CMEA Magazine Winter 2023

J U M P - S T A R T Y O U R M U S I C

P R O G R A M W I T H D A N C I N G D R U M !

C u r r i c u l u m & A c t i v i t y B o o k s

O u r o r i g i n a l m e t h o d s a n d m a t e r i a l s h a v e b e e n d e v e l o p e d o v e r 2 0 y e a r s o f w o r k i n a w i d e v a r i e t y o f w o r k s h o p & p e r f o r m a n c e s e t t i n g s , c e l e b r a t i n g M u s i c , V i s u a l & P e r f o r m i n g A r t s , & A r t s I n t e g r a t i o n

S c h o o l D r u m P a c k a g e s

O u r c u s t o m d r u m s a r e c r a f t e d f r o m r e s p o n s i b l yg r o w n w o o d & m a d e t o t h e h i g h e s t q u a l i t y s t a n d a r d s f o r m u s i c c l a s s r o o m s & p r o f e s s i o n a l sa n o u t s

P r o f e s s i o n a l D e v e l o p m e n t

D a n c i n g D r u m h a s b e e n a f e a t u r e d p r e s e n t e r a t o 3 0 m u s i c e d u c a t i o n c o n f e r e n c e s a c r o s s t h e U S & i n t e r n a t i o n a l l y . W e s p e c i a l i z e i n t r a i n i n g t e a c h e r s i n o u r i n c l u s i v e & h i g h l y e f f e c t i v e d r u m m i n g m e t h o d s f o r s c h o o l s

Bay Section Update by Sandra Lewis, CMEA Bay Section President

Capitol Section Update by Patrick Neff, CMEA Capitol Section President

Central Section Update by Michael Tackett, CMEA Central Section President

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

North Coast Section Update by Collin Kirkwood, CMEA North Coast Section President

Northern Section Update by Tanner Johns, CMEA Northern Section President

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

Southern Border Section Update by Jonathan Seligman, CMEA Southern Border Section Vice President

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

Increasing Meaningful Inclusion Procedures for Other-Abled Students: Focus on Autism by Angela Holmes, Kelly Anthony, and Phil Villalobos

When You Know Better, Do Better: Creating Intentional and Lasting Social Change by Dr. Diana Hollinger, CMEA Collegiate Representative

Duckworth, CMEA Mentorship Representative

In This Issue (continued)

38 Prop 28 Update by Brad Van Patten, CMEA Music Supervisors Representative 39 New Book Alert by Dr. Will Coppola, CMEA Global Music Representative 40 Be a JEDI by Dr. Kara Ireland D’Ambrosio, CMEA Higher Ed Music Education Supervisor 41 Technology in Education: The SAMR Model by Holly MacDonell, CMEA Music Through Technology Representative 42 CMEA State Band and Orchestra Festival Participants 44 Retired Members Outreach by Rita Zigas-Brown, CMEA Retired Members Representative

CMEA Past Presidents

44 Self-reflection, Wisdom, and the Emerging Music Teacher by Nico Salum, CMEA New Teacher Representative 45 CCDA Update by Dr. Christopher Peterson, CCDA President 46 Winter Update, CODA by Tiffany Ou-Ponticelli, CODA President 47 CAJ News by Barb Catlin, CAJ President 48 CMEA Awards Recipients 2022-2023

CMEA Hall of Fame Award

Recipients

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

Honoring Lifetime Achievement in Music Education

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

President's Message

by Anne Fennell, CMEA President

Hello and Welcome to 2023!

It’s a new year, the start of anything and everything with a free and new beginning for everyone! So, today is the perfect opportunity to pause and thank each of you for your individual and collective contributions to music education in 2022 because it created the foundation for all that is possible for 2023. I feel so grateful to be a member of CMEA with this creative family of music educators and supporters. Music education is alive and thriving in California because of your continued passion, resilience, dedication, and desire to bring music to all of your students.

The start of the year means that CASMEC (www.casmec.org) is just around the corner, February 15 – 19th, and we are looking forward to an exciting few days of sharing and learning. There are fantastic sessions each day and on Thursday, February 16th we hope you can join us for our CMEA General Session from 2:00-3:50 PM with updates, introductions, and a special keynote – so save this session on your CASMEC app! Additionally, for the first time EVER, we are having a joint CASMEC Kickoff and Celebration (https://casmec.org/about-the-conference/awards-reception/)

honoring 2023 award recipients with CAJ, CBDA, CCDA, and CODA. This is going to be a party with recognitions, signature cocktails, hors d’oeuvres, and music, like no other party in the history of CASMEC! Will you join us for both!

We also welcome 2023 and the passage of Proposition 28 Arts and Music in Schools - Funding Guarantee and Accountability Act this past November. I want to thank everyone who supported and nudged their family and friends to vote for this historic legislation, because every effort made the difference. We will now have consistent funding for arts educators to expand their programs, support students’ creative endeavors, create that position that has been missing for years, and have the money for professional learning and supplies!

We should feel proud, knowing that 64.4% of the voters recognized the value of arts education and that each of you are valued for all that you provide for your students, as well as for the culture of your school and community. The general public sees you and knows the importance of music education and all that music gives to our communities.

It’s actually a bit surreal knowing that funding and resources will be available each year for the arts in schools. For decades, arts education has been largely defined by minimal funding and program cuts, along with a scarcity mindset, so it’s almost hard to believe that money will be available every year. But it’s true, the money is here to stay, and it’s marked solely for arts education.

In addition, site administrators will be held accountable for their spending so the money can’t be used for other educational purposes.

Now, the work begins, to ensure we use the funds with a plan in mind to support the long-term growth of what is possible in music and all arts education, and it’s going to take a bit of time and work to ensure we are doing right by all children.

As you know, CMEA hosted open zoom meetings in November and December, to answer questions and brainstorm ideas, in regard to the initiative’s implementation, and we will continue to support each of you as we can. To be ahead of the curve, you can find current funding estimates for every school in California on the School Services of California (https://www.sscal. com/ ) website. You can also click here (https://docs.google.com/ document/d/1RiriaZIA9XJ60MpBobDszkYMOiQKRDGDRQFM ps6u3mc/edit?usp=sharing).

and follow the steps to create an account with your school email address. With this information and estimated dollar amount you can be prepared and help create a plan to meet the needs of the students.

While many programs have been sorely underfunded, it’s hard not to make quick purchases, and the reality is that the funds are to be shared across all arts. So, we encourage you to collaborate with your peers in the arts and your site(s) to:

• Identify short and long term needs of your students (ask the students!)

• Identify short and long term needs of the programs and supplies

• Meet with teachers in your school and district to identify gaps and needs in arts courses

• Meet with site administrators and provide guidance or a draft plan given student, teacher, and program needsfrom materials to professional learning and the hiring of either partial or full-time educators

• Brainstorm possibilities! If your site is small and isn’t receiving enough money for a full-time educator, consider sharing a teacher between sites, ask the district to match the funds to create a full-time position, or ask the district to hold these funds (they can be held for up to 3 years) until the money is accumulated.

Whatever you do, think long term to support current needs as well as build for the future - it’s a delicate dance. While we don’t know who our students will become, we can, at the very least, provide them with a rich foundation and education to prepare them for their future in all that they choose to be.

CMEA

CMEA State Council

EXECUTIVE BOARD

CMEA President Anne Fennell afennell@calmusiced.com

CMEA President-Elect Chad Zullinger czullinger@calmusiced.com

CMEA Vice President Holly MacDonell hmacdonell@calmusiced.com

CMEA Secretary Tiffany Barry tbarry@calmusiced.com

CMEA Immediate Past President Armalyn De La O adelao@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

SECTION PRESIDENTS

CMEA Bay Section President Sandy Lewis slewis@pausd.org

CMEA Capitol Section President Patrick Neff patrick.s.neff@gmail.com

CMEA Central Section President Michael Tackett michaelt@cos.edu

CMEA Central Coast Section President Sam Oh samuel.oh@salinasuhsd.org

CMEA North Coast Section President Collin Kirkwood collinkirkwood1@gmail.com

CMEA Northern Section President Tanner Johns tjohns@chicousd.net

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

CMEA Southern Border Section President Dr. Jeff Malecki jmalecki@sandiego.edu

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

NAfME OFFICERS NAfME President Scott Sheehan 1806 Robert Fulton Drive Reston, VA 22091 800 336-3768

NAfME Western Division President Scott Hedgecock shedgecock@calmusiced.com

COUNCIL OF REPRESENTATIVES CMEA CAJ Representative Barb Catlin barbcatlin@gmail.com

CMEA CASMEC Coordinator Francisco Marquez fmarquez123@me.com

CMEA CBDA Representative Jeff Detlefsen DetlefsenJ@gmail.com

CMEA CCDA Representative Dr. Christopher Peterson cpeterson@fullerton.edu

CMEA CCDA Choral Leadership Academy Coordinator John Sorber johnso@cos.edu

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

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

CMEA Advocacy Representative Russ Sperling sperlingruss@gmail.com

CMEA Collegiate Representative Dr. Diana Hollinger dhollinger2006@yahoo.com

CMEA Collegiate Council Representative Andrew Shousha andrewshousha1230@gmail.com

CMEA Creating and Composition Representative Dr. Lisa Crawford lisacrawfordmusic@gmail.com

CMEA CTA Liason Alan Underwood

CMEA DEIA Representatives Jonathan Raman Jraman85@gmail.com

CMEA Diverse Learners Representative Regan Lambert rlambert@emcsd.org

CMEA Elementary Music TK-5/6 Representative Sal Rios rioss@gfusd.net

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

CMEA Higher Ed Music Education Supervisor Representative Dr. Kara Ireland D’Ambrosia Kara.IrelandDAmbrosio@sjsu.edu

CMEA Higher Education and Research Representative Dr. Ruth Brittin rbrittin@pacific.edu

CMEA Innovations Representative Dr. Megan Foley mfoley@polytechnic.org

CMEA Mentorship Program Chairperson Ryan Duckworth DuckworthMusic@gmail.com

CMEA Music Supervisors Representative Brad Van Patten BradVanPatten@iusd.org

CMEA Music Education through Technology Representative Holly MacDonell hmacdonell@calmusiced.com

CMEA New Teacher Representative (5 or less years) Nico Salum nicolosalum@gmail.com

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 Amy Lui amy.lui@polyhigh.org

CMEA Social Media Representative Holly MacDonell hollymacdonell@gmail.com

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

CMEA State Choral Festival Coordinator Stacey Kikkawa choralfestival@calmusiced.com

CMEA State Solo and Ensemble Festival Coordinator Cheryl Yee Glass cglass@srvhs.org

CMEA Tri-M Representative Troy Trimble troyatrimble@gmail.com

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

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

California Teachers in the News

Dr. Lawrence Stoffel, CSU Northridge

NAfME/Music For All George N. Parks Leadership in Music Education Award

Read about the award here: https://nafme.org/dr-lawrence-stoffelof-california-state-university-northridge-named-recipient-of-the2022-george-n-parks-award/

Ben Case

Ben Case, music teacher at Northwood High School in Irvine, has been named one of the five California Teachers of the Year.

Read the full article here: https://newsroom.ocde.us/oc-musiceducator-is-a-2023-california-teacher-of-the-year/

Congrats to Curtis Gaesser for being named the JEN (Jazz Education Network) John LaPorta Jazz Educator of the Year for 2022. Curtis Gaesser has been teaching in the Folsom/Cordova School District since 1984 and has been at Folsom High School since 1987. He currently teaches Marching Band, Chamber Orchestra, Jazz Choir, three Jazz Bands, Concert Band, Color Guard, and Drumline.

His Jazz Band I has been awarded “Best High School Jazz Band” 17 times from Downbeat Magazine since 1993, including the last 16 of 18 years in a row. The Folsom HS Jazz Choir I have won “Best High School Vocal Jazz Group” 26 times since 1994, including the last 24 years in a row. Curtis received the Folsom Cordova School District “Teacher of the Year” in 1990 and 2011. He was the “California State Jazz Educator” of the Year in 2003. In 2008, he was awarded the “Annual National Achievement Award in Jazz Education” by Downbeat Magazine, and in 2008 the “Music Achievement Award” by Sacramento News and Review. The city of Folsom presented him with the “Person of the Year” award in 2001. In 2016 he was given the “Most Outstanding Teacher Award” by the city of Folsom, and “Most Outstanding Educator Award” by the Northern California Band Directors Association. In 2017 he was awarded “Best Music Educator” for Northern California by the California Music Educators Association.

Curtis Gaesser was a top 10 finalist nominee for the Grammy Educator Award in 2018. Curtis started the Folsom Jazz Festival in 1989 and it is now the largest educational Jazz Festival in California. The Folsom High School Jazz Band has won sweepstakes as the best Instrumental group at the Reno Jazz festival seven times and the last six years in a row. The Folsom High School Jazz Choir has

won sweepstakes at the Reno Jazz Festival 13 times as the best Vocal group.

The Jazz Band has won the Monterey Next Generation Jazz Festival twice as the best Jazz Band in 2013 and 2020. The group has made the finals as the top three 13 times since 1990. The Band has performed as an artist at the Monterey Jazz Festival 13 times since 1992.

The Jazz Choir has won the Monterey Next Generation Jazz festival 16 times since 1993. They have performed as an artist at the Monterey Jazz Festival 23 times. Both the Jazz Band and Jazz Choir have been a part of the Monterey Jazz Festival every year since 1990.

The Folsom High School Jazz groups have performed throughout Europe five times since 1997.

CASMEC 2023 Preview

Featured Performing Ensembles

Amador Valley High School Wind Ensemble I

Jonathan Grantham, Director of Bands

Ayala High School Men’s Ensemble

Robert Davis, Choir Director

Biola University Chorale

Dr. Shawna Stewart, Director of Choral Studies

Cal State Long Beach Concert Jazz Orchestra

Jeff Jarvis, Director of Jazz Studies

California State University, Fullerton Wind Symphony

Dr. Dustin Barr, Director of Wind Studies, Associate Professor of Music

Diamond Bar High School Symphony Orchestra

Steven Acciani, Director

For the Greater Good, Livermore High School

Justin Enright, Director of Instrumental Music

Loyola Marymount University Consort Singers

Dr. T. J. Harper, Director of Choral Activities, Associate Professor of Music, Chair, Department of Music

Mater Dei Chamber Singers

Jodi Gould Reed, Director of Choral and Vocal Music

San Francisco Brass Band

Dr. Craig McKenzie, Music Director

San Juan Hills High School Chamber Singers

Michael Ushino, Choral Director

SonoVoce – Sonoma State University

Dr. Jenny Bent, Professor of Music and Director of Choral Activities, Associate Dean of Arts and Humanities

South Pointe Middle School Wind Ensemble

Susan Willmering, Band Director

Sessions A-Z

Visit www.casmec.org for session descriptions, presenter bios, and much more!!!

21st Century Teaching: Music Tech in the K-8 General Music Classroom and Beyond!

Holly MacDonell

A Voice for a Lifetime Alyson Moore

A Wide World of String Repertoire and Techniques Dr. Ruth Brittin, Darcy Ford-James, & Shane Kalbach An Integrated Single-Subject Credential Program in Music Dr. Stephen C. Posegate

An Introduction to Filipino Folk Music and Culture through Rondalla Dr. Lily Chen-Hafteck & Nivram Castro

Big Band Drumming 101 Kristina Raymond

Are YOU on the List? An Investigation and Comparison into the Representation, Diversity and Inclusion of State Band Festival Lists

Dr. Gregory Whitmore & Dr. William Tonissen

Beginning with Composition: 5 Activities to Support Musical Learning Dr. Lisa A. Crawford

Breaking Barriers: Performing Diverse & Accessible Music for All Dr. Jeffrey Benson

Breezin’ Thru Theory Hands-On: Accelerating Growth in Your Program Jean McKen

Bridging the Gap for First Year Band Students: Activating Prior Knowledge Nick Olson & Jennifer Deiterman-Lewis

Bridging the Gap: Creating an Inclusive Choral Classroom to Support Students with Disabilities Kyra Stahr

CAJ Vocal Jazz Reading Session

TBA

CASMEC 2023 Young Composers Symposium Dr. Lisa A. Crawford & Dr. Alexander Koops

CBDA Directors Reading Band

CBDA Social Impact Consortium Roundtable

Jeff Detlefsen

Choral Leadership Academy (CLA) CCDA

CMEA Parent Advocacy Summit CMEA

College Bound-Career Bound: Concepts to Share with Your Students Who Aspire for a Life in the Arts

Jonathan R. Latta

Collegiate Band Directors Forum Dr. Andy Collinsworth

Composition in the Large Ensemble Curriculum: Make it Happen!

Mike Fleischmann

Creating a More Inclusive Music Department with Mariachi Anthony C. Dahl

Creating a Successful, Engaging, and Fun Beginning String Class Dr. David Pope [Alfred]

Democratic Rehearsal Strategies in the Instrumental Ensemble Room

Dr. Karen Koner, Dr. Jeffrey Malecki, Amy Villanova, & Abbie Weaver

Creating Habits of Success in the

Scott Rush

Young Band

CSULB-LBUSD Collaborative Internship in Emerging Music Education Practices

Dr. Tamara Thies

Culturally Relevant and Responsive Pedagogy for Music Education: Results of a Two-Year Study Dr. Lisa A. Crawford

Democracy and the Ensemble: Audience-conscious Performance Dr. Jeffrey Malecki, Dr. Karen Koner, Amy Villanova, & Abbie Weaver

Developing Musicality in Every Orchestra Classroom Dr. David Pope [Alfred]

Digital Music Composition and Production through Soundtrap Ryan Unangst

Easy as 1-2-3: Selecting Music for Young Bands Peggi Stoffel

Essential Concepts for Beginning Jazz Bass Adam Wayne Elmore

Establishing Orchestra at the Title I Middle School Site Natalie Do

Finale 27 for Your Classroom Needs Glenn Pohlan [Alfred]

First-Year Teacher Finances: Money Lessons I Learned in my First Year Teaching Alexandra Annen

FIX IT NOW!: Developing Ensemble Skills for Effective Rehearsals and Successful Performance Robert Sheldon [Alfred]

Flexing Your Ensemble Muscle: Making Flex Arrangements for YOUR Group

Dr. Jeffrey Malecki & Andrew David Perkins

Kevin McKeown

From Classroom to Concert: Transforming Simple Songs for Performance

Catherine Cooper & Jennifer Determan-Lewis

Habits of a SIGNIFICANT Band Director Scott Rush

Habits of Mind: A Mental Framework for Building Excellent Orchestral Musicianship

Dr. Johanna Gamboa-Kroesen

Ignite Creativity Through Soundscapes

Courtney Thornburg

Improving Diversity, Equity, and Inclusion by Adding Vocal Jazz Andrea Calderwood

Inspiring Improvisation: Embracing Chance in the Choral Rehearsal

Matthew R. Hanne

Instrumental Jazz Reading Session

Jeff Jarvis & Patrick Langham

Integrated Music Making & Collaboration with the General Classroom Teacher

Dr. Emily Mason

Interactive, Standards-Based, Fully-Customizable, K-5 Music Curriculum

Graham Baughman

Intro to Teaching Podcasting and Vlogging

Ryan Unangst

Jazz Combo Basics

Dyne Eifertsen & Tony Marvelli

Kids are People Too: Making Connections to Improve Retention Mark Nowak

Lead with Awareness: Transforming the Classroom Experience Through Mindfulness

Dr. Rachel Samet

MANAGE THIS! Engagement Philosophy as a Holistic Substitute for Classroom Management Dr. Kaitlin Bove

Mentorship in the State NAfME Organization Chad Zullinger, Ryan Duckworth, & Anne Fennell

Middle School Jazz Band: Where to Start? Jill Geist

Mindfulness, Learning, and Teacher Wellbeing in the Music Classroom

Zachary Clark

Monetizing Your Music Major Joseph Robert Murphy

Motivation and Metacognition in the Large Ensemble Rehearsal Shelley Durbin & Jonathan Grantham

Multi-musicianship: Technology-enhanced Creativity in the Music Classroom

Chad Zullinger

Music and Movement in the Early Years Part 1 - Singing John Crever

Music and Movement in the Early Years Part 2 - Moving John Crever

Music Education Equity Begins with Me Josh Palkki

Music Educators with Disabilities: The Journey of Self-Discovery and Identity Sean J. M. Newman

Music in the Middle: Why Middle School Music is Meaningful Dominic Vitale

Music Learning Theory: Informed Choral Practice

Josh Palkki

Music Teacher Stress & Burnout: Saving a Diminishing Population

Phil Mortensen & Neil Anderson

My Clarinets Are Flat- Help!

Richard J. Martinez

My Religion Is Kindness: Facilitating Mindful Communication in the Rehearsal Hall

Alexander Kahn

Neurological Responses and the Thriving Voice

Natasha Valdes

Nurturing Collaborative Composition with Digital Technology

Across Choral and Instrumental Music Education

Dr. Lisa A. Crawford & Dr. Alexander Koops

Open Rehearsal with San Francisco Brass Band Dr. Craig McKenzie

Orchestra for Non-orchestral Conductors

Nicolas Waldvogel

Orchestra Reading Session

Justin Enright

Personalized Learning in Music Education to Hear and See All Students

Anne Fennell

Plan Your Program’s Success: Getting Started with Strategic Arts Planning

Michael D. Stone

Pop, Soul and Orff

Tom Pierre

Preparing Your Ensemble for Expressive Performance

Robert Sheldon

Programming with Purpose: Repertoire to Support the Developing Secondary Choral Program Kyra Stahr & McKenna Stenson

Reading Session #1: Easy SATB, JH, Elementary/Intermediate CCDA

Reading Session #2 - Advanced SATB & Jazz Choir

CCDA

Real Talk 2 with Emerging Educators

Nicole Russell, Nicolo Salum, & Anne Fennell

Representation in Instrumental Ensembles: The music of Francis Johnson - A New Suite of Works for Flexible, Full and Chamber Ensembles.

Bradley Hogarth

Research & Educational Projects Poster Session Dr. Ruth Brittin

School Songbooks: Exploring Student and Family Experiences to Increase Engagement Erik Ohlson

Showing, Not Telling: The Effectiveness of Non-Verbal Communication in Choral Conducting Dr. Joni Y. Prado

Sight, Sound, Feel: Intonation and Artistry in Strings/Orchestra Dr. Janine Riveire

Singing is Listening: Engaging Mind and Ear in the Choral Rehearsal

Polly Vasché

SmartMusic Tips Every Teacher Needs to Know Glenn Pohland

Songs from China Sun Meiying

Spilling the “T” on the Flute and Piccolo: Tips and Tricks for Improving Tone and Technique

Dr. Brittany Trotter

Starting a Vocal Jazz Ensemble as an Instrumental Director: Lessons Learned

Arthur White

Stay Calm and Practice Dr. Kim Mieder & Dr. Karen Koner

Strategies for Bow Technique

Dr. Cindy Moyer & Garrick Woods

Students First, Music Second: Teaching through the “Lens of Who” Dr. Sarah Minette

The Big C: Musical Creativity in the Large Ensemble Jack Bertrand

The Small-School Band

Robert Sheldon

To Music and Beyond! Robert Sheldon

Trauma-Informed Teaching in Music Education

Michelle Jamieson, Erin Price, Betty Bauman, & Sally Arnold

Trauma-Responsive Instruction in the Music Classroom Max Deger

Updated & Expanded: Practical Score Study for the Busy Director

Dr. Lawrence Stoffel

Using Music Technology to Amplify Student Creativity Across Disciplines - Part 1 Amy Lui

Using Music Technology to Amplify Student Creativity Across Disciplines - Part 2 Amy Lui & Justin Polk

What are Two and a Half White Dudes Doing About Diversity in the High School Music Classroom? John Burn, Maria Trejo, Ben Scharf, & Jeff Morton

What’s Next? Life After College

Dr. Karen Koner

Who is The California Arts Project and Why do They Present at CASMEC?

Armalyn De La O

Work Smarter, Not Harder Robert Frelly & Elisha Wells

Your Name is a Song Tom Pierre

Songs of the Sun: Filipino Folk Songs for the Musical Classroom Tiffany Unarce Barry

Tri-M Chapter Highlight - Chapter #4431 Homestead High School

Getting to Know our Homestead High School Tri-M Chapter

In the 2015-16 school year, Homestead’s pre-existing music community service club, called Forte, affiliated with NAfME as an official Tri-M Chapter and became Tri-M/Forte. That same year Homestead, was named “Chapter of the Year” by NAfME, and the following year they were named as one of top three Chapters in the Nation! Being the Homestead Tri-M Advisor is actually quite easy because the students do all the work! They set their own agenda, run their own meetings, and plan their own activities. I attend the lunch meetings and assist with district approval as needed. As a band and orchestra teacher, it is great having a large number of Tri-M members “waiting in the wings” whenever I need help with concert or festival stage crews, ushers or other needed volunteers.

My hope is that some of these students will go on to become music educators. However, whether or not Homestead Tri-M students continue with music study in college, their experience in Homestead Tri-M teaches them the importance of giving back to the school and community and gives them a closer look at how much work and fulfillment there is in what we do.

John Burn, Chapter Advisor

If you would like to create a Tri-M Chapter at your school or have any questions about running a chapter, e-mail troyatrimble@gmail.com and visit https://musichonors.com to learn more.

Homestead High School -Tri-M Chapter Officers:

Follow

by Troy Trimble, CMEA Tri-M Representative

Avery Chen, President Urmika Balaji, Internal VicePresident

Riko Hirata, External VicePresident

Arielle Turullols, Secretary-Treasurer

Alex Wang, Technology Manager Stephan Tan, Hours Manager

Madeleine Bakken, Activities Director Elisa Floyd, Activities Director Rohan Venkatesan, Activities Director

Homestead HS Tri-M Chapter #4431 at their website and on Instagram.

Meet the Tri-M Chapter #4431 Officers

My name is Avery Chen, I’m President of Homestead’s Tri-M/ Forte! I play flute in various school ensembles, serve as Woodwind Captain of Homestead’s marching band, and play Principal Flute in wind ensemble and symphony orchestra. Outside of school, I’m the Principal Flutist of the California Youth Symphony Senior Orchestra and have participated in a variety of honor bands.

I’m Urmika, the Internal Vice President of Tri-M/Forte National Honor Society. I’ve been learning Western Classical violin for the past four years and I’m a part of the Homestead Symphony and Chamber Orchestra as a first and principal second violin. I’m also a Carnatic (South Indian Classical) Violinist and perform regularly as a concert soloist and accompanist in the Bay Area.

My name is Riko, I am a senior and one of the Vice Presidents in Tri-M. I play flute and piccolo in marching band, wind ensemble, and San Jose Youth Symphony.

My name is Arielle Turullols and I’m the Secretary-Treasurer at Homestead’s Tri-M Chapter. I’m a pianist of 13 years, a cello section leader in Homestead Orchestra, as well as an alto section leader in Homestead Choir. In my music experiences I have traveled across the country, performing in places such as Carnegie Hall in New York, Kennedy Center in D. C., and Masterworks Festival in South Carolina.

My name is Alex Wang and I am the Technology Manager at Homestead’s Tri-M/Forte. I am a percussionist and a marching snare drummer; I’ve served as the Drum Captain for the marching band and winter percussion program in 2021 and 2022, where we’ve competed in the WGI, NCPA, and WBA circuits. As Tech Manager, I run our website and Instagram pages (linked at the end of the article).

My name is Stephen Tan, and I am the hours manager at Homestead Tri-M/Forte. This is also my third year being part of the Homestead Orchestra, and I am currently serving as its concertmaster.

My name is Madeleine Bakken. I am a junior at Homestead High School, and one of the activities directors in Homestead High School’s Tri-M club. I play the clarinet in Homestead’s Wind Ensemble 1, the vibraphone in Homestead’s Winter Percussion program, and the piano outside of school. I am also one of Homestead High School’s marching band drum majors.

My name is Elisa and I am an Activities Director. I play piano in the Homestead Jazz Ensemble and I have also learned and competed in classical music for over 11 years.

My name is Rohan Venkatesan, and I am an Activities Director for Homestead High School Tri-M! I play the euphonium in HHS Wind Ensemble 1. I have played the euphonium for just about 5 years, and played Alto Saxophone for two years prior to that. I am also a member of the San Jose Wind Symphony, and have been a part of various honor ensembles on the county and state levels.

Chapter Officer Reflections: Why did you decide to participate in music in high school?

Music is one of my most defining traits, and has been a core aspect of my life for as long as I can remember. Since I don’t play a band instrument, I wasn’t able to participate in music at school for elementary or middle school, and was extremely excited to get to join a music ensemble at my high school. Participating in music throughout high school opens you up to endless opportunities to make friends, grow as a person, and learn from incredibly talented musicians and teachers along the way. -Arielle Turullols, SecretaryTreasurer

I decided to participate in music in high school because it is something I love to do, and I felt that continuing my musical journey in high school would give me a range of new experiences. Music has been my whole life, and getting the opportunity to play in high school, and learn new instruments as well as conduct, has been wonderful. -Madeleine Bakken, Activities Director

What made you want to become a student leader in your Tri-M Chapter?

At first, I just thought it was cool and I wanted to help people, but as time passed, this honor society made me notice the importance of helping people through music. I noticed I can share various ideas I have, and I decided to apply for the student leader position of HHS Tri-M Chapter. -Riko Hirata, External Vice President

During the pandemic, which occupied my freshman year of high school, I really enjoyed participating in a virtual benefit concert that the Homestead Tri-M team organized along with a few other local schools. I decided that I wanted to give back and help plan events for our club members to engage in something meaningful and impactful for the community. -Elisa Floyd, Activities Director

Why is the Tri-M Music Honor Society important to you?

Homestead is fortunate to have a large music program with extensive school and parent support, which is why I think it’s important to share these talents with our community. After the pandemic, I learned firsthand that music is not about practicing alone in a room for hours; it’s about performing with others, inspiring younger musicians, and making new friends! Tri-M is the perfect place to do this. -Avery Chen, President

I deeply value spaces where I can connect with people who have similar interests and motivations to me, and Tri-M brings me exactly that. I am able to meet and work with people who are passionate about their music studies and are excited to put in effort to strengthen our music community at Homestead. -Arielle Turullols, Secretary-Treasurer

Homestead Tri-M/Forte is an amazing pathway both to get to know musicians beyond those in my orchestra class and to cultivate others’ interests in music. Through various performance opportunities, speaker events, and social opportunities, Tri-M

connects music enthusiasts throughout the school together, which is as important to me as it is to everyone who is part of Tri-M. -Stephan Tan, Hours Manager

What challenges have you dealt with within the chapter, given Covid 19, and how did you work around these challenges?

My most memorable Tri-M experience was getting to speak about the value of pursuing music in high school, at my former middle school. I prepared a long story of my experiences with music, and was incredibly moved when students came up to me years later, telling me that I had encouraged them to join band in high school. I learned about the importance of being vulnerable and also how to speak about music in a way that inspires others. -Avery Chen, President

I really enjoyed the group performance at Mountain View Senior Center, and although I felt initially nervous playing as a soloist, the close proximity to the seniors allowed me to be more connected to the audience and to better notice their appreciation of our music. This is particularly rewarding since it brings me closer to the community and adds a personal dimension to volunteering. I greatly enjoyed this experience and learned that sometimes being more exposed to other human beings is actually a rewarding experience. -Stephan Tan, Hours Manager

Given the difficulty of producing music as an ensemble as a result of the COVID-19 pandemic, the club sought alternative means to connect its members. During this time, officers took initiative to direct a virtual symphony orchestra concert for healthcare workers, which I had the pleasure of editing and producing. Completing the production was a technical challenge, requiring me to work with new technologies I’ve never heard of, but was certainly worth the challenge. I am proud to have played a part in the concert’s production and to see the union of those separated as a result of COVID-19. -Alex Wang, Technology Manager

What is one goal you’d like to accomplish or have accomplished with this chapter?

This year, we are planning on introducing “performance ensembles,” where small groups of musicians can be called to perform at events. Now that pandemic restrictions have lifted, we are really excited to introduce this opportunity since it will be a good way for our members to collaborate with one another musically and to increase participation in our performance opportunities. -Urmika Balaji, Internal Vice President

I would like the members to become more involved with the performing opportunities, instead of just going with the social and service ones. The officer team was thinking that we could rehearse and perform a song first, to inspire more of them to join the performance events. -Madeleine Bakken, Activities Director

Regardless of the career path(s) I decide to pursue, my experience as Vice President has taught me the skill of networking. I had to maintain external connections with organizers and professional musicians for opportunities, while also interacting internally with members to understand what they wanted and what could be improved. Networking on multiple levels was crucial to support the growth of the club, and I know it will help me understand how I can grow in my future career. -Urmika Balaji, Internal Vice President

Tri-M has really opened my eyes to the effect that music can have on people, and how music can bring people together, and so as a music educator in the future, I hope that I will be able to share my love of music with other people, just like I have been able to do in this club. -Rohan Venkatesan, Activities Director

What are you excited about and most proud of in this year’s work within the chapter?

I am proud of the officer team’s deep organization and ability to direct a large school club. Having worked alongside a passionate officer team, I am proud of the diversity and abundance of ideas generated for events and opportunities. With guest speakers, care center performances, and concert volunteer roles, our chapter is sure to have offered enriching opportunities to our members. -Alex Wang, Technology Manager

In terms of music, what are you looking forward to, once you graduate?

In terms of music, I strongly wish to have a career that is related to music and help others. Other than that, I wish I can have connections with people who play music as well, either for a job, or just for fun. Music helped me a lot when I was heartbroken, stressed, and all of those negative emotions. But at the same time, music made me improve myself and made me strong. Therefore, I wish I can be the person who can tell how important music is. -Riko Hirata, External Vice President

I don’t plan on majoring in music in college, but I will definitely continue to play in ensembles for community events and learn pieces on my own. I actually feel very comforted because I know that music will always be there for me as a friend when I need it. Throughout the rest of my life, I can turn to piano whenever I am feeling down to express my emotions, and I can also turn to piano when I want to challenge myself and expand my repertoire. -Elisa Floyd, Activities Director

I plan to become a music teacher in the future, so once I graduate with my degree, I will hopefully be able to teach music on a high school or college level. This is something that I am very much looking forward to, as the teaching experience I have had so far has been very enjoyable. -Rohan Venkatesan, Activities Director

What special events did you take part in that you enjoyed and what skills did you learn from these projects?

How will your work or role in this chapter affect you as you move on to the next stage of life?

CMEA Solo & Ensemble Festivals 2023

PREREQUISITES

To be eligible, a soloist or small ensemble must have received a Superior or I rating at a CMEA-sponsored or CMEA-sanctioned* solo and ensemble festival during the previous (2021-2022) or the current (2022-2023) academic years. (*Festivals from the following CMEA affiliated groups are considered sanctioned for the CMEA State Solo and Ensemble Festival: SCSBOA, SCVA, MTNA, and other events approved by the CMEA Board.) For this year only, ratings from the 2021 and 2022 Virtual Spring Music Festival will qualify for the state festival. Previous State Festival ratings do not qualify for the current State Festival.

Participating directors and/or private studios must be members in good standing of CMEA at the time of application and festival performance. For members in good standing of SCVA, SCSBOA, and CCDA, a current waiver of this requirement will apply for the Southern California/Cerritos College site.

PARTICIPANT FEE

The participation fee for 2023 State Solo and Ensemble Festival is $75.00 for each soloist and/or $100.00 for each ensemble; an event accompanist (includes 15 minutes rehearsal time before performance) may also be requested for an additional $50.00. There are no refunds after April 15.

PERFORMANCE TIME LIMITS

Performance slots are limited to 15 minutes. Music selections must remain in the 15-minute time frame. Performers who exceed the stated time limits will have the performance stopped by the performance room proctor. If a performance must be interrupted, it will have no effect on the judges’ ratings of that performance. (No penalties will be imposed for excessive time.)

FESTIVAL RATINGS AND

COMMENTS

Each solo and ensemble will receive written comments in several categories from two adjudicators. These scores will be

averaged for the final rating. Adjudicators will not consult with one another in their rating of any performance.

All performances will earn a Bronze, Silver, or Gold Level rating. Some performances might receive a Command Performance, which is a rating based on both adjudicators awarding a Superior (I) or Gold rating in all categories. This is the highest award given and might result in an additional performance on the given date (in the Southern California venue only). Individual medals and plaques will be available for purchase on site only.

CATEGORIES AND REQUIREMENTS

Each participant needs to bring at least ONE original score for the adjudicators.

Solo entries are welcome for vocal, band, orchestral, guitar, ukulele, etc., and additional instruments, though not listed. Music performed should be in a genre that best displays your highest level of expression and performance abilities and skills. Small ensemble entries are also welcome and are limited to a maximum of 16 performers, regardless of part division. No ensemble may be conducted with the exception of a large percussion ensemble. Recorded accompaniments are not allowed at the CMEA State Solo and Ensemble Festival. However, if an accompanist is not available for your performance you may perform without accompaniment or pay the $50 fee to hire an event accompanist on site. All performers, including accompanists, must appear live to participate.

Any person may play the accompaniment for any soloist or ensemble, provided that such accompaniment is not a featured or solo part to be adjudicated. If it is an integral part to the adjudicated performance, a student and not an adult or professional pianist must perform such accompaniment.

LOCATIONS and TIMES

Sacramento (Northern CA) location: Friday performances are scheduled from 5:00 PM to 8:00 PM for brass, string, and woodwind entries only, and on Saturday from 9:00 AM to 4:45 PM for all performances.

Cerritos (Southern CA) location: Saturday performances are scheduled 9:00 AM to 4:45 PM. There are no Friday performances for this site.

TO REGISTER:

Registration opens March 1, 2023 via the CMEA website: https://calmusiced.com/membership-services/state-festivals/

Sponsored by

Bay Section Update

Sandra Lewis Bay Section President

Greetings From Bay Section!

I hope you are looking forward to the chance to recharge over the holidays and perhaps catch up on some much needed “quality” friend and family time. I know that this point of the year is where I start to evaluate my ensemble’s musical trajectory, future lesson plan viability, and start to plan out new repertoire for the upcoming semester.

As I take time to reflect at this midway point of the school year, it is important to take inventory and look ahead at where you are going as well as celebrating your progress and musical benchmarks. I have always found that attending some form of professional development can provide a very needed “incentive” to re-examine my teaching practice as well as enhancing other professional and collegial relationships.

The Bay Section Winter Conference hosted by San Jose State University on January 6th and 7th is an opportunity to attend sessions that are engaging and relevant. Below are just some of the clinics and sessions featured this January:

Elementary/General/Classroom Music: Demystifying the Beginning Band Classroom: Practical Strategies for Working with New Musicians, presented by Sarah Green

Multicultural-Black Music Matters: Jazz History for Your Music Students, presented by Sarah Cline

Music Technology: Sight Reading Factory - Music Literacy for Any/ Every Classroom, presented by Don Crafton

Higher Education: Creating and Sustaining a Mariachi Program, presented by Luis/Tito Talamantes

Choral: Teaching English Language Learners in the Music Classroom, presented by Jo Smith-Nilsson

Orchestra: Pedals, Looping and Strings, Oh My! presented by Matthew Major and Erica Mulkey

Band: Representation in Instrumental Ensembles: The music of Francis Johnson, A new suite of works for flexible, full and chamber ensembles, presented by Brad Hogarth

Jazz: Developing The Jazz Band Rhythm Section, presented by Dave Gregoric, Kelly Fasman, Tim Price and Nils Johnson

For a more complete schedule and registration information please go to the Bay Section Website at: cmeabaysection.org/

If you are looking for some inspiration before you return to work with your ensembles in the new year, consider joining us at SJSU for the Bay Section Winter Conference. We are a welcoming group of music educators and would be happy to share our conference with our friends from other sections.

Continuing on along the lines of how friendly we are in Bay Section, we also have a few large group festival slots that are “open”. Why not make Bay Section a “destination” festival if it works in your schedule? For the festivals that are still open, we are happy to have folks from other areas participate. Please email our Large Group Festival Coordinator Greg Conway if you are interested. gconw345@gmail.com

Regardless of how you spend your holiday break, I hope that you find the opportunity to renew and remember the reason you chose this wonderful profession of music education!

The California Music Education Foundation is a 501(c)3 California Nonprofit Public Benefit corporation that supports charitable and educational efforts to promote quality music instruction for the children and adults of California.

To donate, or to receive more information, visit: https://calmusiced.com/cmef/

Capitol Section Update

Neff Capitol Section President

The board of CMEA Capitol Section remains excited about serving the music educators and students in our region, and hopes everyone is having a wonderful school year.

After a wonderful Fall, which included a return to Capitol Section In-Service, our board is currently finishing preparations for our upcoming honor events. CMEA-CS 6th Grade, Middle School, and High School Honor band will perform at Sheldon High School on Saturday, January 7th. Middle School and High School Honor Orchestra will perform at McClatchy High School on January

14th. Middle School and High School Honor Choir will perform at Fremont Presbyterian on February 4th. We are thrilled to have the following conductors working with our students: Sonia Takanikos (6th Grade Honor Band), Aaron Smith (Middle School Honor Band), Dr. David Vickerman (High School Honor Band), Margy Moon (Middle School Honor Orchestra), Jim Mazzaferro (High School Honor Orchestra), Shelley Durbin (Middle School Honor Choir), and Dr. Crystal McCoy (High School Honor Choir). Like all of our state, we have incredible young musicians in Capitol Section. We look forward to their work as part of our honor groups and are excited about these upcoming performances!

In addition to the upcoming honor events, we are also very much looking forward to CASMEC! Beyond the outstanding sessions, performances, and professional development opportunities, we will be holding a Capitol Section social event during the conference. Details will be shared with our membership when finalized.

Please remember that CMEA and CMEA Capitol Section are here to serve you, and we are eager to provide the support you need. For more information about CMEA Capitol Section, please visit www.cmea-cs.org

Central Section Update

communicate with other volunteers, which provides the association for engaging social relationships. If an individual sees themselves as shy or introverted, serving on a board or volunteering can provide opportunities to engage with other people and connect with the music community. As a result, the individual can enhance their interpersonal and communication skills.

As a volunteer, individuals have opportunities to meet new people and possibly make friends with colleagues they may not have met otherwise. These new relationships are forged through the common interest that both parties have in their volunteer work.

Serving in a professional music organization is one of the things that separates our profession from a conventional job. Membership in one’s professional music organization is expected of most music educators but serving is going above and beyond. It is important to support the advancement of one’s profession and serving an organization is a large part of that advancement.

Volunteering is important because it enables individuals to help others in a selfless way. When individuals volunteer, they may choose to help people, support causes, or assist their music community. Additionally, volunteering benefits everyone and is a terrific way to have a positive impact on students and colleagues. Furthermore, volunteering is important for music associations because they depend solely on volunteer work to operate.

Serving also helps individuals build interpersonal skills and

Volunteering allows you to stay up to date on any changes in the “music world”. Volunteers can enhance their unique skill set and learn new skills through volunteering, which is beneficial for any music teacher. For example, if you are volunteering as an association secretary, you may learn how to use advanced software or more efficient spreadsheet techniques that you may use throughout your career. Individuals may find that some tasks are challenging, especially if volunteering in a position that is unfamiliar to you. In this way, volunteering can provide stimulating challenges that can help you learn new skills to strengthen your skill set.

I have learned so much and have formed countless friendships from serving on the CMEA and CBDA boards. The volunteer work being done to support teachers and students always amazes me. Deciding to serve my professional music organizations is one of the best decisions I have made throughout my career. I highly encourage everyone to get involved by serving on a board or volunteering to help your organization run events. I understand how busy the music education career is and the feeling of not having enough time to volunteer, but it is worth it, and it makes a difference!

Patrick

Michael Tackett

Central Section President

Central Coast Section Update

Sam Oh Central Coast Section President

The Success of Salad Bowl Music Showcase

On October 29, 2022, Salinas High School hosted their 3rd annual Salad Bowl Showcase. It’s a night where many schools and after school music programs come together and perform in front of an audience without any adjudication. It is a night filled with fun activities and to cheer on every school’s performance. This is the 2nd year I took my band and my students look forward to it every year.

This year’s showcase, more schools attended than the usual Salinas Union High School District high schools. The following schools and programs attended: 1. Salinas High band and choir; 2. Alisal High band; 3. North Salinas High band; 4. Rancho San Juan High band; 5. Everett Alvarez High band; 6. Gonzales High band; 7. Marina High drumline; 8. Seaside High choir and orchestra; 9. Alisal Community Arts Network (ACAN) drumline, baile folklorico, and mariachi.

The majority of the high school bands that night performed their school field show, but the event is not tied only to field show performance. Bands can come and perform anything they want.

Even if they do not have a field show, they can do a stand-still show and perform anything they want. The point is to have students learn to be supportive of the music arts. And what better way than to have them come together on a night where everyone is screaming and cheering each other on!

The night is full of positive energy and inspires students wanting more with their own program. Throughout the night, not only my students, but students from other schools were inspired by what they watched and wanted to bring that same energy back to their own program. In many ways, this is a positive thing for a music director. As music directors, we try our best to inspire and encourage students to do more because we believe that they can do more, but sometimes it takes an outside source to get them really motivated. In my opinion, I believe events like this do a better job to keep students in the music program throughout their educational life. It does a better job than promising field trips to Disneyland and honor programs. Events like these, where it is stress-free from adjudication and that every student gets to participate (not just the chosen few, like honor events) does so much more to get them to enjoy the power and love for the music arts. The downfall of field trips and honor events is that it costs money, time and not everyone gets to participate. I am not saying that these events are not award filling, but it is limited to a small handful of students to have fun and enjoyment of being in music, while events like the Salad Bowl Showcase, it is not limited to only a small handful of your own students, but to all your students.

Overall, I would encourage all directors to start or join showcases. Salinas High School Salad Bowl Showcase happens every year around October. In our Central Coast Section, we have the YES! Young Ensemble Showcase for elementary and middle school level during the month of February. Come out and enjoy a day or night of fun!

North Coast Section Update

finalize plans. We had teachers from all over the section contributing input and offering help. Our teachers have found some experienced adjudicators and conductors for our students.

This year we will be hosting our All-County Music Festival, Instrumental Festival, Choral Festival, Solo & Ensemble Festival, Steelpan & Percussion Festival, Humboldt Orff Youth Ensemble, and a Jazz Festival. Many of these festivals are being hosted at local school sites and a few are at Cal Poly Humboldt or surrounding venues. Our teachers are working hard to make sure that our students will have a fun and educational experience at each festival they attend. We are also looking at how we can expand some of our festivals by including more elementary students which is exciting.

Our teachers and students have been working hard getting ready for and performing in Winter Concerts. Also multiple schools are taking ensembles on field trips this year which is exciting to be able to do again. Everyone is excited for the upcoming events next year.

Hello from North Coast,

This year we have been working hard to get ready for festivals that were canceled or minimized the last two years. We had a meeting in September and got some initial dates, assignment of responsibilities, and scheduled another meeting for December to

Collin Kirkwood

North Coast Section President

Northern Section Update

Tanner Johns Northern Section President

Warmest Greetings from the Northern Section!

For this issues Northern Section Update, please enjoy the following article by Jane Brown about the challenges of teaching in rural communities. Jane Brown grew up in Chester, a small rural community in Northern California, and has taught in several Title I and small rural schools in Northeastern California and Northern Nevada. She recently completed her doctorate in orchestral conducting from the University of Nevada, Las Vegas, is the conductor of the Reno Pops Orchestra and the Northern Nevada String Serenade, and loves teaching music in the schools of Greenville and Chester, California.

economic hardships on their communities and students’ families, as well as longstanding music teacher shortages and difficulty retaining talented teachers in their small, rural districts.

Back when music programs were consistently well-funded and rural economies were more robust, there were many strong small school programs in Northern California. Top-notch music teachers were known to head to the mountains straight out of college, looking for small mountain or coastal communities where they could enjoy the beauties of nature, raise families, and have fulfilling careers teaching music—literally inspiring generations of young people. These legendary music educators not only had large and very successful programs—especially given the size of their schools—they also set the highest musical standards for themselves and their programs, had an indefatigable commitment to their students and communities, and showed constancy and dedication to their colleagues and their beloved profession.

As the sole providers of music education in these small towns, they educated and won over administrators who often came from sports or other non-arts backgrounds, and gave countless hours of private and group instruction, both inside and outside regular school hours. They also instructed the members of their communities on the value of music, including scraping together funding, year after year, so they could continue to offer great musical experiences to their students.

Today, these types of challenges are still a daily reality for most small school music teachers. However, we experience many additional challenges as well. Some of these difficulties are germane to that which all music teachers are experiencing, including how to restart our programs following COVID with students who have missed two years of musical development—many of whom have social, emotional, and behavioral challenges and are lacking in maturity, confidence, and requisite academic and personal skills. In addition, today’s teachers in small rural communities also have to contend with the effects of devastating wildfires and ongoing

Another longstanding challenge for those teaching in remote areas is isolation. On the positive side, isolation in these rural communities can be a lovely thing—coming home to a quiet night sky filled with millions of stars and the fresh smell of the breeze coming through the trees. Other joys include the friendly feeling of belonging when you know shopkeepers and fellow customers on a first-name basis, getting hugs from a kindergarten music student in the grocery aisle or gaining the trust of your trombonist’s parents during a chat in the coffee shop and later being able to help them find their son or daughter a new trombone for Christmas. However, when you are quite possibly the only person who knows how to read music and teach the various instruments in the community where you teach, and you are hours away from the nearest interesting cultural event, the isolation can become overwhelming. Living in these places, you also have to go the extra mile in order to spend time with colleagues and sharpen your own musical saw. Early in my career, a veteran music teacher and I used to drive two hours each way on Monday nights to play in Daniel Hiestand’s Monday Night Band at Chico State. During one of our trips, this wonderful colleague explained to me, a brand-new teacher, that the exhaustion from the late-night drive was well worth it because we were getting the opportunity to hone our musical skills, hang out with some great music educators, and rekindle our passion for music, weekly. This lesson was a vital one for me as a young teacher. Another dear colleague would encourage me to come along to CMEA and CBDA conferences and would introduce me to a wonderful network of fine teachers and friends. Now, after 30+ years of teaching, I still drive two hours each way every week to meet with great musicians and educators in a community orchestra, where we make wonderful personal and professional connections and enjoy some great musical moments, together. I also relish opportunities to learn and grow, including those found at conferences and workshops. By taking part in these types of experiences, we rural directors are able to keep our musical passion alive and our skills in the best possible shape. In more recent years, the bounteous opportunities for instruction and connection found through the internet are an absolute Godsend for all teachers—but especially for those in remote areas.

In recent years, small school districts have had some other tough challenges. In the county where I teach, we have experienced many years of declining enrollments. We have also found it increasingly difficult to fill open music positions, partly due to a shortage of music teachers, state wide. In living memory, our small district boasted large, successful music programs that were highly valued by each community. Lately, however, some of these music programs have had to go without a regular music teacher for years, fading the memory of decades-old legacies and traditions until the doors eventually close. In one school where I teach, they basically gave up: the band room was remodeled into a wrestling room and sadly, the grand piano was given away. Even more tragically, though, several classes of students never had the chance to take a music class. Good news, though—the room where so much music took place is now finally a band room again and a former music parent even donated a piano.

The teacher shortage and declining enrollments have also impacted the other schools in my district, causing devastating shrinkage in both the number of music students and the quantity of music course offerings, district-wide. These impacts, combined

first with COVID, then followed by the utter devastation of the Bear and Dixie fires, have made the last few years quite a ride in our school district!

The good news is, we are in the process of flipping this distressing script in Plumas County. During my first year back in Plumas, in 2020, our goal was to encourage the few devoted music students we had left to keep progressing and enjoying their music. This included teaching zoom classes—band at all levels, ukulele, general music, and even AP Music Theory. Once every week or two, the one music teacher (me) would drive to each community to deliver reeds and instruments, and hopefully, tutor individual students outdoors, in person, whenever possible. As the shutdown eased, several community members who loved and missed music in our schools were able to help us begin paving the way for a resurgence of music in Plumas County.

During this crucial time, the district’s superintendent and assistant superintendent were very keen on helping us rebuild our music programs and listened carefully to our suggestions on how to accomplish this important task. Valuing music as educators and individuals and feeling encouraged and inspired by the legacy of the district’s great music programs of the past, they believed our assertion that the educational and cultural benefits of a comprehensive K – 12 music program were essential for our students, schools, and communities. Together, we formulated a multi-year plan to successfully rebuild these programs. Our first goal was to hire two more music teachers and invest in some badly needed equipment and instructional supplies. Now, we are in our second year of implementing this plan to have comprehensive K – 12 music programs in all four communities in our district and are well on our way.

It took us almost 18 months to find teachers, but now we have a team of three passionate, well-qualified music teachers who are

working together to rebuild music in Plumas County. After only two years, we have grown from having a skeletal online offering for about 50 students, district-wide, to having an instrument in every 5th and 6th-grade student’s hands and general music classes being offered K – 4 in most of our elementary schools. In addition, all of our secondary schools have at least one thriving band class of 15 – 20 students, and two have both an intermediate and advanced band. Though enthusiastic, a majority of our students are only firstand second-year players, but over time these programs will grow into something wonderful. Two schools are also offering guitar and ukulele for those students who prefer these less traditional music classes. As of this fall, after only two years, total enrollment in our music program, district-wide, is somewhere around 720 students! In celebration of this collective effort, we have named our three music teachers, our amazing musical community members, and our wonderful, supportive administrators, #TeamMusic. We plan to get t-shirts made. The really neat part? Our district superintendent and assistant superintendent asked if we would make shirts for them as well.

Now, especially with the latest arts funding approved by the voters of California, we in Plumas County are very excited to see what the future will bring. It is our hope that you, our colleagues, are also faring well in your rebuilding processes, post-COVID; and that despite any challenges you might encounter, you are also finding great joy in bringing music to the children of California. These children are beautiful. They are deserving. And now—more than ever—they need music in their lives! As do we all!

Best Regards, Jane

S P I R I N G K I C K O F F S O C I A L

Student Leadership Symposium

Boosting your student leaders’ skills and motivation

January 14, 2023, 8am-12pm, Cerritos College $25 per student, $100 for 5 students, directors free Topics: • Service Leadership • How to Run a Sectional • Lifting Your Team Bring your Instruments Payment methods: Mail in payment

Jessica Swanson

CMEA-SES Treasurer 3488 N F Street San Bernardino, CA 92405

Checks payable to CMEA Southeastern Section Or pay through Zelle to TREASURERCMEASES@gmail.com. Register online at https://BIT.LY/CMEA-LEADERSHIP

CMEA-SES Kickoff Social

ALL Music Educators Welcomed! Bring your colleagues Let’s take some time to meet, greet, eat, and inspire each other into the next semester.

January 14, 6-9pm Mimi’s Cafe, 2230 Griffin Way, Corona, CA 92879

Heavy appetizers served Register online at https://bit.ly/CMEA-SES-SPRING-KICKOFF

SoCal Mariachi Showcase

Dr. David Betancourt Southeastern Section President

Southern Border Section Update

Seligman Southern Border Section Vice President

Greetings and good tidings to all. I am Jonathan Seligman, the Southern Border Section’s Vice President of Instrumental Music! The past eight years, I’ve served at the K-6 level as Casillas Elementary’s founding music teacher down in Chula Vista. Like all of us in our field, I have enjoyed serving my students and my community. However, since the adjacent years of joining the CMEA-SBS’s board, I have had the honor to observe how many other music educators work both in and outside their four walls.

But these are just snippets of vertical slices of narratives. It is crucial for our profession that we uplift the narratives of all educators beyond the four walls with which we teach. All of us have a voice and a perspective that makes our broader community stronger. If these voices are not heard, then the only path we tread is the status quo. Teacher-centric, Euro-centric, status quo sans innovation.

This is even more crucial now that Proposition 28 has passed. Legislators need to hear new good ideas. Admin need to hear new good ideas. New teachers hired from this money need to hear new good ideas.

So, how do we uplift?

This is dependent on your voice and your community. Some have the capacity to create a podcast. Some have the capacity to speak on them. Some write articles. Some share ideas on social media. Some share narratives by word of mouth.

Whatever mode you choose, your voice matters. Our voices matter. For the sake of our profession, let’s make sure they don’t stay hidden within the four walls we teach but to the greater community.

Educators who found ways to reorganize old systems to meet current needs. Through the wisdom of Dean Hickman and Cameron Brown, CMEA-SBS formed a roaming adjudicator system to ensure safety during mid-COVID.

Educators who seek to form naturalistic paths to tie the music classroom with technology. Using his knowledge of Digital Audio Workstations and communal learning through fun, Jesse Rogers has created a program where students have created their own class songs and uploaded it to Spotify.

Educators who engrain whole-child learning in their ensemble. Even when moving from elementary to high school, Darlene Machacon at La Quinta emphasizes social emotional learning in her lesson plans to where her voice isn’t centered but her ensemble’s is uplifted.

Educators who create new systems where they don’t exist. As the elementary choral presence in San Diego is new, CMEA-SBS president-elect Emma Schopler established a choral festival to celebrate the joy of singing.

Jonathan

Things are great at the bottom of the state!

And you know what?

We have some amazing educators in California.

We have some amazing educators in California. Things truly are great throughout the entire Bear state.

Southwestern Section Update

Dr. Tamara Thies Southwestern Section President

As we start the new year, there is a tradition of revisiting the previous year for what we accomplished, then looking toward the future for new and interesting possibilities to create. During the fall of 2022, we hosted our annual CMEA Southwestern Section Fall Conference at California State University, Long Beach. Our goal was to approach conversations focused on diversity, equity, inclusivity, and anti-bias in music education. In the morning, participants engaged in digital, electronic, and acoustic music making through composition and songwriting. After lunch, a

mindfulness session offered activities for self-care as well as ways to help students refocus and decompress. Three reading sessions— choral, band, and orchestra—offered insights into historically marginalized composers and introduced some new names and new music to participants. The day ended with instrument breakout sessions where participants could learn specifics of vocal, low brass, double reed, string, percussion, and ukulele. Please view the highlight reel from the conference. We hope to see you at our 2023 event.

Looking to the future, the Southwestern section is interested in Celebrating Diverse Music Making. In the spring, we are planning to develop a non-competitive festival that provides feedback to students, alongside workshops for students to continue cultivating their unique talents. We are especially interested in engaging music making through emerging practices like digital, mariachi, steel pan, hip hop, and modern band. Our plan is to design the festival this year and offer it in the spring of 2024. If you have ideas and/or would like to be involved with creating this opportunity for students, please contact the Southwestern Section President, Tamara Thies at Tamara.Thies@csulb.edu. We look forward to building opportunities with you and for your students.

EVEN TEACHERS NEED TEACHERS

As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsCAMEA

Increasing Meaningful Inclusion Procedures for Other-Abled Students: Focus on Autism

by Angela Holmes, Southeastern Section Students with Disabilities Rep Kelly Anthony, Southeastern Section Diversity, Equity, Inclusion Rep Phil Villalobos, Southeastern Section Advocacy Rep

The statistic that 1 out of 68 students is on the Autism Spectrum has been holding for many years. Therefore, educators need to keep current with the strategies and procedures that build success for students who learn differently, but visually do not seem to be “different” in their learning capabilities. The answer to addressing how we can improve the achievement of students with autism in a classroom setting, especially a music classroom, is to first understand the general characteristics of autism and then understand that instruction is the same, with modifications. The first goal is to build trust and confidence, followed by specific classroom modifications that address the students’ feeling of safety, appropriate behavior, and ability to focus.

This article will help the classroom teacher to understand that the student with autism can learn, but the path to accessing information will be modified to their psycho-emotional abilities and not necessarily their cognitive abilities. It is presented as a “to do” list, designed to integrate a student into an educational environment when their learning pattern experiences the world from a different perspective and therefore needs to have an accommodated program of instruction. The goal is to reach a positive teaching and learning relationship by building confidence, erasing fear and gaining trust in order to master concepts and skills.

The following is a list of actions that teachers use with all students. The examples presented are modifications to those common actions that most students easily follow. Students who

learn differently will require accommodations in order to remain on a path of an enjoyable music education experience.

Anticipation

One of the most important actions that a teacher needs to take before meeting their students is to know them. Knowing a student with autism is knowing more than their academic ability and attendance pattern. If a student has an Individualized Education Plan (IEP), it must be read by the classroom teacher. There is a wide variety of instructional knowledge about a student in the plan, which in turn gives the teacher the ability to prepare for that all important time of the first meeting and first instructional day.

Reading through the full IEP report is always recommended, but a teacher can refer to the summary document, “Passport,” as well. Goals for music may not be included if advocacy for this subject has not been requested. Regardless, there will be behavior goals and accommodations noted that will be specific to each student that will be helpful in all learning settings. Studying this document and taking notes from it will be helpful throughout the year and may be directly applicable in a music classroom.

It is also recommended, especially in an elementary music setting, where there is a large case load to teach, that the music teacher maintain a positive, on-going conversation with the home room teachers. Grade level colleagues can help distill information about individual students in short, manageable bits of information

which can be easily applied in the music classroom. Also, encourage home room teachers to remain with their class during music instruction. It may be helpful for the teacher to incorporate the music being taught into other areas of the curriculum or behavior structure in the classroom, such as using it to line up. Finally, if a student has a one-on-one aide, insist that the aide remain with the student during music instruction.

Another important step in getting to know your students is to schedule an introductory meeting with the student and parent. If at all possible, arrange this meeting prior to the first day of class. Let school personnel who assign students to classes know that you would like to arrange a pre-placement meeting before the first day of attendance.

Two very important actions need to be taken at the very important first meeting. The contact is the beginning of the development of trust with the parent and student. Each one will be sensitive to the teacher’s demeanor. Therefore, a positive, open welcome is key to the beginning of a productive relationship. The second action is to allow the exploration of the classroom by the student. Depending on sensory preference, this may even include running what seems to be odd behavior, such as running hands or face, along the walls. Do not react in surprise, express a demeanor of tolerance and understanding. Allowing the student to explore will continue to build trust and reduce the potential fear of being in an unfamiliar environment. Remember, one of the common characteristics of a student on the spectrum is discomfort and possibly resistance to change.

Keep in Touch

All students who struggle in school usually have many parent conferences throughout the year. Setting up quarterly meetings with a student who learns differently is highly recommended in order to maintain trust with the student and parent. Depending on the student, the student and parent may have had negative encounters with other school personnel. Having a regularly scheduled, short meeting which is not based on a negative report can be a powerful action to maintain the support of parents for the student and teacher.

• If more than one student is assigned to a class with an IEP, have quarterly group parent meetings. It will be a great time to talk, to review current instructional goals and preview upcoming events.

• Bringing parents together has the side benefit of an often unrecognized parental need, parents sharing common concerns with other parents.

• Make time to meet with the student.

• If the student has an IEP, keep regular contact with the case manager. The case manager can often support the classroom teacher with the application of information in the IEP and make you aware of changes in the IEP if the music teacher was unable to attend annual meetings. The case manager, or in the case of an elementary student, the classroom teacher, can share recent academic and behavioral strategies that are having positive results. The case manager may also have important personal information that may be helpful. Above all, talking with a colleague who knows the student can lead to brainstorming, leading to other ways to help the student.

• Follow the 504 plan to be aware of the focus and requirements of the documented plan of action.

Classroom Rules/Environment

An other-abled student may not process and learn classroom expectations as quickly as other students. The most important position to take when teaching classroom rules is PATIENCE. Other students will hear and read the rules in the music class and be able to follow them on the first day, but special learners will take time to adapt to a setting/classroom that may be different than the structure of most classroom environments.

Some students may take a longer time to understand the rules of a classroom and why they are important. Give positive feedback as time progresses. This needs to be frequently recognized in a positive manner. Keep reminding yourself that patience is key and that each student has a different learning pattern. If the student has a behavior goal in the IEP, it may be helpful to incorporate related strategies in the music classroom. Again, review recommendations and maintain contact with the case manager and parents because it is probable that they are also working with similar strategies in their classrooms and at home.

• Schedule regular meetings with the student to review and reinforce expectations.

• Maintain a visual representation of all behavior expectations in the music classroom, such as a classroom rules and use of equipment chart.

• Use clear language when posting charts.

• As a reminder, place a copy on the student’s music stand or table. If a behavior needs to brought to the student’s attention, the teacher can quietly pass the student’s desk and point to the behavior that needs to change.

• Send a copy home for review and discussion.

• Give a copy to the case manager/special education teacher so it can be explained and reviewed in that setting as well. Many of the music expectations may be the same.

Distinguishing Boundaries

In a music classroom, sensory triggers and time tolerance are critical issues to know about each student. Here is where unpleasant interactions can be avoided if this information about the student is known ahead of enrollment. The first line of information can come from the IEP, the case carrier and special education teacher. The second contact for information can be the student and parent during scheduled meetings. If not, it is very helpful if the parent can pre-warn school personnel of an issue that may affect the student in school, the latter being something that the teacher can request in a first meeting.

Every teacher working with a student on the spectrum needs to know the sensory triggers of each student. A student may have one or more. Familiarize yourself with what they are from the sources mentioned previously. Ask if there are any other behaviors to be aware of, as well as when a negative trigger can be expected. Also ask for the range of intensity. Sound is very common. The task will be to determine the level of tolerance and accommodate to that level by developing a plan for the student when they reach that level of discomfort/tolerance. One of the common interventions is to move to a designated area until the intensity has diminished.

Related to sensory triggers is sensory learning. Example, a student may need to rub their face with the paper before they can read it. Easy accommodation, but may draw ridicule from other students. Plan for how that can be avoided, i.e. have it read at home first or the student can go to a quiet corner in the classroom with their back to the classroom. Avoid the term “Time Out.” If possible,

designate a “Sensory-Free Zone,” without naming it for students who need that accommodation.

Another issue that is heightened in a music class is time tolerance. How long can a student focus before needing a break? This is not determined by age and may be different in different settings. After determining the amount of time needed, a plan should be developed that accommodates the need for a specific location in the classroom where the student can sit or lay, for a specific time. Leaving the classroom is not an option if the student does not have a one-on-one aide, but there are other classroom areas that the student can move, where it allows them to be in the classroom, but not focused on the sound of music and instruction for a designated time. The time allowed for a break from instruction will vary for each student.

• Avoid locations of distraction, i.e. windows

• Color may be a distraction and a trigger. Consider color when decorating the classroom.

Specific Elementary Music Classroom Accommodations

Every Elementary music classroom has at least one, and frequently many more, other-abled learners enrolled. Frequently, the student is on the spectrum. These suggestions are based on understanding the general characteristics of autism:

• Be flexible with expectations of “correctness.” Meet the students where they are whether it is singing, chanting, moving or playing an instrument.

• Students who have challenges with communication can benefit from a system of picture icons, such as the Picture Exchange Communication System (PECS).

• Prepare students for changes to the schedule or routines. Start preparing the student at least a week ahead of time for the change. Example: tour the performance space ahead of a performance or let them hear a new piece of music at home before you conclude teaching the current piece.

• Provide opportunities for social interaction through songs with partner activities or structured partner discussions.

• Students may have different responses to songs and activities, especially if the song has an emotional trigger. Acknowledge and celebrate the unique connection the student has with the music.

Specific Secondary Music Classroom Accommodations

In the secondary instrumental setting, other-abled learners have the capacity to achieve at a high level of success, understanding ways to physically produce music on their instrument. The challenge that many of these students have is musical notation reading and processing.

• Allow students to write on their music sheets. For many students this helps them read it.

• Color code different notations on their music, i.e. blue means soft, red means loud, orange means new tempo, etc. There is no standard rule for the choice of colors.

• Write in the note names or fingerings. This may be a debatable topic among music educators, referring to the area of being “music literate.” The rationale applied here is that the ultimate goal should be allowing special learners access to music material. For some students, a quarter note

on a line doesn’t read the same as writing G in large letters to be able to read, or to eliminate the musical notation completely.

• Rewrite parts that are easier to play.

• Enlarge the sheet music for easier visual access.

• Partner students who can be peer tutors during instruction. This strategy needs to be understood by the other students in class as an acceptable behavior. If possible, assign more than one student to this task and rotate their assistance.

• Offer teacher tutoring during lunch or after school at designated days and times. This time can also be a good opportunity to interact with the student regarding how they feel in class.

Make Time

Accommodating the increased inclusion of a wider variety of learners in all K-12 classes is supported by research that concluded that when a student does not represent the mainstream, whether they are other-abled, culturally diverse or linguistically diverse, they learn at a higher academic level of success when they sit alongside their peers, versus placement in a segregated environment. When focusing on students with autism, each possesses unique characteristics. In order to truly know each child, that is, to understand their unique traits, the educator needs to determine the student’s primary method of processing information and then proceed to addressing the integration of individuals in the music experience by making the necessary accommodations, all of which takes a great deal of effort. In this very challenging educational environment for students on the spectrum, adopt this thought: Teaching is creating a balance between flexibility and adaptability. To achieve this balance, make time and keep in touch with all the resources available. Grasping the procedures listed in this article will increase a sense of accomplishment for the teacher and more importantly, allow the student to engage in the opportunity to express the music that is within them.

EMPOWER EMPOWER

SET YOUR CREATIVITY FREE.

In our close-knit community, the guidance of dedicated faculty raises the bar on your talent while giving you freedom to explore new skills.

2023 Scholarship Audition Dates

Sat., Feb. 4, 18, 25 – UP Campus

For More Information

Visit up.edu/music or contact us at upmusic@up.edu | 503.943.7228

Teagarden Jazz Camp

Teagarden Jazz camp

Registration is underway for the 37th annual Teagarden Jazz Camp at Sly Park, CA. Students ages 12 through 20 receive daily one-on-one and ensemble instruction,with emphasis on improvisation, plus nightly performances and end-of-camp concert. Two one-week sessions, July 24-29 and July 31–August 5. Students can apply online at www.sacjazzcamp.org or call Camp Director Bill Dendle at 916-804-9470. SCHOLARSHIPS ARE AVAILABLE!

sacJeF InsTrumenT maTch

Do you have students who cannot afford their own instrument? If so, have them apply online at https://sacjef.org/instrument-match/. Restricted to students in the greater Sacramento region, and subject to available inventory.

The Lesson Bank

The perfect tool for Music Educators dealing with online teaching. FREE videos available on a multitude of topics, suitable for beginner to advanced, student or adult. Check it out at www.sacjef.org

When You Know Better, Do Better: Creating Intentional and Lasting Social Change

by Dr. Diana Hollinger, CMEA Collegiate Representative, Coordinator of Music Education, San José State University

In this time of intense social change, our profession must seize this opportunity to examine and guide our progress with intention. Rather than being reactive or drifting from one outcry to the next, I urge us to be thoughtful, careful, and inclusive in finding our direction. This is a clarion call for those of you who are collegiate members because this work will likely span and shape your career. Whether you involve yourself or not, whether our profession is intentional or not, there will be change. It is imperative we be involved in shaping that change with vision and intent.

We have collectively experienced some difficult years. All of us are touched by loss, trauma, or general social unrest. It is important to honor this with compassion while searching for an effective and lasting road towards a more just society. Here are some thoughts on how to do that.

1. Treat others as you wish to be treated.

2. Listen to understand.

3. Include all voices.

4. Take time to learn before calling for intentional change.

5. Call for change from a place of knowing.

6. Create a vision for what we hope to achieve.

7. When you know better, do better.

8. Pause and reflect.

Treat others as you wish to be treated. Most religions and cultures teach a version of this thought, often called the “Golden Rule.” This is a useful paradigm as we continue this journey together. When searching for solutions or encountering differing

viewpoints, let us remember this universal concept.

Begin listening for understanding, not for rebuttal. Research shows that we do not change minds or hearts this way. In fact, the most effective way to change minds is through listening and story. Sharing your own story and how you came to your point of view or changed your own thinking allows a person to see themselves in you and better accept engaging both in conversation and in changing their own position. Further, hearing others’ stories helps us to understand them, and when a person feels heard, they are more willing to hear. In studies in which people of different views interact as individuals rather than part of a group, they see each other as more human, and they generally like each other. If we are to find a way forward, we will need to do it together. This will require listening and seeing one another as people who have the same needs and desires as all of us.

Lasting and effective change requires all voices. Paulo Freire who worked for social change in Brazil and the United States, held that lasting societal change requires the work of all within a society. He wrote that both the oppressed and the oppressor must come together for this change, as otherwise we simply create new oppressors, not a more just system. The late Ruth Bader Ginsberg echoed Freire, saying lasting change requires us to bring everyone along. If we do not change the views of those resisting change, progress will simply reverse as powers shift. In other words, we must dialogue and do it with love and patience. This is difficult, but effective change is hard. If all voices are not heard, then the change will not last, and in fact can often result in backlash and backsliding.

For a better outcome, we need a different process.

Take time to learn before calling for change. For genuine transformation, you must first understand what you are trying to transform. Before criticism you must first truly know and love what you are critiquing, because then you call for change from a place of knowledge, and you will do so with great thought and care. This is very different from blaming and shaming. It requires taking the time to work and know a profession—the good and the bad--before calling for change. In other words, intimately know what you are attempting to transform. This is how to change with intention, with direction, and with vision.

We must create a vision of what we want. Rather than simply raging against what we hope to change, we must provide a tangible image for what we hope to achieve. We need a goal, a vision, a destination.

When you know better, do better. Maya Angelou wisely wrote, “Do the best you can until you know better. Then when you know better, do better.” We are in a time when we now know better, and it is time to do better. However, there is also grace and forgiveness in this—for us and for one another as we all try to do better.

Finally, it is important to take moments to pause and reflect. Reflection allows us to rest and better respond from a place of calm and efficacy. It reminds us we are all in this together, and no single one of us must do everything alone.

We have learned to gain satisfaction from mic-drop moments, shaming, and anger. Our natural anger will not drive change. It sometimes gives us courage, but we must find a wise way forward if what we want is true and lasting change. This may go against

our most natural, emotional, and human responses, but is far more effective than reactivity. For our “new” to be better than our “old,” we need to be thoughtful and visionary, not reactionary.

Speaking personally, let me say that I have spent a lot of years working for social justice, and somewhere along the way I began researching what works and what does not. My younger self believed that my good intent would somehow be enough if I worked hard and just kept pushing forward with tenacity. And often that was true. But when I encountered complex or systematic issues, I found good intent to be inadequate, and so I have spent some years looking for models and paradigms that work.

There is a lot of work ahead of us, but the good news is everyone is now awake to the need for change. However, this is also chaotic and unsettling precisely because everyone is now paying attention. With everyone in the discussion, there is an urgency and angst. There are people on all points of the continuum with all sorts of agendas and viewpoints, testing their voices, creating differing rules of engagement, and intense emotions color everything. Our challenge is to create a vision, so we have something to move mindfully toward. We must engage everyone. In other words, we must dig in and do the hard work, because now we know better.

CMEA Mentorship Program

Educators Supporting Educators.

In a nutshell, that’s what our mentorship program is really about – building professional relationships between music educators to the benefit of all.

We have officially launched our first cohort of mentees for this academic year and I would like to personally thank all of our members who have stepped up as both mentors and mentees. At this point you have hopefully met at least once with your paired educator and have planned out ways you can support each other throughout the year.

But we still have the capacity to help even more music educators.

If you want to know more about our program and the supportive systems that we are building together, I invite you to check out this brief overview video

If you want to get plugged into this membership resource, you can find our mentee application on the mentorship page of the CMEA Website. Mentees may apply for our program at any time.

Prop 28 Update

by Brad Van Patten, CMEA Music Supervisors Representative

I hope you all are excited about the possibilities in front of us. This truly is a remarkable time for music education and a true renaissance for all of arts education. On October 7th, music and arts program leaders from around the state met in Costa Mesa at the Segerstrom Center for the Performing Arts to discuss how best to direct and influence the resources that Proposition 28 would bring. We are very thankful to hear our CMEA president, Anne Fennell, along with Talena Mara, Vice President of Education for the Segerstrom Center for the Performing Arts, and United States Department of Education Deputy Secretary Cindy Marten provide exceptional vision and passion for how arts education can elevate all children in our schools. Along with the collegiality of our leaders and the vast expertise in the room, there were many great ideas and practices on how best to utilize what could be the largest turn around in arts education, maybe anywhere in the nation. As more information comes forth, it will be good to recognize the idea that we need to make sure these funds are spent on their intended purpose.

So, what exactly is in Prop 28?

The following was taken from the Legislative Analyst’s Office (LAO) and provides some clear language around the intent and execution of the funds.

Beginning next year, Proposition 28 requires the state to provide additional funding to increase arts instruction and/or arts programs in public schools. The amount required each year would equal 1 percent of the constitutionally required (Prop 98) state and local funding that public schools received the year before. This funding would be considered a payment above the constitutionally required amount of funding for public schools and community colleges. The proposition allows the Legislature to reduce funding provided by this proposition for arts education in a year when the Legislature provides less than the constitutional spending requirement. In this case, the reduction in funding for arts education could not be more than the percentage reduction in total funding to public schools and community colleges.

Proposition 28 distributes the additional funding to public schools based on enrollment in preschool and K-12. Of the total amount, 70 percent would go to schools based on their share of statewide enrollment. The remaining 30 percent would go to schools based on their share of low-income students enrolled statewide. Local governing boards may use up to 1 percent of this new funding for administrative expenses. The remainder of the funding must be distributed to all school sites based on their student enrollment.

Proposition 28 requires funding be used for arts education programs and requires schools to certify that these funds were

spent in addition to existing funding for arts education programs. This may include a variety of subjects, including dance, media arts, music, theater, and various types of visual arts (including photography, craft arts, computer coding, and graphic design).

The proposition also requires at least 80 percent of the additional funding be used to hire staff. (School districts and charter schools with fewer than 500 students would not have to meet this requirement.) The remaining funding could be used for training, supplies and materials, and for arts educational partnership programs.

Proposition 28 requires the principal of a school site (or the program director of a preschool) to develop a plan for spending the funding they receive. The principal or preschool program director would determine how to expand a site’s arts instruction and/or programs. Proposition 28 requires local governing boards to certify each year that the funding their schools received was spent on arts education. Additionally, local governing boards must post on their website a report on how funds were spent. The report must include the type of arts education programs funded, the number of staff employed, the number of students served, and the number of school sites providing arts education with the funding received. This report must also be submitted to California Department of Education (CDE) and made public on the department’s website.

So, what should be done now?

We don’t have clear language yet from the CDE on exactly how schools will report their expenditures, but we do know the money will be here and what the intent is: to increase arts staffing and provide other resources for arts instruction. Developing a plan and investing time with all stakeholders would help ensure these resources will reach our students with the greatest impact. Does your school/school district have a mission and vision statement that is aligned to your district’s vision statement, along with an arts education plan? Do you have data on arts enrollments broken down by discipline, sub groups, and matriculation rates? Do you have an accurate and clear inventory of equipment, along with purchase date and replacement costs including the depreciated value of expensive equipment?

There is much work to be done, and we cannot act alone. We must do it together! CMEA will continue to advocate and hold meetings throughout the near future in order to assist with your school’s planning. I can speak for all the music leaders out there, we are all willing to help. Feel free to reach out to either me or any of your arts leaders.

Source: https://lao.ca.gov/BallotAnalysis/ Proposition?number=28&year=2022

New Book Alert!

Dr. Karen Howard is a true powerhouse of global music studies and she’s just come out with a new book called Realizing Diversity: An Equity Framework for Music Education, published by GIA Press!

Do you want to learn more about how we might engage with diverse populations, repertoire, and identities while upholding integrity and achieving equity? Do you want to better understand cultural appropriation, othering, tokenizing, and essentializing? How to avoid bias in our teaching and repertoire selection? How to create a more socially just music education?

Realizing Diversity uses an Anti-Bias Framework to help music educators gain confidence and comfort in designing music curricula that are just, equitable, and make participants feel safe and welcome. Structured around the four social justice domains of identity, diversity, justice, and action, this framework explores topics of antiracism, gender and sexual identity, power and privilege, disabilities, economic realities, empathy, and critical consciousness.

Get your copy now! https://www.giamusic.com/store/resource/ realizing-diversity-book-10760

The NAMM Foundation’s Best Communities for Music Education award program recognizes and celebrates schools and districts for their support and commitment to music education as part of a well-rounded education. Get the National Recognition Your Music Program Deserves!

Be a JEDI

Inclusion

Justice Equity Diversity

by Dr. Kara Ireland D’Ambrosio CMEA Higher Education Music Education Supervisor

Music Education pedagogies, methodologies and philosophies naturally coalesce with the foundational research and theories like Pedagogy of the Oppressed (Freire, 2000) and Bandura’s Social Cognitive Theory (1986). The art of music training via whole class instruction or ensemble motivates learning through the student being responsible for their vocal/instrument part and practicing their music to improve the sound of the whole ensemble. The music teacher is a caring guide that develops strong emotional support for all of their students with a heart to bring music to all learners at their school. The role of the music teacher includes being an emotional guide through the composer’s work and facilitator of the ensemble’s learning. In higher education, it is important that we ground the teacher candidate’s learning in these foundations and develop new strategies for our teacher candidates to learn and be accountable for these practices in their teaching.

One strategy I use to support this learning is an acronym from the CCTE (California Council on Teacher Education): JEDI = Justice, Equity, Diversity, and Inclusion. The idea of JEDI is that the teacher creates a learning environment that leads with justice first and employs equity, diversity and inclusion teaching techniques throughout the class time in order to develop a safe and strong community of learners. (Overview: Equity is meeting the needs of each individual student. Diversity is culturally relevant and sustaining practices that connect with your students’ heritage and background experiences. Inclusion originated from special education and expanded to all with practices such as creating a classroom environment that includes having high expectations for all students as part of the educational goals.) Using this mindset, we can create plans that specifically focus to meet the musicianship needs of the students (TK-12 children) through the lens of JEDI so that the student outcomes include a sense of belonging and agency.

As a University Supervisor, how do we call attention to these moments in the classroom that our teacher candidates miss opportunities or achieve this work? Let’s look at ways we can focus on this with our TK-12 Preservice Music Teachers.

Repertoire choices

It is natural to choose songs from our past experiences and we are trained to choose music that is in the zone of proximal development (Vygotsky, 1978) to challenge the students and develop musicianship. It may be difficult if a teacher candidate hasn’t had experience with songs outside of the typical Western Canon. There have been great strides by publishing companies to increase access to finding music from all around the world composed by various composers. Mentors modeling culturally relevant strategies when teaching this music may highly impact your teacher candidates’ learning. Have a talk about the piece: Who is the composer? Are they presenting (arranging/composing) the song that is culturally appropriate and consistent with the cultural identity? Is the composer from that culture and disrupting the typical way the piece is performed? What is the composer’s intent? Does the music connect with students in the classroom? Key: Encourage and bring the mentor teacher into this conversation. Triad meetings around this topic are exciting, supportive and help foment a strong relationship between the Supervisor, Mentor Teacher and Teacher Candidate (i.e, JEDI for the Teacher Candidate!)

Getting to Know

Building relationships is the core to JEDI work. It is a challenging process as a teacher candidate to find the professional and emotional balance of moving from backpack to briefcase (student to teacher). While they are the leader in the classroom, they are also a guide, facilitator and support-provider for the wellbeing of their students. Inside the ensemble, music teachers work to develop relationships, empathy and connecting as human to human between their students. The ensemble needs to connect, be on the same beat, and listen to one another. Transferring these skills into everyday life is an important gift the music teacher can instill in their students. As a way to center this work to develop this JEDI mindset in the teacher candidate you are supervising, I suggest employing these questions from Dr. Orlando L. Carreón (US Davis) presentation in 2021 Moving Towards Justice…Now! during

debrief and lesson planning meetings: How did my instruction help students self-reflect, learn something about themselves, and/or about others? What was the lesson within the lesson? Why is this important to life? What will/did your students become wiser about? What are the vital life skills you are mapping onto the lesson (music from the world, critique, empathy, taking action, making the world a better place)? What assumptions and biases about race, power, equity, access/inclusion, and/or oppression came up for you when teaching (or preparing) this lesson? What does this make you wonder about your teaching practice and beliefs? (To learn more about this type of debrief, please see the Mohamm book below.) Key: As a supervisor, how can you support the mentor in being open to learning from the teacher candidate? Bringing the mentor in on these debrief questions will also help both mentor and teacher candidate to work together.

JEDI work takes daily practice to develop, much like our musicianship skills. Facilitating debriefs at student teaching seminars for the colleagues to learn from one another is a wonderful way to help the teacher candidate grow this mindset. As Supervisors and teachers, engaging in conversations around these topics in the lunch room with teachers from other subjects, at CASMEC with other music teachers and attending professional development are great opportunities to continue to grow as a music teacher. One of my favorite PD resources in this area has been the Rossier School of Education, University of Southern California Race and Equity Center. Another fantastic resource is Boston University’s Race, Prison, Justice Arts program. Wanting a great book to read this spring? Cultivating Genius by Gholdy Mohammad (2020) is magnificent work in this area of study. Taking time to chat with your teacher candidate on a regular basis about what they are doing and why in the classroom is a great way to connect and demonstrate how to be a lively part of our professional learning community. As we work to right the injustices in the world, starting in our own music classrooms, remember to keep your time with your students sacred and pass on that mindset to your teacher candidate. We model checking our assumptions and meeting our TK-12 and college students where they are. Music Education Professors, Supervisors and Mentor Teachers are the most important part in developing our new music teachers. We are grateful for this incredible, intentional work. I look forward to seeing you all at CASMEC and continuing the conversations and learning from one another. Music means well-being for my students to me. Whether older or newer terms are used, the objective of bringing music to all TK-12 students with social justice is the focus lens.

References

Bandura, A., & National Inst of Mental Health. (1986). Social foundations of thought and action: A social cognitive theory. Prentice-Hall, Inc.

Carreón O. (2021) Moving Towards Justice…Now! CTERIN STENT 2021 Summer Conference: Supervisors of Teacher Education

Freire, P. (2000). Pedagogy of the oppressed. Continuum.

Muhammad, G., Love, B. L., & Scholastic Inc. (2020). Cultivating genius: An equity framework for culturally and historically responsive literacy. Scholastic

Vygotsky, L. S. (1978). Mind and society: The development of higher psychological processes. Harvard University Press.

Technology in Education: The SAMR Model

by Holly MacDonell

CMEA Music Education Through Technology Representative

As teachers we use technology all the time, even without teaching a class called Music Tech. And no matter how much technology we use, we should be able to describe how the specific technologies we use aid teaching and learning.

At one end of the tech spectrum, there are those that have been using internet DAWs and composition software since they were first available. At the other end, there are those of us that didn’t use a computer during classes until the shelter-in-place order in 2020 required you to learn Google Classroom. Along various points in the middle of the spectrum are countless games and tools that are different combinations of useful and fun.

How do we decide the benefits of a specific technology, and whether or not it is useful for our own needs? The SAMR model can guide the decisions about how the use of tech may improve student learning and understanding.

The SAMR model, created by Dr. Ruben Puentedura, divides technology into its degrees of application. Categorizing ‘levels’ of technological use aids teachers in making decisions on which technology is needed, or how a technology can expand an assignment or project further, ultimately creating connections that weren’t possible without the specific technology.

Substitution-Technology acts as a direct substitute, with no functional change (like a pdf article read from a screen, for instance, rather than from a piece of paper).

Augmentation-Technology acts as a direct substitute, with functional improvement (like the active links within an article that can add more understanding or context).

Modification-Technology allows for significant task redesign (like a student comment thread devoted to discussion of an article or piece of art).

Redefinition-Allows for the creation of new tasks, previously inconceivable (like students from around the world all commenting and replying to comments on an article or piece of art).

Whether showing a video (or assigning a video using EdPuzzle to check for understanding at specific points), viewing a slideshow (or using PearDeck to make the slideshow interactive), or assigning a melody project (with Chrome Music Lab’s Melody Maker, or BandLab’s DAW), different aspects of the SAMR model may be highlighted. The simplicity of the SAMR model is practical and helpful, allowing for thoughtful decisions about tech use which enhances all sorts of teaching and learning.

Congratulations to 2023 CMEA State Band and Orchestra Festival Participants

2023 CMEA State Band and Orchestra Festival: April 28, 2023 Weill Hall, Sonoma State University Premier Sponsor: World Projects

State Band and Orchestra Festival Participants:

Claremont High School Symphony Strings, Burke Shouse, Director (Claremont, CA)

Esperanza High School Sinfonia, Matthew Fang, Director (Anaheim, CA)

Griffiths Middle School Advanced Band, Laura Taylor, Director (Downey, CA)

Hercules High School Advanced Orchestra, Arleen Wong, Director, (Hercules, CA)

Leland High School Chamber Orchestra, Rian Rodriguez, Director (San Jose, CA)

Livermore High School Honors Chamber Orchestra, Justin Enright, Director (Livermore, CA)

Lynbrook High School Symphony Orchestra, Michael Pakaluk, Director (San Jose, CA)

Ramona High School Wind Ensemble, Brian Gallagher, Director (Riverside, CA)

Rancho Verde High School Wind Ensemble, Honglac Hathuc, Director (Moreno Valley, CA)

River City High School Wind Ensemble, Rudy Cisneros, Director (West Sacramento, CA)

Santa Cruz High School Symphonic Band, Christina Latham, Director (Santa Cruz, CA)

Southwest High School Wind Ensemble, Patrick Yanni, Director (El Centro, CA)

Travis Ranch Middle School Advanced Orchestra, Matthew Fang, Director (Yorba Linda, CA)

The CMEA State Band and Orchestra Festival offers a “next level” performance opportunity for middle and high school bands and orchestras beyond their successful experiences at regional festivals. The CMEA State Band and Orchestra Festival is held annually in a beautiful venue and brings in fantastic adjudicators for a “comments only”/non-competitive festival. The goal of the festival is to showcase exemplary ensembles that represent the diversity of our great state.

2023 Adjudicators:

Dr. Stephen Benham

Dr. Andy Collinsworth

Dr. Danielle Gaudry

Dr. Vu Nguyen, University of Pacific, Stockton, CA

Looking ahead:

The 2024 CMEA State Band and Orchestra Festival will be held in Southern California in Spring 2024 and the festival will return to Sonoma State in Spring 2025. Application requirements will be published online and in subsequent issues of this magazine.

As an active member of local music educator associations, I’m often tasked with reaching out and researching speakers and presenters for potential workshops. It amazes me every time I read music educator biographies that list a multitude of accomplishments and experiences on top of years and years of quality teaching. Speaking to many of them, I’ve noticed a shared practice. They all practice a reflective mindset.

From their daily lessons in the classroom to large audience presentations, these esteemed leaders in music education always take the time to reflect. Not only do they take the time to reflect, they take their reflections and insights and turn them into action. That is where wisdom and longevity in teaching lies.

Winter Update

by Tiffany Ou-Ponticelli, CODA President

In December 2022, CODA hosted 200+ phenomenal student musicians in sunny San Diego for the CODA December Honor Orchestras. Rehearsing at San Diego State University, the Symphony Orchestra was conducted by Michael Gerdes, and the String Orchestra by Alexander Kahn. It was a fantastic celebration of orchestral music and education across our state!

known pieces. It’s inspired by the poem of the same name by Cuban poet Nicolás Guillén. The poem itself is subtitled “Chant to kill a snake,” and paints the picture of an Afro-Cuban ritualistic killing of a snake. Listen to the poem HERE, and hear a preview performance of Sensemayá HERE.

CODA is looking forward to a fantastic CASMEC conference coming up in February! All-State ensembles return, with CODA hosting four ensembles with exciting repertoire from across the canon. CODA Diversity, Equity, and Inclusion Chair Alejandro Garcia shares more about some of our featured composers..

All-State Ensembles 2023 - Featured Composers

The High School String Orchestra led by Mark Laycock, with repertoire by Vaughan Williams, Higdon, and Copland, will also include Jessie Montgomery’s “Starburst.” Jessie Montgomery is a violinist, composer, and educator and one of today’s most noteworthy voices in classical music. Starburst was written in 2012 for “Sphinx Virtuosi,” the professional touring group of Sphinx Organization. Starburst takes its title from Montgomery’s feeling that the members of the Sphinx Virtuosi are like new stars in a galaxy. From the composer, “This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.” Watch a performance of Starburst HERE

The junior High School String Orchestra, led by Angela Ammerman, will feature a wide variety of works including “Pride of the HIghlands” by Katie O’Hara LaBrie. LaBrie is a veteran teacher with over 15 years of teaching orchestra in Fairfax County, Virginia. She is currently the editor for the Orchestra Division of Randall Standridge Music Publications. Listen to Pride of the Highlands HERE

All State 2023 - CODA Ensembles

The High School Symphony Orchestra will be led by Gisele Ben-Dor, and will include works by John Adams, L.v. Beethoven, and “Sensemayá” by Silvestre Revueltas. Revueltas’s compositions are known for their colorful orchestration and distinctive use of rhythm. He frequently incorporated hemiolas and septuple or quintuple meters and many of his works suggest folk derivations. These stylistic features can be heard in one of the works of music that will be performed by the CODA High School All-State Symphony Orchestra, Sensemayá, one of Revueltas’s most well

In its second year, the Junior High School Concert Orchestra will be led by Adrian Gordon. Repertoire for this ensemble will include Joseph Bologne, Chevalier de Saint-Georges’ Symphony no. 1. Joseph Bologne, Chevalier de Saint-Georges, held an astonishing number of occupations during his life: composer, conductor, violinist, impresario, champion fencer, military officer, and nobleman. Born in 1745, he was the son of a wealthy planter and an enslaved servant. By the age of 27, he had composed a dozen violin Concertos, string quartets, and 10 Symphonies Concertantes. Listen to the arrangement of his Symphony no. 1 HERE

In addition to four fantastic honor ensembles, we are excited to present orchestra sessions on technique development, improvisation and composition, diversity, equity and inclusion, and classroom differentiation. We look forward to seeing you at the conference!

Stay connected with the California Orchestra Directors Association throughout the year. Join us on Instagram, Facebook, and via our website

Silvestre Revueltas Jessie Montgomery

Katie O’Hara LaBrie Joseph Bologne, Chevalier de Saint-Georges

CAJ News

by Barb Catlin, CAJ President

California Alliance for Jazz CASMEC News

The California Alliance for Jazz (CAJ) is hoping to see all of you at CASMEC! We are excited for our Friday night All-State Jazz Honors concert featuring conductors Curtis Gaesser (high school instrumental), Gaw Vang Williams (high school vocal jazz) and Brian McNair (junior high instrumental). Don’t miss it! We will have a booth so come by and say hello. Let us know how we can help.

Here’s a list of our clinics:

Friday, 10 AM -10:50 AM: CAJ General Session. Come by to meet the board and other members. We will have a casual and fun meet & greet!

Friday, 12 PM-12:50 PM: Jazz Combo Basics Dyne Eifertsen, clinician

Friday, 1 PM – 1:50 PM: Starting a Vocal Jazz Ensemble as An Instrumental Director: Lessons Learned Arthur White, clinician

Friday, 2 PM – 2:50 PM: Vocal Jazz Reading Session Andreas Preponis, clinician

Friday, 4 PM – 4:50 PM: Big Band Drumming 101 Tina Raymond, clinician

Friday, 5 PM: CSULB Jazz Ensemble, Jeff Jarvis director, with guest Wayne Bergeron

Saturday, 9 AM – 9:50 AM: Middle School Jazz Band-where to start?

Jill Geist, clinician

Saturday, 1 PM – 1:50 PM: Essential Concepts for Beginning Jazz Bass Adam Elmore, clinician

Saturday, 2 PM – 2:50 PM: Instrumental Jazz Reading Session

Jeff Jarvis andPatrick Langham, director

CAJ/CMEA Collegiate Partnership

We are excited to be introducing our partnership with NafMe/ CMEA Collegiate Chapters. CAJ will be focused on creating workshops and clinics specifically for music education majors who might not be comfortable teaching jazz band or jazz choir. We are incredibly excited to have Caitlin Cooper as our first CAJ/CMEA Collegiate President! Caitlin is a music education and trombone major at CSUN and is a dynamic person. Welcome, Caitlin!

California Alliance for Jazz Summer Teacher’s Institute

CAJ will be hosting a teacher’s institute designed to help new and experienced teachers gain knowledge in instrumental jazz. Patrick Langham, Jeff Jarvis and members of the CAJ board will be hosting this 3-day event June 16th to June 18th, 2023, on the campus of UOP in Stockton. It will be fun, informative and participatory. Go to for more information.

CMEAAward Recipients

CMEA Outstanding Administrator Awards

Dr. Monica Colunga, Irvine High School, Principal Shannon Angstadt, Columbia Elementary School District, Middle School Principal

CMEA Pearson/Silver Choral Educator Dr. Jenny Sonoma State University Choral Santa Rosa Symphony CMEA Byron Schmeer Band

Andre Oxnard Union Oxnard High School,

CMEA Ernest R. Yee Illuminating

Juanda Marshall, Los Angeles Unified School District, PK-5th Vocal General Music

Aubrey Penmen Retired Music Educator Award

Dean Hickman, San Diego Unified School District, Instrumental Music & Math

Industry

Illuminating Culture Awards

CMEA Hall of Fame Awards

CMEA Richard L. Levin Orchestra Educator Award

Tiffany Ou-Ponticelli, Henry M. Gunn High School, Orchestra Director

Pearson/Silver Burdett Educator Award

Jenny Bent, University - Professor & Director of Choral Activities, Symphony - Choral Director

CMEA Paul Shaghoian Jazz Educator Award Kris Tiner, KCCD/Bakersfield College, Professor of Music & Director of Jazz Studies, Performing Arts Department Chair

Byron Hoyt/Don Band Educator Award

Andre Spence, High School District, School, Performing Arts Director

CMEA Innovations Award

Dennis Feinland, Long Beach Unified School District, Cabrillo High School

CMEA Music

Leadership Award Mary Luerhsen, NAMM Foundation

District,

John Abigana, Dixon USD, Woodland JUSD, Sacramento Youth Symphony, Retired

Music CMEA Peripole General Music Educator Award

Gayle Winney, San Juan Unified School District, Howe Avenue Elementary, Music Teacher

CMEA Middle School Music Specialist Award

Peggi Stoffel, William S. Hart Union High School District, Rancho Pico Junior High School

CMEA John Swain College/Univeristy Educator Award

Dr. Tamara Thies, CSU Long Beach, Director of Music Education for BCCM & Coordinator of Music Education for the SSCP in the College of Education

Monina Cervone, San Francisco Unified School District

Norm Dea, CSUEB, Las Lomas High School, Acalanes High School, Retired

2021 CASMEC Professional opment Sessions

February 15-19, 2023 Fresno Convention Center

Bringing CASMEC to the comfort of your home.

Register at www.casmec.org

The 2021 California All-State Music Education Conference has gone virtual. In order to provide the highest quality professional learning experience for music educators across the state, the organizations of CASMEC have decided to prepare an online conference. We are excited to provide for you all a two-day virtual experience. Sessions from all five collaborative organizations begin Friday, February 19, 2021 at 2pm. Our first day will end with a special Headline performance featuring DCappella at 7pm! Grab your preferred beverage, find a comfortable seat in your own living room, and join music educators across the state in this exclusive performance. Saturday, February 20, 2021 sessions begin at 10am and run through 5pm. All sessions will be recorded and made available to conference attendees for a limited time following the conference. This conference is open to educators across the country and world. Join us! Registration opens, October 1st for just $55 for organization members. College students and retired members may attend for just $10 while our non-members may join us for $75. We look forward to seeing you all virtually this February!