CMEA Magazine Summer 2024

Summer 2024

Woohoo!

Get kids performance-ready in no time, with Breezin’ Thru Theory and now with Fingerings too! The super-fun Breezin’ Thru Fingerings are timed-response drills for beginning and intermediate players. Kids simply pick their instrument or voice and try to beat the clock matching notes to correct finger positions. As they progress through the levels, students build rapid response and mastery. Level the playing field and accelerate your performance programs by integrating Breezin’ Thru Theory, now with Fingerings too.

Woohoo! Fingerings now available for:

Band

Orchestra

Guitar

Solfège

Recorder

Ukulele

Mallets/ Keyboard

In This Issue

24 North Coast Section Update by Holly MacDonell, CMEA PresidentElect

25 Northern Section Update by Tanner Johns, CMEA Northern Section President

26 Southeastern Section Update by Dr. David Betancourt, CMEA Southeastern Section President

28 Southern Border Section Update by Christian Tordahl, CMEA Southern Border Section President-Elect

a Statewinde Mentorship and Support Program: How California Developed a New Model by Ryan Duckworth, CMEA Vice President

Bay Section Update by Sandra Lewis, CMEA Bay Section President

Capitol Section Update by Christopher Tootle, CMEA Capitol Section President

Section Update by Elisha Wells, CMEA Central Section President

Central Coast Section Update by Samuel Oh, CMEA Central Coast Section President

29 Southwestern Section Update by Dr. Tamara Thies, CMEA Southwestern Section President

30 World Music Pedagogy: Bringing Cultural Diversity Into Your Classroom in Five Steps by Dr. William J. Coppolla, CMEA Globlal Music Representative

35 Retired Members Update by Rita Zigas-Brown, CMEA Retired Members Representative

35 “Be Water, My Friend” by Nico Salum, CMEA New Teachers Representative

36 Facilitating Mindful Communication in the Rehearsal Hall by Dr. Alexander Kahn, CODA Advisory Board

Ad Index

Graphic Designer: Adam Wilke

Editors: Ryan Duckworth and Trish Adams

Business Manager: Trish Adams

E-mail: cmea@calmusiced.com

In This Issue (continued)

38 Music Technology Collaboration Project: Learning Together by Holly

MacDonell,

CMEA Music Education through Technology Representative

39 CBDA Update by David Green, CBDA Director of Communications

CMEA Past Presidents

2022-2024 Anne Fennell, San Diego

2020-2022 Armalyn De la O, San Bernadino

2018-2020 John Burn, Cupertino

2016-2018 Scott Hedgecock, Fullerton

2014-2016 Michael D. Stone, Bakersfield

2012-2014 Russ Sperling, San Diego

2010-2012 Norman Dea, Walnut Creek

2008-2010 Jeff Jenkins, Chula Vista

2006-2008 Cheryl Yee Glass, Danville

2004-2006 Rob Klevan, Pacific Grove

2002-2004 Sam Gronseth, Paradise

2000-2002 George DeGraffenreid, Fresno

1998-2000 Dennis L. Johnson, Salinas

1996-1998 Jay D. Zorn, La Crescenta

1994-1996 Don Doyle, Pasadena

1992-1994 Bill Adam, Roseville

1990-1992 Carolynn Lindeman, Greenbrae

1988-1990 L. Leroy Roach, Walnut Creek

1986-1988 John L. Larrieu, Portola

1984-1986 Vivian M. Hofstetter, Bakersfield

1982-1984 David S. Goedecke, Stockton

1980-1982 Charles L. Freebern, San Diego

1978-1980 Henry Avila, Monterey

1976-1978 Mary C. Reed, Elk Grove

1974-1976 Marlow Earle, Lakewood 1972-1974 Louis Nash, La Crescenta 1970-1972 Anthony L. Campagna, Foster City

1968-1970 Judd Chew, Sacramento

1966-1968 Kenneth D. Owens

1964-1966 Keith D. Snyder, Davis

1962-1964 Gibson Walters, San Jose

1960-1962 Douglas Kidd

1957-1960 Joseph W. Landon, Fullerton

1955-1957 Harold Youngberg, Oakland

1953-1955 Fred Ohlendorf, Long Beach

1951-1953 George F. Barr

1949-1951 Elwyn Schwartz

1947-1949 Clarence Heagy, Fresno

40 CCDA Fall Conferences

41 CAJ Update by Barb Catlin, CAJ President

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

2024 - Cathy Olinger, Michael Phenicie

2023 - Norm Dea, John Abigana

2022 - Marlene Mudge

2020 - Stephen Luchs

2019 - Judi Scharnberg, Jeri Webb

2018 - Dr. Lawrence Stoffel, Dean Hickman

2017 - Dr. Edward Harris, Michael Corrigan, James Mazzaferro

2016 - Dr. Robert Halseth, Rosemarie Krovoza, Rick Meyer

2015 - Dale Anderson, Ann Marie Haney, Dr. Thomas Lee

2014 - Jon Christian

2013 - Orrin Cross

2012 - Gayane Korkmazian, 2012; Gerald E. Anderson, 2012;

2011 - David Whitwell

2010 - Nicholas Angiulo, Vincent Gomez

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

2008 - Duane Weston

2007 - John Larrieu, Mary Val Marsh, Barbara Cory, Bill Ingram

2006 - Carolynn Lindeman, Joe Foster, Paul Shaghoian

2005 - Frances Benedict, L. Leroy Roach, Silvester McElroy, Jerry Kirkpatrick

2004 - Robert Greenwood, Arthur Huff, Lyle Stubson, Lois Vidt

2003 - John Farr, Thomas Eagan

2002 - Larry Johnson, Mary Louise Reilly

2001 - William Hill, Helynn Manning, Wesley “Colonel” Moore

2000 - Vivian Hoffstetter, F. John Pylman

1999 - Lawrence Sutherland

1998 - Chuck Schroeder

1997 - Dean Semple

1996 - Burl Walter Jr.

1994 - Jerry Moore

1992 - Mike Pappone

1991 - David Goedecke

1987 - Marlowe Earle

1985 - Arthur Dougherty

1983 - William Burke

1981 - Aubrey Penman

1979 - Steve Connolly

1977 - Howard Swan

1975 - Russell Howland

CMEA State Council

CMEA EXECUTIVE BOARD

CMEA President Chad Zullinger czullinger@calmusiced.com

CMEA President-Elect Holly MacDonell hmacdonell@calmusiced.com

CMEA Vice President Ryan Duckworth rduckworth@calmusiced.com

CMEA Secretary Emelynn Montoya emontoya@calmusiced.com

CMEA Immediate Past President Anne Fennell afennell@calmusiced.com

CMEA OFFICE

cmea@calmusiced.com 2417 North 11th Avenue Hanford, CA 93230 559 587-2632

CMEA Executive Administrator Trish Adams cmea@calmusiced.com 559 904-2002

CMEA Administrative Assistant Heather Adams hadams@calmusiced.com 559 410-2425

CMEA Legislative Advocate Martha Zaragoza Diaz lobbyist1.mzd@gmail.com

CMEA Magazine Graphic Designer Dr. Adam Wilke awilke@calmusiced.com

NAfME OFFICERS

NAfME President Deborah Confredo debconfredo@temple.edu 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768

NAfME Western Division President Mike Stone stonem@bcsd.com

SECTION PRESIDENTS

CMEA Bay Section President Craig Bryant Craig@cmeabaysection.orgg

CMEA Capitol Section President Christopher J. Tootle president.cmeacs@gmail.com

CMEA Central Section President Elisha Wells elisha.wells@fresnocitycollege.edu

CMEA Central Coast Section President Barry Capiaux barry_capiaux@nmcusd.org

CMEA North Coast Section President Katri Pitts kpitts@cuttensd.org

CMEA Northern Section President Dr. Jane Brown jbrown@pcoe.k12.ca.us

CMEA Southeastern Section President Dr. David Betancourt dbetancourt@cerritos.edu

CMEA Southern Border Section President Emma Schopler emmaschopler@gmail.com

CMEA Southwestern Section President Dr. Tamara Thies Tamara.Thies@csulb.edu

COUNCIL OF REPRESENTATIVES

CMEA CAJ Representative Tina Raymond tinaraymond@tinaraymond.com

CMEA CBDA Representative Dan Bryan dbryan1109@gmail.com

CMEA CCDA Representative Dr. Arlie Langager arlie.langager@gmail.com

CMEA CCDA Choral Leadership Academy Coordinator Dr. Cari Earnhart cearnhart@csufresno.edu

CMEA CODA Representative Tiffany Ou-Ponticelli touponticelli@pausd.org

CMEA Advocacy Day Performance Coordinator John Brasier jbrashie@egusd.net

CMEA Advocacy Representative Armalyn De La O adelao@calmusiced.com

CMEA CASMEC Coordinator Will Melendez itswillmelendez@gmail.com

CMEA Collegiate Council Advisor Representative Dr. Michelle McConkey mmcconkey@csuchico.edu

CMEA Creating and Composition Representative Dr. Megan Foley mfoley@polytechnic.org

CMEA CTA Liason TBA

CMEA DEIA Representatives Adam Green adam.green@ousd.org

CMEA Diverse Learners Representative Becky Stewart rstewart@mjusd.k12.ca.us

CMEA Elementary Music TK-5/6 Representative Dr. Jenny Gee jlgee@sdsu.edu

CMEA Global Music Education Representative Dr. Will Coppola wcoppola@usc.edu

CMEA Higher Ed Music Education and Research Representative Dr. Karen Koner kkoner@sdsu.edu

CMEA Higher Education Representative Dr. Tamara Thies tamara.thies@csulb.edu

CMEA Mentorship Program Chairperson Nora Hunter NHunter@chicousd.org

CMEA Music Supervisors Representative Anthony Dahl adahl@musd.net

CMEA Music Education through Technology Representative Jack Aaron jaron96@gmail.com

CMEA New Teacher Representative (5 or less years) Daniel Crispino dcrispino@rbhsd.org

CMEA Retired Members Representative Rita Zigas-Brown rzigas.brown@gmail.com

CMEA Rural Schools Representative Jeremiah Jacks jeromejacks30@gmail.com

CMEA Secondary Music 6-12 Representative Dennis Feinland dcffeinland@gmail.com

CMEA Social Media Representative Nico Salum nicolosalum@gmail.com

CMEA Tri-M Representative Cassandra Moulton-Rizzo cmoulton@nohum.k12.ca.us

CMEA Urban Schools Representative Claudio Alcantar claudioalcantar@sbcglobal.net

CMEA State Band and Orchestra Festival Coordinator John Burn jburn@calmusiced.com

CMEA State Choral Festival Coordinator Kenneth Haro Kenneth.Haro@svusd.org

CMEA State Solo and Ensemble Festival Coordinator (North) Kari Estrada kaestrada89@gmail.com

CMEA State Solo and Ensemble Festival Coordinator (South) Dr. David Betancourt dbetancourt@cerritos.edu

President's Message

by Chad Zullinger, CMEA President

Hopefully, you’ve had a chance to reflect on this past academic year, celebrate what went well, and think about your areas of growth for the upcoming year. For myself, I just finished my first year as Assistant Professor of Music Education at Sacramento State! Looking back across my teaching career, I have had my share of “first years.” I can honestly say that as I reflect on year 24, I’m getting better and handling those experiences of a “first year.” And yes, I still experience all of the feelings that are associated with the first year of a new job: i.e., planning and updating curriculum, adjusting to a new teaching schedule, building rapport in relationships with students and colleagues, and work/life balance.

As many of you know, I am in the midst of working through my dissertation for my DMA in Music Education through Boston University. In some respects, and I share this with my students, this is my homework as a doctoral candidate/student. Don’t get me wrong, I love this process and the research study I am immersed in when I’m not teaching, working through CMEA activities, being a husband/father, etc.

The reason I share is that not unlike many of you, living through this choice we made to pursue music teaching as a career, whether we are a preservice music teacher, 0-5 inservice teacher, mid-career, PK-12, Higher Ed, retired, I enjoy the variety of hats I wear, as a learner, teacher, scholar, and the activities through CMEA I’ve served on for nearly all of the 24 years I’ve taught, and in my current role as President. In every path and role I have traveled this past year, I could not have survived if it were not for the colleagues and mentors in my professional life as a music educator. As I mentioned in the spring magazine, mentorship, in its various forms and possibilities, is one of the reasons I have a career. For me, it isn’t

something I sought out or intentionally signed up for, it simply has been an integral thread throughout my career. I can’t imagine mentorship not being a component of my professional life. I love to learn, to lean in with curiosity and imagination in conversations with my students and colleagues. CMEA is an organization with a rich history of those who serve, and as a result, those who have led. I believe that service and mentorship are essential elements of CMEA’s identity and purpose. Personally, I can’t remember a time when this wasn’t the case.

CMEA leaders Past-president Anne Fennell, Executive Administrator Trish Adams, President Chad Zullinger, and Collegiate Council President Daniel Crispino

Association for Popular Music Education (APME)

Before heading to Washington D.C. for the NAfME National Assembly, I stopped by Los Angeles for some of my own professional development at the Association for Popular Music Education (APME) 2024 Conference hosted on the campus of USC. Throughout my career, I love the opportunity to attend professional development conferences! Conferences allow me to reflect on my work through amazing presentations and the perspectives of various presenters, helping me to learn and grow from these experiences. Also, in terms of my role in CMEA, if you take a look at the California 3-2-1 report I gave at NASS 2024, one of the ‘opportunities’ I shared for CMEA was to continue to make connections and partnerships with arts and music organizations both nationally and across the state.

Throughout this conference, my curiosity began with questions about the intersection between California’s music industry, what our Pastpresident, Anne Fennell has called, “California’s creative economy,” and the roles or ‘hats’ we wear as music educators. During Rome Thomas’s keynote address, I was able to visualize what this might look like from his concept of “lanes” students might explore as a career in these music industry jobs.

With all of the fantastic work California music educators are currently doing to facilitate authentic music experiences for their students, I really do enjoy the opportunity to look at how we might expand and create possibilities for all students in music classrooms, in schools everywhere throughout California.

Collegiate Leadership Advocacy Summit

Several months prior to the National Assembly, I was contacted by the NAfME Collegiate Council Co-Chairs, Steve Kelly and Katrina Cox, to deliver a keynote address for collegiate attendees from around the country participating in the Collegiate Leadership Advocacy Summit (CLAS). My initial reaction was, “wow!” This feeling evolved into, “I’d better come up with something awesome to share with these collegiate leaders across the country.”

You look at the slide deck I presented from by clicking on that image.

This was an extraordinary moment to share some of my thoughts and ideas around persistence and resiliency in music teaching and learning, and connecting those ideas to the unique perspectives that these preservice music educators are currently bringing to the profession.

I highlight the term current, because as it was observed during their summit, preservice music educators are here now in the conversation, contributing their voice and ideas in a similar way our state leaders were tasked with during the division/regional workgroup sessions. In fact, the collegiates joined us later on Day 2 in our workgroups, as well as Hill Day, to be engaged and included in our workgroups as leaders of an important segment of NAfME membership. California Collegiate Council Past-president, Daniel Crispino, represented us exceptionally well with professionalism and vision for the profession he will officially begin next fall at Red Bluff High School in the CMEA Northern section.

Gareth Dylan Smith, Boston University, Chad Zullinger, Bryan Powell, Executive Director for APME

2024 National Assembly and Hill Day

Executive Administrator, Trish Adams, myself, and the NAfME Western Division leadership, Anne Fennell, President-elect, Michael Stone, President, and Scott Hedgecock, Past-president attended the 2024 NAfME Executive Board meetings and Hill Day in Washington D.C. This was my first opportunity to attend a NAfME National Assembly along with executive boards from state MEAs from across the country. The theme this year was turning Ideas into Practice as a way to discuss and engage with the findings from the 2023 National Assembly participants and merge with what the current thinking and envisioning possibilities for the year ahead.

On the first day, the National Executive Board (NEB) convened for a state of the National organization. The NEB is composed of National executive leadership, NAfME Division executive boards, and NAfME Council Chairs (i.e., equity, composition, collegiate). Afterwards, the State Presidents, Chairs, and State Executives met together for an afternoon of ‘pre-meetings’ before the official start the next day to the Assembly. During this session, we were tasked with addressing the question: How can NAfME serve MEAs, students, teachers, leadership, and communities? In our groups, we responded to aspects of the national and state organizations, centering the conversation on service to the various constituents outlined in a discussion routine known as See, Think, Wonder. It was during this session we were presented with this graphic to show the connections between membership and our National organization.

What I will share is that a common thread among all organizations is the idea of maintaining effective communication. Communication as an opportunity, challenge, in and some cases, an exemplar. Some questions and thoughts that came to mind for CMEA: how do we make and sustain connections throughout all 9 CMEA state sections, council of representatives, collegiates, and the executive board? How do we identify where “bottlenecks” occur in the flow of information through the organization? Our guiding question throughout the day was: How can we ensure that our time together is engaged in learning that is meaningful (both now and in the future) and that lasts beyond the National Assembly? I am hopeful we can work to improve the channels of communication throughout the CMEA executive board, sections, and professional learning opportunities from our Council of Representatives.

Hill Day

On Wednesday June 12, our California delegation and more than 300 music education leaders and advocates convened in Washington, DC, to share the importance of music education with California legislators. NAfME Western Division and CMEA leaders were among the many voices from across the country advocating for music education during the annual National Association for Music Education (NAfME) Hill Day. When we met with members of Congress, we shared our personal experiences of music education’s positive impact on students and communities in California schools. These anecdotes helped facilitate conversation focused on how California legislators can support federal programs and legislation ensuring all students have access to a well-rounded education that includes music.

Again, I am thankful for the opportunity to serve you as President of the California Music Educators Association. I hope you have a restful, reflective, and rejuvenating summer.

CMEA Past-president Anne Fennell, President Chad Zullinger, NAfME President

Deb Confredo, NAfME President-elect Cecil Adderley, NAfME Past-president

Scott Sheehan

CASMEC Elementary Showcase

We are excited to announce that CMEA will host the first-ever Elementary Classroom Music Showcase at CASMEC on Thursday, January 16, 2024! The intent of this Showcase is to feature elementary ensembles on the performance main stage and will feature 4-6 groups representing the variety of music making ensembles and classes existing in Kindergarten through grade 6 settings. Ensembles may include classroom/general music, guitar, percussion, ukulele, Orff, etc.

Deadline to apply - Friday, Sept. 20

Performance day - Thursday, January 16, 2025 An Orff instrumentarium and some drums will be provided and will be communicated to the ensemble once accepted.

Applicants will be notified via email on Wednesday, Oct 2 2024

Click here to apply and perform at the 2025 CASMEC Elementary Showcase in Sacramento!

Music Supervisors/ Leader Gathering

To support the growing number of arts leaders in the state, our next Music/Arts Supervisor seminar will be held in two different locations on two separate days. We will have a meeting in the southern part of the state, followed by another meeting in the Northern California area. Information will be sent out in the next couple of weeks.

For more information, please reachout to Anthony Dahl, CMEA Music Supervisors Representative adahl@musd.net

CASMEC Clinic Application

We are currently accepting applications from individuals interested in giving a Clinic or Presentation at the 2025 California All-State Music Education Conference to be held in Sacramento, CA on January 15–19, 2025.

For more information click here Or email Barb Shinaver and Johnny Sandler with questions at casmeclogistics@gmail.com

The deadline to submit proposals is Monday, July 15, 2024.

Become a Partner Wtih CMEA

Gold Level Sponsors Gold Partner - Annual Cost: $650

• Website listing with logo and web link on corporate sponsorship page of website

• Exclusive Gold Partner access to CMEA direct sponsored email pricing+

• Company name designation with URL link in each CMEA Magazine

• 25% discount on all CMEA Magazine Advertising

• Company name and link as gold sponsor on CMEA state festival programs

+see sponsored email marketing options below

Silver Partner - Annual Cost: $400

• Company name designation with URL link in each CMEA Magazine

• 15% discount on all CMEA Magazine Advertising

• Website listing with web link on corporate sponsorship page of website

• Company name and link as silver sponsor on CMEA state festival programs

Bronze Partner - Annual Cost: $250

• Company name designation with URL link in each CMEA Magazine

• Website listing with web link on corporate sponsorship page of website

• Company name and link as bronze sponsor on CMEA state festival programs

+Direct Sponsored Email (Gold Partner Exclusive)

Reach your customers directly! As a Gold Corporate Partner, you can now have exclusive access to our members through CMEA sponsored emails. Each month, CMEA will send up to two (2) sponsored emails on behalf of our Gold Corporate Partners. Corporate Partners may submit content and formatting to CMEA, who will distribute your email to the members of your choice. Contact a staff member today for more information. Availability is limited. All email content is subject to approval by CMEA. Rates excluded from discounts.

Sponsored Emails

We will send a promotional email to our membership on your behalf. Sponsored emails are only available for our Gold-level Corporate partners. Pricing below is for Gold-level Corporate members; all others will need to factor in the price of a Gold partnership also.

Pricing per Email (March - October)

• One (1) email to all Full Active Members: $350

• One (1) email to any segment (i.e. band, choral, orchestra, elementary): $250

Pricing per Email (November - February)

• One (1) email to all Full Active Members: $500

• One (1) email to any segment (i.e. band, choral, orchestra, elementary): $350

SAN JOSÉ STATE UNIVERSITY

School of Music is pleased to announce and welcome new faculty.

Dr. Jose R. Torres

Assistant Professor of Ethnomusicology

Dr. Luis Orozco

Assistant Professor of Music

Located in the heart of Silicon Valley, SISU's School of Music and Dance is a recognized leader in the performing arts. Our curriculum includes courses in composition, performance, music skills, technology, and improvisation. Our music education program produces some of California's leading educators, scholars, and administrators, and our certified music teacher graduates are in particularly high demand.

DEGREES

With a Specialization In Voice and Opera. M

CONCENTRATIONS IN

CMEA Advocacy Working

Stand Up for Arts Day

On April 30, 2024 representatives and volunteers from all four arts education organizations – Music (CMEA), Art (CAEA), Dance (CDEA), and Theater (CETA) – gathered at the Capitol in Sacramento for our annual Stand Up For Arts Day. On the grounds near the Capitol music ensembles, dance groups, and theatrical casts performed throughout the day. At noon, an event was held where Senator Portantino was honored, and speeches were given by all four organizations about the value and importance of arts education for every student in California. Our CMEA delegation, joined by fellow representatives of our Stand Up 4 Music Coalition, met throughout the day with legislators and their staffs sharing and discussing Stand Up For Music’s 2024 legislative priorities: Oppose the creation of a new Career Technical Education (CTE) Teacher Elementary Arts and Music Supplementary Authorization, Proposition 28 Accountability, Teacher recruitment and retention, and Studentteacher fiscal support.

Advocacy takes action, activism is effective when we engage. Thank you to all of our members who respond to our “call to action” emails, sometimes overnight.

De La O, Ryan Duckworth, Chad Zullinger, Martha Zaragoza

CMEA Advocacy Team (Anne Fennell, Holly MacDonell, CMEA North Coast President, Katri Pitts, Ryan Duckworth, Chad Zullinger) joined by Scott Mandeville, President, Tim’s Music in Sacramento

CMEA Advocacy Team (Anne Fennell, Armalyn

Diaz) visit to the Office of Assembly Speaker Robert Rivas and Misty Padilla Feusahrens, Education Policy Advisor

CMEA Advocacy Team (Anne Fennell, Holly MacDonell, CMEA North Coast President, Katri Pitts, Ryan Duckworth, Chad Zullinger) meets with Andrew Medina, Education advisor to Senate President Pro Tempore, Mike McGuire.

2024 SU4AE organizations honoring Senator Anthony Portantino for his ongoing support of arts education throughout California

CMEA Past-president Anne Fennell and Lobbyist Martha Zaragoza Diaz visit with Assembly member Al Muratsuchi.

CMEA President Chad Zullinger addresses the crowd.

Claire Kreger-Boaz, NAMM Public Policy Program Manager, addressing the crowd.

Senator Anthony Portantino in support of arts education in California schools.

Working For You!

NAfME Hill Day

On June 12, 2024, more than 300 music education leaders and advocates convened in Washington, DC, to share the importance of music education with their federal legislators. CMEA Leaders were among the many voices from across the country advocating for music education during the annual National Association for Music Education (NAfME) Hill Day. Many thanks to the congressional offices and music educators and advocates who made this year’s Hill Day a resounding success!”

When meeting with members of Congress, attendees shared their personal experiences of music education’s positive impact on their students and communities. These anecdotes helped facilitate conversation focused on how legislators can support federal programs and legislation ensuring all students have access to a well-rounded education that includes music.

The event concluded with a joyous and inspiring sing-along held at the Robert Taft Memorial near the U.S. Capitol. CMEA and NAfME extend a note of gratitude to the educators and supporters who work toward ensuring music education for all students.

Mr.

Zullinger goes to Washington!

Gathering before the team meets with legislative offices

Anne Fennell and President Chad Zullinger

CMEA Past-presidents: Anne Fennell, Scott Hedgecock (Past-president NAfME Western Division), Michael Stone (President NAfME Western Division), and CMEA Collegiate Council President, Daniel Crispino at the Capitol in Washington D.C.

CMEA Executive Administrator Trish Adams and President Chad Zullinger visit the office of Representative Kevin Kiley and Legislative Director James Zandstra

California Hill Day Advocacy Team (left to right): Daniel Crispino, CMEA Collegiate Council President; Michael D. Stone, NAfME Western Division President; Angelica Brooks, NAfME Equity Committee Co-Chair; Trish Adams, CMEA Executive Administrator; Anne Fennell, CMEA Immediate Past President and NAfME Western Division President-Elect; Scott Hedgecock, NAfME Western Division Immediate Past President; Claire KregerBoaz, NAMM Public Policy Manager; Chad Zullinger, CMEA President

CMEA Delegation (Angelica Brooks, Daniel Crispino, Anne Fennell, Scott Hedgecock, Michael Stone, and Claire Kreger-Boaz) visit the office of Representative Mike Levin.

NAfME Western Division Leadership

Scholarship Recipients

Don Schmeer Scholarship

Mia Ruiz

Carp Scholarship

Luke Mueller

Randi

Celebrating A Return to State Music Festivals

Solo & Ensemble Festivals

Choral Festival Band/Orchestra Festival

YOUR SOUND YOUR SCHOOL

D E G R E E PRO G R A M S :

Bachelor of Music in Music Education (Pre-Certification)

Bachelor of Music in Performance

Bachelor of Music in Jazz Studies

Bachelor of Music in Composition

Bachelor of Arts in Music

Minor in Music Liberal Arts

Minor in Music Jazz Studies

A U D ITIO N D AT E S

Saturday, November 2, 2024

Saturday, February 15, 2025

Sunday, February 16, 2025

Saturday, March 1, 2025

DATE AND LOCATION

CMEA Band and Orchestra Festival

SELECTION PROCESS

The California State Band and Orchestra Festival, presented by World Projects, will be held on Friday, April 25, 2025, in the world class Weill Hall at Sonoma State University.

PREREQUISITES

Participating groups must have received a Unanimous Superior rating at a CMEA sanctioned festival or have participated in a Comments Only CMEA sanctioned festival during Spring Semester of 2024. CMEA sanctioned festivals include festivals hosted by CMEA Sections, the Southern California School Band and Orchestra Association (SCSBOA), and the Northern California Band Association (NCBA). Participating directors must be members in good standing of CMEA both at the time of application and the festival performance. Applications include a recording of the ensemble performing approximately 15 minutes of music with at least two works that best demonstrate the group’s abilities. All recordings will be uploaded with the online application.

The application deadline is June 30, 2024. Here is the link to the application: https://docs.google.com/forms/ d/1LCzEHUGD0n9RXOrX9jasj_OKWhQsysCd928zAg2XUs/edit

In addition to submitting audio files and copies of qualifying adjudication sheets, the application asks for information about your school size and demographics. The intent of this festival is to showcase outstanding band and orchestra ensembles that represent the diversity of our great state.

FUTURE YEARS FESTIVALS

We plan to return to Cerritos College in Southern California in Spring 2026 and return to Sonoma State in Northern California in Spring 2027. We plan to continue this pattern into the future.

FESTIVAL PERFORMANCE ADJUDICATION

Each ensemble participating in the California State Band and Orchestra Festival will receive recorded comments from a panel of three prominent adjudicators and receive a 20-minute in-person clinic with one of the adjudicators immediately following the performance. You must provide three original scores for each piece your ensemble will perform.

AWARDS/HONORS

The competitive aspect of this festival is the selection process. All ensembles that have been selected and perform at the festival will receive an “Outstanding Performance” plaque following their performance.

PARTICIPANT FEE

The participant fee for 2025 is $475 and is due no later than November 30, 2024.

QUESTIONS?

Contact John Burn, CMEA State Band & Orchestra Festival Coordinator, at jburn@calmusiced.com.

Building a Statewide Mentorship and Support Program: How California Developed a New Model by Ryan Duckworth, CMEA

Mentorship Chairperson

It started with the same question that launches most great enterprises: “What if?” As part of our strategic plan, many aspects of our organization were reconsidered and redesigned, from leadership structure to the way the state was divided into sections.

California, a vast state, is divided into nine sections, each with its own “section music education association” as part of the statewide association. While some sections had robust mentorship programs, others had virtually none. “What if,” our state leadership asked, “we could develop a statewide mentorship program to meet the needs of new teachers across all areas?”

This need is real. Results from research studies suggest nearly 30% of new teachers leave the profession within the first five years. But California already has a mandatory induction program for all new educators. It’s rare for a California university student to finish their undergraduate degree with a teaching credential–far more common to finish the undergrad and then do the credential work which includes student teaching. And then their preliminary credential must be “cleared” through additional work, including the induction program in the next five years.

This meant that our new music teachers were already being supported with an induction coach–though not always one that was fluent in the language and pedagogy of music. We needed to offer a mentorship program that supplemented the induction work without adding to it. It needed to, at its heart, be about growth through professional relationships.

CMEA launched a pilot program in 2018 with a statewide online application process identifying mentee needs and pairing

them with mentors. Despite having over 30 mentor volunteers, there were only about 5-10 mentee volunteers, and the program never achieved the equity the leadership team sought. So, we went back to the drawing board, convening a committee with representation from every section of the state to explore improvements.

Delayed by the pandemic, the mentorship committee reconvened in Fall 2021 under then-CMEA President Armalyn De La O. Two virtual statewide meetings were held to develop a new plan for the mentorship program, incorporating successful elements from the pilot and new ideas to address issues. We needed to better align our program with the California Standards for the Teaching Profession (CSTPs) to make our program more relevant for teachers in the induction program. We needed to find ways to connect to existing NAfME resources as well as state and local resources. And we needed to have dedicated leadership from each section to find local mentor and mentee candidates and support the statewide program.

Implementation of the new program became an early priority for the next CMEA President, Anne Fennell. Over the sping and summer of 2022, her executive board, with a newly appointed “mentorship chairperson,” starting from materials generously donated by NAfME past-President Denise Odegard, we began the process of developing our own training materials, guidelines, expectations, and CSTP aligned materials to support California’s program.

Mentors and mentees were asked to meet at least once a month

and document their journey on a Google Doc, which included needs assessment, long-range planning, and consideration of the CSTPs. A call for mentor volunteers led to an initial training session, leveraging the comfort with webinars and video calls developed during the pandemic.

In the first year, we had twenty-one trained mentors, six trained mentorship representatives, and thirteen mentees who committed to the program. Nearly every section of the state was represented. An end-of-year survey revealed that 75% of mentees found the program highly valuable for their professional growth, and 83% of mentors and mentees felt the program’s time commitment was “just right.”

Despite these successes, we knew we could do more for our members. At the California All-State Music Education Conference (CASMEC), we facilitated a working focus group with mentors, mentees, section representatives, executive board members, and interested guests. This conversation revealed that focusing only on educators in their first five years was too limited. Many situations—changing positions, moving to different areas, shifting to administration, or adding new classes—also required support. We realized everyone needed support at various points in their careers, and having a support system in place destigmatized asking for help.

We rebranded our mentorship program as a “Support and Mentorship Program” and launched a new campaign for recruiting, training, and advertising. Section mentorship representatives were given increased responsibilities, becoming the regional support contacts for all mentors and mentees within their sections. Now, every mentee had two points of contact: a “content” expert and a “section” expert familiar with local opportunities and resources.

In our second year, we had twenty-one trained mentors and a mentorship representative in all seven sections, serving seven mentees, including new and experienced educators at various levels. Our program structure began to reflect the equity we had been

striving for.

There is still room for growth. At another CASMEC meeting this past January, our members requested more asynchronous resources (videos, articles, etc.) that mentors and mentees could access as needed. We aim to move beyond the hierarchical constraints of a mentor/mentee duality to a more egalitarian community of support where everyone can learn from each other.

As we move into a new term under CMEA President Chad Zullinger, a new mentorship chairperson will continue to refine and develop this valuable resource for our members.

It all started with a question: “What if?” And it continues to be driven by reflective inquiry: “How can we do even better?” Our support and mentorship program grows and evolves each year, thanks to the unique mix of needs, dreams, and experiences of everyone involved. Meeting by meeting, year by year, our association and our profession continue to grow because of the dedication of all who have been, and will be, a part of this program.

CMEA State Choral Festival

DATE AND LOCATION

The California State Choral Festival, presented by World Projects, will be held on Saturday, March 29, 2025, in the world class Meng Hall at CSU Fullerton.

PREREQUISITES

Participating groups must have received a Superior rating or have participated in a Comments Only CMEA endorsed festival during Spring Semester of 2024. CMEA endorsed festivals include festivals hosted by CMEA Sections and also the Southern California Vocal Association (SCVA). Applications include a recording of the ensemble performing approximately 15 minutes of music with at least two works that best demonstrate the group’s abilities. All recordings will be uploaded with the online application which will be emailed to all members in May and available on the CMEA website. The due date of the applications is Friday, August 30, 2024. Directors will be notified of acceptance by Friday, September 20, 2024.

Here is the link to the application.

SELECTION PROCESS

In 200 words or less, please write a short paragraph describing your school and choral program. Include anything interesting or unique about your area, program, or your students. This narrative will be submitted to the committee for consideration, so anonymity is essential. The intent of this festival is to showcase outstanding choral ensembles that represent the diversity of our great state.

FESTIVAL PERFORMANCE ADJUDICATION

Each ensemble participating in the California State Choir Festival will receive recorded comments from a panel of three prominent clinicians and receive an in-person clinic on stage with one of the clinicians immediately following the performance. You must provide three original scores for each piece your ensemble will perform.

PARTICIPANT FEE

The festival participation fee is $425. The application and recordings are due August 30, 2024. The participant fee is due immediately upon notification of acceptance but no later than November 30, 2024. All accepted schools will be invoiced with options for paying by credit card or check.

After December 1, 2024, refunds will only be given if the event is canceled due to State or local travel restrictions.

Greetings from CMEA Bay Section

This will be my last message in the magazine before the “Passing of the Presidential Baton” to Bay Section’s incoming President Mr. Craig Bryant. (See his message for you in this issue of the CMEA Magazine.)

It has been such an honor to serve as section president and I am so grateful for all the support I have received these past two years, both from the state and my Bay Section Board. I would love to acknowledge the executive board during my presidential tenure: secretary Angelina Fitzhugh, administrative secretary Paul Lorigan, adjudication chair Bruce Lenacher, treasurer Joseph Kelly, past-president Keith Johnson, and of course our new wonderful incoming president, Mr. Craig Bryant. The generous support and encouragement of these executive board members was phenomenal and I will forever be in their debt as we tackled various issues moving from a pandemic to a post-covid landscape.

I have learned so much and am looking forward to supporting the executive board in my role as past president. There is still much to accomplish in music education both in our section and our state. I am looking forward to being a part of the process.

Bay Section Update

Sandra Lewis

Bay Section President

Welcome from Bay Section President-Elect, Craig Bryant

Hello from CMEA Bay Section!

I hope this note finds you enjoying a well-deserved break from a busy school year! I am excited to take on the role of President of CMEA Bay Section. A huge thank you to our outgoing President, Sandra Lewis, for her positive leadership and organization these past two years. A thank you to our Past President, Keith Johnson, for his work as well. It has truly been a team effort from the entire board to “right the ship” after the pandemic. I finally feel like we are back to where we were before it all started.

Our festival season was huge this year! We served 334 Bands/ Orchestras, 71 Choral groups, and 49 Jazz ensembles at 26 different sites! We were also able to host our first Solo & Ensemble event since the pandemic with a full slate of events. Thank you to all of the dedicated and hard working site hosts, our adjudication panels, and to all who attended a festival this year.

Our annual Bay Section Conference is making the move to November. I am thrilled we will be able to continue hosting professional development sessions and Conference Honor Ensembles at San Jose State University in a very similar fashion as has been our tradition. The dates of the conference are November 15-16. A thank you to the SJSU School of Music and Dance, and especially our official site host, Mr. Mark Lee (Graduate Assistant with the SJSU Bands).

There Goes My Hero. That’s You!

The Capitol Section recently held our annual awards banquet at the Old Spaghetti Factory on J St. in Sacramento on Sunday, June 9th, at 6:00 pm. The room was packed with about 30 people. The evening of celebration, friends, and fellowship was dedicated to six outstanding music educators, an outstanding music industry business owner, and an outstanding administrator in the Capitol Section. The event was organized by our volunteer Awards Banquet Coordinator, Kimberly Foree.

To close the event, I had the honor of providing the following remarks. I hope these thoughts are an inspiration to you, and a reminder to us all that what we do as music educators makes a difference in the lives of those around us. We are each, in our own way, heroes.

“You are all incredible people and you do amazing work. When I look around, I see a room full of heroes... heroes for music education. To your students, to your customers, and to the teachers you support, you are real-life heroes.

Sometimes we can look at all the big problems out there in the world and get overwhelmed. We see poverty, disease, hunger, homelessness, war - and we might think, what difference can I make? The difference you all make is in the daily interactions you have with people inside your circle of influence.

You save the world one singer at a time, one violinist at a time, one clarinet player at a time; one young musician at a time.”

As you take your well-deserved rest over the summer break, also take a moment to remember that you make a difference in your students’ lives. You are their hero.

2024 Capitol Section Awards Recipients

Outstanding Service Award: Kris Tague, Tague Music

Outstanding Elementary Educator: Sarah Brown, San Juan Unified

Outstanding Band Educator: Patrick Neff, West Park High School

Outstanding Choral Educator: Wendy Carey, Bella Vista High School

Capitol Section Update

Christopher J. Tootle

Capitol Section President

Outstanding Orchestral Educator: Elicia Masztal, Vista Del Lago High School

Outstanding Title 1 Educator: Joan Slabaugh, Antelope Crossing Middle School

Outstanding Administrator: Jennifer Wilbanks, Elk Grove Unified Nick Angiulo Music Educator of the Year: Stephani Sugano, Chilton Middle School

CMEA Capitol Section awards recipients, 2024 from left to right: Kris Tague (Industry), Joan Slabaugh (Title I Educator), Wendy Carey (Choral Educator), Sarah Brown (Elementary Educator), Stephani Sugano (Educator of the Year), Jennifer Wilbanks (Administrator). Not pictured: Patrick Neff (Band Educator), Elicia Masztal (Orchestral Educator).

The Central Valley of California is famously known for many things. Tulare County is the nation’s leader in milk production. The first modern landfill built in the U.S. is the Fresno Municipal Sanitary. Fresno is also the second largest producer of almonds in the state. Madera is often referred to as the “heart of the state” since it’s located in the very center. The Central Valley aquifers actually supply 20% of the nation’s groundwater. We not only possess over 1,500 farms and ranches in Madera county alone, but we also have a rich multicultural and multinational community.

But in addition to all these wonderful contributions to our state-wide community, the CMEA Central Section is actively and vibrantly growing the next generation of musicians! The Fresno County Office of Education has employed the largest number of VAPA staff of any county office in the entire state. The Central Section hosted 554 large ensembles in festival, and 416 entries for Solo & Ensemble Festival. This is a sizable increase from our 2023 participation, and we are excited about the future!

Here are some things on the horizon for the Central Section:

• CSU Bakersfield is hosting the Kodaly Institute, June 24July 12. For more information, visit https://kodaly.csub. edu/

• CMEA Central is proud to support CBDA in hosting the 2nd Annual Super Saturday for All State Ensemble training and preparation on Saturday, September 7, at Fresno City College.

• The Central Section is hoping to implement a new program in 2025 that serves our music directors where they are. CMEA will offer a program that allows music teachers to arrange for clinicians to visit their schools and clinic their groups on-site, if attending a festival is unattainable.

• Two performing ensembles from the Central Valley were chosen as featured performing ensembles for CASMEC 2025 in Sacramento. Congratulations to Dr. Jennifer Heder and the Fresno City College City Singers, and to

Central Section Update

Elisha Wells

Central Section President

Mr. Scott Downs and the Clovis East High School Wind Ensemble! We look forward to hearing your performances and supporting you at the next state conference!

As you take a break and refresh your musical self, remember that your contribution to our society as a music educator is critical to the advancement of the next generation of musicians. Not only are you helping to shape our music leaders, but you are helping to raise good humans. Enjoy your summer, relish in your accomplishments and the victories of your students, and give yourself a pat on the back. You’ve earned it!

Reflection

As of June, I’ll be ending my term as section president. The last two years have been very challenging. I am not going to lie. Being president just right after the pandemic has been excruciating. Picking up the pieces and trying to put them back together was difficult. The biggest difficulty was just trying to bring back all of our events after being a hybrid of online performance or being absent for two years. You can imagine membership has dropped significantly during that time period. My first goal was to bring back as much normalcy as possible.

During my first year as president, there was pushback from many vendors on holding our honor events or festivals. Many refuse to host. We were very fortunate that we had Cabrillo Community College hold most of our events. They have been our lifesaver for the last two years. Another difficulty during my first year as president was the heavy rain that caused major flooding throughout Monterey, Santa Cruz and San Benito county. Due to the heavy rain, we had mini islands and road cutoffs that we had to forgo all of our festival events. It was unfortunate that had happened. Many schools were looking forward to attending the festival.

We had one successful festival, which was the YES! Festival (Young Ensemble Showcase). This was the only festival we had successfully carried out during my presidency. This festival happens in early February. What is great about this festival is that it engages our elementary music and general music programs. Different elementary and/or middle schools come together to perform in front of each other with no judges. As the name suggests, it is a showcase of students performing in front of their peers with no pressure of being judged. Every year we hold this event, slowly more and more general music teachers are attending. Our goal is to increase membership towards the general music teachers and have them be more involved and appreciated within our section.

Now during my second year as president, we were able to have all of our events except for the Large Ensemble Festival and Choral Festival just like the year before. The biggest challenge was finding venues. Most of the community colleges within our area either had hosted us for honor groups or had some type of construction

Central Coast Section Update

Sam Oh

Central

Coast Section President

happening. There was actually one community college we were hoping to host at and we have used their facilities many times, but it was very difficult working with their coordinator, who was not very cooperative. That was a huge loss for us.

As I look back at all the successes and failures, there are many things we could have improved on, but as the saying goes, for every failure there is a success. There was a huge learning curve, and I came to learn what it means to be a successful leader. I hope I can take away everything I learned being president for the last two years. For the next two years, my goal is to help our current president and president-elect as much as I can and give them guidance.

Excitement fills the North Coast Section this summer as we experience a multitude of changes! In addition to welcoming new board members to President (Katri Pitts), Vice President (Lisa Jouaneh), Secretary (Jill Petricca), and Treasurer (Meadow Lo) positions, several teaching positions are also being adjusted with retirements, district transfers, and fresh hires taking place.

Summer provides an ideal time for reflecting on the past year and exploring innovative ways to support our students. For example, I attended a two-day workshop hosted by the Humboldt County Office of Education called “Cultivating Well-Being and Belonging in Schools.” The time of the workshop (right after the end of the school year) allowed me to reflect on the year and envision how we can work to create inclusive environments for all students at our schools.

The North Coast Section is actively working on providing support for more students, evident in the addition of a Percussion Ensemble to our annual North Coast Music Festival (formerly known as the All County Music Festival). Additionally, we have changed the name of the festival to better represent both Humboldt and Del Norte counties and the students participating.

Another initiative promoting student success is our participation in the CBDA and CODA Super Saturday event held at six locations statewide, including Eureka High School.

It is also important to focus on our own rejuvenation this summer, revisiting routines and recharging for the upcoming school year. Instead of allowing the season to slip away, setting goals with deadlines can help ensure that personal projects are completed during this well-deserved break.

I hope your summer is invigorating, inspiring, and rejuvenating, while offering moments of tranquility and selfreflection.

North Coast Section Update

Holly MacDonell CMEA President-Elect

Greetings from the North Section!

I hope that you are finding comfort in summer, that all of your end-of-year musical performances went well, and the school year has come to a relatively comfortable close.

My tenure as president of the Northern Section is coming to an end. I am proud of the accomplishments we’ve made in my time as president on the board, though I feel we’ve also opened many topics for discussion that have created somehow more work to be done in serving you all and bettering the state of music education in our section. Fortunately, come June, you all will be in tremendous hands with Dr. Jane Brown taking over as the section president and leading your executive board. I am so happy to hand off my responsibilities to Jane and I know she is more than up to the challenge of continuing to push for more and better from our board.

With summer now upon us I am excited to announce our 2nd annual summer Northern California Music Teacher Kodaly Institute. Attending as a participant and student last summer was one of the best things I’ve ever done as a teacher. If you can find a way, please consider joining us this summer. We have moved the sessions to July so that people with earlier returns to school have the opportunity to join us. Our dates are set for July 14th – 26th. You can find more details and registration information on our website In addition to the amazing professional growth, the course can be taken for up to 5 continuing education units. Should Northern Section members complete the summer course, they can submit a receipt to the CMEA-NS Board and we will refund you the course fees.

Mitch Bahr, our Vice President, has been working with Dr. Robert Denham on a commission piece for our January 2025 Jr. High Honor Band. We are still working on the details but I am VERY excited about this project. You’ll find more information coming in August with our new CMEA-NS Newsletter.

Finally, in an effort to better serve membership from across our section, which is geographically quite large, the board is searching for people who might be interested in acting as regional representatives on our board. These would be non-voting members

Northern Section Update

Tanner Johns

Northern Section President

that would attend our board meetings and would be able to speak for their region and report back to the membership there. Please reach out if you are interested in getting more involved and if this role sounds appealing to you.

I sincerely hope you all have a reinvigorating and restful summer.

A colleague said something to me this week that made me smile and reflect. The statement: “The work isn’t slowing down, you are slowing down.”

He wasn’t taking a dig at me or even referring to an ebb in my boundless energy. I do believe he was referring to my age and the constant tasks that never seem to slow down. I can now confidently reflect on being at an age of a very fine wine. And while I will deny to my dying day that I am slowing down, my colleague did make me think: Am I working too hard?

Of course, we all work hard, maybe even too hard. We bring such passion to our students, our programs, our communities. Often, our passion can put us in that zone that creates a spinning cyclone of activity. Have any of you ever run an event and found yourself running around everywhere making sure everything is just as it should be? No? Just me? Of course we have. It seems to be in our profession’s nature. As I took a moment to reflect, I came to the conclusion that my colleague’s comment gave me the opportunity to remind myself of an important mindset that I occasionally set aside: My way is not the only way, so don’t do it alone.

This is how I implement that mindset:

1. I work on developing a culture of learning, for everyone, including myself. Acknowledging that you don’t know the answer to everything, and that you are not able to do everything, is an empowering climate to set. It gives you the opportunity to demonstrate to your students that you are still learning, that you want to learn, and how the learning process can take place.

2. I put the time into training student leaders/parents instead of working on doing everything myself. I found that very quickly, the leaders were sharing and training others and the skills and culture become self-perpetuating. My role becomes one of maintaining and oversight instead of trying to run everything. Things might not always go exactly how you imagined, but there is constant learning, teamwork, a sense of community, and a sense of value and respect. And guess what? You give them the freedom and guidance to lead and you might find they bring creativity

Southeastern Section Update

Dr. David Betancourt

Southeastern

Section President

and alternative ideas that result in an exceeding of your expectations.

3. I remind myself that students haven’t had the musical training I have and there are often times when I incorrectly assume they understand or know something by me simply stating it. Two examples: practice and sectionals. I make sure I spend time, in a large rehearsal setting, demonstrating how to practice at home. I do the same for how a sectional can run so that students don’t try to mimic a rehearsal, or end up practicing in a large group setting. Again, they may seem to take a bit of time at first, but you will soon see the skill set transfer.

I am sure you have more strategies. Share them with colleagues. One thing is for sure: The sense of value, respect, teamwork, camaraderie, worth, and belonging are palpable. And guess what? You end up having more time to connect with your students through the power of music.

And as far as the CMEA Southeastern Section activities, we have fantastic opportunities planned for the coming year. Keep an eye out for our Student Leadership Symposium, Alternative Ensemble Festival, Mariachi Showcase, traditional festivals, a regional solo and ensemble festival, Social Hang at CASMEC, and collaborations with state-level CMEA events. We continue to strive to find ways to support and help our membership and their students. Feel free to jump on board!

Enjoy the summer! Some may have a few days off or just a change of pace, or activity. Regardless, enjoy! Enjoy! Enjoy!

Greetings from CMEA Southern Border Section!

A very hearty summer greeting to all our fellow music educators from sunny Southern California! As I begin my term as President-Elect for the Southern Border Section, I am pleased to assist our President, Emma Schopler, with the writing of this update, as she is currently on maternity leave.

A bit about me: I currently have completed my first year as VAPA Coordinator in La Mesa-Spring Valley Schools, just east of San Diego. I have been a music educator since 1989, and have taught band, orchestra, guitar, and general music at all levels in four states - New York, New Jersey, Florida, and for the past nineteen years, California. I am also Artistic Director for Hillcrest Wind Ensemble, a local community band, and play trumpet in the Pomerado Brass Quintet.

These are interesting times for education in California. Who would have thought we would have money available for arts education while the rest of our education budget faces cuts? While this is wonderful news for us, we must remain vigilant that our AMS (Arts and Music in Schools Accountability Act - Prop 28) funds are supplementing the arts in our districts. This can be a challenge, as other departments in our schools may be facing cuts. Be vocal with your non-arts colleagues so they know that these funds are separate from the regular school budget. They do not take any funds away from it, but add to the overall school budget.

We have seen a mix of AMS implementation results here in the Southern Border Section. I am happy to share a success story with my current district, La Mesa-Spring Valley Schools. We have spent this year planning VAPA programs for our elementary schools, which have never had comprehensive VAPA instruction. We’ve hired visual art and music teachers for next year, who will see every student in grades TK-5. We also worked on identifying gaps in our middle school VAPA electives, and began hiring teachers for those courses next year. Additionally, we have identified local arts partners to bring in for residencies and professional learning. One highlight from this year was bringing in a local dance organization, TranscenDANCE Youth Arts Project, to run two professional

Southern Border Section Update

Christian

Tordahl

Southern Border Section President-Elect

learning sessions for our elementary classroom teachers titled “SEL Through Movement.” They were a huge success!

As we all know, an increase in arts education means we need more music educators. This makes our professional organization that much more relevant, especially around the professional learning needs our members will have. It’s a good time for us to reflect on how we can support our members at all levels, and at all stages in their careers. Music education has been evolving, and we must continue to provide opportunities for our student musicians and music educators that are relevant and allow us to grow into a future where every child in our state has the ability to access a sequential, standards-based music curriculum from grades TK through 12, and beyond.

Summer is a time to reflect, and also a time to celebrate. It is clear that as music educators, it is our time to shine! Take the opportunity to relax, recharge, and reinvigorate yourselves so we can all come back in the fall to those bright, smiling faces who need music in their lives. Thank you for all you do and have a wonderful break!

2024 Association for Popular Music Education Conference

The Association for Popular Music Education (APME) held their annual national conference at the University of Southern California in Los Angeles, June 5 – 8, 2024. The mission of APME is to promote and advance popular music at all levels of education both in the classroom and beyond. The conference brings together K-12 music educators, high school and collegiate musicians, researchers, as well as industry professionals.

The 2024 conference theme focused on Coming Together: Considering the Past, Present, and Future of Popular Music Education. Presentations ranged from ways to incorporate AI into music projects to pop grooves for Orff ensembles to diverse panels and perspectives that included education- and industrybased specialists. Multiple styles and mediums of music are shared including, but not limited to, hip-hop, digital music making, music production, songwriting, and film soundtracks. For a complete view of the presentation topics for the 2024 conference, please reference https://apmelosangeles2024.sched.com/.

As a consistent participant at APME conferences across the country, I have found that the members and participants in this organization embrace differing ways of thinking and developing the whole musician. Speakers spark ideas for others to adapt and use in their own settings. It is an exhilarating conference for those who wish to expand the role of music in our lives and what that means to individuals. Please watch the video that showcases a few individuals’ insights, purposes, and take-aways from the 2024 APME conference.

Southwestern Section Update

Dr. Tamara Thies

Southwestern Section President

World Music Pedagogy: Bringing Cultural Diversity into Your Classroom in Five Steps

by William J. Coppola, Ph.D., CMEA Global Music Representative

I have long argued that the absence of cultural diversity in some music educators’ classrooms is not a sign of resistance or dissent, but more likely a matter of uncertainty. Like many music educators, I remember first entering the elementary classroom and feeling like I had no idea what I was doing. But I found reassurance in identifying with a methodology that would give me a stronger sense of how to organize and sequence my instruction. For me, it was the Kodály method that provided this invaluable security blanket early on in my career. Generally speaking, it seems that we tend to appreciate some degree of structure, especially early on in our teaching.

Anyone who knows me as an educator knows that I wholly embrace the “messiness” of teaching; for me, it’s the best part. I love the unpredictability that our students bring to our lives and classrooms. But in the muddy waters of teaching ever-evolving and endlessly complex human beings, I also find comfort in knowing exactly how I should start planning for Monday’s lesson: how I should sequence my activities, what kinds of questions I should be asking, how I might plan my formative assessments, and so on.

Of course, this shouldn’t be mistaken for rigidity; I was forever mindful of the pitfalls of becoming a “methodolatrist” (Regelski, 2002) who treated teaching approaches like religious doctrines. Still, a good dose of structure can help build our self-efficacy, allowing us to allocate precious brain power to other matters— such as why Tommy keeps sticking his mallet up his nose or how I should address Lucy’s snickering whenever she hears music that is “different.”

I was always passionate about bringing culturally diverse music into my PK–5 classroom, but I still sometimes felt like it was shortchanging the value of the music itself. As a Kodály teacher, I usually defaulted to teaching the sonic properties that would contribute to our learning of a particular concept—whether it be the “tam-ti” (dotted quarter-eighth) in the Congolese song “Banaha (Si, Si, Si),” or the “low la/low sol” in the Caribbean folk song “Four White Horses.” This worked well (I think) for a while, but what about the vast array of global music that doesn’t reinforce these Western concepts of pitch and rhythm? Looking back, I’m almost ashamed to think about how many wonderful songs I uncritically discarded because they simply didn’t fit my (overly-) structured and still subversively Eurocentric curriculum.

It was years later, while completing my doctorate at the

University of Washington, that I discovered the World Music Pedagogy (WMP) approach, first developed by Patricia Shehan Campbell (2004). While this time around I was far more critical toward the pitfalls of taking too narrow a view of methodology, I also found a similar degree of comfort in the WMP approach because it (for one) provided me with a clearer idea of how to logically sequence learning experiences over the short- and longterm.

In this brief article, I will introduce the five dimensions of the World Music Pedagogy approach, followed by a quick learning pathway to illustrate its possibilities in practice. WMP divides the teaching and learning of world music cultures into various stages that scaffold from directed listening, to participatory musicking, to full-on creation (Campbell, 2018). To be clear, WMP is not the only approach to teaching music from diverse cultures, nor is it only appropriate for teaching so-called “world music.” (An important aside: I don’t have the space to fully unpack my discomfort with the term “world music” here, but suffice for now to say that it’s often used in Othering ways—i.e., to divide between Western music as “high art” and world music as “lowbrow.” As much as several WMP practitioners share this same concern—which should perhaps compel us to rethink the name—I also argue that it’s not the name that itself dictates how we should choose to ethically utilize the approach in our own teaching.)

Attentive Listening

The WMP approach starts with the belief that listening is at the core of music learning. We cannot aim to value music from different cultures if we don’t take the time to really understand the properties and functions of these musical traditions in peoples’ lives. Therefore, the Attentive Listening dimension begins with short, repeated listenings of the same ~30–60 second clip, which helps students to develop familiarity over time as they direct their attention toward specific sonic properties. Questions are presented in ask-listenrespond teaching frames in which teachers guide students’ listening toward the music’s instrumentation, form, melodic contour, texture, and so on (e.g., What instruments do you hear? Does the melody move by step or skip? Is the beat even or uneven?).

The teacher might also wish to engage the students in speculative questions about the music’s sociocultural purposes: Where in the world do you think this music might be from? In what

sort of setting do you think this music would be performed (formal/ informal; outdoors/indoors; religious/secular)? Who do you think typically performs this music (professional/folk musicians; children/ adults)? What purpose do you think this music serves (presentational/ participatory; dancing/listening; protest/peace)?

For these questions in particular, I’m not necessarily looking for students to have the “correct” answer; speculation can often tell us a lot about the implicit assumptions that students might hold toward certain music cultures. Anytime I ask a speculative question, then, I always follow up with “What makes you think that?” which allows the student to verbalize their thinking and for me to potentially uncover (nonjudgmentally!) their potential biases—which we can then address across future learning experiences.

Engaged Listening

As students continue to direct their listening toward specific aspects of the music, the natural penchant to respond through singing, playing, and moving arises. In fact, I try to transition toward participatory musicking (as we call it) as soon as possible, since no one wants to learn about music through passive listening alone. At the same time, we don’t want to jump to this dimension too quickly, or else students will miss out on vital aspects of the music that is needed to understand the value and purpose of the music they are learning and performing. Using the same recording clips, students’ listening should now be directed toward some sort of participatory gesture—whether tapping along with the micro/macro beat, physically outlining the melodic shape, or singing the melody on a neutral syllable.

When is the “right time” to get started with the Engaged Listening dimension, though? Assuming sufficient time has been spent on the previous dimension, teachers should begin introducing Engaged Listening activities as soon as students demonstrate readiness to be successful for the questions at hand. For example, students might be able to tap the steady beat after just a handful of listenings, but might need more time before they’re able to hum along with the full melody.

Enactive Listening

The Enactive Listening dimension flows naturally from Engaged Listening, and both constitute the core of WMP’s participatory musicking emphasis. At the same time, the end of Engaged and the start of Enactive listening is often quite fluid as students gradually develop deeper levels of familiarity with the music in question. By the time they are fully immersed in the Enactive Listening dimension, students should be able to confidently sing or play the musical selection toward independence, with and without the recording. Students might now also combine the musical “parts” into a cohesive whole at this time—the melody with its harmony, perhaps, or a rhythmic ostinato performed on instruments while others sing.

Creating World Music

The fourth dimension represents the pinnacle of WMP’s participatory spirit. As students continually develop deeper levels of familiarity with the music, they usually begin to express themselves creatively within it, naturally inventing and improvising original ideas within the style of the new musical tradition. Of course, as music educators, we need to balance students’ inclinations for spontaneous creation with ethical ways of doing so. As much as we want to encourage our students toward free expression, we also need to be sure that these activities don’t simply perpetuate exoticizing or

stereotyping understandings of the music culture at hand. For this reason, we should be careful not to rush into the Creating World Music dimension too quickly, but to steadily develop the confidence to know that our students are committed to upholding the highest degree of respect for the traditions in which they are participating.

There are countless ways for students to create new and original music in the spirit of a specific model. To name a few: while learning Egyptian taarab, students might improvise their own melody using the piece’s maqam (mode). While singing an Appalachian ballad, they might compose new lyrics and sing them over the existing melody. Or, after performing a Japanese folk song, they might isolate a particular motive and compose a new melody using a different treatment of that motive.

Integrating World Music

Although listed last, the Integrating World Music dimension most certainly should not be executed at the end of the WMP process. Rather, it should be incorporated throughout the entirety of a given music learning experience. It’s not enough to simply use culturally diverse music in a purely utilitarian sense; that is, to just borrow it for teaching some (usually Western) concept (as I did as a young Kodály teacher). The Integrating World Music dimension, then, compels us to learn about all aspects of the musical culture in question, especially as it relates to the lives of the people who make it. It is this dimension that keeps our efforts tied closely to the experiences of those whom we wish to elevate through our music. As such, this dimension should not be relegated or overlooked.

Conclusion

While I don’t have the space to unpack all of the nuances of the WMP approach here, it’s my hope that teachers might be able to use this guide as a jumping off point—to see the possibilities of WMP in developing familiarity and comfort with what is unquestionably a worthwhile musical endeavor. Using WMP as a launching pad of sorts, we should feel empowered to build from it and improvise the paths that will work best for our own students and our teaching contexts. In this way, we can build upon the strengths of WMP’s sequenced approach while avoiding the tendency to treat it as a “recipe book” or blanket “how-to guide.”

I encourage those who are interested in learning more about World Music Pedagogy, or global music more broadly, to either (a) pick up their relevant volume of the World Music Pedagogy books, published by Routledge, (b) participate in the many WMP courses around the country (both in-person and online), or (c) email me directly for any questions you may have. The provided lesson box below is just one possible example of a World Music Pedagogy learning pathway from start to finish.

References

Campbell, P. S. (2004). Teaching music globally: Experiencing music, expressing culture. Oxford University Press.

Campbell, P. S. (2018). Music, education, and diversity: Bridging cultures and communities. Teachers College Press. Coppola, W. J., Hebert, D. G., & Campbell, P. S. (2020). World music pedagogy, Volume VII: Teaching world music in higher education. Routledge. Regelski, T. (2002). On “methodolatry” and music teaching as critical and reflective praxis. Philosophy of Music Education Review, 10(2), 102–123. https://doi.org/10.2979/ pme.2002.10.2.102

Materials:

• “E Maru Rahi,” Royal Tahitian Dance Company, Smithsonian Folkways Recordings.

• Ukuleles (or substitutes), shakers, pens/pencils, paper

Attentive Listening

1. “What instruments in this recording are providing the underlying groove or rhythm?”

2. Play track [0:00–0:54] and field responses.

A: Ukulele, shaker

3. “What adjectives would you use to describe the mood of this song? Is it energetic or calming? Celebratory or mourning? Reflective or showy?”

4. Play track [0:00–0:54] and field open responses.

5. “Given what you’ve heard so far, where in the world might you place this song?” (Hint: If you listen closely, the singers will make reference to the location!)

6. Play track [0:00–0:54].

A: Tahiti. (The singers mention Tahiti at 0:49 in the song.)

Engaged Listening

1. “Can you sing along with the melody on a neutral syllable?”

2. Play track [0:00–0:54].

3. Post the lyrics on the board or projector. “Now, can you sing along with the melody with the lyrics? We will sing it several times through so you can hear how the lyrics fit the melody.”

E maru rahi e aue ua moe to tino e ita to mata e ite faaho e e ita to mata e ite faaho e to’u aia here

o Tahiti rahi e

4. Play track [0:00–0:54] and repeat as necessary.

5. When ready, provide ukuleles to students.

6. Guide students toward the two main chords of the song, F and C7. These chords are considered to be straightforward enough for inexperienced students to attain quickly. For more advanced students, also provide the third chord, B-flat, and allow students to self-select their desire to attempt this more challenging chord.

7. If desired, split the ukulele-playing students into three groups: those playing only the F chord, those playing only the C7 chord, and those playing only the Bb chord. For students with prior experience playing the ukulele, allow them to switch between all three chords on their own.

Enactive Listening

1. Displaying the chord progression on the board, have students play along with the recording [0:00–0:54] on their instruments by playing only their respective chords (or self-selecting their own challenge):

F

Verse: ||: F F F F

2. “Now, let’s continue playing the ukulele harmony along with the recording, but let’s add the singing back in as well. Try to sing the lyrics while playing, or sing on a neutral syllable.”

3. Play track [0:00–0:54] and repeat as necessary (until students become more comfortable with singing and playing)

4. “Finally, let’s try to play this whole section on our own, without the recording.”

5. Perform as a group without the recording. Immediately after, play the track again [0:00–0:54] and have students compare their performance with the recording. Repeat this step until the students feel comfortable performing it on their own.

6. Ask, “what else can we do to further bring our performance closer to the recording?”

Answer: Add the sung harmony, add Polynesian dance, etc.

Creating World Music

1. Students could write new lyrics to accompany the “E Maru Rahi” melody. They might choose to use the existing topic of the song (the loss of the singers’ brother) or an entirely different topic (to be decided by the class).

2. In small groups, have students compose poetic verses regarding their topic

3. Have a small group of students play ukuleles and shakers as each group’s newly-composed verse is displayed on a projector.

4. While the instrumentalists are playing the harmonic accompaniment, have the rest of the class sing the new lyrics using the original melody.

Integrating World Music

1. Geography: How do geography and landscape impact the materials available for construction of musical instruments, and how is this reflected in Tahiti?

A: Tahiti’s traditional instruments include ihara (struck bamboo percussion), the vivo (nose flute), and the pu (conch trumpet)

2. History: Reliable resources can aid in telling of Tahiti’s “discovery” and colonization by Europeans. Tahiti has been long associated with dance, and Tahitians know that there is great beauty in how these ensembles attain unified gestures with harmonious singing and instrumental accompaniment.

3. Social Sciences: Notable industries and products associated with the island economy of Tahiti are pearls, coconut products, vanilla, and tourism. Students can locate and watch videos about pearl diving in Tahiti, then read about the hazards of pearl diving profession. Students can also discuss the ethical issues associated with tourism in these locations. How can cultural tourism have both positive and negative impacts on traditional island communities?

The Future of Music Education

https://bit.ly/NAfMEMTPI

BEFORE THE DEGREE PROGRAM Challenge

Inequitable distribution of funding, physical resources, and human resources

Federal policymakers should increase funding for Titles I and IV-A of the Every Student Succeeds Act to ensure students have equitable access to a well-rounded education that that includes music.

Challenge Solution Participation, transportation, and private instruction expenses

School districts should offer free or highly subsidized rental programs and private lessons for students from low-income families.

Challenge Solution Limited curricular offerings

Music educators should create new courses that engage a wider array of students.

DURING THE DEGREE PROGRAM

Persistent inequities in how students are recruited, auditioned, and enrolled

Higher education should expand audition/interview requirements to be more inclusive of diverse ways of being musical and demonstrating musical knowledge.

Lack of alignment between university program content and professional expectations in PK12 instruction

Higher education should revise music education curriculum to be more culturally sustaining, equitable, and reflective of the needs of schools and communities.

DURING THE FIRST 5 YEARS OF PROFESSIONAL LIFE

Low teacher pay and professional expenses (student loan debt, certification, etc.)

Federal, state, and local policymakers should position salaries, raises, bonus structures, tax credits, and other financial incentives to entice new music teachers into the field.

Isolation stemming from geography or being the only music teacher in a building

State and national music education organizations should promote the institution of affinity groups to serve as safe spaces in which educators’ identities are reflected and open and honest discourse is fostered.

Lack of funding and time for meaningful professional development and mentoring.

State and national music education organizations should prioritize programs, professional development and conferences for new-career music educators.

REGISTER NOW!

with West Music and a FREE workshop by master clinicians

Sandy Lantz and Gretchen Wahlberg!

We’re kicking off the 2024-25 school year with the West Music traveling road show! Join us for one of three FREE full-day, hands-on workshop featuring Orff instruments, world drums, ukulele, unpitched percussion, recorders and more with active music-making ideas from Sandy and Gretchen.

Whether you've been in the elementary music classroom 2 days or 20 years, this workshop is for you! Mark your calendar now for the location closest to you and look for registration information coming soon.

We hope to see you there!

• July 29 - San Diego

• July 31 - Valencia

• August 2 - Sacramento Dates & Locations:

Retired Members Representative

Retired Members Update by Rita Zigas-Brown, CMEA

Happy summering to you all! As I begin my second term in the position of Retired Members Representative, I would like to first thank Past President Anne Fennell for the support she has extended to me and this position, and welcome our new President, Chad Zullinger. While in this role, it has been a pleasure meeting all of the like-minded and extraordinary fellow retirees via Zoom and CASMEC lunches. Let’s keep the momentum going.

My second term coincides with the number of years I have been retired! I retired in May 2021 after a grueling last year of distant learning and a crash course on teaching with technology. It was the worst and most challenging year of my career, yet it was also one of the most educational years of my career, due to the crucial need to integrate technology (into my teaching) that I had never used before. There lies the silver lining, even though I felt as though I was being thrown to the wolves with very little mentoring. This brings me to the focus of this article.

My past articles and magazine contributions have discussed retirement activities such as hiking, traveling, ways to stay

“Be water, my friend”

by Nico Salum, CMEA New

“Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash. Be water, my friend.”

- Bruce Lee

I am no martial artist by any means, but this quote by the legendary Bruce Lee is wisdom I often try to apply to several facets of my life, including teaching. This analogy and philosophy of water that Bruce Lee subscribes to is central to his practice of not just martial arts but his approach to life.

As early career music teachers, here are some ways we can embody water as we continue our practice.

Empty your mind, be formless. Shapeless, like water.

As teachers, it can be easy to let our practice stagnate. While consistency and routines can be a positive aspect in our teaching, our students evolve and so should we.

We must be fluid and open to let new and different ideas flow in and out of our pedagogy. The same way water freely flows into different spaces, teachers on any part of their career timeline, if possible, should be unafraid to venture to places and spaces like conferences, symposiums, and workshops where new and different ideas can emerge. These new ideas can also take form in mentorship, professional learning communities, and our very own colleagues.

Not every new idea has to fill your vessel - absorb what’s useful

connected to the music education community, taking advantage of performance opportunities with local bands/orchestras/choirs, as well as reasons to attend your area conferences and our annual CASMEC.

As a result of conversations in previous Zoom meetings with Retired Members, in addition to ideas shared at our CASMEC luncheon on how best to be a resource, I’d like to solicit your input on the best way our retired members can support the Mentorship Program, new teachers, or veteran teachers tasked with a new curriculum, and our collegiate members as they navigate the student teacher and/or employment waters; we can even assist teachers that are circling and planning their own retirement.

I would be most grateful if you would take a moment to fill out and submit this google form with your ideas. I hope that you will have a fun-filled summer, and I wish you all the best for happiness, contentment and good health.

Teachers Representative

to you and your students. These new ideas don’t have to drastically change your teaching also. What may be a drop in your bucket could make all sorts of waves for your students.

Now, water can flow or it can crash.

Water is incredibly dynamic. Water can be gentle, flowing, serene, even healing. Yet it can also be a powerful force, unrelenting, and when unchecked, destructive. The duality of water can remind us of a number of things in life as a teacher.

First and foremost, we should strive to be the gentle, healing water to not just our students but to everyone who we interact with. Be mindful of our words, thoughts, and actions towards others. When unchecked, negative interactions, whether intended or not, can be destructive and detrimental to the relationships that we look to build within the different levels of our community.

On a more positive note, we can embody the force of water in our resolve and perseverance. Whatever obstacle water faces, it finds a way to tackle it, whether it flows through it or around.

As we continue to navigate music education in our community and in our state, it is my hope that we can all be water - gentle, yet unrelenting and flexible, free flowing, adaptable and unafraid of change.

It’s been a pleasure being the new teacher representative these past two years and I look forward to continue serving in my next capacity for CMEA! As we refill our cups this summer, I wish you all the best!

Facilitating Mindful Communication in the Rehearsal Hall

by Alexander Kahn, Ph.D.,

CODA Advisory Board

Can you think of the last time you yelled at or spoke harshly to your ensemble, or a specific member or section of your ensemble? What did it feel like in your body and in your heart? What happened to the students’ bodies, and to the energy in the room? How did the rest of the rehearsal go?

If you can’t recall ever yelling at an ensemble member: congratulations! And please tell me your secret. If you need an example from outside of your own rehearsals, please enjoy this famous audio clip of the imperial Arturo Toscanini yelling at his bass section for a particularly dramatic example of what I’m talking about.

Yelling and speaking harshly to your ensemble can have a deleterious effect on your experience as an ensemble conductor, as well as the experience of your ensemble members. As I hope we can all agree, music-making should be a joyful experience. Harsh language, no matter how well-intentioned, can quickly rob both you and your musicians of that sense of joy and leave students with a sense of negativity that will persist long after the rehearsal ends.

So how do we yell less, and speak with a little more kindness to our ensembles? One set of tools that you might find useful is based on the principles of mindful communication. As you probably already know, evidence abounds that mindfulness practices can have great benefits for our health and happiness (Goleman & Davidson, 2017). In the last several decades, numerous scientific studies have provided evidence that mindfulness can lead to profound changes in both mental and physical health, and there is a growing amount of literature confirming that mindfulness practices can lead to improvements in music-making, specifically (Diaz, 2018). Below is a set of tools about how to embrace mindfulness practices in your own rehearsal.

Pause before speaking

The concept of the pause between stimulus and response –often called the “sacred pause” – is central to mindfulness practice. When we take a split second to breathe and reflect before speaking, we give ourselves the chance to respond with mindfulness and wisdom to what’s going on in the rehearsal rather than simply react in the way that our conditioning and habits dictate.

Teachers of mindfulness communication have come up with a simple acronym to help remember to take this all-important pause. In her book The Mindful Day, Laurie J. Cameron (2018) lists the steps of this practice, known as the “STOP” practice, as follows:

1. Stop. Recognize that strong emotions are present, or that you need to create a moment of space. Just stop.

2. Take a breath. Just one breath will shift attention to your body and calm you. This is known as the sacred pause, and you can focus on as many breaths as you need to get centered.

3. Observe your direct experience in this moment.

4. Proceed with kindness.

Employing the “STOP” practice is powerful because it helps us respond to the situation at hand with skill and care rather than unthinkingly react. The more frequently the practice is undertaken, the less likely you will be to have a knee-jerk reaction based on your conditioning, and the more likely you will be able to respond to the situation at hand from a place of presence.

Pay attention to tone and speed

Many studies have found that the tone we use when speaking has an even greater impact on how an interaction turns out than the words themselves. Simply adjusting our tone (speaking softer and more gently) and speed (speaking more slowly) when we give feedback to our ensemble members can do wonders to keep the mood in the rehearsal room light, respectful, and calm. Slowing down your speech can have the added benefit of reducing the amount of rushing going on in your students’ playing, as the faster we speak, the faster students will subconsciously feel they need to play.

Listen more, talk less

I remember being taught by a conducting teacher years ago that I should only stop and rehearse when I had three important things to say, and to always imagine that I was speaking a difficult foreign language in order to keep my comments as brief as possible. You might try by experimenting with speaking only when you are certain you have met four rules:

1. Is it the right time to say this?

2. Is it true?

3. Is it helpful?

4. Is it kind?

In my years of experience running, observing, and playing in rehearsals, most of the time I find that the comments being made by the conductor violate at least one – if not all - of these rules on a regular basis. Another way of putting these rules is to think of the acronym “WAIT,” which stands for “Why am I talking?”

Don’t monologue – Dialogue

We spend too much time talking during our rehearsals – and far too little time listening to what the musicians have to say. A basic

principle of mindful communication is that we should aim to listen – deeply – to what others have to say at least as often as we ourselves are speaking, if not more so. And so an easy way to have more mindful communication in your rehearsals is to encourage your ensemble members to speak more using the tools of active learning: frequently asking a wide variety of different types of questions, encouraging members to provide feedback on what they are hearing, noticing, and seeing, and inviting them to shape the flow of the rehearsal process in real time.

Make Observations, Not Judgments

Like most musicians, I often turn my observations into judgments or problems. For example, “this passage was too fast” becomes “I always rush, I’m such a bad musician.” Or “I played an F-sharp instead of an F-natural” becomes “I can’t believe I still played an F-sharp. Didn’t I already practice this passage twenty times? I’m not improving at all.” Unfortunately, the same habit of judgmental and negative self-talk often finds its way into my rehearsals as well.

It is of paramount importance to develop the skill of making observations, not judgments, during your rehearsals. Stress over and over again to the students that making mistakes is natural, and that when you address issues of ensemble, rhythm, pitch, dynamics, etc., the students should be careful to not take your observations personally. If you are able to, remove the judgmental overlay that looms over so many rehearsals your music-making will feel lighter, less stressful, and more engaging. Try to avoid using inflammatory language – exaggerations, accusations, fault-finding, words like “never” or “always,” insults, swearing, or threats. Instead, use words

that are accurate but not provocative. Approach all communication with an intention to understand and help, with a minimum of blame and criticism.

Conclusion

We often feel that criticism and “tough love” are the only way we can make sure our ensembles are adequately prepared for the next concert, festival, or adjudication. The principles of mindful communication, however, teach us that there is another way to interact, one that can result in musical excellence without sacrificing joy, kindness, and connection. In the words of the Tibetan master Tulku Urgyen Rinpoche, “Being aggressive you can accomplish some things, but with gentleness you can accomplish all things.”

References

Cameron, Laurie. (2018) The Mindful Day: Practical Ways to Find Focus, Calm, and Joy From Morning to Evening. National Geographic.

Diaz, F. M. (2018). Relationships Among Meditation, Perfectionism, Mindfulness, and Performance Anxiety Among Collegiate Music Students. Journal of Research in Music Education, 66(2), 150–167.

Goleman, Daniel, & Davidson, R. J. (2017). Altered Traits: Science Reveals How Meditation Changes Your Mind, Brain, and Body Avery.

Hensel, L. L., & Kahn, A. (2023). Caring for the whole musician: Awareness and mindfulness. Routledge, Taylor & Francis Group. Rinzler, Lodro. (2012). The Buddha walks into a bar: A guide to life for a New Generation. Shambhala.

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Music Technology Collaboration Project: Learning Together

By Holly MacDonell CMEA Music Education Through Technology Representative

Music education, particularly through technology, often presents an isolated learning experience for students. Musicians typically thrive in ensemble settings, where collaboration and collective creativity are key. However, with technological advancements, even solitary practice can be transformed into collaborative ventures.

Fostering Collaboration in the Music Technology Classroom

A highly effective approach to fostering collaboration in a music technology classroom is through structured, team-based projects. One such project utilizes BandLab, a versatile Digital Audio Workstation (DAW) accessible through web browsers and mobile devices. Here’s a detailed overview of a collaborative assignment that not only introduces students to a DAW but also cultivates teamwork and creative problem-solving skills.

Project Overview:

1. Assignment Setup:

• The instructor creates an initial assignment on BandLab, setting up a basic project file for students to access.

• Students are instructed to open the assignment and contribute by adding one musical loop.

2. Rotational Contribution:

• Each student brings their own headphones as they rotate to the next computer or device after adding their loop. This rotation continues until each project includes six to seven loops.

• This rotational method ensures that every student interacts with the work of their peers, fostering a sense of shared creation.

3. Structured Directions:

• Specific instructions are provided for each round of contributions. For example:

ˏ Round 1: Add a ‘drums’ loop to establish a rhythmic foundation.

ˏ Round 2: Add a ‘synth’ loop to create a chord progression and/or pad of sound.

ˏ Round 3: Adjust existing loops to ensure thoughtful beginnings and endings, promoting seamless transitions and cohesive structure; or add FX thoughtfully to existing loops.

Educational Benefits

1. Introduction to DAWs:

• This project serves as a hands-on introduction to DAWs, demystifying the technology and making it accessible to students with varying levels of experience.

2. Peer Learning:

• As students rotate and contribute to different projects, they naturally share knowledge and techniques, fostering a collaborative learning environment.

• This peer-to-peer interaction encourages students to assist classmates in overcoming technical challenges, enhancing the overall learning experience.

3. Creative Thinking:

• The project challenges students to think creatively about how to influence and manipulate sound. Each round’s specific instructions require students to consider the musical and technical aspects of their contributions.

• By engaging with different musical elements and effects, students develop a deeper understanding of how individual components contribute to the overall sound.

Implementation Tips

• Clear Instructions: Ensure that instructions for each round are clear and concise to avoid confusion and maximize creative output.

• Flexibility: Be prepared to adapt the project based on the class’s skill level and interests. Flexibility can help maintain student engagement and enthusiasm.

• Reflection: Incorporate a reflection phase where students discuss their contributions and the overall collaborative process. This can help reinforce the skills and concepts learned during the project.

Conclusion

Collaborative projects like this BandLab assignment can transform the music technology classroom into a dynamic, interactive learning environment. By blending individual creativity with teamwork, students not only become proficient in using music technology but also learn the invaluable skills of collaboration and peer support. This approach ensures that learning music through technology is not an isolating experience but rather a collective journey of discovery and innovation.

Exciting news from the California Band Directors Association (CBDA) and the California Orchestra Directors Association (CODA)! The second annual Super Saturday returns on September 7, 2024, and this year marks the first time that CBDA and CODA are partnering together to bring you an enhanced and thrilling experience. The anticipation is palpable as this collaboration promises to elevate the event to new heights. With six simultaneous events held across the state, students will have the unique opportunity to collaborate with professional musicians and focus on CBDA and CODA excerpts. Open to both middle and high school students, encompassing all band and orchestral instruments, Super Saturday 2024 is set to be an invaluable experience for seasoned performers and first-time auditioners alike.

Reflecting on last year’s success, Lianna, a high school student, shared, “I loved the atmosphere and encouragement from every participant. The clinic has helped me develop my musicianship and provides guidance on how to approach the audition material. The information I learned at the clinic will propel my skills and musicianship as I continue playing. This was an enjoyable experience.”

Kaveh, a middle school student, echoed this sentiment, stating, “I really enjoyed getting to meet and rehearse with other percussionists. It was a great way to make new friends and get new perspectives. I think that this clinic will help me to improve my skills as a musician, while also deepening my knowledge of music in general. I believe that this clinic helped me to improve some of my rudimental skills and teamwork qualities, both of which helped a lot

CBDA Update by David Green,

CBDA Director of Communications

in my school ensemble. I really enjoyed the Super Saturday, and I would love to attend next year.”

Educators have also praised the impact of these events. Emily, a high school director, remarked, “As a high school director, I couldn’t be more thrilled with the outcomes of the CBDA All-State Super Saturday. My students came back with newfound confidence and skills, thanks to the exceptional instruction they received at Diablo Valley College. It’s heartening to see such a diverse group of students from different schools come together for a shared musical purpose. This event exemplifies the spirit of collaboration and growth that lies at the core of music education. I look forward to continuing this tradition and witnessing even more success in the years to come.”

Sarah, a middle school director, shared a similar view: “Our middle school students were positively impacted by the CBDA All-State Super Saturday at Fresno City College. It’s incredible to see them learn from top-notch instructors and interact with high school peers. This experience has not only improved their musicianship but also their motivation and confidence. We’ll certainly be back next year!”

New for 2024

We’re thrilled to introduce a new offering in Oakland, specifically designed as an “Intro to Auditions” clinic. This initiative is a collaborative effort between CBDA, CODA, and teachers from the Oakland Unified School District. The goal is to demystify the audition process and provide students with the tools and confidence needed to succeed. All students are welcome to join this exciting new clinic!

The cost for students to attend this immersive clinic session is just $25, making it an accessible and affordable way to gain insights from expert musicians and educators.

We would like to extend our heartfelt thanks to our regional partners for their support: the Southern California School Band & Orchestra Association (SCSBOA), the California Music Educators Association (CMEA) North Coast Section, the Northern California Band Association (NCBA), and the Northern California Band & Choral Directors Association (NCBCDA). Their contributions help make Super Saturday a reality and a resounding success for students across the state.

The positive energy and passion displayed by these students and educators alike are a testament to the success of this statewide initiative, which unfolded across four different campuses. As we look ahead, we eagerly anticipate the continuation of this remarkable tradition. CBDA remains committed to nurturing musical talent across the state of California, and this event exemplifies our unwavering dedication to that mission.

Stay tuned for more registration details, which will be available soon at www.cbda.org and www.coda.org. Make sure to mark your calendars and elevate your musical journey by participating in Super Saturday 2024!

California Alliance for Jazz Update

by Barb Catlin, CAJ President

Hello, friends and colleagues!

This is an exciting week because most of us will be officially done for the academic year. Congrats on making it to June! Educators, both in California and across the country, seemed to feel this year was tough—lots of great things happening, but too much of a good thing! I hope you all get some rest and relaxation in the upcoming weeks.

CAJ would love your participation and input on the upcoming events. Our newsletter will be out on June 20th, and you can visit our website for more information.

Hall of Fame

We are accepting nominations for the CAJ Hall of Fame 2025. Nominations should be for educators who are retired and have contributed meaningfully to jazz education in California. We accept instrumental and vocal - all levels, including professional musicians and composers who have impacted jazz education. Please check out our HOF page for past honorees - a “who’s who” in jazz education. Click here to submit!

Tune Up

We are ramping up our Tune-Up clinics for the Fall semester. Directors can have their bands “come as they are”—groups do not need to be performance‐ready. The idea is to work on concepts that are lacking. It’s casual—a workshop environment—and you can structure the Tune-Up to fit particular needs. Go to our site for more info!

CAJ/NafMe Collegiate Chapter

Last year, CAJ created a new partnership with NafMe to help prepare the next generation of music educators to teach jazz. Our amazing first Collegiate President, Caitlin Cooper, graduated, so we are actively looking for a new representative. Please contact us if you know someone in college who might be interested in serving.

The Jazz Educators Institute

CAJ is partnering with SCSBOA to create opportunities for educators to learn together, make friends, and earn professional development. We hope to eventually make these events happen throughout the state, but we will start in Southern California. Please go to our website for updated information.

Welcome our new CAJ President, Tina Raymond:

Lastly, our CAJ Board changes on July 1st, so it is my sincere pleasure to welcome a dynamic musician and educator as our incoming president. Tina Raymond is the Director of Jazz Studies at California State University Northridge. She is an incredible drummer/composer/percussionist who travels worldwide performing. CAJ is very fortunate to have someone of her gravitas lead us for the next two years. Welcome!

Please have a restorative summer break. We look forward to seeing you in Sacramento for CASMEC 2025!

ENJOY SUMMER