CMEA Magazine Winter 2016

CMEA Magazine The News Magazine of the California Music Educators Association C o n f e r e n c e 2 0 16 I s s u e • Vo l u m e 7 0 • N u m b e r 2

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

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

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

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

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

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

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

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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

CONTENTS • President’s Message: CommUNITY

by CMEA President Scott Hedgecock • Victory! VAPA Standards Update

by CMEA President Scott Hedgecock

3 7 -

• EdSource Article: Bill Proposes Review of California’s Arts Standards

by Susan Frey

9

• Help! I Need to Get My Jazz Band Ready for Festival

by Barb Shinaver, CMEA CAJ Representative • Bay Section Happenings

by Rita Zigas-Brown, CMEA Bay Section President

11 13

• Repetition: The Most Powerful Tool in Your Treasure Trove of Teaching Tactics-Part II

by Dr. Thomas Tatton • Three Ways to Encourage Your Young Composers

by Dr. Alexander Koops, CMEA Southwestern Section President • The Role of the Large Ensemble

by Emily Moss, CMEA Higher Education Representative • Identifying and Teaching to Your School's Musical Microculture

by Richard Lawton, CMEA General Music Representative

15 17 19 21

• Take Advantage of Your CMEA Membership

by John Burn, CMEA President-Elect

23

• Special Learners CASMEC Sessions

by Angela Holmes

25

• San Jose 2.0 – Bigger and Better

by Bill Wllkinson, CMEA CASMEC Logistics Coordinator

27

• Orchestras Offerings at CASMEC

by Donna Harrison, CMEA CODA Representative

29

• Let’s Discover World Music at CASMEC and Bring It to the Classroom

by Lily Chen-Hafteck, CMEA World Music Representative

31

• Invitation to Open Meeting at CASMEC For the Creation of a CMEA Urban & Rural Schools Respresentative

35

• CMEA Awards Gala Invitation and CMEA State Award Winners

37

• Higher Education Happenings

by Dr. Lawrence F. Stoffel

39

On the Cover: CASMEC Featured Performances in San José on February 16–19, 2017 (clockwise from top left: Westlake High School Studio Jazz Ensemble, under the direction of Brian R. Peter, director of bands; Cathedral City High School Symphony Band, Matthew K. Howe, director of bands; Piedmont Hills High School - The Treblemakers, Myles Ellis, choral director; Hopkins Junior High School Advanced Orchestra, Gregory Conway, director of instrumental music; Clovis North Educational Center Wind Ensemble, David Lesser, director of bands; University of Redlands - Bel Canto, Joseph Modica. associate professor of music; MiraCosta College - Frequency, Matt Falker. professor of piano and vocal jazz.

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u NAMM Foundation u Nick Rail Music u University of San Diego u University of Oregon u University of Portland u Yamaha Musical Instruments u Wenger Corporation

14 6 18 18 24 2 IFC

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

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

Conference Issue 2016

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President’s Message

CommUNITY

by Scott Hedgecock CMEA President

CMEA

is a community. We are educators, instructors, directors, counselors, life coaches, and sometimes second parents to hundreds of students daily in thousands of classrooms… communities… everyday. We make a difference.

And when we come together we form a commUNITY that concentrates on the educator and their needs for professional development, networking, and having the opportunity to experience and celebrate some of the best in our state through performances in sessions, concerts, and fifteen all-state honor ensembles. a: a unified body of individuals: a group community 1linked by a common policy:

b: a body of persons or nations having a common history or common social, economic, and political interests: c: a body of persons of common and especially professional interests scattered through a larger society 2 society at large 3. a: joint ownership or participation: b: common character: (likeness, (community of interests): c: social activity (fellowship): d: a social state or condition.

The California All-State Music Education Conference (CASMEC) is our big once-a-year party. Five professional music education organizations create community to present everything new, current and timely, and inspiring in music education. My admiration and thanks to the California Alliance for Jazz, the California American Choral Directors Association, the California Band Directors Association, and the California Orchestra Directors Association who all bring phenomenal sessions in each of our Continued on page six...

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CMEA State Council CMEA EXECUTIVE BOARD CMEA President Scott Hedgecock shedgecock@calmusiced.com 714 626-3984

CMEA Northern Section President Michael Phenicie phenicie@frontiernet.net 530 458-21561

CMEA President-Elect John Burn jburn@calmusiced.com 408 522-2541

CMEA Southeastern Section President Armalyn De La O adelao@csusb.edu 909 838-3716

CMEA Vice President Diana Hollinger dhollinger@calmusiced.com 408 924-4631 CMEA Secretary Sandra Lewis slewis@calmusiced.com 408 806-5550 CMEA Immediate Past President Michael D. Stone meuph@att.net 661 631-4810 CMEA OFFICE E-mail: cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632 CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002 CMEA Legislative Advocate Lynne Faulks consultLF@gmail.com SECTION PRESIDENTS CMEA Bay Section President Rita Zigas-Brown rzigas.brown@gmail.com 925 944-6840 x8622 CMEA Capitol Section President Santiago Sabado ssabado@eduhsd.net 530 350-6289 CMEA Central Section President Kirk Clague clague_cmeacentral@icloud.com 559 592-2127 x391 CMEA Central Coast Section President Christy Latham clatham@sccs.net CMEA North Coast Section President Dan Sedgwick dsedgwick@delnorte.k12.ca.us 707 4645-0274

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CMEA Southern Border Section President Marc Dwyer mdwyer@sandi.net 619 222-0476 CMEA Southwestern Section President Dr. Alexander Koops akoops@apu.edu 626 815-6000 x3583 NAfME OFFICERS NAfME President Denese Odegaard 1806 Robert Fulton Drive, Reston, VA 22091 800 336-3768 NAfME Western Division President Russ Sperling rsperli@cox.net COUNCIL OF REPRESENTATIVES CMEA CA ACDA Representative Willow Manspeaker wmanspeaker@stevensonschool.org 831 625-8339 CMEA CAJ Representative Barbara Shinaver barbshinaver@gmail.com 559 451-4320 CMEA CASMEC Coordinator/CMEA Representative on the CBDA Board Bill Wilkinson bwilkinsoncmea@gmail.com 559 585-3881 CMEA CBDA Representative Adam Wilke awilke75@sbcglobal.net 510 471-2510 x60216 CMEA CODA Representative Donna Harrison harrison.donna3@gmail.com 209 613-8273 CMEA Advocacy Day Performance Coordinator Phil Vallejo philvallejo@gmail.com 559) 250-1412

CMEA Advocacy Day Public Relations Coordinator Mario Sebastian msebasti@egusd.net CMEA Advocacy Representative Steve Venz stevenvenz@yahoo.com 714 966-4000 Collegiate Council Representative Lauren Culley lrculley@gmail.com 408 440-6931 CMEA Collegiate Representative Dr. Dennis Siebenaler dsiebenaler@fullerton.edu 657 278-3510 CMEA Creating and Composition Representative Dr. Lisa A.Crawford lisacrawfordmusic@gmail.com 310 863-6422 CMEA CTA Liaison Nora Allstedt nallstedt@gmail.com 559 592-9421 CMEA Elementary Representative Coralie Prince coralie.prince@gmail.com CMEA General Music Representative Richard Lawton richard@richardlawtonmusic.com 323 654-4401 CMEA Higher Education Representative Dr. Emily Moss Emily.Moss2@calstatela.edu 323 343-4086 CMEA IN-ovations Representative Anne Fennell annefennell@mac.com 760 310-2392

CMEA Music Supervisors Representative Phil Mortensen pmortensen@pylusd.org 714 986-7024 CMEA Music Technology Representative Tamara T. Thies, Ph.D. tamara.thies@csulb.edu CMEA Research Representative Dr. Ruth Brittin rbrittin@pacific.edu 209 946-2408 CMEA Retired Members Representative Position open as of June 9, 2016.

CMEA Special Learners Representative Angela Holmes Holmesangie@yahoo.com CMEA Special Projects Representative Russ Sperling rsperli@cox.net CMEA State Band and Orchestra Festival Coordinator Keith Johnson keith@echsbands.com 510 231-1437 x26418 CMEA State Choral Festival Coordinator Nancy Ludwig nancyludwig6@gmail.com 626 443-6181 x5895 CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org 925 552-3044 CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com 714 626-3975

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

CMEA Urban/Rural Schools Representative Dr. Lawerence F. Stoffel stoffel@csun.edu 818 677-3160

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

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

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discipline specific areas, and CMEA that presents the many overarching areas of interest that are so vitally important to ensuring the inclusion, diversity, equity, and access for all students to music education.

And this is what leads to success in our music programs in our schools.

Each of you will be looking to find those areas of interest at CASMEC that will provide you with a greater knowledge to better your teaching, both in your discipline specific area and in those areas that reflect our student populations and therefore connect us all. I encourage you to also include the many opportunities to be part of the greater commUNITY at CASMEC: CASMEC highlights from CMEA

• CMEA Council of Representatives: Each of the nearly forty representatives to the CMEA State Council present a brief overview of important and exciting information from their area of expertise. Observers are more than welcome to come and learn more about the roll that the Council of Representatives plays in the 6

leadership of CMEA. • CMEA General Session: All of CMEA’s accomplishments of the past year will be highlighted, the most up-to-date national news in music education will be presented, and the revised CMEA Strategic Plan will be unveiled. You will be able to put live faces and voices to the names of CMEA’s elected leadership. Numerous guest speakers will also highlight our session.

• CMEA Gala Awards: Our “One-NightOnly” celebration of the best in our commUNITY. We come together to enjoy a meal and to honor our award recipients for this year.

• All-Conference Social: New to CASMEC this year. All of the organizations are working together to make CASMEC a community of music education entities, and we will celebrate this commUNITY with an All-Conference Social.

CMEA will continue to feature a diverse offering of sessions that cover those areas that are integral to ALL music education disciplines:

• Our traditional areas of general music, music technology, world music, advocacy, and special learners continue to be offered in expanded roles.

• New for 2017 are sessions in rural and urban schools, IN-ovations (new and emerging ensembles), creating/composition, and a complete collegiate strand.

• In addition, CMEA will offer a select number of sessions with repeated presentations to facilitate more CASMEC attendees to attend and participate in all areas of music education.

• CMEA will again sponsor a mini-conference for TK–5th grade teachers entitled “JAM! Just Add Music!” to help the generalist teacher to integrate music into their classrooms.

Please review the conference highlights in this issue, and make your plans to get the most out of your CASMEC experience. I look forward to seeing everyone in San José this February.

CMEA Magazine

Victory!

VAPA Standards Update

Submitted by Scott Hedgecock CMEA President

O

n September 26, 2016, the Honorable Edmund G. Brown, Jr., California State Governor, signed AB 2862 into law.

AB 2862 (O’Donnell) Pupil instruction: visual and performing arts: revision of content standards.

The CMEA co-sponsored bill to Revise our Visual and Performing Arts Standards is now a reality.

How did we get here?

2012: CMEA comes back to life with the launch and implementation of a strategic plan. Advocacy is one of four essential organizational goals in that plan. A small group of music educators convene in Sacramento and visit legislators to talk about the importance of music education in our schools.

Out of this humble beginning the CMEA sponsored Stand Up 4 Music Coalition is born.

2013–2014: Stand Up 4 Music takes the lead in creating an annual Music Education Advocacy Day in Sacramento. The event becomes highly organized, structured, and becomes a strong voice in Sacramento.

2015: CMEA takes a leap of faith and sponsors a legislative bill to update our VAPA Standards. SB725 is our first journey into the political arena. We succeed in having unanimous support from both the State Senate and the Assembly, but fall victim to the legislators need to have a “perfect bill” for a last minute piece of legislation. We learned more, the hard way, about how our state government works.

2016: CMEA focuses on promoting the National Core Arts Standards as a viable tool for all music educators, and then we are approached by Assemblymember Patrick O’Donnell (District 70) to bring back our standards bill. We partner with our colleagues in the California Art Education Association (CAEA) and co-sponsor AB2862. Once again, we sail through the various levels of legislative process and in the end are sent to the governor’s desk with unanimous support.

September 26, 2016: Governor signs AB2862.

And now the work begins.

The “unofficial” timeline (as of the writing of this article in November) is as follows: November 2016–January 2017: California Department of Education (CDE) will take to the State Board of Education (SBE) the recommended VAPA timeline for developing new standards.

Conference Issue 2016

January 2017: Focus Group meetings throughout the state.

April–June 2017: Accept applications for the Subject Advisory Committee (SAC) which will be responsible for writing/revising standards.

October 2017–March 18, 2018: SAC meets five times.

January 2019: Present State Board with new VAPA Standards to be approved.

CMEA and our partner organizations in dance, theatre, and visual arts are working in concert to ensure that California has outstanding guidelines for us to use in our teaching. The leaders of the California Art Education Association (CAEA), the California Dance Education Association (CDEA), and the California Educational Theatre Association (CETA), meet once a month and have built a strong new Coalition… the 4ArtsEdOrgs… that work together to promote arts education for all students in our schools.

The 4ArtsEdOrgs worked tirelessly to support both AB2862 and SB916 (reinstatement of the single subject credential for both theatre and dance). We were successful with both bills, as the governor signed them at the same time.

We are our strongest when we work in UNITY. Why Revise our Standards?

One of the easiest ways for us to respond to this question during this long process was to take out our cell phones. We would respond with “how often did you use this to access music (or any form of the arts) in 2001?” The advancement of technology to access the arts is a huge reason in itself to support the belief that our VAPA Standards must be revised.

The following article, an interview with Armalyn De La O, was first published in EdSource in the May 3, 2015, issue.

The author, Susan Frey, has given us permission to reprint that article here. Although the references are to our first attempt at a standards bill in 2015 (SB725), the article gives us a clear picture of why we are moving in this direction, not just as CMEA but also as the 4ArtsEdOrgs Coalition, for the benefit of all students and arts educators in California.

Please note that Armalyn De La O is now the president of CAEA, and also the president of the CMEA Southeastern Section and serves on the CMEA State Board of Directors. In addition, Ms. De La O was one of the writers for the National Core Arts Standards.

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CMEA Past Presidents 1947–1949

1972–1974

1994–1996

Clarence Heagy

Louis Nash

Don Doyle

Fresno

La Crescenta

Pasadena

1949–1951

1974–1976

1996–1998

Marlow Earle

Jay D. Zorn

Lakewood

La Crescenta

Elwyn Schwartz 1951–1953

George F. Barr 1953–1955

1998–2000

Dennis L. Johnson

Elk Grove

Salinas

Long Beach

1978–1980

2000–2002

Henry Avila

George DeGraffenreid

Harold Youngberg

Monterey

Oakland

1980–1982

1957–1960

Joseph W. Landon Fullerton 1960–1962

Fresno

Charles L. Freebern San Diego

Paradise Stockton

1962–1964

Vivian M. Hofstetter

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

2002–2004

Sam Gronseth

1982–1984

David S. Goedecke

Douglas Kidd Gibson Walters

Dr. Robert Halseth, 2016; Rose Marie Krovoza, 2016; Rick Meyer, 2016; Dale Anderson, 2015; Ann Marie Haney, 2015;

1976–1978

Mary C. Reed

Fred Ohlendorf 1955–1957

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

2004–2006

Rob Klevan Pacific Grove

1984–1986 Bakersfield

2006–2008

Cheryl Yee Glass Danville

Portola

Jeff Jenkins Chula Vista

Walnut Creek

2010–2012

Norman Dea Walnut Creek

1990–1992

Carolynn A. Lindeman

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;

2008–2010

1988–1990

L. Leroy Roach

Gerald E. Anderson, 2012; Gayanne Korkmazian, 2012; Dr. David Whitwell, 2011; Nicholas Angiulo, 2010; Vincent Gomez, 2010;

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

1986–1988

John L. Larrieu

Dr. Thomas Lee,2015; Jon Christian, 2014; Orrin Cross, 2013;

2012–2014

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;

Russ Sperling

Marlowe Earle, 1987; Arthur Dougherty, 1985; William Burke, 1983;

Greenbrae

San Diego

Aubrey Penman, 1981; Steve Connolly, 1979;Howard Swan, 1977;

1992–1994

2014–2016

Bill Adam

Michael D. Stone

Russell Howland, 1975.

Roseville

Bakersfield

Bill proposes proposes review review of California’s California’s arts arts standards standards Mayy 33,, 22015 Ma 015 | By Susan Susan Frey Frey | 1 Comment Comment

California’s visual and performing arts standards were approved in 2001 before much of today’s technology had been developed or used in the classroom, and before the state had adopted the Common Core State Standards in English language arts and math.

Senate Bill 725 725,, introduced by Sen. Loni Hancock Hancock,, D-Berkeley, asks the state to begin reviewing those standards and adopt, reject or modify them by 2017. The bill is currently in the Senate Appropriations Committee. If it is approved, it will then move to a vote before the entire Senate.

Those in the arts community who are promoting the bill are hoping that the new standards will look more like the preK-12 national standards developed by the National Coalition for Core Arts Standards. The coalition includes art teachers and professors from across the country, with major input from California educators, according to Armalyn De La O, director of the RIMS California Arts Project, which provides professional development for teachers. De La O was involved in writing the national standards for music.

Research on the standards in all four areas – music, visual arts, dance and theater – was done by the national coalition and the College Board. The national standards were released in 2014.

“We spent time looking at the Common Core standards so that we are moving in the same direction,” said De La O, who is also president-elect of the California Art Education Association. “The national standards are broader and more conceptual in nature.”

If Ca lifornia’s standards standards were more like the national California’s national standards, standards, “we would ask ask ((students) students) to think more and deeply deeply about about their more critically critically and writing the wor k,” said said Armalyn Armalyn De De La O, who was was involved involved in writing work,” na tional sta ndards for music. national standards

Like the Common Core, the national standards focus on critical thinking and putting students more in charge of their learning.

If California’s standards were more like the national standards, educators “would still be teaching kids to read music, draw or move,” De La O said. “But we would ask them (students) to think more critically and deeply about their work, to try many different things so they can find their voice and what they want to say.”

Under the national standards, students would be encouraged to arrange, compose and improvise, not just follow step-by-step directions from their teacher, she said.

For example, in music, with guidance from the teacher, students would determine which pieces to play, who their audience would be and how much practicing they would need to do before a performance.

They would not only learn how to read music, but also how to read a score.

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“The first time I ever read a music score was in college,” De La O said. Under the national standards, “students could look at excerpts of a score as early as 4th or 5th grade,” she said. “They would begin to think more like a director.”

Students would start early, with preK students experimenting, exploring, listening and playing with materials, she said. Young students would learn to understand movement in their body in dance and engage with paint and color in visual arts. The point, she said, is to expose them to what is possible so when they are older they can choose what they want to do in the arts.

Part of what makes the new approach possible is the huge change in technology, she said. Students no longer simply perform for parents at open houses. They can put their work on YouTube and use GarageBand or open-source technology to compose on their electronic tablets. Because of these opportunities, the national standards are more rigorous, she said.

To keep up with the VAPA Standards Revision process, please go to the

If similar arts standards were adopted by California, students “would need to think through what it means to prepare a piece and take it all the way

California State Board of

to performance,” De La O said.

Education website at

This approach would also mean a change in how teachers work with students, she said.

“Teachers would have to think through their time and be more of a facilitator rather than a director all the time,” De La O said. “That is a shift in the field. There would be more opportunities for kids to be part of the process.”

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Help! I Need to Get My Jazz Band Ready for Festival

by Barb Shinaver CMEA CAJ Representative

W

ith so many things taking our time and attention away from our teaching, whether it be site meetings, parental communication, logistical planning, fundraising, and a multitude of other concerns, it can be daunting to ensure the preparedness of our entire program before festival season hits.

Depending on the breakdown of your responsibilities and your program’s offerings, your jazz program can easily become something that ends up on your back burner. Many a school’s involvement and expectations for marching band forces a wait to start our jazz ensembles until after

the season dies down, but jazz can happen at any time of year. So, why not get ahead of the curve? The California Alliance for Jazz is here to help you get started!

This fall, CAJ offered three “Jazz TuneUp” pre-festivals to inspire directors and students to gear up their jazz bands long before their first official festival. This clinic-only event features two notable clinicians that offer tag-teamed feedback and suggestions for your band’s future trajectory within a 45-minute time slot.

Festivals were held at Hanford West High School (Hanford), Bullard High School (Fresno), and California Institute of Technology (Pasadena) at the end of

October and beginning of November. Clinicians included professional musicians and educators such as Brian Hamada, Les Nunes, Paul Lucckesi, Barb Catlin, and Wayne Bergeron. Attending groups perform up to two tunes (or 15 minutes of bits and pieces), and receive a half-hour clinic in a performance venue. Fellow attending jazz ensembles were encouraged to sit in the audience and watch their peers’ clinics and mini-performances, giving the group on stage support and themselves an invaluable opportunity to listen and learn.

Many schools both new and familiar to the jazz scene have already benefitted

Hanford High School Tune-Up Festival (left), with clinicians Brian Hamada and Les Nunes (center), and the Hanford West High School Tune-Up Festival with clinician Les Nunes (right).

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greatly from this experience. CAJ’s intent is to provide a welcoming atmosphere to groups regardless of the school or director’s prior experience and current achievement level, encouraging and leading everyone to what it takes to build a thriving jazz program. Check out the following testimonials from educators who participated in the inaugural run of the CAJ Tune-Up Festivals: “The CAJ Tune-Up Pre-Festival was a great experience for my middle school students because it offered a relaxed and friendly environment for them to go through the festival process, and receive early feedback from outstanding jazz educators in our area. The students were excited to take the information we received and start applying it to our charts back in rehearsal the next day. It was also beneficial to me as a young educator to gain some tips on teaching improvisational techniques and

encouraging students to play-out as soloists.” - Marco Mellone, band director, Computech Middle School (Fresno Unified) “It was such a joy to have students come up to you as they were leaving the stage and on breaks, asking questions and eager to learn new things, all while focusing during the time we worked with them. What a great day had by everyone!” - Les Nunes, jazz director, Clovis High School (Clovis Unified) and clinician at both Hanford West and Bullard CAJ Tune-Up Festivals.

“This is the best festival that I have ever attended. It gave a lot of help and suggestions to every group no matter their level. I highly recommend this festival to a director who would like to improve their bands.” Lisa Butts, band director, Hanford West High School (Hanford Joint Union).

“That was such a peak experience for the

Poly jazz program. There is no better service I can provide for my students than to put them in live touch with the very best role models of musicians and people.” Chris Stevens; director of bands, Long Beach Polytechnic High School (Long Beach Unified).

CAJ would love to help you improve your jazz program through participation in these Tune-Up Festivals. We will have more of these festivals available throughout California to help reach as many schools as possible. If you are interested in attending or hosting a Tune-Up festival next fall, please contact Barb Shinaver at barbara.shinaver@fresnounified.org.

Interested in further supporting jazz education? Check out our website and become a member today! www.cajazz.org

Clinicians Paul Lucckesi and Les Nunes work with a band at the Bullard High School Tune-Up Festival.

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CMEA Magazine

Bay Section Happenings

by Rita Zigas-Brown CMEA Bay Section President

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ello, and greetings from CMEA Bay Section. My name is Rita Zigas-Brown and I am in my first year as president of CMEA Bay Section. It is with great pride that I serve my section, and I get to do so with extraordinary colleagues as my Board members.

This is my thirtieth year in public school music education, and all of my teaching years have been in the middle school level. I am in my twelfth year as the full time music director at Walnut Creek Intermediate School in Walnut Creek where I teach four levels of concert band, one jazz band and one string orchestra. Prior to teaching in Walnut Creek I was in the Novato Unified School District for eighteen years.

I vividly remember attending what used to be called the All-State Music Educators Conference (pre CASMEC) in the early 1990s and meeting then CMEA Bay Section President John Maltester. John was looking to broaden and diversify the look of the Bay Section Board by including more women, as well as people of color and diverse ethnicities. He invited myself and two of my district female colleagues to join the board, this is how my journey into CMEA began.

John was a pioneer during his presidency and his forward thinking is a mirror to our state’s present goal of IDEA – Inclusion, Diversity, Equity, Accessibility. John’s quest to change the face of those in leadership on the board while promoting equity, tolerance, diversity, inclusion and accessibility was inspirational. I started on the board as an appointed area assistant rep for two terms, and moved up to area rep for two terms. I remember how star struck I was at being up close and personal with so many of the CMEA leaders I’d always respected. I was inspired, I thrived in this

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environment of innovative thinkers and positive role models. I especially enjoyed having a network of diverse veteran teacher’s experiences from which to learn. I went on to hold the elected position of jazz rep for two terms and then was appointed the position of large group festivals coordinator for three terms. It is only as I write this that I realize the depth of influence that John had on my career path in regards to my involvement with advocacy and mentoring. I will be forever grateful for having met John Maltester when I did.

I can only hope that if you are a teacher just starting out that you will be able to recall that “someone” that had a profound influence on you. If you are a veteran teacher, I hope that you can look back at the moment that you were inspired to lead.

It is in this spirit that I feel as fortunate as I do to serve as president. I feel a great responsibility to give back, and am humbled at the opportunity.

The CMEA Bay Section held its annual winter conference on January 13–14, 2017 at Chabot College in Hayward, hosted by Tim Harris. We presented more than forty sessions in the areas of choir, band, orchestra, higher ed, technology, jazz, and multicultural music to approximately 350 music educators. Collegiates that attend this conference do not pay a fee. The conference high school jazz ensemble and junior high school conference orchestra, band and choir involved more than 300 students. Our guest directors were Mike Dana, jazz; Molly Peters, choir; Loretta McNulty, orchestra; and Steven Hendee, band.

I had an opportunity to attend the NAf ME Western Division Leadership Seminar this past June with Bay Section President-Elect Bruce Lengacher. Attendees were asked to create a project that was in line with the newly hatched IDEA concept. Bruce and I brainstormed a way in which

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we could involve members of our section teaching in districts that have not previously participated in CMEA activities or attended our conference for whatever reason, as well as involve Bay Section teachers that are not currently NAf ME members.

The Bay Section initiated a new Outreach Project this year in an effort to make what it does more accessible to music educators and students in financially challenged school districts that qualify under Title I. These communities generally have a 40 percent or higher population that qualify for free and reduced lunch. Teachers in these schools that have not previously attended our CMEA Bay Section Winter Conference were invited to attend our two-day conference as our guest for this year (waiving the conference fee), in the hopes that they return to our 2018 conference as NAf ME members, paying only the first time attendee fee of $35.

It is our belief that once these teachers are informed as to the program/curriculum support (via attending this conference) that is within their professional right, and the federal funding that is available to them for professional develop-

ment, etc., these same teachers will seek membership for the sheer advocacy that is available.

Additionally, we invited student musicians of these teachers to be sponsored in one of our junior high school conference groups. I would like to thank the several businesses that generously donated to our Outreach Project making it possible for Bay Section to sponsor up to thirty students in the junior high school conference ensembles. Thank you to J.W. Pepper in Dublin, C & L Music in Concord, Lamorinda Music in Lafayette, Music Village in San Jose and Keith Holland Guitars in Los Gatos. Their generous support is much appreciated and makes many dreams possible.

I am very much looking forward to CASMEC in San Jose on February 16– 19, 2017. I can’t imagine not attending this collaboration of various memberships.

I learn new things, I meet new people, I reconnect with colleagues I only see at conference, I eat good food and get in my steps walking to all of the sessions, concerts and exhibits. I hope to meet you there, please say hi when you see me walking around.

One last thing before signing off. I know how hard everyone works to give their very best to their students. I know how committed you all are. I know how tired you all are. Find your balance. I just can’t stress that enough. I am so tired and so incredibly drained by the end of the work week because of the energy I share with my students, I really, really need my sleep and decompression time on the weekends. The majority of my fatigue is a result of mental drain due to repeating myself over and over and over for student understanding, only to feel unheard at times (do you ever feel like this?). I make it a priority to nourish myself too. I exercise Monday through Friday to get out the toxins, and I play my clarinet in performance ensembles two nights a week to feed my soul. I make a conscious decision every day to appreciate being healthy and I reach out to my core of close friends and family so that I do not feel isolated or alienated during the intense schedule I maintain ten months of the year. I encourage you to find ways to nourish yourself, appreciate the positives and get your rest when you can.

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Middle and High School Orchestra

Repetition The Most Powerful Tool in Your Treasure Trove of Teaching Tactics

by Dr. Thomas Tatton

escribing with some specificity the uses of repetition and feedback strategies for beginning school string programs is not too difficult. 1 Even though beginners may start in the third, fourth, fifth grade or later; meet one, two, three or more days a week; enjoy a more or less qualified and dedicated instructor; or live in a predominantly affluent or less affluent school district, all the principles of repetition apply.

Not quite so with more experienced players, middle school or high school orchestra students, youthful musicians who have played for some time. General principles taught by using conscious and deliberate repetitionfeedback techniques are the most advantageous approaches. Three principles can be identified:”

D

I. Prioritize Difficulties and Sequence Improvement Zones Posture: It may seem that once good posture habits are set, they are set. Not so! Even professionals need a tune-up every once in a while often involving adjusting posture. Do rotate chairs frequently and occasionally leave the podium during the rehearsal. For a well-trained and experienced ensemble gentle reminders and proximity to students are most often all that is needed.

Bowing: Visual awareness – not just the conductor but the students as well. A good challenge for those in the back of a section: Ask them to report on the bowing consistency in their section. Be specific in your directions: Ask them to check for bow direction, geography, etc. This brings everyone into the quest for a more powerful sound and a beautiful tone.

Rhythm: We know the many problems that will challenge our students: dotted rhythms, triplets, syncopation, hemiola, etc. Pre-select difficult rhythms (chunking – explained below) and work on them outside of the musical context. Work with identified rhythmic difficulties in your warm-up. 2 Then insert and rehearse in context. Rhythmic awareness is an important tool.

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Ensemble: Identify trouble spots and work by separating parts and, use a metronome. Charge your students to listen. Ask them to help identify the sections that are not together. Rhythm and ensemble difficulties are different aspects of the same problem, solve one and we have moved toward solving the other.

Intonation and Tone: These two fundamentals are linked, as are other fundamentals, but even more so. Tone and intonation were discussed in a recent article titled “Improving Tone and Intonation” in the Summer 2016 Issue of CM EA Magazine.

An additional word about intonation: Playing in tune is a lifelong journey for an ensemble as with an individual. In your ensemble consider that, if continually highlighted, intonation will improve gradually over time as does technique and musicianship. Your ensemble should play better in tune with improved technique and musicianship at the spring concert than at the fall concert.

Rudiments: • Posture is always key. Appropriate, supple and relaxed posture allows good intonation to manifest itself; poor posture prevents good intonation • Good quality, clean strings allow good intonation • Tuning process, have one. 3 Treat tuning as a sacred obligation. Make that a point with your students.

Musicality: Line, Phrase and Direction: Audiate 4 and sing to and with your students. Can your students hear their line or rhythm before it is played? Can they hear their line or rhythm some time after their line has been played? This takes practice but it is a skill well worth acquiring. Sing to and with your students - singing takes the paraphernalia out of the mix and concentrates on the purely musical aspects of line and phrase.

Record your rehearsals, often: Listen for and critique the phrase structure and musical direction as a group exercise. Ask questions of your students like: “Is from Section A to Section 15

B a complete musical idea? Is this a question/answer phrase? Is the end of this musical idea strong or weak?” The age and experience level of the ensemble will determine the depth of terminology and understanding. The questions as well as the answers are endless.

Your students will improve their listening skills and willingness to engage simply by repeating this inclusionary process.

Experiment: Play a particular line three different ways – different dynamic, different shape, different speed. Take a vote – go with the majority, at least for the time being. Allow the students to be a part of the decision-making process all along this journey towards performance. How else will we help them improve their technical as well as their musical skills?

Students who are included in musical decisions will feel rewarded at each and every rehearsal.

Have students memorize short sections of their literature. Memorization promotes audiation, listening and hearing as well as watching and interacting with their musical colleagues. One should not be surprised what students “do not hear” when only concentrating on their individual line and the conductor.

short sections. It is a relatively recent term in current use by education academics. Music educators have used this “technique” forever.

By isolating short but difficult sections of music, e.g., a fast passage, a shift or awkward fingering, an ensemble difficulty, etc., we can, using a repetition – feedback technique, quickly mitigate, improve and hopefully solve the difficulty.

It is important to remember that when using this strategy that we: • Sharply limit the extent or amount of music. (Don’t try to do to much.)

• Define the difficulty. (What’s the problem?)

• Explain the remediation. (Plan for more than one approach, be flexible.)

• Recognize progress. (Even if not yet prefect.)

• Announce a follow-up plan.

• Identify parallel passages. (Work on these passages also.)

Perhaps the weakest or the least prepared portion of any substantial piece of music is the very end. An excellent strategy to use, on occasion, is to start at the last rehearsal mark and work to the end.

Rehearsing the end of a musical selection is at least as important as rehearsing the opening of the piece.

Meaning/ Message/ Musical Objective: Our music should tell a

Slow practice is the secret everybody knows! It is inclusionary, effective and highly efficient.

Of course this technique should be limited to the difficult, tricky, awkward and/or complicated sections – just as with chunking.

Slow practice: • Includes everybody, even those in the back of sections.

• Works on “collective” small muscle movement and memory.

• Allows for fundamental technical improvement – bow placement, posture adjustments, etc.

• Highlights interaction amongst and between musical lines.

• Identifies and underscores difficulties.

• Promotes/allows active listening.

• Builds individual and collective confidence.

How slow is slow? Seek a tempo at which the entire ensemble can be successful – that actually de-

story, paint a picture, inspire or stir the emotions. It can make the listener want to cry, pray, smile, tap the foot or dance a little. Music might make one feel patriotic or just plain proud. It can also inspire us to do great things or to just keep going. Simply put – great music should reach the soul. It is our job as music educators to help our students (and our audiences) discover that power in music. Take the time to share that understanding with your students. This simple act, repeated over time, will improve their performance, increase their musical understanding, broaden their view of beauty, enrich their humanness and illuminate their worldview.

II. Chunking Chunking means working on smaller units of information, i.e.

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III. Slow Practice

fines deliberate, thoughtful practice. Use a metronome – sparingly.

Increase the tempo as the particular section improves – or simply as a strategy to increase speed. And, use over time – days or weeks. For example, perhaps there is a passage that is marked to be performed at =132. Day one, work the passage at 80, the next day at 84, the next at 88, etc. until the ensemble has either reached its maximum speed ability (the less experienced musicians are unable to move faster, at this time) or the desired tempo.

Conclusion By prioritizing difficulties, chunking and slowing down the practice of prioritized sections you will reinforce repetition as the most powerful tool in your treasure trove of teaching tactics. While it is sometimes helpful to have outside evaluators it is what we do in the rehearsal and how we evaluate our own daily performance that counts.

At the end of the day ask: “Did I reach all of my musicians today?

How can I improve that particular difficulty tomorrow? What tools do I have to accomplish that? Did I make the most efficient use of our collective rehearsal time today?”

For a thoughtful teacher especially with four, five or six daily rehearsal sets this is quite a task. But, what a joy and what a reward.

• 1. Thomas Tatton, “Beginning String Class: Repetition,” CMEA Magazine, Fall 2016, Vol. 70, No. 1, P.13.

2. Anne C. Witt, A Rhythm a Week, Belwin-Mills, 1998. And Charles Forque, James Thornton, Gerald Anderson, editor, Harmonized Rhythms, Neil A. Kjos Music Co., 1996.

3. Michael Alexander wrote a marvelous article on every aspect of the tuning process: “Teaching Tuning to the String Orchestra,” American String Teacher, November 2008, Vol. 58, No. 4, Pp.20–26.

4. Audiation is the ability to hear and understand music that is no longer or never was present in sound. Edwin Gordon developed this innovative musiclearning skill in the mid-1970s. Google audiation or GIML (Gordon Institute for Music Learning).

CMEA Magazine

Three Ways to Encourage Your Young Composers

by Dr. Alexander Koops CMEA Southwestern Section President

Young Composers Festival April 29, 2017 6:00 p.m.

Munson Recital Hall Azusa Pacific University The Azusa Pacific University Musical Studies Department will host the second annual young composers festival. This solo and small ensemble composition festival is open to any student age eighteen and under and will be adjudicated by APU faculty composers Phil Shackleton and Thomas Hynes.

Any K–12 music teacher may submit nominations of their top student composers to Alexander Koops (akoops@apu.edu) by March 15, 2016 to be considered for inclusion in the festival. Participating composers are expected to perform their own compositions or arrange with their teachers to find performers for the compositions. Each participant receives feedback on their composition and a recording of the performance.

NAfME Composition Contest http://www.nafme.org/programs/contests-callscompetitions/2017-nafme-student-composers-competition/ NAf ME is seeking original music written by student composers for featured performance in the Young Composers Concert. Teachers and students are invited to submit original compositions by students for possible inclusion in the concert. Students in elementary school, secondary school, college, and graduate school are eligible to submit compositions.

Compositions may also be submitted for specific chamber instrumentation and may be eligible for performance at the Young Composers Concert and a cash award. Compositions submitted that fall outside of the choral or chamber instrumentation guidelines will be adjudicated but will not be eligible for awards or for performance.

Up to ten winning composers will receive cash awards, thanks to the generous support of the European American Musical Alliance (Dr. Philip Lasser, president) and the Double R Foundation. All entrants will receive written evaluations of their compositions. The deadline for submissions is March 1, 2017.

Azusa Pacific University/J.W.Pepper Composition Contest www.apumusiccontest.com A music composition contest for high school sophomores, juniors and seniors, in five categories of music, with a cash prize of $1,000 per category, public performance and recording by an APU ensemble, a one-year membership in J.W. Pepper’s My Score® program, and consideration for publication

by J.W. Pepper/Wingert-Jones Publications.

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The Role of the Large Ensemble

by Emily Moss CMEA Higher Education Representative

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s most collegiate ensemble directors well know, the bringing together of our students in musical performance goes beyond the instruction of performance skills. We have all witnessed the comradery our students feel after a well-executed concert, or the pride they share when a particularly challenging piece has been conquered. In higher education, we also get to witness the natural cohort that is created through the music major, which often results in deep friendships that can last a lifetime. And yet, something special happens to the students who make music together regularly through the large ensemble experience.

The presidential election results from November brought this phenomenon to the fore in ways that were both deeply heartening and predictable. When faced with a traumatic experience, we all look to our communities for support, reassurance, and connection. Many of our colleagues shared on social

media the comfort and beauty their rehearsals brought to students in the days immediately following the election. We have seen it before and will see it again – sharing the beauty of musical performance can heal and lift the soul.

In some circles within music departments across the country, the role of the large ensemble is being called into question. The recent College Music Society Manifesto [www.mtosmt.org/issues/mto.16.22.

1/manifesto.pdf ], released in November 2014, presents a new view of the future of undergraduate music instruction, one that prioritizes the “improviser-composer-performer” over the “interpreter performer.”

This document has raised concern within a variety of wind band director professional organizations, including an entire session discussing its possible implications at the March 2015 CBDNA National Conference in Nashville, Tennessee.

It has also prompted some welcomed conversations about what the role of the large ensemble is and

how or if it should change.

Another discussion around the purpose of performing ensembles within the curriculum at colleges and universities stresses very real concern for the future job placements of performance majors. An October 2016 article in The Chronicle of Higher Education [www.chronicle.com/article/TheNew-Performing-Arts/ 238020] discusses the “simple supply and demand problem” our graduates face when they attempt to enter the work force with their music performance degrees: “Arts educators should no longer ask students to continue an endless cycle of rehearsals leading to extraordinarily high-quality performances for dwindling audiences and a rather striking separation from career preparation.”

These two examples highlight the need to look deeply into the skills and learning opportunities that large ensemble participation affords our music majors, particularly those that go beyond the more widely-known performance-based

Dr. Eric Hammer rehearsing the Music Association of California Community Colleges (MACCC) Intercollegiate Band.

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Photo by Rachel Betancourt

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skills of musicianship. This is where that “special something” that happens between and among our students during large ensemble participation must be more concretely articulated.

Dr. Elizabeth Peterson, associate director of bands and clinical professor of music at the University of Illinois, has been involved in many of the discussions in the band world around crafting a response to the CMS Manifesto, particularly a defense of the large ensemble’s role in higher education. During her previous appointment at Ithaca College, she asked members of the symphonic band (fall semester, 2014) the following question: “What is the purpose of the large ensemble experience?” Many responses involved the typical musicianship-related objectives, such as better listening skills, the ability to watch/respond to a conductor, and performance skills related to the exposure to a wide-variety of repertoire. However, a large number of responses included skills not directly related to music. Here are just a few examples of what the students said: “To better our skills in working with others. Playing music is all about working with others, collaboration. We need every opportunity we can get in order to cultivate such skills.”

“Ensembles teach me to co-exist and really listen.”

“Learning to be part of a group reaching towards the same goals stresses the importance of individual practice contributing to a bigger picture.”

“To learn how to work together in a group. It should provide a sense of community. All the members should hold each other accountable for all the music learned and created.”

“Working with others to create something beautiful, to not act as individual parts, but as a whole.”

These comments illustrate students’ awareness that large-ensemble participation, in addition to specific musical training, involves the learning of life skills that have more broad applications. There are skills associated with success in group settings, such as cooperation and collaboration; interpersonal skills such as mutual respect and working with differing opinions; and the leadership skills of goal setting and compromise. In addition to skills that can be transferred to careers both in and out of music, creating music together has the potential to teach care, love and respect for others.

These skills are not all naturally absorbed by our students. It takes something on the part of the director to create the conditions that will allow them to flourish. “How does the career third clarinet player learn leadership? Is mutual respect discussed as a goal of the ensemble? Do the members get the opportunity to collaborate with guest artists or composers?” We have the capability to bring about these skills if we feel they are worthy of our time and energy – the main purpose of our ensembles remains centered on the musical skills required of our members.

Many of us have not yet encountered anyone questioning the validity of the large ensemble or its prominent place in our curricula. Whether or not that day arrives, we should consider articulating what we feel is the importance of what we do in both the rehearsal and performance hall. Perhaps your ensemble syllabi have these skills, both musical and otherwise, clearly stated. As all of us face a culture where the value of a college degree is being examined, more evidence that what we do matters to our students’ futures could make all the difference.

And giving them three to four more hours a week off their cell phones is a bonus.

Perfecting a House Mix:

Identifying and Teaching to Your School’s Musical Microculture

by Richard Lawton CMEA General Music Representative

ne of the nice things about changing schools, as I did this summer after seven years at one site, is that it presents an opportunity to take another stab at material and ideas that never quite worked at the other place. When the winter holiday show season rolled around, I decided to take another crack at Zemir Atik as a vocal piece. I love this song, reputed to be one of the oldest known folk melodies, as a challenging but manageable recorder tune. However, the intervals of the Phrygian dominant (Egyptian) scale – the minor second followed by an augmented third – had always seemed just beyond the singing ability of my fourth and fifth graders. Accordingly, I refined my lesson plan and allowed some extra time. That turned out to be unnecessary. The students at my new school, many of them of Middle Eastern descent, sang the scale perfectly from day one.

I was reminded of something a professor of mine once told me about very young children of Mexican heritage having a knack for being able to sing in parallel thirds. Having never taught in a school with a large Latino population, I’ve not had an opportunity to observe this first hand, but I don’t doubt that it is so.

There is a clear cultural connection at work. All children (and for that matter adults) are musical, but that “musicalness” often manifests itself in abilities connected to cultural identity. Moreover, these manifestations are an expression of that identity. A smart music teacher learns to recognize this and take advantage of their students’ existing musical gifts, but what obligation do we have to nurture and develop those abilities, particularly when they are related to heritage?

Two frequently made arguments for teaching in a culturally relevant way are that doing so contextualizes abstract ideas by making them relatable to the student’s home culture – what Geneva Gay and others have called “bridges of meaningfulness” – and that the approach results in cultural pride that empowers and motivates students.1 This reasoning is often extended to include the idea that, as we prepare students to be citizens as well as scholars, we teachers have a responsibility to instill a sense of social justice.2 The extent to which a culturally relevant approach makes instruction more meaningful to children is a matter of conjecture, but there is no doubt that building on existing knowl-

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edge – encouraging kids to make their own connections – is the most effective way to teach any subject.

However, attempting to mandate culturally relevant instruction in our curricula or as district policy has its limitations. Culture festivals or designated heritage months still need to be contextualized at individual schools to effectively engage students, and that process can be difficult for an itinerant music teacher who comes to a school one day a week. Authenticity is a particular challenge. Many of the same proponents advancing an argument in favor of culturally relevant music instruction also argue that inauthentic elements – simplified musical practices, translated words – dilute the value of instruction, but these are precisely the sort of shortcuts that teachers with limited exposure to their students are forced to take. This is not to say that we should abandon efforts to include culture in our instructional focus, quite the opposite, but simply an acknowledgment that relying on big picture solutions will not get the job done.

Fortunately, there is a way to engage students in culturally relevant ways on a regular basis, respect their community norms, and teach authentically, and that is to base instruction on the individual school’s microculture.

A microculture is a culture within a culture. The term is increasingly used by educators to identify communities within a school or even a classroom that student feel a connection to. I am using it here to describe the culture of an individual school itself as a unique institution with a blending of populations, practices, and beliefs that not exactly like any other school, even one that may be right down the street.

It is shortsighted to think about culture strictly in terms of regional practices, ethnic heritage, socio-economic conditions, or language proficiency. Terese Volk, in her influential book, Music, Education and Multiculturalism, even while arguing in favor of a multicultural approach, wrote that the determination about whether culture of the broader community or the culture of the individual school is of greater instructional value is not clear cut and should probably be left to the individual teacher’s discretion.3 Attempts to connect instruction to a student’s home culture can be a useful way of engaging their interest, but in the social media age many other influences play a role in determining

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what kids already know and what they would like to know more about.

Who would argue that popular culture, particularly pop music, is not at least as important to kids as songs their parents sang to them? To be sure, we have an obligation to teach in a multicultural way, in part because understanding and honoring diversity is fundamental to our way of life. At the same time, to be successful as teachers we must be sure the kids are engaged. If they are not, the rest doesn’t matter.

As John Dewey observed, our understanding of who we are as a society needs to be reborn with each new generation, and schools act as the “mid-wife” in that process.4 Culture is an ever-evolving thing, but at any given moment it can be thought of as the sum of the heritage, practices, and interests of all the stakeholders.

In an elementary school the students are stakeholders, maybe the most important ones, but so is the teacher.

I once had a classroom colleague who developed a math unit around the NCAA Men’s Division I Basketball Tournament. I doubt whether any of his fifth graders were as excited about college basketball as he was, but his enthusiasm was contagious, and over time Mr. Alpert’s Basketball Pool became a traditional practice at the school that was much looked forward to.

This example underscores one of the advantages to broadening our sense of what culture consists of. If teaching in a culturally relevant way includes paying attention to the school’s microculture, then new traditional practices can be developed, even while older ones are honored, and the definition of authentic instruction does not have to be restricted to traditional practices, but can be broadened to include experiential authenticity – the genuineness of play, of taking creative risks, and the joy of jumping into a musical groove and finding friends there.

Developing an understanding of a school’s microculture and incorporating it into instruction is, of course, every bit as time consuming as efforts to increase societal cultural

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awareness. It is another compelling reason why ideally music teachers should be part of the community and not part-time sidemen, but as we have already observed, circumstances for music teachers in California public elementary schools are rarely ideal. These are a few of the things I have found useful to keep in mind when trying to engage students on a microcultural level: Focus on the elemental. We should recognize that fundamental music ideas – beat and rhythm, notation, melody – can be taught using just about any musical style or genre.

Kids are more likely to pay attention when these ideas are needed to play music the kids are interested in. So play that funky music.

Focus on process. At some point all music instruction includes a presentational aspect, but, particularly in elementary school, formal performances create all sorts of culturally inauthentic moments. It is within the creative process where most of the authenticity in music class is experienced. Performances will be more meaningful to students if you let them have a hand in the development of the presentation, even, in my experience, if that comes at the expense of traditional performance norms.

Collaborate with students. If we are focused on microculture, then what students are interested in is important, maybe in some ways, more important than what interests the adults in their community. There are often classroom management challenges when students are allowed to think of their teacher as a peer, but a well-structured classroom with clear boundaries will keep these in check.

And the upside in music class to having your students see themselves as being part of the band with you cannot be overstated.

Be nimble. Recognize that the microculture is always changing and be prepared to adapt. Most importantly, ask at the end of every lesson, “Did this work, how well did it work, and why?”

Finally, keep politics out of the mix. Cultural sensitivity is essential,

but I have to say, it has always been when I was attempting to exercise sensitivity for its own sake that I have gotten myself into trouble. I recall earnestly trying to infuse my instruction with culture at my first school, which had a large Korean population. I asked the Korean heritage teachers repeatedly for “authentic” material that kids would typically sing for holiday programs in Korean schools and was horrified when they presented me with CD’s of drum machine and synth-driven bubble gum rock (I hadn’t yet learned about K-pop). The fact that I was sure that this music lacked culture authenticity was a reflection of my ignorance of the very culture I was seeking to embrace and my own musical bias. More to the point, however, I had failed to find out what the students who would be performing the material might be interested in. As I was to discover when I got to know them better, many of them did not care for Kpop either, preferring classic rock and TV theme music.

Since then I’ve learned to make fewer assumptions, to talk to my students more about what they like and don't like, and to teach accordingly.

They get a lot more out of my classes, and so do I. • 1. Abril, C. (2013). “Towards a More Culturally Responsive General Music Classroom.” General Music Today.

27(1) 6 –11. National Association for Music Education. Downloaded from gmt.sagepub.com at NAf ME 11/12/2016.

2. Fitzpatrick, K. (2012). “Cultural Diversity and the Formation of Identity; Our Role As Music Teachers.” Music Educators Journal. Vol. 98, No. 4. 5359.

3. Volk, T. (1998). Music, Education, and Multiculturalism; Foundations and Principles. New York, NY: Oxford University Press.

4. Dewey, J. (1980, 1899). School and Society. Carbondale, Il: Southern Illinois University Press.

CMEA Magazine

Next Up

Take Advantage of Your CMEA Membership

by John Burn CMEA President-Elect

M

idway through my first year on the CMEA board as president-elect, I am in awe of those with whom I serve and those that have served before me, particularly pastpresidents Norman Dea, Russ Sperling, Michael D. Stone and current CMEA President Scott Hedgecock.

In just a few short years, CMEA has gone from a difficult period of declining membership, declining conference attendance, and declining relevance, to our current reality. Membership is steadily increasing, we are part of an unprecedented and growing collaborative conference, and our state and national advocacy efforts have made real progress.

At the state level, the bill we sponsored, AB2862, a bill to update the Visual and Performing Arts Standards, is now the law of the land. At the national level, the recently passed Every Student Succeeds Act explicitly names music as part of the well-rounded education to which every student is entitled. Both of these achievements happened only because of CMEA’s action in Sacramento and NAf ME’s action in Washington D.C. In our ever-changing political climate, we must remain vigilant as money is allocated at the state and national level to implement these laws. How can you help? Keep your CMEA/NAf ME membership current. Encourage a colleague to join CMEA/NAf ME, and attend Stand Up 4 Music Day on May 18, 2017 on the steps of the State Capitol in Sacramento.

In February 2015, 1,394 registered music educators, 1,230 honor musicians, 296 exhibitors at 105 exhibits, 112 clinicians, 19 directors directing 1,116 performing students, their 123 chaperones and VIPs, and 147 volunteers/staff/board members, all totaling over 4,300 people,

Conference Issue 2016

all came together for four days that included: five receptions/awards ceremonies/banquets, 15 state honor ensembles, 16 concerts, and 101 staff development sessions.

It was awesome.

The honest and open collaboration between CBDA, CODA, CAJ, ACDA/CA and CMEA has been, and continues to be, inspiring. Decisions are difficult. The needs of stakeholders vary. Every choice has trade-offs, and all decisions must be fiscally sound. It is in this spirit of collaborative decision making that CASMEC 2016 was built, and CASMEC 2017 promises to be even bigger and better. CMEA has made an explicit effort to support sessions that will help us be inclusive and develop practices and programs that reach all of California’s diverse, amazing and deserving students. Don’t miss this conference.

Here are three ways to take advantage of the value of your CMEA membership. Encourage your students to participate in one of our two CMEA State Solo and Ensemble Festivals. Apply to have your band, choir, or orchestra perform at the CMEA State Festival. Take advantage of our mentorship program.

We currently have more than forty trained and experienced mentors across the state that are ready to give new teachers, or just teachers teaching new subjects, the support and advice that will insure their success. If you or someone you know could benefit from a mentor, submit the mentee application on the CMEA website today.

For information about all of these amazing programs: Stand Up 4 Music Day, CASMEC, CMEA State Festivals, and mentorship, visit the CMEA website. Like us on Facebook, follow us on Twitter, and come introduce yourself to me at CASMEC. It’s going to be inspiring.

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7.5 x 5 Music ad 2016-17 / Wind instrument photo - with dates

CASMEC Sessions:

Special Learners

by Angela Holmes CMEA Special Learners Representative

T

he 2017 CASMEC Conference will be represented by four sessions that will address the issues that music educators have asked to hear about. The sessions presented with special learners as a primary focus are presented to expand, further understand, and reinforce the concept that “all children can learn.”

We are pleased to present two sessions with Julia Hahn. Julia’s knowledge regarding instructional practices apply to choral and instrumental music teachers. She is a classroom teacher who incorporates her training as a music education, which includes music therapy training, with special learners in a general education or special education setting. Julia’s core belief is that all students have the need to express the “music within.” She will share her techniques and insights in “The Music Within: Best Practices for Teaching Children with Special Needs.”

A second offering includes our very important partners in the educational “triangle,” parents. Angela Holmes will moderate a panel of five parents who are parents of musicians who are special learners. The parents will answer questions aimed at trying to help educators understand the unique educational needs of students with special needs. More importantly, the parents will address, among other questions, “What do music teachers need to know about special learners?” and “What kind of relationship do teachers and parents need to have in order for children to have a positive music experience?” These parents, representing student with various disabilities, can be heard at the session, “Parent as Partners: What Music Educators Need to Know”.

A third session will offer an approach that explores the possibility of addressing planning and instruction by going beyond category characteristics. “Common Learning Characteristics: Planning Instruction that is Inclusive for All Learners,” presents the strategy of approaching teaching music to special learners by assessing their needs through six areas of learning. The goal is to gain greater achievement through the development of accurate methods of accommodation, adaption and modification in the classroom for every special learner.

We hope you will join us in celebrating CASMEC, which continues to demonstrate its support of special learners by increasing the inclusion of sessions that address the unique needs of special learners and the music educators dedicated to instruction for all.

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Jeffrey Boeckman

Patricia Cornett

Travis Cross

Marc Dickey

Jermie Arnold

Kristin Kunzelman

Chris Marra

Choices for music teachers:

Band

“And Don’t Call Them ‘Women’ Composers!” - Jeffrey Boeckman “Beyond the Festival Performance: Creative Programming Ideas for the Rest of the Year” - Patricia Cornett and Travis Cross “Classroom Management Solutions: Who Is Controlling Your Rehearsal, You or Your Students?” - Marc Dickey “Director’s Reading Band” - Jermie Arnold Jonathan Grantham

“Instrument Selection Night” - Kristin Kunzelman “Marketing Your Music Program: What can we apply from the Business World” - Chris Marra “Motivating the Individual Student in the Ensemble Classroom” - Jessica Vaughan-Marra, Jonathan Grantham and Shelley Durbin “Percussion Bilingualism: How to Speak to Percussionists from the Podium” - Thomas Slabaugh II “Playing by Ear: Improvising and Composing with Beginning Band Students” - John L. Whitener “Practical Score Study for the Busy Band Director” - Lawrence Stoffel “Quality Music for Combined Band and Choir” - Edward C. Harris and Jeffrey Benson

Shelley Durbin

“Simple Steps to Make Your Secondary Clarinet Section Sound Better” - Fresno Unified Faculty Clarinet Quartet: Richard Martinez, Jennifer Ostwalt, Taylor Ledak, Anne Hendrickson “Solving the Mysteries of the French Horn” - Michael Fleischmann “The Compelling Conductor: Maximizing Rehearsal Effectiveness Through Meaningful Gesture” - John Zarco and Courtney Snyder “Wood-Wins and Brass-Wins: Winning Ideas for Starting Your Elementary Band Program” - Bryan K. Holbrook “You Are What You Play: Choosing Quality Repertoire for Your Ensemble” - Danielle Gaudry “Young Composers Performance and Composition Clinic” - Alexander Koops and Julie Bounds

Fresno Unified Faculty Clarinet Quartet

Performance

Michael Fleischmann

John Zarco

Courtney Snyder

Preview

University of the Pacific Symphonic Wind Ensemble

Bryan K. Holbrook 26

Danielle Gaudry CMEA Magazine

CASMEC 2017

San José 2.0 – Bigger and Better

by Bill Wilkinson CMEA CASMEC Logistics Coordinator

T

he California Music Educators Association is excited with the prospect of a promising CASMEC 2017 this coming February. For those of you that may be new to the CASMEC experience, the California All-State Music Education Conference is a collaborative effort of five state music educators associations (ACDA, CAJ, CBDA, CMEA and CODA). Within the last decade these five organizations have come together to provide the music educators of California an all-inclusive super conference. Conference attendees can now attend choral, jazz, band, orchestra, and all things music education under one roof.

The 2016 conference was a huge success, the first year in our new San José home. An increase in attendance was evident with many clinic rooms at the Fairmont Hotel filled to capacity and beyond. This year in an effort to accommodate growth we are moving the majority of our clinics from the Fairmont to the spacious 373,000 sq. ft. McEnery Convention Center.

The McEnery Convention Center is only a quick walk to the south of the Fairmont and is nestled between the Hilton and Marriott Hotels on San Carlos Street, diagonal to the Center of Performing Arts. Conference attendees will benefit from this move to the convention center. Wider hallways, large rooms and a much larger exhibit space will accommodate our conference’s growth. We believe the new location will prove to be a winner.

CMEA’s base of operation this year will be on the east side of the convention center, adjacent to the Marriott Hotel. Our professional development, collegiate, special learners and technology sessions will be located in rooms 111–114 on the lower level while our general music and world music offerings will be located upstairs in rooms 212AC, 212AD, and 213. The two general music rooms will be very spacious with enough room to move and groove. Just west of these secondfloor rooms attendees will find the CMEA General Session on Thursday afternoon at 3 p.m. and the exhibit hall just beyond that. Speaking of Thursday afternoon, be sure to check out the “World Rhythms Drum and Dance Jam” with Kalani Das at 5:30 p.m. in the

Conference Issue 2016

second floor atrium. It’s a not-to-miss event.

With a full line-up of outstanding presenters we are getting things started early. Our sessions will begin at 12:45 p.m. on Thursday and run all day Friday and Saturday. Friday evening, beginning at 5:30 p.m. is the CMEA Awards Gala, honoring some of California’s most outstanding music educators and music partners. This year’s event will take place at Gordon Biersch, 33 Kalani Das East San Fernando Street. Tickets are selling fast. Reserve your space today.

Saturday will be an exciting day because CMEA will have special offerings back at the Fairmont Hotel. You will want to be at the Fairmont on Saturday, February 18 at 11:30 a.m. to catch “Data is the New Kale” presented by Patricia Wayne. This is sure to be informative and obviously good for you. On a proactive note, we are offering four repeat sessions this year to allow our attendees to experience more of the conference.

Repeated sessions at the Fairmont are: “Diverse Approaches to Developing a Nontraditional Ensemble,” presented by Danielle Collins; “The Music Within: Best Practices for Students with Special Needs,” presented by Julia Hahn; “Teaching Music in Inner City Los Angeles,” presented by Dr. John Whitener, Dr. Lawrence Stoffel and professor Mary Schliff. The fourth repeated session, “But I Teach Band!

- Incorporating World Music Resources into your Rehearsals,” presented by Christopher Mena and Giuliana Conti, will be in the convention center, room 213. These are Giuliana Conti all must see sessions. The dates, times and locations of these and all CASMEC sessions will available to you at CASMEC.org.

We hope you consider attending CASMEC 2017.

All CASMEC partners have been working tirelessly over these many months to ensure that this year’s conference will be even greater than last year. See you in San José.

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Mary Hamilton

Jaclyn Johnson

Donald Brinegar

Joshua Palkki

William Sauerland

Jeffrey Benson

“A Whole New World? Gender in the Choral Classroom” - Joshua Palkki and William Sauerland “Drumming Inside the Middle School (Grades 5–8) Choral Classroom” - Mary Hamilton “Engaging Their Minds and Welcoming Their Hearts: a natural integration of Orff and Choir” - Shane Troll “Help! My Guys Sound Terrible! Quick Solutions to Common Problems” - Jaclyn Johnson “Intonation Choices: Singing In Tune with Style” - Donald Brinegar “Monkey See, Monkey Do: Why Conducting Gesture Matters in the Choral Rehearsal” - Jeffrey Benson “SmartMusic for Vocalists: No Instrumentalists Allowed” - Leigh Kallestad “Latin American Choral Music for Secondary School Programs: Historical Background and Performance Practices” - Angel M. Vázquez-Ramos “The First Ten Minutes: Re-Imagining the Role of Warm-Up Activities in the Choral Rehearsal” - Alyssa Cossey “The Power of Musical Intent: Developing Vocal Technique and Musical Instinct in Singers” - Bruce Southard “Using Circle Singing to Enliven Choral Creativity” - Joshua Palkki and Stuart Chapman Hill

Shane Troll

Angel M. Vázquez-Ramos

Choral

Performance Alyssa Cossey

Preview

Performance Kennedy Middle School Dynamics Bruce Southard

The East Bay Singers

Special Learners

“Common Learning Characteristics: Planning Instruction that is Inclusive for All Learners” - Angela Holmes “The Music Within: Best Practices for Students with Special Needs” - Julia Hahn “Parents as Partners: What do Music Educators Need to Know About Special Learners” - Angela Holmes

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Angela Holmes

Julia Hahn

CMEA Magazine

Orchestra Offerings at CASMEC

by Donna Harrison President, California Orchestra Directors Association CMEA CODA Representative

he California Orchestra Directors Association (CODA) has selected eleven outstanding orchestra clinics for CASMEC 2017 that offer a broad range of offerings to appeal to veteran and novice music educators. Here is a list of topics and clinicians: • “Collaborative Learning Among High School Students in Chamber Music” – Dr. William Harrington William Harrington

• “The Mindful Musician: Incorporating Mindfulness Strategies into the Orches-

Bryan Holbrook

• “Symphonic Sounds: A Musician’s Guide to Developing a Symphony Orchestra tra Rehearsal” – Dr. Alexander Kahn

• “Starting Without the Books for String Players” – Richard Frazier • “More Than Pitch – A Look at Right Hand String Technique” – Stephen Moore • “A DNA Analysis of Elementary Violins: An In-Depth Discussion on Ways to at Your School” – Jim Palmer

Alexander Kahn

Mark Aubel

• “J. W. Pepper Orchestra Music Reading Session” – Mark Aubel and Amador have a Successful Program” – Bryan Holbrook

• “Artistry, Engagement, and Reinforcement: The Three Ingredients of Artistic Valley High School Orchestra

• “Ten Games to Make Your Rehearsals More Productive, Relaxing, and Fun” – Rehearsal” – Jim Palmer

Jim Palmer

Richard Frazier

Stephen Moore

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Mark Kovacs

• “Top Ten Easy Ways to Improve Your String Orchestra Sound!” – Albert Jeung • “String Technique – A Guide to Intuitive Sequencing” – Scott Krijnen Mark Kovacs

In addition to these great clinics, be sure to attend the CODA General Session. We will have an interactive discussion with a panel of string experts: “Everything You Wanted to Know About Strings But Were Afraid to Ask.” This session will also be a great way for you to connect with your fellow orchestra director/string teacher colleagues.

Also, be sure to attend performances by the Hopkins Junior High School Advanced Orchestra directed by Gregory Conway, Thursday at 4:30 p.m. and the Cal ATSA Solo Recital, Saturday at 5 p.m. This recital will feature the California American String Teachers Association solo competition winners.

CASMEC 2017 is going to be bigger and better than ever. Hope to see you there.

Albert Jeung

Scott Krijnen

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Leigh Kallestad

Tamara Thies

Lisa Voss

Julie Bounds

Don Crafton

Jessica Vaughan-Marra

Ryan Ubhoff

Technology

“Are You Using the Newest Finale like it is Finale 2000?” - Leigh Kallestad “Enhancing Musical Learning and Creativity Using littleBits Synth Kits” - Tamara Thies and Lisa Voss “iPad Pro for Music Directors and their Classrooms” - Cameron Brown “Online Assessment – Make Your Job Easier & Hold Your Students Accountable” - Jenny Amaya and Julie Bounds “SightReadingFactory.com: Revolutionizing How You Teach and Practice Sight-Reading and Sight-Singing” - Don Crafton “Technology Integrated Large Ensemble: iPads in the Rehearsal Experience” - Jessica Vaughan-Marra “Web 2.0 and You” - Ryan Ubhoff

Preview

David Beatty

David Betancourt

Mike Kamuf

Gregory Christiansen

Jazz

“Choosing Music for Your Jazz Ensemble: Best Practices in Choosing That Promotes Rich Learning” - David Beatty “JASS: Jab at Swing and Style” - Dr. David Betancourt

“JazzGirls – Strategies for Increasing Participation of Girls in Jazz” - Sarah Cline “Musical Fluency – A New Method of Understanding and Creating Music” - Roger Treece “Start Your Engines: Building Confidence with Less Experienced Rhythm Section Players” - Mike Kamuf “Using Improvisation in Teaching the Jazz Ensemble” - Gregory Christiansen

Performance Performance

Itliong-Vera Cruz Middle School Symphonic Band Redwood High School Chamber Singers

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CMEA Magazine

Let’s Discover World Music at CASMEC and Bring It to the Classroom

by Lily Chen-Hafteck CMEA World Music Representative

W

orld music will again be featured in the 2017 CASMEC. Ten clinicians, including music educators coming all the way from China and Finland, will gather at San José in room 213 of the convention center between February 16–18. They will share their experiences in teaching world music with the CMEA members. They are all eager to bring participants to the world of diverse musical cultures from different parts of the world such as China, Finland, Japan and Mongolia. They will also show us how multicultural music education can be applied to all areas of music education, including band, vocal and general music classes, as well as a research report on Asian-American students’ learning styles in applied music studios.

In this article, the presenters extend their personal invitations to the CMEA members. I hope these will give you a glimpse of the exciting program that we have prepared for you and an “appetite” to come and join us in February.

The world music sessions will start on Thursday, February 16 at 12:45 p.m. with Christopher Mena and Giuliana Conti, who are the graduate students at the University of Washington, Seattle. Both of them study with the internationally renowned multicultural music education scholar, Dr. Patricia Campbell. They will present a session: “But I Teach Band! Incorporating World Music Resources into your Rehearsals.” They will repeat their presentation on Saturday, February 18 at 8:00 a.m.

Here is their invitation: “This workshop will focus on incorporating world

music into instrumental ensembles. Participants will learn about musical resources, how to engage students through world music pedagogy methods, and things to consider when selecting music as regards supplementing the existing concert repertoire. All music teachers with an interest in world music are very welcome!”

On Friday, February 17, we start early in the morning at 8.00 am when Dr. Zhihong Ren, a Chinese professor from Hebei Normal University will bring us the sights and sounds of China. Her session, “The Use of Chinese Traditional Folk Songs in School-Based Curriculum,” will feature her work in bringing traditional songs to the school. China is a vast country with many different regions and ethnicities, each with its own dialect and culture. In modern China, many young students do not know their traditional ethnic music anymore. Therefore, it is an important initiative that she wishes to share with the participants. In her own words: “I will introduce the use of Chinese traditional folk music in school teaching. I will use Chinese Tibetan folk songs as an example. Chinese Tibetan folk songs are sung with a strong rhythmic feeling and accompanied by dance. But such ethnic and traditional music is not a part of the school music curriculum. I have attempted to bring such music into primary and secondary schools gradually, and it is very much welcomed by the students. It also helps the students learn the heritage of China. If anyone interested in the application of traditional Chinese music, particularly Tibetan folk songs, in school teaching, I will show you ways of using it in the school-based music curriculum.”

Dr. Zhihong Ren and two Tibetan students. Students singing Tibetan songs with dance in Shannan Prefecture of Tibet, China.

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After the session on Chinese music, on the same day at 10:30 a.m., Dr. John L. Whitener, associate professor of music education at California State University Northridge will bring us to go further into the heart of Mongolia. This is what he said: What does the indigenous folk music of the Mongolian people sound like? What kind of singing styles and instruments are commonly used? How has the incredible natural beauty of the country influenced these musical practices and styles? Where is Mongolia?! All these questions and more will be answered as we examine the unique “Music Education of Mongolia,” direct from the land of Genghis Khan.

Dr. John Whitener and his two daughters, Noni and Mimi, riding camels in the Gobi desert, Mongolia.

This seminar is the result of two trips to Mongolia in the summers of 2013 and 2016 and will include many recordings and videos of Mongolian musical practices. Come see the famous “horse head fiddle,” hear Mongolian long song, and experience for yourself the amazing throat singing for which the country is so renown. See the gorgeous beauty of the Mongolian countryside alongside the urban sprawl of the capitol city, Ulaan-Baatar. From camel riding to horse herding to sleeping in the circular tent called a ger, this seminar will surely give you a taste of Mongolia.”

In the afternoon of Friday, we will start with Helga Rut Gudmundsdottir, associate professor of music education at the University of Iceland. At 1:30 p.m., she will present her session, Icelandic children’s songs, rhymes and games – the songs that Björk and Sigurros grew up with. She sincerely invites you to join her: “In this clinic I will teach children’s rhymes and games based on Icelandic musical heritage. I collected these when I was preparing a parent-infant class in Iceland over a decade ago. That venture grew into a method in early childhood music that hundreds of Icelandic families have been a part of and it is still growing. A part of the success is the authenticity of the music and some of the songs that have been preserved for many generations. So if anyone is curious about the sounds woven into the fabric of Icelandic musical heritage, this clinic will provide some insights as well as some relevant practical applications for early childhood music classes.”

An early childhood music class in Iceland. A Icelandic boy enjoying the musical activity with his mother.

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CMEA Magazine

Following Iceland, we will then go to Japan. At 3:30 p.m., I will present a session with Rie Aoyama and Katie Takahashi who are my UCLA student-teachers coming from Japanese families. Being a music education scholar who has conducted extensive research on multicultural music education and a music teacher educator who has seen the joy and challenges of bringing world music into the classroom, I would like to share my approaches in teaching world music that will enhance a deep understanding of both the music and culture. This is my personal invitation: “In this presentation, I will collaborate with Rie and Katie in teaching some Japanese songs and dances. This interactive session will get you on your feet and sing in Japanese immediately. We will explore the many genres of Japanese music: singing Japanese children’s songs, examining traditional Japanese musical instruments, dancing to festival music, experiencing the past and present Japanese music. Through these musical activities, we will bring the participants to deepen their socio-cultural understanding of the Japanese music while having some fun-filled activities ready to take to the classroom.

Please come and join us to the beautiful island of Japan.”

On Saturday, February 18, we will start early at 8:00 a.m. again. As mentioned above, Christopher Mena and Giuliana Conti will repeat their session on incorporating world music into band at that time. Then, at 11:30 a.m., Ross McGinnis, director of instrumental music at the Oakdale Joint Unified District, will present his session, “Building Excellence in Modern Steelbands.” Besides sharing his experiences in organizing and directing steelbands, Mr. McGinnis will also bring his ensemble for demonstration at his session.

Last but not least, at Katie dressed in a traditional Japanese yukata for the Obon Festival when she was four years old. Karin dressed in kimono for Shichigosan festival (Photo by Charles Chen Jr.).

2:30 p.m. on Saturday, Ji Hae Lim who is a doctoral candidate at USC will present her work, Asian-American students in applied music studios and their styles of music learning. Ms. Lim received her bachelor and master’s degrees from Seoul National University, Manhattan School of Music and Teachers College, Columbia University. She is keen to invite you all to this research report that she will present: “I taught at New York University as an adjunct faculty in music education department from 2007 to 2009. I currently serve as a head of the CAL School of Music and as director of Young Muse Piano Competition. Over the past years, I have learned much about Asian-American students’ music learning styles and their parents’ musical parenting beliefs and behaviors. If you have any Asian-American students in your classrooms, you might understand better your Asian-American students and parents and boost their educational enthusiasm after attending my presentation.”

As you can see from the above personal invitations of the presenters of 2017 CASMEC world music sessions, we have something really special for you. We plan to give you a wonderful experience of music from the world that you will enjoy and want to bring to your students too.

The 2nd Young Muse Piano Competition at the Colburn School. Lim and her We all look forward to seeing you there. student, the first place winner of the Young Pianist Category at SYMF in 2016.

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Cindy Teresi, Janet Thorgrimson, and George Dozet

Morris Acevedo

Richard Lawton

Otto Gross

Elizabeth Robertson

BethAnn Hepburn

Jennifer Coull

Esther Hollander

Jeremiah J. Jacks

Emily Mason

Jenny Amaya

Christoph Tietze

Elementary and General Music

“Building Auditory Skills in ALL Students – The Key to Music Literacy” - Cindy Teresi, Janet Thorgrimson, and George Dozet “Classroom Management - Discipline, Automated Assessments, Lesson Planning and Customization” - Otto Gross “Differentiation in the Active Music Learning Classroom K– 6” - BethAnn Hepburn “Feel the Pulse, Hear the Pitch, and Make it Music!” - Jeremiah J. Jacks “General Music Tools for Connected Students and Teachers” - Jenny Amaya “Guitar Class in High School, An Innovative Approach” - Morris Acevedo

Sarah Van Dusen

“Headbangers Ball – the Recorder Sessions” - Richard Lawton “Integrating World Music Drumming into Your General Music or Choral Curriculum” - Kalani Das “Kinesthetic Connections in the Elementary Music Classroom” - BethAnn Hepburn “Leading the Way: Arts Integration Strategies for TK– 6 Music Specialists” - Elizabeth Robertson and Jennifer Coull “Music Literacy in the Elementary Music Classroom” - Esther Hollander “New Routes to Creativity through Movement” - Emily Mason “Start Them Early, Improvisation Across the Elementary Grades” - BethAnn Hepburn “Teaching Solfege through Square Notation” - Christoph Tietze “The Great Transition: Strategies for Supporting Vertical Articulation Between General Music and Beginning Band” - Sarah Van Dusen “World Rhythms Drum and Dance Jam” - Kalani Das

Kara Ireland D'Ambrosio

Lisa Cornejo

Kelly McCarley

Mildred Yi

Michelle Jamieson

Kathleen Janerty

Collegiate

Preview

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“Earning your National Board Certification in Music” - Kara Ireland D’Ambrosio, Lisa Cornejo “From Student to Teacher: Resumes, Interviews, and the First Year” - Kelly McCarley “Instrumental Conducting for Music Education Students” - Mildred Yi “Present on the Podium” - Michelle Jamieson “Want to Improve Your Teaching? Swipe Right!” - Kathleen Janerty CMEA Magazine

You Are Invited Announcing an Open Meeting at CASMEC for the Creation of an Urban & Rural Schools Representative to the CMEA Council of Representatives

F RIDAY, F EBRUARY 17 TH , 2017 FAIRMONT H OTEL – R OOM 214 3:30 P. M . ~ The California Music Educators Association is in the process of creating a new position for the CMEA Council of Representatives. This new position will give unique and particular representation for those music educators who teach in urban or rural schools.

This meeting will be an open forum – for CMEA members and non-members alike – to provide needed input to the creation of this new, critical position within our CMEA organization.

This is an opportunity for everyone to share ideas and thoughts about the needs of urban and rural teachers and how CMEA may assist in those efforts.

The goals for this meeting will be to identify the role and purpose of an urban and rural representative on the CMEA Council of Representative, and to solicit CMEA members as possible candidates for the position.

CMEA President Scott Hedgecock has deemed that the creation of the Urban and Rural Schools Representative to be a major objective during his 2016 – 2018 term. As he has previously stated: “The goal is to identify schools that are outside of our traditional music program realm, who have school-wide challenges that are uniquely different than most suburban schools.

It is our goal to reach out to those music educators and let them know that CMEA and NAfME are for them and their unique needs.”

Consider This!

The students of urban and rural schools are poised to be the beneficiaries of our efforts to create a CMEA Urban and Rural Schools Representative.

Please Do Attend.

~

Please contact Dr. Lawrence Stoffel with any questions: stoffel@csun.edu

Please contact Dr. Lawrence Stoffel with any questions: stoffel@csun.edu 30

CMEA Magazine

Nicholas Chitwood

Wendy Matthews

Kenneth A. Douglas

Rick Ghinelli

H. Ellie Falter

Sofia Fojas

Lisa A. Crawford

Professional Development

“A Changing Federal and State Landscape: What It Means for Music Educators” - Nicholas Chitwood “Assessment: May the Odds be Ever in Your Favor” - Wendy Matthews, Karen Koner

“Meaningful and Authentic Assessment Strategies that Supplement Performance Assessments” - Kenneth A. Douglas “Communicating With Your Administrator or How To Talk So Principals Will Listen” - Rick Ghinelli “Data is the New Kale” - Patricia Wayne “Diverse Approaches to Developing a Nontraditional Ensemble” - Danielle Collins “Getting to Know You(rself ): Mindful Practices for the Music Teacher” - H. Ellie Falter Nancy Taylor

“How to Start a Mariachi Program at Your School” - Sofia Fojas “How to Succeed Wearing the Many Hats of a Music Director” - Leigh Kallestad “Music Teachers Who Compose: Considering Activity Theory, Creativity, and Collaboration” - Lisa A. Crawford “Pain and Injury Prevention for Musicians” - Nancy Taylor “So…You’re The One That Will Be Teaching the Guitar Class” - Mike Christiansen “Songwriting and the Music Classroom” - Stuart Chapman Hill “Teaching Music in Inner City Los Angeles” - John L. Whitener and Lawrence Stoffel “Ukulele: Four strings, So Many Possibilities!” - Mike Christiansen

Mike Christiansen

“Why we’re doubling down on music education in San Diego Unified School District” - Russ Sperling and Cindy Marten

Performance Preview

Stuart Chapman Hill

Russ Sperling

Cindy Marten

Performance

Miller Middle School Advanced Choir Presentation High School Bella Voce Choir

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For a full listing of CASMEC offerings, please visit casmec.org

CMEA Magazine

CMEA State Award Winners and CMEA Awards Gala Invitation

CMEA Southeastern Section

CMEA Bay Section

Phil Vallejo

Randi Carp

CMEA President’s Award CASMEC Coordinator

CMEA President’s Award (Posthumously) Music Educator

CMEA Southern Border Section

CMEA Bay Section

Cindy Marten CMEA Outstanding Administrator Award

CMEA Southwestern Section

Patrick O’Donnell State Assemblymember CMEA Legislative Leadership Award

CMEA Bay Section

CMEA Bay Section

CMEA Capitol Section

CMEA Southern Border Section

CMEA Bay Section

Zack Pitt-Smith

Ashli Rulien

Bill Adam

Anne Fennell

Dr. Eric Hammer

CMEA Middle School Music Specialist

CMEA Music Industry Leadership Award

CMEA Aubrey Penman Retired Music Educator Award

IN-Ovations Award

CMEA John Swain College/University Award

CMEA Southeastern Section

CMEA Central Section

CMEA Bay Section

Dr. Edward Harris

Eloy Adame

Dr. Marchèta Williams

Gregory Conway

Jeri Webb

Jack Erb

CMEA Hall of Fame Award

CMEA Illuminating Culture Award

CMEA Outstanding Administrator Award

CMEA Richard L. Levin Orchestra Educator Award

CMEA Byron Hoyt/Don Schmeer Band Educator Award

CMEA Alfred Publishing Elementary Music Specialist Award

CMEA Bay Section

CMEA Capitol Section

Lou De La Rosa CMEA Pearson Scott Foresman/ Silver Burdett Choral Educator Award

CMEA Southern Border Section

CMEA Southern Border Section

CMEA Bay Section

CMEA Central Coast Section

Dr. Michael Corrigan

Patrick Langham

Katrina Haeger

Ted Alejandre

CMEA Hall of Fame Award

CMEA Jazz Educator Award

CMEA General Music Educator Award

CMEA Outstanding Administrator Award

CMEA Capitol Section

CMEA Central Section

James Mazzaferro

Lynne Faulks

CMEA Hall of Fame Award

CMEA President’s Award CMEA Legislative Advocate

CMEA Southeastern Section

Please join us at the 2017 CMEA Awards Gala!

This event is held as part of the California All-State Music Education Conference – CASMEC, on Friday evening, February 17, 2017 at 5:00 p.m.

The gala will be held at Gordon Biersch Restaurant and Brewery, 33 East San Fernando Street, San José (a short walk from the conference hotels 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://casmec.org/register-for-casmec/ You do not need to be registered through CMEA or for the conference to attend the Awards Gala.

For more information please contact Trish Adams, cmea@calmusiced.com.

Conference Issue 2016

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Join NAfME to help you keep step FOR YEARS TO COME.

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 education and supporting quality instruction from elementary to college levels. With us, you’ll have access to a wide variety of programs, discounts and services to help orchestrate success in the classroom, raise your professional standards, and advocate for keeping music education in our schools.

Join today, visit www.NAfME.org/join.

800-336-3768 info@memberservices2.org

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

by Dr. Lawrence F. Stoffel

California State University, East Bay California State University, East Bay Musekiwa Chingodza, Zimbabwean mbira player, visited Cal State East Bay for a workshop and performance on October 26, 2016. Musekiwa Chingodza was born into a family of great mbira players in Mwangara village, Murewa, Zimbabwe, in 1970. He began playing mbira at the age of five and is self-taught.

Through listening to other gwenyambira, or great mbira players, he developed a strong attachment to and love for mbira music. He says: “Our music is both medicine and food, as mbira has the power to heal and to provide for people. Mbira pleases both the living and the dead.” In 1991 Musekiwa was a key member of the band Panjea, founded by Chris Berry. He composed the hit song Ganda on Panjea’s Zimbabwean album.

Currently Musekiwa teaches mbira at Prince Edward School in Harare. He is an excellent singer, dancer and drummer and plays both mbira dzavadzimu and nyunga nyunga.

Musekiwa is also an accomplished ngoma (drum) player in the Shona tradition, and he excels in playing hosho (gourd shakers), singing, and traditional dance. He is very experienced at teaching all of these skills to North Americans in a friendly and supportive way. Musekiwa has enjoyed many successful North American tours, often accompanied by his friend and mbira partner, Bud Cohen. With his engaging personality, gentle teaching style, virtuoso mbira playing ability and deep immersion in his culture, he is almost always asked to come back for repeat visits. http://www.csueastbay.edu/class/departments/music/news -events/

Conference Issue 2016

California State University, Monterey Bay The music recording/technology concentration spans four classes through which students learn the musical and technical skills necessary to succeed in the industry. In the process, students gain hands-on experience with range of professional-level hardware and software.

The 57,500 cubic feet live room in the CSUMB Music Hall offers a distinctive and flexible tracking space, which includes a Steinway D grand piano. This space is the mainstay of the music recording/technology component at music and performing arts at CSUMB and is expertly managed and maintained in partnership with hardware and software technicians as well as skilled and knowledgeable staff and students.

Our latest addition, Studio B, is equipped with a 40-input SSL Matrix Console, which allows full DAW control of multiple programs across multiple layers. This studio also features Pro Tools 10 and 11 HD, 14 outboard preamps, and Universal Audio plug-ins along with a selection of additional outboard gear.

In addition to the live room and two control rooms, the Music Hall houses two auxiliary Electronic Music and MIDI labs. These spaces provide separate workstations featuring Korg Triton Extreme and Korg Trinity ProX keyboards, Focusrite 2i2 interfaces, and Macs running Pro Tools 11, Propellerhead’s Reason, and Avid’s Sibelius. https://csumb.edu/mpa/mpa-recording-studios

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California State University, Fresno Fresno State Music has hired two new professors. Dr. Cari Earnhart has a doctorate of musical arts degree from the University of North Texas and comes to Fresno State from the American University of Sharjah, United Arab Emirates. Her areas of research include Arabic choral music and vocal epidemiology, and she maintains an active conducting and singing career in the US and abroad. Dr. Maria Briggs, an operatic soprano, has sung with Opera Australia, Pacific Opera, Lyric Opera Weimar, and Glyndebourne Opera Festival, UK. She is a recipient of many Australian operatic awards and scholarships, including MIETTA award for best Australian vocal recital performance, and she has recorded numerous recitals and appeared in live broadcasts for Australian Broadcast Corporation.

Dr. Cari Earnhart, director of choral activities, combines careers as conductor, teacher and singer. Earnhart, a mezzo-soprano, began her professional singing career in New York City and has performed professionally as a soloist in the US, throughout the Tuscany region of Italy and in Istanbul, Turkey. Notable presentations include the Performing Arts Medicine Association (2014) and the Texas Choral Directors Association (2016). http://www.fresnostate.edu/artshum/music/

California State University, Sacramento The 2017 Golden Empire Music Festival: Each spring, the Capitol Section of the California Music Educator’s Association runs a series of band, orchestra, and choir festivals, as well as the solo and ensemble festival, at Sacramento State on select Saturdays.

Participating groups are from area schools, but it’s open and free to the public to come and watch.

Performances run every half hour from 8:00 a.m. to 5:00 p.m., which a lunch break at the noon hour. Festival dates on the Sac State campus will be: • March 4, Solo/Small Ensemble Festival; • March 18, Large Ensemble (vocal and instrumental); • April 1, Large Ensemble (vocal and instrumental); • April 22, Large Ensemble (vocal and instrumental); and • April 29th Large Ensemble (vocal and instrumental). http://www.csus.edu/music/community/

California State University, Sonoma Sonoma State University choir director Jenny Bent has been appointed choral director for the Santa Rosa Symphony. During her two-year appointment, which begins with the 2016–2017 concert season, she will continue to serve as director of choral activities at Sonoma State. In her role as choral director for the symphony, Bent will organize, audition, and rehearse choirs of singers. She will also continue to direct the SSU Symphonic Chorus.

“Given that we are now the resident orchestra of the Green Music Center on the campus of Sonoma State University, we are delighted to have Jenny Bent join the Santa Rosa Symphony for our choral concerts in the upcoming season,” said Santa Rosa Symphony Executive Director Alan Silow. “Her delightful energy and enthusiasm as a choral director will help us build upon the foundation of choral excellence that has been a tradition in our community for many years.”

The symphony has a choral program scheduled this year for its December 3–5 performance and for April 7–9, 2018. Both programs will be performed in Weill Hall at Sonoma State’s Green Music Center.

Bent replaces Choir Director Bob Worth, who held the position from 2002 to 2015 and served as a music professor and choir director at Sonoma State during a portion of that time. http://www.sonoma.edu/music/spotlight/

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

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CMEA Magazine

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