. All sessions will be centrally located inside the Fairmont Hotel and attendees will be only a stone’s throw away from fine eateries and nightlife as the Fairmont is located in the heart of historic downtown San José.
2016 CASMEC professional development clinics include sessions on band, orchestra, choir, jazz, general music, world music, special learners, national board certification, music education in an urban setting, advocacy, Common Core, pedagogy, composition, music technology, improvisation, music literature, and more. You will also be able to enjoy concerts by all of the California allstate ensembles. All fifteen California all-state ensembles will be performing in San José during the CASMEC weekend.
CMEA is pleased about what we have in store for our inaugural year in San José. An expanded session lineup includes two professional develop strands, two strands of general music sessions and a full slate of technology sessions. CMEA will also introduce two new strands to our mix of sessions with the addition of world music/research/special learners and a full slate of collegiate clinics to round out our offerings. In addition to a wide variety of sessions, CMEA is excited to cohost a Thursday night after-concert social, collaborating with our choral and jazz communities, to kick-off the first night at the Fairmont with a bang. We will continue to offer our popular “Pizza with the Presidents” lunch on Friday and Saturday that will feature a one-day music mini-conference for multiple subject classroom teachers and a retired music educator luncheon. All in all, CASMEC attendees to partake in more than fifty CMEA offerings. Lastly, we are very pleased to have the National Association for
Music Education (NAfME) President Glenn Nierman join us as CMEA’s keynote speaker for CASMEC 2016.
CBDA will kick off the opening of CASMEC with an amazing Thursday Night Headliner Concert featuring Simply Three and the Hijiyama Girls Wind Ensemble from Hiroshima, Japan. This concert will be held at the Center for Performing Arts (CPA) across the street from the Fairmont Hotel and will kick off our conference with a bang.
Simply Three is an electrifying trio of musicians that have been delivering high octane performances since 2010. The trio’s received high praise for their ability to impress listeners with their vast range of genres ranging from Gershwin to Coldplay. To further quote their website, with an ever-growing online popularity, Simply Three is creating a renewed excitement for instrumental music through inventive music videos that have captured the hearts of millions of YouTube viewers across the globe. Furthermore, their works have gained great critical recognition by publications such as the Huffington Post, Rolling Stone, and RyanSeacrest.com, as well as mainstream artists themselves. Full information is available at simplythreemusic.com.
After the concert attendees can make their way back to the Fairmont for a post-concert CMEA reception with performances by the American River College Vocal Jazz Ensemble and San José State University Jazz Orchestra –a great end to an amazing first night of CASMEC 2016. Be on the lookout for post-concert gatherings on Friday and Saturday nights as well.
Here’s what music teachers can choose from:
“ACE Methodology - The Art of Empowerment in the Differentiated Classroom” - Robert Eisenhardt
“Addressing the 3 Ts of Band: Tone, Tune, Time” - David Betancourt
“All-State Wind Symphony: Open Rehearsal” with composer David Maslanka
“Chamber Music Gems for High School Winds” - Dr. Paul Cummings and Dr. Andy Collinsworth
“Classroom Management Solutions: Who Is Controlling Your Rehearsal –You or Your Students?” - Dr. Marc Dickey
“Creating Committed Musicians: Empowering Students of All Levels Through Artistic Rehearsals” - Dr. Karen Fannin
“Elementary Instrumental Music: Helpful Tips and Tricks of the Trade” - Bryan Keith Holbrook
“Good Conducting is Great Teaching” - Dr. Chris Chapman
“How to Recruit - Maintain and Inspire a Low Brass Section” - Joseph Murphy
“Pristine Clarity: Coordinate-Based Strategies for Drill Instruction” - Chris Alexander
“Techniques for Excellence in Brass” - John Meehan and Eric Weingartner
“The Flute Boot Camp - Proven Techniques to Help Band Directors Build a Winning
Flute/Piccolo Section” - Tracy Harris
“Unifying and Expanding Your Marching Band Sound” - J.D. Shaw
Jazz“And All That Jazz: Literature That Works for Young Jazz Bands” - Dan Bryan and Lisa Butts
“Jazz Arranging for All Levels” - Joe Mazzaferro
“Jazz Band is Not Just Another Large Ensemble: Keeping Improvisation and Creativity the Focus of Rehearsals” - Dr. Keith Kelly
“Lessons from the Masters: Using Recordings to Teach Students About Improvisation” - Patrick Langham
“Understanding The Modern Rhythm Section” - Dr. Anthony Fesmire
“Unison Methodologies Applied to Modern Jazz Styles: A Single Point of Reference” - Richard J. Frank
“Vocal Jazz Ensemble: Tone and Style” - Kate Reid
“Developing a Comprehensive Curriculum for Music Fundamentals and Ear Training Using Sonic Fit” - Jeff Morton
“Developing the Audiation Skills of Choral Musicians as a Means for Improving Musicianship” - Joseph Schubert
“Diversifying Your Pedagogy Toolbox: Using the Wheel of Pedagogy to Build Effective Rehearsals” - Jeshua Franklin
“From the Court to the Concert Hall: What Conductors Can Learn from Great Coaches and Sports Psychology” - Buddy James
“Middle School Madness” - Roger Emerson
“No Longer Breathless” - Katharin Rundus
“Safe & Beautiful Belting Technique” - Lisa Popeil
“Sight-Singing Success for Every Ensemble in the Statewide System of Rated, Tiered Choral Festivals” - Karen Garrett
“Sing, Shout, Stomp: Early American Music” - Honey Whiskey Trio
“Singing the Same Language: Choral Director as Voice Teacher” - Jeffrey Benson and Layna Chianakas
“Solfege and Sonority: Teaching Music Reading in the Choral Classroom” - David Xiques
“Songs for Classroom and Stage” - Gemma Arguelles
“To Read or Not to Read...There is No Question!” - Anne-Marie Katemopoulos
“Tune Up Your Diction Toolkit” - William Sauerland
“Working with Developmental Choirs” - Angel Vázquez-Ramos
“Composing in Garage Band: An Upper Elementary Composition Unit for the iPad” - Sarah Van Dusen
“Finale 2014: Tips & Tricks To Make Your Life Easier” - Leigh Kallestad
“SmartMusic and Practice Motivation: Presentation of Research on Student Attitudes Towards Practice “Efficacy, Accuracy and Confidence” - Sarah Owen
“SmartMusic For The Middle And High School Band Director” Panel Discussion - Leigh Kallestad
“Teaching Music in the Cloud with Music First” - Jenny Amaya
“Build a Sustaining and Thriving NAfME Collegiate Chapter” - Kelvin Flores
“Collegiate Council Meeting” - John Eros and Kelly McCarley
“From Student Teaching to Teaching” - Nelson Agregado “Instrumental Conducting for Music Education Students” - Mildred Yi “Mentor and Mentee –Making the Most Out of Student Teaching” - Kara Ireland D’Ambrosio and Rachel Knight “Approaches to Classroom Management for New Teachers” Panel Discussion - Lauren Culley “Tips and Tricks for Surviving Student Teaching” - Kelly McCarley
“Autism Spectrum Disorders- Updates, Accommodations, Techniques for the Music Education Classroom” - Angela Holmes “Music Performance and Special Needs” - David Ladd Anderson Angela Holmes David Ladd Anderson
“Common Core Meets the Concert Hall” - Brad Hart
“Composing in Groups: Developing Creative Thinking” - Lisa Crawford
“Composition Concepts in Instrumental Ensembles” - Alexander Koops and John Whitener
“Connecting the Dots -Community Performances as Advocacy” - James Sepulvedo and John Dally
“Conquering Stage Fright” - Dana Fonteneau
“Creative Programming for Critical Thinking” - Ted Allen
“Music and Core” - Dennis Siebenaler
“National Board Certification” - Kim Lundgren and Pauline Crooks
“Play to Strengths: Battling Burnout” - John Burdett
“Social Outreach Programs” - David Betancourt
“Standards: They’re Not Just for identifying Outcomes Anymore” - Dr. Glenn Nierman
“Teaching Music in Urban Schools” - Dr. Lawrence Stoffel
“Technology, Tradition and Change: Exploring Future Possibilities in Music Education” - Frank Heuser with Dan Zanutto and Jamie Knight
The Mind Behind the Music: The Neuroscience of Music Cognition With Relevant Classroom Applications
- Dr. Diana Hollinger and Jennifer Gerlach
“Tri-M Music Honor Society + Students = Unifying Your Music Department” - Elizabeth
and Troy Trimble
“Active Roads to Musicianship and Literacy in Elementary Music” - John Eros And Rebecca Poon
“Building Community through Social Music Making” - Michelle McConkey
“Elemental Adventures: Music of the Spheres” - James Harding
“Elemental Adventures: Wibbleton to Wobbleton” - James Harding
“Major, Minor, then What?” - Richard Lawton
“Meeting of East and West” - Eun Cho
“Minor Shifts” - Patricia O’Herron
“More that Ta-Ti-Ti” - Diane Geller
“Music for Everyone –Preschoolers Included” - Alissa Chitwood
“Reggio-inspired Practices: Ideas for Exploration and Integration within Music Classrooms” - Wendell Hanna
“Setting a Better Table: How Can CMEA Better Serve the Needs of General Music Teachers” - Richard Lawton
“Uke On” - Kevin Birkbeck
These are merely some of the offerings. There is so much more being offered by CMEA and its partner organizations. For a full listing of CMEA’s offerings and all things CASMEC please visit calmusiced.com. Without a doubt, CASMEC 2016 will prove to be monumental and will set the standard to follow for years to come. This year’s conference is an experience not to miss and CASMEC will soon be regarded as the best music conference west of the Rockies. Onward to San José.
by DonnaHarrison
California Orchestra Directors Association President and CMEA CODA Representative
The California AllState Music Education Conference (CASMEC) in February will be bigger and better than ever. This will be the first time that we will have three outstanding all-state orchestras. The high school allstate symphony orchestra under the direction of Jung-Ho Pak will perform Bernstein’s Candide Overture and the finale from Mahler’s Symphony No. 1 Maestro Pak is currently artistic director and conductor of the Cape Cod Symphony Orchestra. He has been conductor of the World Youth Symphony Orchestra at Interlochen for more than twelve years. The high school string orchestra will be directed by Soo Han from the nationally recognized Carmel High School Orchestra in Carmel, Indiana The program will include Tchaikovsky’s Serenade, a Mozart divertimento, and Libertango by Piazzolla. Our junior high orchestra will be lead by Bill Bitter from Highland High School in Gilbert, Arizona. Mr. Bitter was recently honored with the Elizabeth A.H Green School Educator Award, a national award from A.S.T.A. recognizing excellence in a school setting. You will have the opportunity to observe the rehearsals and learn from these outstanding educators
CODA is co-sponsoring the headliner concert Thursday night featuring the Hijiyama Girls Wind Ensemble from Japan and Simply Three, an innovative crossover string trio. Simply Three continues to receive praise for their ability to impress listeners with a multitude of genres that span from Puccini and Gershwin to artists such as Adele and Coldplay. Simply Three
will also present a clinic session on Friday. One of the featured school performing groups at the conference will be the Lynbrook High School Orchestra directed by Michael Pakaluk.
This year CODA is providing an expanded array of outstanding orchestra sessions which include an “Orchestra Music Reading Session” lead by Patty Drury and the Dougherty Valley High School Chamber Orchestra. J.W. Pepper will provide many middle school and high school orchestra selections for your perusal. Bob Phillips, a well known string pedagogue and composer, will drop by to say a few words about what to expect in future orchestra publications. Bob will also be presenting two sessions that are not to be missed. The “Total String Tone Transformation” will equip you with specific strategies to totally change the sound of your orchestra. “Taking Your Group To A Higher Level Or Festival Rating” will be a useful session for all types of groups who want to go from good to great. The Dougherty Valley High School Chamber Orchestra will assist Bob Phillips as he takes us through specific concepts to achieve our goals.
Dr. Lucy Lewis will present “The ABC’s of Chamber Music” highlighting practical tools to successfully introduce chamber music to inexperienced students. Renata Bratt will show bass clef instrumentalists how to accompany jazz and fiddle tunes by interpreting chord
symbols in her session titled “Accompaniment Styles For Cellists.” Dr. Thomas Tatton will discuss, demonstrate, and answer questions about string pedagogy and also provide us with some great handouts in “Conversations With Dr. Tom.”
David Motto will present essential steps students need to take to prepare for concerts and competitions in this fast-paced and fun session, “What If Your Students Are Doing Everything Wrong?” In his session, “The First Ten Minutes: Warm-Ups That Teach,” Mark Kovacs will present some helpful string pedagogy ideas you can use to make every minute of rehearsal count. Dr. Janine Riveire will give us some teaching strategies to help your string bass section stay relevant and central to the music at hand by focusing on strength-building, intonation, shifting, and visual diagnostic strategies you can use in your orchestra rehearsals in “‘Bassics’ From 20 Feet Away.”
“Efficient, Effective and Engaged: Rehearsal Techniques For A String Orchestra,” presented by Scott Krijnen, will help you bring the most out of your students. “The CODA General Membership Meeting” presented by the CODA Board of Directors is a session open to all who want to connect with fellow orchestra directors and share ideas on how CODA can help enhance your music program.
As educators, we never stop learning. This conference will give us a chance to learn from master teachers, connect with our colleagues, observe rehearsal techniques from outstanding conductors, and help us to approach our jobs with renewed vigor and enthusiasm. If we only learn one new idea, then it was time well spent. I hope to see you at CASMEC this year.
by Lily Chen-Hafteck CMEA World Music Representative
s the CMEA World Music Representative, I am pleased to announce wonderful news to our CMEA members. At the 2016 CASMEC, world music will be offered as a new session strand. There will be four professional development sessions that will bring participants to experience world music and cultures. How exciting!
Statistics from the U.S. Census Bureau (2010) indicate that California’s population was 57.6 percent white, 37.6 percent Hispanic or Latino, 13.0% percent Asian, 6.2 percent black or African American, 1.0 percent American Indian, 0.4 percent Native Hawaiian and Pacific Islander. (There are people who reported themselves as mixed-race that account for the total of over 100 percent.) According to a report published by Mainstreet (Emerson, 2011), the state of California was ranked the highest foreign-born population in the nation during 2007–2009. Living in such a multicultural society that is clearly reflected in many of our Californian public schools, it is an important mission for us as educators, to help students in developing understanding and appreciation for others who come from diverse cultural backgrounds, and thereby live together in harmony.
Music is closely connected to its culture. It is an expression of cultures and culture also influences music. A number of research studies has shown that, through learning world music, we can increase our understanding of the culture and hence, develop a more positive attitude towards people from other cultures (Edwards, 1994; Sousa, Neto & Mullet, 2005; Chen-Hafteck, 2007). A lot of our ethno-cultural attitudes and beliefs acquired early in life are usually deeply rooted. Therefore, providing students with experiences in multicultural music at school can be a powerful means of achieving our educational mission. In addition to opening our ears to the diverse musical sounds and widening the scope of our musical understanding and musicianship, world music can also enhance our understanding and appreciation of diverse cultures and their people.
The world music professional development sessions at the 2016 CASMEC include:
Friday, February 12, 8:00 –8:50 a.m., Hillsborough Room:•
A Musical and Cultural Journey to Brazil, Canada, China and Kenya
Friday, February 12, 10:30 –11:20 a.m., Hillsborough Room:• The Applications of Sichuan Folk Music for American General Music Classes
Friday, February 12, 3:30 –4:20 pm, Hillsborough Room:• Steel Band in High School
Saturday, February 13, 8:00 –8:50 a.m., Glen Allen Room:• World Music: Focus on Vietnam
A Musical and Cultural Journey to Brazil, Canada, China and Kenya
As a music education professor at UCLA and a researcher on multicultural music education, I will be sharing my experiences on teaching world music at this session. I plan to take the participants to an imaginative journey across four continents of the world. Through an integrated arts approach that combines music, art, drama, movement and dance, participants will experience the music and cultures of Brazil, Canada, China and Kenya. The songs and teaching materials that will be demonstrated in this workshop have been used in a cross-cultural research project that investigated the effects of singing traditional songs on the level of cultural understanding among children ages 10–11 from these four countries. Thanks to the effort of the international research team of the AIRS (Advancing Interdisciplinary Research in Singing) project,* the songs and their video demonstration that will be presented are most authentic. They are representative of each culture, informative of their socio-cultural backgrounds, and illustration of how native children perform the songs (often accompanied by movement and games) in their environment.
*AIRS project is supported by the Social Sciences and Humanities Research Council of Canada’s (SSHRC) Major Collaborative Initiative Program (MCRI).
Sichuan is a region in China with rich musical culture. The folk music of Sichuan has a long history and is well-known among people from all over China. The Sichuan Conservatory of Music is one of the top music institutions of the country, leading the performance and research of the music of the province. Originally from Sichuan, China, Ms. Chengcheng Long who is a doctoral candidate of music education at Arizona State University will present this workshop together with Dunquan Yong, a professor from the Sichuan Conservatory of Music. They will introduce Sichuan folk music to participants and suggest how such music can be brought into American classroom. Participants will experience the music and culture of this special region in China through learning about Chinese musical instruments, singing, ensembles, as well as the performing arts (acting, dance, theater) and visual arts (drawing and digital pictures).
Steelpans/steel drums are musical instruments that originate from Trinidad and Tobago in the Caribbean Islands. In this session, Daniel Sedgwick of Del Norte High School, Crescent City, will be sharing his experiences in organizing and directing a steel band in the high school and junior high setting. He will also discuss the many benefits of having a group like this within the music program. Participants will learn about a brief history of steel band, how a steel band is different from a traditional concert or jazz band, and styles of music (both traditional and non-traditional) for steel band. Mr. Sedgwick will use both lecture and live demonstration from the Del Norte High School Steel Band. A short performance of varied repertoire will be presented at the end of this session.
Tina Huynh who is a doctoral candidate of music education at University of Southern California will demonstrate Vietnamese culture and children’s songs at this workshop. She will start with a brief presentation on the historical context of Vietnamese culture including music, language
and art. She will also present her interesting research on Vietnamese-American parents’ views and values concerning preservation of Vietnamese children’s songs. In addition, participants will also enjoy some interactive musical experiences, starting with learning the basic rhythms of traditional dragon dance drumming, learning a Vietnamese children’s song and a dance for children.
These activities can all be applicable in elementary classrooms.
As you can see from above, we have planned a wonderful multicultural experience for you. Hope you can join us at these four sessions in the upcoming CASMEC,
INTIMATE CLASSES. INNOVATIVE PROGRAMS. OUTSTANDING ENSEMBLES.
and together, we will experience diverse cultures through world music.
• Reference
Chen-Hafteck, L. (2007). “Contextual analyses of children’s responses to an integrated Chinese music and culture experience.” Music Education Research, 9(3), 337–353.
Edwards, K. L. (1994). “North American Indian music instruction: influences upon attitudes, cultural perceptions, and achievement.” Doctoral dissertation, Arizona State University, Tempe, 1994. Dissertation Abstracts International, 56, 130. Emerson, G. (2011). The Most Diverse States in America, p.11. Retrieved from https://www.mainstreet.com/slideshow/mo st-diverse-states-america.
Sousa, M.R., Neto, F. & Mullet, E. (2005). “Can music change ethnic attitudes among children?” Psychology of Music, 33(3), 304-316.
U.S. Census Bureau, (2010). Profile of General Population and Housing Characteristics: 2010, Table DP-1. Retrieved from http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml?sr c=bkmk
Located minutes from downtown, the University of Portland combines personal attention with challenging academics in our nationally accredited music program.
Now offering a pre-music education track to prepare you for a Master of Arts in Teaching.
ENSEMBLES
University Singers • Wind Symphony • Orchestra • Women’s Chorale • Jazz Ensemble • Vocal and Instrumental Chamber Music
2016 SCHOLARSHIP AUDITION DATES
Monday, February 15 • Saturday, February 20 and 27
FOR MORE INFORMATION up.edu/music UPMusic@up.edu 503.943.7228
CMEA Awards Gala Invitation and CMEA State Award Winners
Please join us at the 2016 CMEA Awards Gala!
This event is held as part of the California All-State Music Education Conference – CASMEC, on Friday evening, February 12, 2016 at 5:30 p.m.
The gala will be held at Flames Eatery and Bar, 88 South 4th Street, San José (a short walk from the Fairmont and Convention Center).
Come enjoy a wonderful evening to honor our state award winners.
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/41-general-forms
You do not need to be registered through CMEA to attend the Awards Gala.
For more information please contact Trish Adams, cmea @calmusiced.com.
BE PART OF THE GRASSROOTS NETWORK FOR MUSIC EDUCATION ADVOCACY!
The SupportMusic Coalition is a program of The NAMM Foundation that unites non-profit organizations, schools and businesses working to ensure that all children have the opportunity to learn and grow with music.
Sign up to receive The NAMM Foundation’s monthly newsletter, featuring updates on music education research, events and Foundation activities.
by Richard Lawton CMEAGeneral Music Representative
anuary and February are my favorite months for teaching music. The winter holiday show prep, with its single-minded focus on a handful of songs to be showcased in a one-time performance – the music teacher equivalent of teaching to the test – is behind me. Culmination and other end-of-year activities are months off, and now I can get back to my primary teaching objective –instilling an appreciation in my students for their own musicality, and showing them how music is an essential part of their lives and the life of their community.
Most music teachers I know incorporate some blues into their instruction this time of year, particularly in February during African-American History Month, but the blues are worth delving into yearround. It is said that jazz is one of America ’s premier art forms, but blues is the forerunner of jazz, as well as the foundation of rock and roll, country, and R & B. It is part of our shared cultural heritage, and, therefore, presents many cross-curricular teaching opportunities. It is also a highly accessible platform from which to teach improvisation, which has been a significant part of the National Music Education Standards since the mid-1990s.1
When I first began to teach blues in my classroom, I focused on form because the blues form is so easy to understand and replicate. For example, the I-IV-I-V-IV-I chord progression of the 12-bar blues shuffle pattern can be played quite soulfully on a variety of elementary school instruments from ukuleles to Orff xylophones (see Figure 1). Blues lyrics, with their emphasis on distress expressed with a touch of humor, are easy for kids to imitate. (In writing their own blues lyrics I tell students to think – “It’s not bad, it’ s
worse” – as in “pizza costs two dollars, but I only have two cents to my name.”) I teach these and other aspects of blues form every year, and the lessons are always a hit. Increasingly though, I have begun to focus instruction on even more elemental blues components with the objective of producing a more visceral understanding of what the blues is all about.
The Groove
What is it about swing that makes it so much fun to move to? Could it be a sense of relief about not having to attack a piece of music on the first beat, or perhaps a feeling of naughtiness associated with moving those body parts that seem especially well-suited to swing? Whatever it is,
kids love it. Even familiar material becomes more exciting to them when set to back beats. Try reciting the alphabet with a ride cymbal playing swing eighths, and you will see what I mean.
One of the most direct ways to teach young kids swing is to use body percussion patterns where the clap is on the 2nd beat or on 2 and 4. A pattern I use frequently is to pat the legs on 1, clap on 2, snap on 3, and clap again on 4, 3 creating an “X” shape. This basic pattern can be made more challenging by moving the claps to a partner’s hands, patty-cake style. As long as the accents are on the back beats, the sense of swing will prevail.
Hopefully, however, there is something
going on that transcends counting, and that is the experience of being in the groove, or in the pocket. What is the difference between playing back beats and being in a groove? In a recent article in Music Educators Journal, Marsha Baxter and Christopher Santanasio described the groove as something existing in the moment and requiring not just a sense of time notationwise, but also an instinctive interaction of those participating in the experience including members of the audience.2 Grooves are intuitive, organic things, relying on the nuances of individual musicians working together. Grooves also contain an overwhelming sense of propulsion, which may explain why we can’t sit still when a good groove gets going.
The Minor Third
to the home tone that seems to be most evocative of a blues feeling, and it is there where I focus much of my initial instruction, encouraging students to use it in their improvisa-
2
The hexatonic blues scale generally does not contain a second but instead goes from the home note to a minor third in the first scale degree. That the interval of a minor third – three semi tones having a frequency ratio of 6:5 – has a “sad” feeling is a phenomenon that has been observed for thousands of years and is still not well understood... but it is a powerful force. A 2010 Tufts University study showed even spoken words with 6:5 intervallic relationships provoke negative feelings, with sadness being the predominant response to the descending minor third, and anger tending to be the reaction to the ascending minor third.3 The researchers also noticed that these negative emotional reactions were stronger than positive ones, and speculated that this was because we are hard-wired to pay closer attention when something seems amiss.4
The rest of the blues scale consists of the fourth, an augmented fourth, a fifth and a flatted seventh. This means that la pentatonic scale - a pentatonic that uses la as its home tone – overlays the blues scale quite well (see Figure 2.) It is worth noting that there is an additional minor third in the pentatonic between so and mi, a bi-tonal pitch pattern associated with sassy, playground taunts (as in “nyah-nyah-na-nyah-nyah.”) However, it is the minor third closest
tional ideas.
The emotionally provocative nature of the minor third may also explain why the blues has an anti-establishment vibe that appeals to my students (and young English musicians in the 1960s.) The blues, at its heart, is an expression of identity. The notion of people who had been legally considered “property” just a few years before sharing their individual stories in an angry, sassy, aggressive way, was very disturbing to the status quo. On some level it continues to be, just as blues continues to be empowering to people singing and playing it.
One of the most useful instructional aspects of the blues is its reliance on call and response as a way of alternating individual and group music-making and as a vehicle for showcasing improvisation. By telling the kids “echo me” or “when I say..., you say...” I am not only able to introduce material that they can quickly learn to improvise with, I am also, with some back beats and minors thirds thrown in, getting a pretty cool blues groove going right from the start. Here again, however, my hope is not just to teach how the blues is structured, but what the function of that structure is. In the blues, call and response has
been passed through the filter of the black church, where the preacher’ s sermon is the equivalent of the solo call, extemporaneous and improvisatory, and the response is the affirmation of the congregation –shorter, choral, and repetitive. More to the point, the purpose of the sermon is to speak the truth, to give testimony, about one’s spiritual journey and have it witnessed by the community. As the blues developed, this truthtelling came to focus on secular matters – romantic entanglements, money problems, addiction – but always there remained a sense of speaking authentically and having that truth be seen. Even as the idea of testifying has evolved into extended instrumental soloing, it is authenticity and not virtuosity that is used to determine the testimony’ s soulfulness and value.
Authenticity in elementary school music-making can be harder to measure, but its presence in music class is unmistakable. When kids are in the groove, wailing on the minor third, and sharing from the heart, they stay engaged longer, collaborate more effectively, make more inventive choices. The sense of joy is contagious and tends to pull in anybody who happens to be passing by. Again, blues grooves are of-the-moment things and the retention of specific musical skills can be a little spotty, even with a careful debrief. But what never fails to register with my kids is how much fun bluesmaking is and how much they want an encore. I will take that result every time.
•
1. 2014. Gruenhagen, L. & Whitcomb, R. “Improvisational Practices in Elementary General Music Classrooms.” Journal of Research in Music Education. Vol. 61(4). 379395.
2. 2012. Baxter, M. & Santanasio, C. “From Bandstand to Classroom; Thinking and Playing Grooves.” Music Educators Journal. Vol. 99(1). 73-79.
3. 2010. Curtis, M. & Bharucha. J. “The Minor Third Communicates Sadness in Speech, Mirroring Its Use in Music.” Emotion. Vol. 10(3). 335-348.
4 Ibid.
by Troy Trimble CMEA Tri-M Representative
t is hard to believe that the school year is already half over and that CASMEC is just around the corner. I am honored to be serving as the new CMEA Tri-M Representative and I am especially excited to be taking over in such a pivotal year for CASMEC’s move to San José. The continued growth of the event and this year’s move are truly exciting to see and
are looking to our spring events and preparing for festivals, concerts, competitions, group tours and more. You may feel so far into your calendar and invested in other events that Tri-M may once again become that thing you relegate to next year. Don’t. The time is now, and there are plenty of months left to start the process and get a chapter established at your school site. In-
make me proud to serve as a music educator in California. The tireless dedication and remarkable collaboration between the many music education associations serve to strengthen our collective voice at the state level as well as brighten music education’s future in California with increased opportunities and impact for our students.
It is this opportunity and impact for students that I call your attention to. I know that every music educator in our state believes in providing students with an outstanding music education that also encourages creativity, service and leadership as core outcomes. What a great way to sum up what we do. What I would like to point out is TriM’s perfect marriage into this equation. It is not “extra,” or something that would be nice to add if all things were ideal. It belongs in each and every junior high and high school music program in California as obviously as offering a concert band, orchestra, or choir for our students. The best part is that it is student-led and student-run organization. They need you as the advisor, but the students make it their own.
At this point in the year, many of us
cluded in the fall issue of the CMEA Magazine was the Tri-M Academic Calendar for your reference. It is also available on NAfME’s Tri-M webpage. Check it out and you’ll see that there’s still time to get caught up.
I would like to end my article by outlining the goals for the rest of my first year as Tri-M representative. The mission to increase and strengthen California Tri-M chapters has been ongoing and fruitful and I want to build on our previous year successes. My first goal is to continue to increase the number of Tri-M chapters in California. CMEA President Michael Stone has been very supportive in making it a goal to increase chapter numbers by at least ten percent in the current year. Second, I wish to maintain effective communication with CMEA members and Tri-M chapters through the collection and use of accurate data about our chapters and areas of potential growth. Third, and most important, I have been working directly with NAfME and with Western Division Tri-M Representative Elizabeth Robertson on establishing a statewide California Tri-M Leadership Day this February. The event will be
held simultaneously on two sites (Northern and Southern California) where all current and interested parties can gather and receive and exchange ideas about building Tri-M at their school sites. You may recall information about our first attempt at this back in the fall, but the decision was made to wait until after CASMEC and to really make sure our members knew the value of the event. Be on the lookout for a specific Tri-M session at CASMEC this year as well.
I look forward to making California a Tri-M leading state. Please keep me informed of your Tri-M successes and questions. I am here to serve you.
TRANSCRIPTIONS AND ARRANGEMENTS FOR Concert Band Marching Band String Orchestra Full Orchestra
Brass Ensemble
GLEN D. LIENHART (ASCAP)
by Norman Dea CBDA President
Greetings from the San Francisco Bay Area! My name is Norm Dea, and I am the director of instrumental music at Acalanes High School in Lafayette. It’s my honor to be the president of CBDA, the California Band Directors Association. I’ve been a member for 33 years, and I can honestly say that CBDA has had a profound effect on my career as a band director and music educator in California. CBDA is renowned for running some of the finest all-state honor bands in the country, and we are committed to continue to improve the ways we administer our all-state program. Our board of directors is currently hard at work putting together yet another spectacular CBDA all-state experience for the many talented student musicians in our state, and band sessions and performances that will inspire us all. The incredible alliance of music education organizations that form CASMEC is also moving ahead to provide another wonderful collaborative state conference experience for our educator members from California and beyond. Thank you to our partners CAJ, CMEA, CODA and CA-ACDA. Kudos to Phil Vallejo, Jeff Detlefsen, John Burn, and Brandon Price for going above and beyond the call of duty this past summer in making our transition to the San José Fairmont Hotel and San
José Convention Center a smooth one.
We’re pleased and excited to have the following conductors for the 2016 California All-State Honor Bands:
Dr. Mallory Thompson, Northwestern University,• High School Wind Symphony
Professor Gary Hill, Arizona State University,• High School Symphonic Band
Professor Sharon Lavery, University of Southern California,• High School Concert Band
Mr. Richard Saucedo, Composer, Carmel High School, Indiana,• Junior High School Symphonic Band
Dr. Emily Moss, CSU Los Angeles,• Junior High School Concert Band.
CBDA wants to encourage more members at the conference to attend our CBDA General Session and our CBDA Banquet. It’s important that our members attend, be informed, be heard, and to exercise your vote. Together, it’s OUR organization and we need to actively participate in what makes CBDA great.
Feel free to contact me, or any member of our board with any questions or concerns. We’re here to serve the membership of CBDA. Best wishes for a successful school year.
by Regina Pryor CMEA Membership Chairperson
Your CMEA Membership Committee has been hard at work. The first task that each section had to complete was to identify every music teacher. We want to know the school and district where every music teacher teaches and the e-mail addresses of the schools. This has not been an easy task especially for some of our larger sections. Our other goal is to find out which schools and districts are not offering music to their students. I was very surprised to find out that we still have some students that are not receiving the gift of music at their schools.
Did you know we have more than 7,700 music educators in California? That is amazing! Wouldn’t it be wonderful if everyone was a member of CMEA.
Our membership committee will take a little break over the holidays and we will be back in January to contact all those music teachers that are not CMEA Members. We could use your help. It will take a lot of man power to complete this task in one month.
Here are the membership chairs by section: Bay Section – Cheryl Glass• Capitol Section – Mike Mangonon• Central Section – Sara Basiletti• Central Coast Section – Jon Christian• Southeastern Section – Armalyn De La O• Northern Section – Tanner Johns• North Coast Section – Judith Scharnberg• Southwestern Section – Lisa Crawford• Southern Border – Marc Dwyer•
Please send me an e-mail (reginapryor78@gmail.com) if you would like to help your section increase their membership. We are already off to a good start. We have increased our membership by 6.9%. Our goal is a ten percent increase in membership for 2016. Please help us make it happen!
Thank you for all your support with CMEA. See you at CASMEC and we will give you a final report from our membership campaign.
by Scott Hedgecock CMEA President-Elect
s I look towards April and the time that I assume the role of your president I am reflecting on what brought me to this point. I have been involved in organizational leadership in various music education organizations for a span that covers three decades. This leads me to also wonder about who will be in a similar reflective position for CMEA in four, six, or ten years from now. How are they currently active in CMEA? What leadership positions do they hold? And most importantly, what are we doing as an organization to help them to discover their own leadership pathway?
Leadership in CMEA can come in many forms. Volunteering to head up a committee or to chair an event in your local area of your Section is usually a great place to begin. Serving on your section board is a move and a commitment towards greater leadership. And finally looking towards state level leadership can represent a powerful goal to strive for and hopefully be given the opportunity by your peers to achieve.
You can also provide leadership by simply being an active member, both in CMEA and your other professional music education organizations. Helping to be part of a strong link between the organizations in your conversations and communications with colleagues can be a powerful tool. Attending CASMEC, where all of our organizations will be gathered, is another powerful tool in personal leadership. And of course, taking the time to read your CMEA Magazine, as you are doing right now, is your own personal investment in the strength and qualities you bring as a member to the CMEA family.
Leadership at the state level, whether as a member of the executive board, the state board of directors, or the state council requires a person to have several qualities and attributes.
Leadership experience and training are foremost in order to help you actually do the job. CMEA has worked with our Western Division of NAfME by participating in the first leadership seminar held last June in Las Vegas. The participants included current executive board members along with other state members who hold various levels of leadership within their respective organizations. It is safe to say that many of our future leaders of the Western Division states were part of that event. We need to continue to offer leadership training in order to prepare our future leaders with the tools and experiences to empower them to do the job.
Another strong attribute of being a good leader of any organization is having institutional memory. If you don’t know about your organization and it’s history, you will be in danger of repeating the missteps that came before you. Telling “our story” is important, and I always look forward to CASMEC and
Institutional memory is a collective set of facts, concepts, experiences and know-how held by a group of people. As it transcends the individual, it requires the ongoing transmission of these memories between members of this group.
the ability to hear from our members who have seen many decades pass during their time of membership. Talk to our fifty-year awardees at the gala, you’ll be richer for the experience. And share your CMEA stories with anyone and everyone who will listen.
One of the most important first decisions I must make as I prepare to become your president is in putting together the third component of our CMEA state level leadership; our council of representatives. This body of lead-
ers has the unique opportunity to represent a specific area of interest in music education for which they each hold a personal level of passion. They help to promote their specific area through communication, with each one submitting at least one article per year for the CMEA Magazine, and they also provide activities throughout the state and help to ensure that their area is well represented at CASMEC.
If you are considering a step into leadership within CMEA I can think of no better place than to get involved in the council of representatives. My council list is currently being “penciled in” and my goal is to have the ink drying on it as I leave CASMEC on February 14, 2016. Please consider sending me a quick note if you are interested in serving in a specific area, and then let’s plan to have a conversation about that while at CASMEC. Or perhaps you would like to recommend a colleague for a specific position. Please review the list of the council of representatives as found in this publication and on the CMEA website. New positions are often added as members point out a new area of need, so don’t hesitate to voice your suggestions.
It is with great anticipation and a deep sense of responsibility that I continue to plan for my term as your president.
CMEA is an outstanding organization that has a clear vision that all students in California have access to a first-class education in music. And through the multi-faceted CMEA mission –advocacy, leadership, membership services, and communication –we will continue to focus on that vision long past my relatively short term on the executive board. Please join me in leadership within our organization, and thank you for trusting me to be our steward in the coming term.
“To get something you never had, you have to do something you never did.” - Unknown
by Steven Hendee CMEA Vice President
Please join me in welcoming our newly-elected and appointed representatives to the CMEA State Council. We are always indebted to those that serve on behalf of our membership. We know that their collective energy will be an asset to the board throughout their terms.
CMEA Capitol Section President Santiago Sabado
Santiago Sabado is from Placerville, CA. He holds his masters in instrumental wind conducting, bachelor of music degree in music education and trumpet performance from Sacramento State University as well as his teaching credential in music. Santiago is currently the director of music for Pioneer Union School District in Somerset, California where he teaches K–8 classroom and instrumental music. In addition to his regular teaching career he is also active during the summers. He has been with the Sacramento Mandarins, a DCI world-class drum and bugle corps, for ten years and currently serves as the brass caption head. Santiago also teaches concert band and middle school jazz at the Sugarloaf Fine Arts Camp
CMEA Central Section President Kirk Clague
Kirk Clague was born and raised in San Diego, California, where he started playing music at an early age. After two years studying geography at San Diego State University, he became a full-time bassist and singer, a vocation which he continues to this day. Kirk’s “day job” is to serve as director of music at Exeter Union High School. He has taught in Exeter continuously since 1989. The EUHS symphonic, and jazz bands have been awarded “superior” ratings at CMEA festivals frequently in his tenure, and the EUHS choirs under his direction have also been highly regarded. EUHS has an active and successful marching band, winter guard and winter percussion program which Mr. Clague directs.
In addition, Mr. Clague has served the teaching profession as the Exeter High School Teachers Association
president, arts department chair, and site leadership committee member. He is most proud, however, of his efforts as a volunteer and board member of the California Band Directors Association. Starting as a band manager for three years, Mr. Clague subsequently was appointed to serve on the CBDA board as their exhibit host, a position which he continues to hold today.
Mr. Clague makes his home in Three Rivers, California and is an avid outdoorsman. He plays jazz whenever he can, and also enjoys camping, hiking, whitewater rafting, and his special passion, fly fishing.
CMEA North Coast Section President
Daniel Sedgwick was born in Santa Barbara, California. He was very active in soccer, and baseball, and he loved to swim and hang out at the beach with his friends. Daniel grew up surrounded by musicians. His grandfather taught music for 35 years and his mom is a working musician and teacher. Daniel started as an instrumentalist at the age of ten, when he was talked into playing clarinet for his grandfather’s band. Although he originally wanted to start on the saxophone he agreed to the clarinet because he heard a high school student play so beautifully that he was convinced clarinet was the place to start. Daniel played clarinet throughout elementary school, in junior high, and in high school where he also played alto sax and clarinet with the jazz band and tuba in the marching band. He sang in the high school madrigals and in the Royal Knights, a men’s choir. In high school he also joined the Santa Barbara Youth Symphony where he was exposed to professional music literature and decided that he wanted to spend his life working in music. Daniel has a brother who plays the trumpet and piano and a sister who plays the clarinet and saxophone. In addition to teaching at Del Norte High School, Daniel plays lead alto saxophone and clarinet for the Tsunami Swing and for the local theater group Lighthouse Repertory Theatre. Currently the family lives within blocks of Del Norte High School and they feel very much at home in Crescent City.
CMEA Southern Border Section
President Marc Dwyer
Mr. Dwyer’s education has a strong foundation of performance and education. Mr. Dwyer received his bachelors degree from the Juilliard School in 1995 and his masters in music from Northwestern University. After attending Northwestern, Mr. Dwyer remained in Chicago and performed professionally on trombone playing various styles of music in many different ensembles. Mr. Dwyer also built a successful private lesson studio where he discovered his enthusiasm for teaching, This decision led to a return to school one last time in order to become a certified teacher in the field of music education. Mr. Dwyer received his masters in education from Northern Illinois University In 2004, and began teaching for the San Diego Unified School District at Kroc Middle School.
Mr. Dwyer’s student ensembles have been featured on the KUSI News, Jazz 88 Radio, and SignOn San Diego. They’ve performed with legendary musicians Bill Watrous, Delfeayo Marsalis, and Mike Vax as well as the San Diego Symphony. Mr. Dwyer has received many honors including teacher of the year in 2009 and the visual and performing art’s Schucman Award for excellence in music education also in 2009. Mr. Dwyer received the CMEA-SBS Jazz Educator of the Year award for San Diego County in 2012.
Currently Mr. Dwyer is very active in the California Music Educators Association and sits as president of the CMEA Southern Border Section.
Mr. Dwyer still enjoys playing trombone professionally and is well soughtafter as a performer in the area. When not teaching and performing, Mr. Dwyer loves spending time with his wife Cynthia and his two daughters Caitlyn and Brianna.
CMEA CA ACDA Representative
Willow Manspeaker
Willow Manspeaker is the director of music at the Stevenson School in Pebble Beach. She directs three choirs, and teaches AP music theory, songwriting/music production, and group guitar. She also manages a large-scale private lessons program at Stevenson, and is the vocal director for the annual musical production. Willow holds bachelor of music and master of arts in music degrees from UC Santa Cruz, and is currently a doctoral student at Boston University where she is studying music education, and researching informal learning practices for her dissertation. She has been a member of the CMEA Central Coast Section Board of Directors for sixteen years, and has served as the CCS president as well as CMEA secretary. Willow also maintains a private vocal studio, and often acts as musical director for productions in the local community. She lives on the Stevenson campus with her daughter, Wyatt, and husband, Jon, who is also an educator.
CMEA Tri-M Representative
Mr. Trimble started as the band director at Fullerton High School in the fall of 2013. In only a year, he has seen the band program add more than twenty members and this year will be restarting the color guard program as well as the winter drumline program. Prior to his arrival last year, the marching band had not performed a competitive field show in five years and the color guard program had not existed for about a decade. Mr. Trimble is also the director of the jazz ensemble, concert band (late fall and spring), and teaches AP music theory at FUHS.
Mr. Trimble graduated from Vanguard University with a B.A. in history/political science with a minor in
music and returned to complete a second B.A. in general music a few years later. As a member of the music department at Vanguard University, he played lead trombone in the jazz ensemble and university orchestra. He served as orchestra president and jazz ensemble vice president during his time in the ensembles. Mr. Trimble also completed an M.A. in education from Vanguard University as part of his decision to teach full time. Within the next several years he plans to begin and complete an M.A. in conducting. Mr. Trimble spent many years as brass instructor at Garden Grove High School from 2008–2012. He also was a long-term substitute band director at Santiago High School and Brea Olinda High School from 2012–2013.
Mr. Trimble was recently married this past winter, and resides in Garden Grove with his wife, Crystal.
(New Council Position) CMEA Advocacy Day Program Coordinator, Nicholas Cooper Nicholas Cooper, a Bay-Area native received his BA and a California state teaching credential from Sonoma State University. Currently, he is the music director at Valley View Middle School in Pleasant Hill where he teaches both instrumental and choral music. He is both clarinetist and founding executive director for the San Francisco Wind Ensemble – a professional level wind band comprised of leading Bay Area musicians. Additionally, Nick is a member of the California Music Educators Association (CMEA) enjoying positions on both their Bay Section board as the Area II representative and in a newly established position on the CMEA State Council of Representatives as the CMEA Stand Up 4 Music (SU4M) Advocacy Day performance coordinator.
by Russ Sperling
CMEA Immediate Past President
NAfME
Western Division President-Elect
s directed by our CMEA constitution and bylaws, in the past year as CMEA president-elect I have:
Convened a nominating committee to assemble a slate of candidates to run for CMEA elected office.
Convened a committee to review and update our CMEA constitution and bylaws
In the following pages, you will see the candidates for office approved by the nominating Committee and the proposed changes to the CMEA Constitution and Bylaws as recommended by the revision committee.
As directed by the CMEA constitution and bylaws, the nominating committee is chaired by the immediate past president and the members are our CMEA section presidents. As chair, I convened this committee at our January, 2015 board meeting to begin discussing potential candidates for the positions of president-elect, vice president and secretary. More than twenty names were suggested. In the ensuing three months, the committee had access to a confidential document where basic biographical information was collected and shared to help inform decision-making. The names were then listed on a private site and committee members were asked to rank the names in their order of preference. Once the names were ranked, I began to call those with the highest cumulative rankings to ask if they were in-
terested in becoming a candidate. Those CMEA members who said yes were submitted back to the nominating committee for their approval at the August board meeting, and this slate was then endorsed by the CMEA Executive Board. You will find these candidates on the following pages, two for each statewide elected office. I am very proud of how this process played out, and I believe the nominating committee has gathered an extremely strong slate of candidates.
As a CMEA member, we ask that you read the candidate biographies and statements and carefully consider who you believe is best suited to lead our organization over the next two years, and in the case of president-elect, six years. CMEA has positioned itself to become a strong voice in our state for your profession, music education. As we march down the road towards increased advocacy and visibility, the outcome of the CMEA election becomes ever more important. Your serious participation in this process is highly encouraged.
The full CMEA board served as the revi-• sion committee and unanimously approved the changes in the proposed CMEA constitution and bylaws that you will find after the candidate bios in this magazine. The pink words would be added, while crossed-out words would be removed from our current document. Here is a summary of the proposed changes:
The word “advocate” was added to high-•
light this critical part of our mission under purposes and objectives
The position of “CMEA administrative• coordinator” was recently changed by the CMEA board to “CMEA executive administrator.” This change is reflected throughout the proposed constitution and bylaws.
The position of CMEA lobbyist has• been added to the list of ex-officio, nonvoting board members, alongside the magazine editor and the executive administrator. Of these ex-officio members, only the executive administrator regularly attends board meetings.
The timeline for the nominating process• has been updated to describe the way the process has actually been functioning, given the amount of lead time necessary to secure high-quality candidates.
Given the importance of the CMEA• Strategic Plan in directing the work of our association, verbiage was added to the president’s job description that includes strategic planning and implementation within the president’s scope of work.
There are a few slight changes which• make this revision gender-neutral.
This revised constitution and bylaws can-• not take effect without the ratification of the general membership, and so this issue will appear on your ballot. The CMEA Board of Directors recommends approval of these revisions.
Once again, this year’s election will be
held primarily online through a secure election web platform. Members will receive an email from CMEA Executive Administrator Trish Adams two weeks before CASMEC by which members will be able to access their own online ballot. As directed by the CMEA constitution and bylaws, any member “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.” For your convenience, a computer will be available in the CASMEC exhibit hall for CMEA members which they can use to vote. The election will close at noon on Saturday, February 13 (during CASMEC). The results will be released via a mass email to all members as soon as all candidates are first notified of the voting.
It’s
As of the April change-over meeting, my six year CMEA presidential cycle will come to an end. When I arrived on the board, Norman Dea was assuming the presidency, and given our association’s financial crisis, we were all unsure if we
would continue to be an organization. After steadfast hard work by countless individuals over many years now, CMEA is thriving once again. We are being held up as a national model in advocacy and for membership campaigns. We have many statewide programs that I know are going to make a difference for our profession, and this will translate into increased access to higher quality music education for students in California. I couldn’t be more satisfied.
I applaud CMEA President Michael D. Stone for the extreme number of hours that he has given to CMEA, and all that he has done to implement the CMEA Strategic Plan, building so many programs from the ground up. He has made CMEA more efficient and professional, and with his work, CMEA has garnered more respect in our field.
I know that CMEA President-Elect Scott Hedgecock is well-prepared to take over as president. I have found Scott to be level-headed and clear-minded about the work that CMEA needs to accomplish to build upon our vision and mission. We will be well-served under Scott’s leader-
ship. My best wishes to you Scott! However, I’m certainly not going away. At the end of June, I will become NAfME western division president, and look forward to deepening my work with the MEA’s in all five of our division states. We’ve already offered one western division leadership seminar to increase our capacities and connections as a division, and there will be another offering of the seminar this June. I believe, along with many others, that we can’t leave leadership in our professional organizations to chance –we need to cultivate and develop it. I’ll be looking for other ways to serve the western division so that all of our states are well-positioned to effectively move music education forward through whatever obstacles we may face.
Thank you for your confidence in me as a leader in music education at the state level. I have received so much back from this challenging, yet amazing experience, and I really appreciate this opportunity. I’m excited for music education’s future. Together, we literally are helping to change the world for the better.
John Burn Candidate for President
In recent years, CMEA has done great work building trust among our statewide music education associations, clarified our purpose, and has made real progress with advocacy. John Burn has the experience, temperament, and perseverance to keep this great work moving forward.
As CBDA president, John Burn was a key player when CBDA first welcomed CMEA, CODA, CAJ and California ACDA to host the first California All-State Music Education Conference (CASMEC) in 2011, and also played a significant role in bringing CASMEC to San José in 2016.
Whether John is teaching students, hosting or judging a festival, or leading colleagues at his school or at the state level, his leadership philosophy remains the same. First, cultivate an environment of trust and respect.Then insure a unified vision, and empower each person to excel.
John is a past-president of CBDA, the CMEA Bay Section, the Santa Clara County Band Directors Association, and the Santa Cruz Jazz Festival board of directors. John is active as a guest conductor, clinician and adjudicator for honor groups, summer music camps and band, orchestra and jazz festivals in California and Nevada.
John is the music department chair at Homestead High School in Cupertino, where he has taught since 1991. He teaches wind ensemble, two orchestra classes, jazz ensemble, music genesis (a computer-based music appreciation course), and co-directs marching band.
Homestead ensembles under John’s direction consistently earn high ratings at regional and international festivals. For example, Homestead’s orchestra was the one orchestra selected to perform at CASMEC in 2014 and Homestead’s marching band performed in the 2011 Macy’s Thanksgiving Day Parade.
John is humbled and honored to have received several significant commendations, including: 2015 CBDA Distinguished Service Award, 2014 School Band and Orchestra Magazine’s “50 Directors That Make a Difference,” 2011 Fremont Union High School District Teacher of the Year, 2010 CMEA Byron Hoyt/Don Schmeer Band Educator Award, and 2009 Inductee to the John Philip Sousa Foundation’s Bandworld Legion of Honor.
John earned his master’s degree in music education from the University of Illinois, his B.A. in music education from UCLA, and graduated from Homestead High School.
Armalyn De La O Candidate for President
Music education is the right of every child and should not be limited by economics, social status, geography, or endangered by educational trends. Music education is vital to all students’ success in the 21st century, as such, each student has the right to demand an education that includes music. Music educators have the right to pursue professional learning that supports their success in the classroom and pushes their own limits as an educator and musician. Educators and students learning together in the music classroom provide the promise of tomorrow. As CMEA president, I will build upon CMEA’s advocacy in supporting students and music educators across California.
I am the regional director of the RIMS California Arts Project located at CSU San Bernardino, a regional site of The California Arts Project, one of nine California Subject Matter Projects. I concurrently serve as the coordinator for visual and performing arts for the San Bernardino County Superintendent of Schools office (SBCSS). In my roles with RIMS CAP and SBCSS I am a representative to numerous arts education networks, committees, and the California Department of Education. These roles provide me with insight into the larger educational landscape and I am able to be a voice for music education.
I was honored to be one of the ten national writers for the new National Core Arts Standards in Music. I have served on the following national and state committees: the committee to develop the Music Standards for the National Board for Professional Teaching Standards; the committee to develop the California Visual and Performing Arts Content Standards for Public Schools in Music; and the committee to develop the program strands for the California Subject Examination for Teachers (CSET) Program in Music.
I am the president for the CMEA Southeastern Section board. I hold a bachelor’s degree in music education and a master’s in education administration. I have taught music at the elementary, middle and community college levels and I am a lecturer in the music department at CSU San Bernardino. I would be honored to continue my service to music education as CMEA’s president.
Dr. Diana Hollinger is coordinator of music education at San José State University.
She holds a DMA from Arizona State University in conducting and music education, a MM from the University of North Texas in conducting and composition, and undergraduate degrees and credential in music education and composition from CSU Fullerton. She served professionally as the first woman president for the California Band Directors Association, secretary on the CMEA Executive Board, and as the Collegiate Chair for NAfME. Dr. Hollinger is an active clinician, researcher, and writer, currently concentrating on music education as a means to reach disadvantaged children. Most notable is her research into “El Sistema,” with a book due out soon. In 2008, Dr. Hollinger was named “Outstanding Collegiate Educator” for the state of California, and in 2014 was awarded the CMEA Bay Section Outstanding Music Educator Award.
Statement
It has been my privilege to work behind the scenes over the last few years with some truly visionary leaders to move CMEA forward in efforts of advocacy, collaboration with the other music education organization on CASMEC, and outreach. I look forward to continuing those efforts during this exciting time of change and progress in California music education.
Bill Wilkinson is in his 20th year of teaching and has taught most of his career in the Hanford Elementary School District as a junior high and elementary band director. He is currently band director at Woodrow Wilson Jr. High School, where he was once a member of the school’s band decades earlier. In 2006 he was named the Liberty Middle School (Lemoore) Teacher of the Year and was named the 2015 Best Professional by the Hanford Elementary Teachers Association. Bill graduated magna cum laude from Fresno State in 1995 with a B.A., music education and earned his associates arts degree from College of Sequoias.
Throughout his career Mr. Wilkinson has been actively serving with music organizations at both the state and local level. Bill is currently the CASMEC logistics coordinator for CMEA, a position he’s served since the summer of 2012. He is also serving as 1st vice president of CMEA’s Central Section and will serve as Central Section president beginning in 2017. Prior to his current office, Bill served as Central Section’s 2nd vice president from 2011–2015, where he was responsible for its biannual magazine publication. He is a past president of the Tulare-Kings Music Educators Association where he served as president from 2009–2011. Bill, with the encouragement from Dr. Gary P. Gilroy, began assisting with the CBDA state convention as a college student and served as an all-state band manager for several years before serving two terms as CBDA’s vice president from 2005–2009.
Bill readily admits that growing up in a poor neighborhood, near the poverty line, as a child made it difficult to see a brighter future. It wasn’t until he joined his school band in sixth grade that he found that special something that ignited his passion, developed his confidence and propelled him to achieve greater goals. As a result, Bill was the first in his immediate family to attend and graduate from college. He attributes this opportunity to music education in our schools and believes in CMEA’s mission to fight to afford each and every student in California the opportunity participate in the arts.
Sandra Lewis lives in San José, California with her husband and their two sons. Mrs. Lewis went to the University of Hawaii where she studied both clarinet and violin and received a bachelor of music degree. She completed her master’s degree in violin performance at San Francisco State University.This is her twenty-sixth year as a music educator, and currently she works at Henry M. Gunn High School as the orchestra director and assistant band director.
Mrs. Lewis started her tenure with Henry M. Gunn High School in August of 2002. Since that time the orchestra has doubled in size. Her groups consistently receive superior ratings at CMEA festival and contests. She has performed with her orchestra at the CMEA Bay Section conference and twice for the CMEA state conference. In December of 2013, the Gunn String Orchestra was selected to perform at the Chicago Midwest Clinic. Under her leadership, the Gunn Orchestra has collaborated with area high schools to sponsor joint concerts between schools, worked with world-class conductors and composers, and performed in Stanford Lively Arts student matinee performances on the Stanford Campus.
Sandra Lewis has been awarded as the CMEA Bay Section Outstanding Orchestra Teacher of the Year in 2014 and California Music Education Association Richard L. Levin Orchestra Educator of the Year Award for 2014 at the state conference in February.
“I am honored to be on the ballot for CMEA state secretary and if elected I promise to continue to support the work that the state organization has begun to provide access and support to all of our hardworking music educators.”
Laura Williams Candidate for President
Laura Williams is the director of choral music at Mira Mesa High School in San Diego. She holds a B.A. in music education from CSU Fresno and a M.M. from Colorado State University. In addition to choral ensembles, she has taught guitar, music appreciation, musical theatre, advanced theatre, English, and K–5 choral/general music. Laura has worked as a director or vocal director for many musical theatre productions at various high schools and community theaters.
Laura has an extensive performance background as a pianist and vocalist. She has accompanied a wide variety of soloists, choral and chamber ensembles, churches, and theatrical productions. She has served as staff accompanist for the San Diego Public Library Singers and the San Diego Festival Chorus. Her vocal performance credits include the San Diego Pro Arte Voices and the La Jolla Renaissance Singers.
Her involvement in the CMEA Southern Border Section includes positions as vice president of choral activities, high school choral festivals representative, and high school honor choir coordinator. She has presented choral sessions at CASMEC as well as for CMEA-SBS and the American Guild of Organists. In both 2013 and 2014, Laura received the CMEA-SBS Choral Educator Award. In 2014, she was awarded the San Diego Unified MacKenzie-Haney Award for excellence in K–12 choral teaching.
Personal Statement
The office of secretary for the CMEA State Board requires reliability and organization, two of my strongest personal characteristics. I have years of dedicated experience in officer positions for several musical organizations and am no stranger to handling the minute details of agendas, minutes, and newsletters. In addition, communication skills and complicated logistical planning are a necessity when organizing the many major events and productions I have been responsible for.
We know that students deserve a well-rounded, rigorous music education. I look forward to serving CMEA at the state level to help that vision become a reality for all students.
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 “NAfME”) 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 NAfME’s; in the event of a conflict NAfME’s provisions will be observed.
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.
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) advocate to ensure that every student shall have access in school to a balanced, comprehensive, and high-quality 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.
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 NAfME receives the dues.
Section 2. Classes of Members. Membership shall consist of four classes: active, retired, collegiate, and patron.
a. 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 NAfME. 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 percent of the current national dues.
b. 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.
c. Retired Membership- Retired Membership is open to former music educators who have retired from teaching or other musicrelated educational work. Retired members have the same privileges as active members except the right to hold elective office.
d. Corporate Membership- Corporate Membership is open to companies that supply music education products and services. Member benefits may include discounts on exhibits at NAfME/CMEA events, discounts on advertising in NAfME/CMEA journals, company listing on the NAfME/CMEA website and one issue of an NAfME/CMEA journal, the opportunity to sponsor NAfME electronic communications, such as the weekly member news update, and a subscription to Music Educators Journal, Teaching Music, and the CMEA Magazine
e. 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 NAfME/CMEA periodicals and other communication services deemed appropriate by the NAfME National and CMEA Executive Boards. Each life member shall hold concurrent membership in his or her respective federated state association of NAfME. Life membership is 3,000 percent of the current national dues. Call NAfME 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 NAfME membership dues. The CMEA Executive Board shall apportion the dues in a manner appropriate for the proper operation of CMEA.
Section 1. Board of Directors. The Board of Directors shall consist of the State Executive Officers (herein “Executive Board”), which include President, President-Elect, Vice-President, Secretary and Immediate Past President); the President of each section of CMEA; and, the Executive Administrator, Coordinator and Editor/Business Manager of the CMEA Magazine, and CMEA Lobbyist, both all 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 Executive Administrator 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.
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 January August Board of Directors meeting in odd numbered years to begin the process of identifying potential candidates. The Nominating Committee will submit a list of nominees to the Executive Board at the August fall Board of Directors meeting of the Executive Board. This slate shall include two candidates each for President-Elect, Vice-President, 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 August October 1 of the odd numbered years.
Section 2. Elections. Elections may be conducted by ballot at the annual California All-State 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 AllState 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 his/her 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 elected 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.
Section 1. President. The President shall be the executive head 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 creates and implements initiatives and activities based upon the CMEA Strategic Plan, facilitates the updating of the CMEA Strategic Plan as necessary, and 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 member 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. Executive Administrator Coordinator The Executive
Administrator 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 Executive Administrator 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 Executive Administrator 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 State, and California Attorney General in a timely manner all required reports and forms.
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, conference, 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.
The President may create and appoint committees that are advisory only during his/her 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.
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 Associations. 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 Executive Administrator Coordinator at the summer Board of Directors meeting, or by August 1st, whichever comes first.
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.
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 Executive Administrator 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.
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.
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.
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 ___, 2016.
Dated: February ___, 2016
Secretary of the Corporation
lor,FlandooOrIdaho t e planning studeniencexper
t destinathan 60 studen
our Specialist has oy EPN tion, and ommunicaoupcrtion,gmaor
our Specialist has o T Tour y EPN ervE er a decade of vour Specialist has o .amsrogtprymenpa or el inf infor vaotresstcac andvelAvarTOur new
Every EPN Tour Specialist has over a decade of experience planning student tours. From Coeur D’Alene Idaho to Orlando, Florida, we have booked tours to more than 60 student destinations coast to coast.
ers unpr tal off tal offers unpr ortagePan oast.ocoastttionsct destina o morourste booked tvehaida,wlor oeur DomCr.Fourstte planning studen tion, and ed e o mor Alene’ ’A e is just a phone call a tivtaesenepr EPN R e peac v ou ha y
Our new Travel Advantage Portal offers unprecedented access to travel information, group communication, and payment programs.
iencou of a seamless exper ing and iendly lodgtfrwledge of studen netur
om check in ar.Fouprourgy
ou of a seamless experesytivitiesassurac wledge of studennoOur k .yaw our t y wing tha no e of mind k eturourtilyelunt the hotom check in a or e f for
Our knowledge of student friendly lodging and activities assures you of a seamless experience for your group. From check in at the hotel until you return home; you have peace of mind knowing that your EPN Representative is just a phone call away.
ravel Call EPN T
Call EPN Travel today at 888.323.0974 or email us at info@epntravel.com. epntravel.com
