CMEA Magazine Winter 2024

Winter Issue

CMEA Magazine WINTER ISSUE 2024 VOLUME 77 • NUMBER 2

2024

In This Issue 3

President’s Message

6

CMEA State Council

7

CMEA Voting

7

New Year, new adventure!

Consider serving on CMEA Council of Representatives

8

22 Central Coast Section Update

by Anne Fennell, CMEA President

by Samuel Oh, CMEA Central Coast

Section President

23 North Coast Section Update

by Collin Kirkwood, CMEA North

Coast Section President

24 Northern Section Update

by Tanner Johns, CMEA Northern

Become a Partner with CMEA

Section President

10 CASMEC Preview 2024 11 Featured Performing Ensembles 12 CASMEC Kickoff Celebraton

26 Southern Border Section Update

by Emma Schopler, CMEA Southern

Border Section President

27 Southwestern Section Update

13 Sessions A - Z

by Dr. Tamara Thies, CMEA

16 CMEA Award Winners

Southwestern Section President

17 Advocacy During the New Era of Prop. 28: What Tone do We Take?

by Russ Sperling, CMEA Advocacy

29 CMEA Global Music Virtual Meet-Up!

by Dr. Will Coppola, CMEA Global

Representative

Music Representative

18 Bay Section Update

by Sandra Lewis, CMEA Bay Section

President

30 Meet the CMEA Collegiate Council

by Dr. Diana Hollinger, CMEA

19 Capitol Section Update

Collegiate Representative

by Christopher J. Tootle,

32 Retired Members Update

CMEA Capitol Section President

by Rita Zigas-Brown, CMEA Retired

20 Central Section Update

Members Representative

by Elisha Wells, CMEA Central

Section President

20 Southeastern Section Update

by Dr. David Betancourt, CMEA Southeastern Section President

29 IFC 25 9

Azusa Pacific University LA Youth Philharmonic Pepperdine San José State University

Ad Index 5 4 28

Sonoma State University University of Portland West Music

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Visit www.nafme.org. CMEA is a federated state association of the National Association for Music Education.

CMEA Magazine is published quarterly (Fall, Winter, Spring, Summer)

by CMEA.

CMEA Administrative Office Mailing Address: 2417 N 11th Ave, Hanford, CA 93230

Graphic Designer: Adam Wilke

Office: 559 904–2002 E-mail: cmea@calmusiced.com Website: www.calmusiced.com

Editors: Holly MacDonell and Trish Adams Business Manager: Trish Adams

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The Executive Board of CMEA serves as the Editorial Committee. The observations and opinions expressed in any article in this magazine are those of the author and do not necessarily represent the official position of the Association.

CMEA does not necessarily endorse any product or service advertised in this magazine.

In This Issue (continued) 33 Supporting Students with Dis/Abilities in Music

by Dr. Kara Ireland D’Ambrosio, CMEA Higher Ed Music

Education Supervisor Representative

34 Finding the Proper Technical Tools for Pedagogy

by Holly MacDonell, CMEA Music Education through

Technology Representative

CMEA Past Presidents 2020-2022 2018-2020 2016-2018 2014-2016 2012-2014 2010-2012 2008-2010 2006-2008 2004-2006 2002-2004 2000-2002 1998-2000 1996-1998 1994-1996 1992-1994 1990-1992 1988-1990 1986-1988 1984-1986 1982-1984 1980-1982 1978-1980 1976-1978 1974-1976 1972-1974 1970-1972 1968-1970 1966-1968 1964-1966 1962-1964 1960-1962 1957-1960 1955-1957 1953-1955 1951-1953 1949-1951 1947-1949

Armalyn De la O, San Bernadino John Burn, Cupertino Scott Hedgecock, Fullerton Michael D. Stone, Bakersfield Russ Sperling, San Diego Norman Dea, Walnut Creek Jeff Jenkins, Chula Vista Cheryl Yee Glass, Danville Rob Klevan, Pacific Grove Sam Gronseth, Paradise George DeGraffenreid, Fresno Dennis L. Johnson, Salinas Jay D. Zorn, La Crescenta Don Doyle, Pasadena Bill Adam, Roseville Carolynn Lindeman, Greenbrae L. Leroy Roach, Walnut Creek John L. Larrieu, Portola Vivian M. Hofstetter, Bakersfield David S. Goedecke, Stockton Charles L. Freebern, San Diego Henry Avila, Monterey Mary C. Reed, Elk Grove Marlow Earle, Lakewood Louis Nash, La Crescenta Anthony L. Campagna, Foster City Judd Chew, Sacramento Kenneth D. Owens Keith D. Snyder, Davis Gibson Walters, San Jose Douglas Kidd Joseph W. Landon, Fullerton Harold Youngberg, Oakland Fred Ohlendorf, Long Beach George F. Barr Elwyn Schwartz Clarence Heagy, Fresno

35 CCDA Update

by Dr. Arlie Langager, CCDA President

35 CBDA Update

by David Green, CBDA Director of Communications

36 California Orchestra Directors Assoctiation Winter Update

by Tiffany Ou-Ponticelli, CODA President

CMEA Hall of Fame Award Recipients 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

Welcome Back and Happy 2024!

May this new year be all that you hope for, and more, in music and in your personal and professional lives! In just a few short weeks we’ll all be together at CASMEC, and we are thrilled that we’ve found a home in Sacramento. A new city, new venue, new learning opportunities with old friends and new, and all for our growth and to gently remind us of why we chose this incredible career. Check out a few CMEA CASMEC sessions and new events, below: • CMEA’s General Welcoming Session on Thursday, Feb. 1, at 2 PM - bring your friends and join us! This year we have the honor of hearing from Scott Sheehan, the President of NAfME, as well as receiving the gift of musical entertainment from the Placer Elementary Orff Ensemble (Jeremiah Jacks, Music Educator) and the Pioneer High School Mariachi (Marisa Finlayson, Music Educator).

• The first annual CMEA Music Composition Walking Gallery will be held in the Sacramento Convention Center Lobby, where student compositions from across the state will be on display. Get your QR code scanner ready – you’ll be amazed at the music you’ll hear!

• Elementary Performances (our second year!) will be held in the 2nd floor Lobby of the Convention Center this year.

Stop by and take a listen!

• Music Will is holding an all-day Level 1 training on Thursday, Feb.1. Have you signed up?

• West Music has returned to CASMEC, funded a new state award for elementary music educators with less than 5 years’ experience, will raffle off $5,000 worth of classroom instruments on Saturday, and are hosting Sandy Lantz and Gretchen Wahlberg for ukulele and Orff sessions.

• Peripole, Inc. is sponsoring James Harding for two creative Orff sessions, so get your composer hat on!

• Dr. James Weaver, the Director of Performing Arts

and Sports for NFHS (the National Federation of State High School Associations) will present two sessions on copyright. I’ve seen this three times and still learn something new each time. It’s a MUST see!

• Mariachi Reading Sessions - hosted by Anthony Dahl.

Bring your instruments to play along!

Let’s be real, I’ve only listed a few of the wonderful opportunities that you’ll find at CASMEC, and I encourage you to check out all of the sessions linked here, as well as immerse yourself in the many performances of our statewide student musicians.

The California Alliance for Jazz (CAJ), California Band Directors Association (CBDA), California Choral Directors Association (CCDA), and California Orchestra Directors Association (CODA) have worked tirelessly to provide opportunities for student performances and each concert will truly be a moment of inspiration for all. These rehearsals and performances will become core memories for our student musicians, and any one of these could easily be the moment when they decide to become a music educator. The future of our profession might just be sitting on a stage in front of us or walking by in the exhibit hall, so cheer them on and give each student you see a high-five!

Speaking of future music educators and our real need in the state with the passage of Prop 28 - have you seen the new teachmusic.org website launched this past December? This was created by the Music Educator Workforce Coalition that includes: NAfME, the American Choral Directors Association, the American String Teachers Association, Music for All, and the National Federation of State High School Associations. This process began in 2022 to address the challenges facing the music educator workforce, with visions of recruiting the next generation of teachers.

Also, check out the NFHS Careers in Music page! There are great narratives and examples of jobs in both music education and the creative industry. So, share the links above and let’s start talking

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to all of our students about becoming a music educator and/or working in the industry. Sometimes a student just needs to hear an adult say, ‘you should go to college’ or ‘have you ever thought about becoming a …..?’ for them to take the next step, because you might be the only adult in their life that speaks those words.

Music educators like each of you inspire students every day and I know your words and actions make a profound impact on so many people. Our students watch and listen to us just as we watched and listened to our teachers. For many of us, somewhere along our journey as a student, someone encouraged us to teach, and we now find ourselves in an inspiring, demanding, and creative career.

The National Federation of High School Associations surveyed music educators in 2022 and in 2023, asking many questions about the profession, but pointedly asked respondents why they chose to be a music educator. While there were several reasons listed, according to the NFHS Music Educator Satisfaction Survey results, 64% of the respondents stated that they “became a music educator because they were inspired/encouraged by a former teacher” (National Federation of State High School Associations, 2023).

That is a current music educator stating that they were inspired/ encouraged by a former teacher. And now, it’s our turn to do the same for our students.

I have several music educators that left profound impacts on my life and guided me on my journey in education, and I thank each and think of them often – Dr. Wayne Bailey, Allan McMurray, Barbara Grenoble, Judith Thomas Solomon, Danai Gagne, Brigitte

Warner, Isabelle Carley, Peggy McCreary, Terry McEwen, and Tim Mills. You might not know any of these wonderful music educators, as I may not know yours, but trust me when I say they are in my mind and heart, and sometimes I hear them in the very words I speak.

So, I leave you with these questions: Who inspired you and who will you inspire and encourage today? The future of music education is waiting to see your smile and hear your encouraging words!

Here’s to inspiration and seeing all of you wonderful music educators in Sacramento!

(You can check out the other reasons why music educators chose to become a teacher linked here, and trust me when I say they are inspirational and I see our CMEA members in each of these statements!)

References

National Federation of State High School Associations. (2023).

National Overview Music Teacher Satisfaction Dashboard - 2022 & 2023. NFHS Arts Advocacy. https://app.upmetrics.com/ view/clm6i1pk4hl4u0970h8p6lizc

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For More Information

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CMEA Magazine

2023 - 2024

YOUR SOUND YOUR SCHOOL

ON-CAMPUS AUDITION DATES November 4, 2023 February 17, 2024 January 27, 2024 March 2, 2024

DEGREE PROGRAMS: Bachelor of Music in Music Education (Pre-Certification) Bachelor of Music in Performance Bachelor of Music in Jazz Studies Bachelor of Music in Composition Bachelor of Arts in Music Minor in Music Liberal Arts Minor in Music Jazz Studies

music.sonoma.edu

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Andy Collinsworth Director of Bands Sonoma State University

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Conducting Participant $600 Observer $375 1 Unit of College Credit $75 • Develop your skills as a conductor and teacher • Focus on movement and musical interpretation • Experience Wine Country

Gary W. Hill Director of Bands Emeritus Arizona State University

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CMEA State Council CMEA 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

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 Dan Bryan dbryan1109@gmail.com CMEA CCDA Representative Dr. Arlie Langager arlie.langager@gmail.com 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 Capitol Section President Christopher J. Tootle ctootle80@gmail.com

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

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

CMEA Collegiate Council Representative Daniel Crispino dcrispino@mail.csuchico.edu

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

CMEA Creating and Composition Representative TBA

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 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 mentorship@calmusiced.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 CTA Liason Troy Trimble troyatrimble@gmail.com

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

CMEA DEIA Representatives Jonathan Raman Jraman85@gmail.com

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

CMEA Diverse Learners Representative Regan Lambert rlambert@emcsd.org

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

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

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

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

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

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CMEA Magazine

Attention CMEA members!

In January 2024 we will be voting twice, for both the NAfME Western Division elections, as well as the CMEA: California Music Educators Association elections.

Watch the video and listen to our CMEA State Presidential candidates address topics important to the organization and learn more about both the CMEA and NAfME elections, as the voting window begins January 9.

Don’t forget to exercise your right to vote in the upcoming election. Click HERE for more information on how to make your voice heard.

Let’s shape the future of our organization together through active participation in the election process. #CMEAvotes

! e r tu

n

e v d wa

e n , r a Have you considered serving on the CMEA e Y Council of Representatives? Have you thought ew

N

about how your unique experience can contribute to the mission & vision of CMEA? We are inviting members to apply and consider becoming an area representative in CMEA. Your personal experiences and perspective can help shape positive change and make a lasting impact on membership of CMEA.

So, how can your vision and expertise help shape the future of CMEA? Apply now to join the team and lead the way!

Click on this link to fill out a short questionnaire.

Winter Issue 2024

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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 8

CMEA Magazine

SCHOOL OF MUSIC

San José State University

Winter Issue 2024

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CASMEC 2024

Preview

January 31 - February 4, 2024 SAFE Credit Union Convention Center

Downtown Sacramento 10 CMEA CMEA Magazine Magazine

Featured Performing Ensembles Amador Valley High School Orchestra Shelley Durbin, Director

Cal State Long Beach “Pacific Standard Time” Vocal Jazz Ensemble Christine Guter, Director

Castro Valley High School Madrigals Laryssa Sadoway, Director

Chabot College Concert Choir Ken Rawdon, Director

Crystal Children’s Choir

Chiafen Lin and Karl Chang, Directors

El Cerrito High School Jazz Ensemble Keith Johnson, Director

Homestead High School Wind Ensemble I John Burn, Director

JLS Middle School 8th Grade Orchestra Valerie Lee, Director

Rancho Bernardo Chamber Orchestra Zachary Christy, Director

Redlands High School Chamber Singers Jesse Diaz, Director

San José State University Choraliers Dr. Jeffrey Benson, Director

San Marcos High School Woodwind Quintet Geoffrey Radant, Director

Saratoga High School Symphonic Wind Ensemble Jason Shiuan, Director

Thomas S. Hart Middle School Advanced Choir Andrew Lu, Director

University High School Percussion Ensemble Dr. Randall Cornelison, Director

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12

CMEA Magazine

Preview Sessions A - Z CASMEC 2024

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

5 S.M.A.R.T. Ideas to Retain THIS Year’s Beginners Mrs. Marcia Neel

Authentic Integration of Popular Music In the Elementary Music Classroom: Enhancing Our Curriculum By Using the Music and Learning Opportunities Found In “Popular” Music

CCDA Reading Session 1 Dr. Angel Vasquez-Ramos

CCDA Reading Session 2 Dr. Angel Vasquez-Ramos

Choral Leadership Academy

Ms. Melissa Nixon

Dr. Sharon J. Paul

Basics of Jazz Drumset for Music Educators

CMEA General Welcoming Session

Ms. Mckenna Reeve

Ms. Anne Fennell

Beginning Steps Into Culturally Responsive Teaching for the Novice Music Teacher

Coaching a Popular Music Ensemble LIVE

Dr. Erin Zaffini

Beginning Trumpet Solutions Dr. Zach Buie

Dr. Steve Holley

ODA General Session

Ms. Tiffany Ou-Ponticelli

CODA Reading Session

Bowed Instrument Essentials for the Non-String Player

Ms. Shelly Durbin

Breaking the Singing Barrier: A Systematic Approach to Overcoming Singing Anxiety in Instrumental Music

Collaborative Composition in Ensembles: A Template that Works!

Dr. Alexander Koops

Mrs. Laura Penrose

Dr. Johanna Gamboa-Kroesen

Building a Repertoire of Gestures: Laban Movement for Choral Conductors Dr. Jenny Bent

CAJ General Session Ms. Barb Catlin

California Alliance for Jazz Instrumental New Music Reading Session Mr. Jeff Jarvis

CASMEC Collegiate Gathering CASMEC

CBDA Director’s Reading Band Ms. Elisha Wells

CBDA General Session Mr. Dan Bryan

CCDA General Session Dr. Arlie Langager

Composition Concepts for Band and Orchestra Dr. John Lee Whitener

Consider a Career in Music!

National Association of Music Merchants (NAMM) and panel guests

Copyright Compliance and the Music Classroom Dr. James Weaver

Copyright Compliance and the Music Classroom (2nd Offering) Dr. James Weaver

Create a Digital Music Composition Course at Your School, Here’s How to do it!

Mr. Charles Mekealian

Digital Audio Workstations and Re/Mixing as Participatory Music Making Dr. Chad Zullinger

Directing and Producing a Musical Mr. Ethan Albala

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Elemental Composition: Playing with the Elements of Music

Help! I Have To Teach Choir

Mr. James Harding

Mr. Mark Swope

Elementary Music is the Epitome of Pedagogy: A Guide for Band Directors

Hip-Hop Education in the Primary Years

Dr. Kim Mieder

Mr. Tony Sauza

How To Start Beginning Band Successfully

Embracing the Change: Integrating Hip-Hop Into Arts Education

Mr. Jason Borris

Empowering Melodies: Teaching Music in Challenging Environments

Dr. Kaitlin Bove

Engaging Children in Songwriting: Considerations for the Primary Grades

Mr. Sammy Miller

Engaging Young Bassists from the Start

Dr. William Coppola

Engaging Your Low Brass Players

Learning Outside Our Silos: Integrating the Arts Through a Co-Equal Approach

Mr. Ken Nakamoto

Ms. Armalyn De La O

Enriching Music Education through Media Arts Integration

Making the Grade: Equitable Assessment

Dr. Scott Burstein

Ms. Rebecca Stewart

Mr. Jonathan Dillon

Dr. Kelsey Nussbaum

I Am Enough: Incorporating Music Therapy Curriculum in the Classroom Improvisation: Talking to Your Friends With Your Instruments Improvising with Integrity: World Music Pedagogy and Creating Music Culturally

Ms. Amy Lui

Dr. Kelsey Nussbaum

Every Moment Counts: Mindful Planning for Better Days, Weeks, Months, and Years

Mariachi Reading Session Beginning Level

Mr. Matthew R. Hanne

Everyday Practice - Building Classroom Culture, Access, and Pathways to Practice.

Scott Krijnen

Five Keys to Unlocking Better Jazz Solos Mr. Mike Dana

Fostering Meaningful Feedback Through the Critical Response Process Dr. Kelly Bylica

Friends Or Frenemies? The Advantages of Collaboration Between Choral and Band Programs Ms. Elisha Wells

From Arirang to Dynamite: A Musical Journey to Korea Dr. Lily Chen-Hafteck

Get Your Band to Swing!

Mr. Josh Murray

Great Stuff I Never Learned (or may have forgotten) in Choral Methods Class Dr. Chris Peterson

Grow Your Own Replacement: Next Gen Orchestra Teachers Dr. Janine Riveire

HD300 Yamaha Session Mr. Geoffrey Radant

Mr. Anthony C. Dahl

Mariachi Reading Session Intermediate Level Mr. Anthony C. Dahl

Mentorship in CMEA Dr. Chad Zullinger

Modeling the Music Industry in our Programs Ms. Melissa Nixon

Modern Band 101 Dr. Scott Burstein

More Talking in Rehearsal! The Tips and Tools of InquiryBased Music Learning Dr. Johanna Gamboa-Kroesen

Movement Theory for Conductors Dr. Dustin Barr

Music and Children’s Literature: A New Dimension of Storytelling Dr. Suzanne Hall

Musicianship through Movement Dr. Joshua Roach

Not a “Woke” Trend: The Possibilities of Transformative SEL in Your Music Room Mrs. Darlene Machacon

Orchestral Tone Production: Key Concepts and Creating Your Own Exercises Dr. Patti Kilroy

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CMEA Magazine

Orff in Middle School: Chromatic Possibilities

Technology Tools for your Elementary Music Classroom

Parent Advocacy Summit

Ten Minutes a Day to a Better Band or Orchestra!

Prop 28 FAQ and More!

That’s My Jam: Learning Strategies Inspired by Pop Culture

Reading Band: Discovering Quality Band Literature of New and Underrepresented Composers

The Adaptive Music Educator: Ensuring Access to a High Quality Music Education in the General Music Classroom

Research Poster Session

The Song Exploder Experiment: Promoting Analysis through Discovery

Mr. James Harding Ms. Anne Fennell Ms. Anne Fennell

Ms. Stephanie Sugano Dr. Ruth Brittin

Sampling: Creative Approaches to Teaching Audio and Copyright Mr. Lawrence Grey

Scoring a Video Game: Broadening Conceptions of Music Literacy Mr. Jonathan Dillon

Seal the Deal: Marrying Traditional Breath Management with Cutting-Edge Voice Training (for Classical, Jazz, Belting, and More!)

Dr. Julie Ford

Selecting Repertoire that Works for You Ms. Jeanne Christensen

Singing Towards Literacy: Building Music Reading Skills in the Elementary Choir Mr. Matthew R. Hanne

So You’ve Studied the Score... Now What?

Dr. Andy Collinsworth

Squirrel! Being Present In A World That Doesn’t Want Us To Be Dr. Jason Caslor

Start to DJ with Just a Phone or Chromebook!

Mr. DJ Hapa

Student Staff: Ownership & Buy-in through Student Leadership Mrs. Bethany Encina

Symphonic Sounds: Creating, Rehearsing and Performing with A Symphony Orchestra Dr. Jim Palmer

Teaching in Tune: Elementary Music Classroom Management Mrs. Megan Gerling

Teaching Musicianship with Choral Repertoire Dr. Niké St. Clair

Mrs. Amy M. Burns Dr. Peter Boonshaft Dr. Tamara Thies

Dr. Erin Zaffini

Dr. Tamara Thies

The What, When, and How of Popular Music in the Secondary Music Classroom Dr. Steve Holley

Tips For Your Jazz Band Guitarist Mr. Michael Christiansen

Trust The Process: Consistency Creates Habits Dr. Phil Vallejo

Uke and Orff – A Perfect Fit Ms. Sandy Lantz

Ukulele – Easy as 1, 2, 3 Ms. Sandy Lantz

Understanding Global Cultures in the Classroom Through the Caribbean Folk Music Dr. David Akombo

Upper Strings Bootcamp: Keeping Your Violins and Violas in Great Playing Shape!

Ms. Nicole DeGuire

Using the African Pedagogy to teach a Score-less Song to Perfection in a Single Rehearsal Dr. David Akombo

Vocal Jazz Reading Session Mr. Andreas Preponis

Voices In Transition Mr. Roger Emerson

Warm Up to Wrap Up: A Complete Creative Approach to Achieving Excellence in The Orchestra Classroom Dr. Jim Palmer

What Can I Do TOMORROW to Improve My Ensemble?

Dr. Peter Boonshaft

Working with the Anxious Music Student Dr. Karen Koner

Tech Tools and Toys for Elementary General Music and Beyond!

Ms. Holly MacDonell

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CMEA Award Winners

2023 - 2024

Lisa Pate, Byron Holt/Don Schmeer Band Educator Award Julie Corallo, Peripole General Music Educator Award Cathy Olinger & Michael Phenicie, CMEA Hall of Fame Randall Standridge & Randall Standridge Music, Music Industry Leadership Award Jody Clark, Elementary School Music Specialist Award Jim Hays & Mindy Andrus, Outstanding Administrator Award Michael Gutierrez, Pearson Scott/Silver Burdett Choral Educator Award Jonathan Raman, Ernest R. Yee Illuminating Culture Award Amy Lui, Innovations Award Josh Murray, Paul Shaghoian Jazz Educator Award Brad North, Aubrey Penman Retired Music Educator Award Ryan Heimlich, John Swain College/University Educator Award Angela Woo, Middle School Music Specialist Award John Gilchrist, Richard L. Levin Orchestra Educator Award Alexandra Aber, Judy Pine New Teacher Award

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CMEA Magazine

Advocacy During the New Era of Prop. 28

What Tone do We Take?

by Russ Sperling CMEA Advocacy Representative

Proposition 28 is quite new, so new in fact that we are still waiting for more guidance on its implementation from the California Department of Education. Despite this newness, there are voices within our state’s greater arts education community that are already calling for names. Names of districts that might not be following the new law as we read it. I have seen these calls for reporting of those who may indeed be out of compliance, but I’m wondering about our approach here. What tone are we setting?

For the first time in my career, we are seeing an actual mandate for arts education by way of new funds, and those funds have strings, or rules. This is tremendously exciting for our profession, as we know the amazing impact that arts and music has on students, and we know this money is going to change lives. I caution that we not let this taste of “power” that we are experiencing for the first time go to our heads by trying to make sure the rules are enforced with total fidelity right out of the chute.

California has a very large public education system that encompasses a state department of education and an elected Superintendent for Public Instruction, state school board with members nominated by the governor, budgets and policies presented by the governor and approved by the legislature, 58 county offices of education and almost 1000 school districts with accompanying school boards and superintendents. I haven’t even mentioned other large players like our public universities that largely prepare our teachers, the credential commission, curriculum, textbook, and online platform companies, and let’s not forget STRS! It’s large and complicated, but it’s also a system designed to support all students and the employees that teach and support them.

Arts Education is just a tiny part of this system. Change comes slowly. To expect that a new $1 billion program (for which no funding was allocated for its administration at the state level) is

going to roll out correctly at the beginning is the definition of overexpectation. To be clear, part of the system is that there are people in it whose job it is to hold districts accountable. Let’s see how they do their job.

Good news: this money is going to keep coming forever. It’s not a grant with a limited run of years. So let’s settle in, develop relationships and encourage those with the actual power to make informed and strategic decisions so that not only are these funds used properly, but also to their greatest benefit.

I have heard the stories of districts that have planned to excess teachers one year so that they can use Prop 28 the next year without supplanting. This sort of move is certainly worthy of pushing back on, but I really think it’s important to consider the tone one takes in doing so. Will you be yelling at board meetings alongside the bookbanners, or will you be providing information to decision-makers and engaging in dialogue? And if that initially doesn’t go well, how do you build a coalition of supporters who can calmly, but directly, make the case that this sort of approach is outside of the will of the 64.4% of Californians who voted for it?

My belief is that it’s going to take a decade or so before all of this really settles in. Our large system will absorb this new funding and mandate, but changes will be occurring at every level, and this will take time. All of us can be a resource for those who need more information about how the Arts and Music in Schools funding can be used and for best impact. Together, we will get there, and we can make friends along the way.

Winter Issue 2024

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Bay Bay Section Update Sandra Lewis

provides our section members with great sessions as well as a quality honor ensemble experience for students selected from Bay Section school programs. As we solidify our timeline we will update the Bay Section website to provide our membership with more information in regard to the upcoming changes.

I am looking forward to seeing the rest of you at CASMEC in our new Sacramento location! While change can sometimes bring challenges, I feel that all of our sections and the CMEA State leadership are more than prepared to make the maiden voyage in this location an outstanding achievement!

Bay Section President

Hello from CMEA Bay Section!

By the time you read the CMEA State Magazine, the Bay Section Conference will have ended and we will be moving into our spring festival season.

The Bay Section Conference has always been at the forefront of local and statewide professional development, providing the opportunity for us to grow as educators, reconnect with colleagues, and build professional relationships. As Bay Section president, I feel fortunate to live and work in such a diverse community in the Bay Area. Our conference this year is being held on January 5-6, 2024, at San José State University (SJSU). It proudly displays a wide variety of clinics, workshops, and includes live demonstrations, reading sessions, performances, and best practices.

This conference would not be possible without the efforts of our fantastic Bay Section Special Representatives, Assistant Representatives, and Conference Honor Ensemble Managers: Jorge Jiménez and Brittany Shankle (band); Jennifer Gaderlund, Kate Huizinga, and Kelly Walker (choir); Richard Vaughan and Stephanie Holmes (orchestra); Dave Gregoric and Kyoko Yamamotov (jazz); Dr. Vu Nguyen (higher education); Emelynn Montoya (multicultural music); Keith Hunter (elementary/general music); Casey Jones (innovation and learning); Bruce Lengacher (adjudication); Leah Musker (Tempo editor); Tiffany Ou-Ponticelli (webmaster); and Jonathan Pwu (public relations).

All of the above individuals have worked diligently to provide our membership with sessions that are sure to be inspirational and educational.

The entire conference will be held in the SJSU Student Union, directly across from the Music Building. The facilities are spacious and beautiful! A special thanks to our host, Dr. Craig McKenzie, Assistant Director of Bands at San José State University, for working tirelessly to make this conference possible. We would also like to thank the SJSU music students led by Jackson Baker for all of their work at the conference. We are grateful for their warm hospitality and dedicated service!

This conference also honors Bay Section music educators at a Wine and Cheese social. This event is generously sponsored by J.W. Pepper and Bay Section are grateful for their ongoing support. Look for more information about our outstanding Bay Section music educators in my next article.

While this is the final year that we will host the conference in January, we are already in the planning process with SJSU about a new date! Our incoming President-Elect, Craig Bryant, and the rest of the Bay Section Board realize that the Bay Section Conference 18

CMEA Magazine

Capitol Capitol Section Update Christopher J. Tootle

Capitol Section President

Honor Groups

Honor Groups are some of the most important events that the Capitol Section is fortunate to host. For decades, we have produced middle and high school honor choirs, orchestras, and bands, including an elementary honor band and even a high school jazz band.

Auditions for the honor bands are due this weekend, so I thought for the CMEA Magazine’s winter edition, it would be interesting to focus on the impact of these honor group experiences on the student and their home ensemble. Here are what several past honor group student participants (and some directors) have to say about how their honor group experience changed their life.

Respondents were asked two questions: “How did your experience in an Honor Group impact your life?” and “Did your experience in an Honor Group impact your school ensemble? If so, how?” Names have been limited to first names only to protect the identity of the students and directors.

“It was super fun and it really impacted my dedication towards working to perfect something.” - Zane, Euphonium, High School Honor Band “Participating in Honor Bands in middle school and high school were the highlights of my school experience. At the Capitol Section Honor Band in high school, I learned how to be courageous when I had to play the first flute solo at the last minute because the original soloist got sick right before the concert. I was so inspired by Dr. Mallory Thompson’s direction of the CBDA Honor Band when I learned how to play in a jazz style in Frank Ticheli’s “Blue Shades.”

I cried the whole way home from All State my senior year, knowing that was my last honor band experience. Participating in Honor Bands motivated me to become a band teacher so I can now provide these life changing experiences to my students. Participating in Honor Bands made me a stronger, more confident player, setting an example for the other students in band.” - Mila, Flute, MS & HS Honor Band (now teacher) “Receiving the Honor Band experience gave me a boost of confidence. In band, I really try to push myself, and ever since Honor Band I felt more important in my school’s band. My school even picked out one of the Honor Band songs to play in our concert.” - Audrey, Trumpet, Elementary Honor Band

“It really helped me focus on my music more, and being part of Honor Orchestra helped me be more determined and dedicated as a musician. Being part of the orchestra really helps develop the music community and helps you see the musicians around you differently. While it was a less than two-day experience, it still had a massive positive impact on me. Participating in Honor Orchestra greatly improved my musical skills and increased my contribution to my own orchestra. Also, it made me practice more often and strengthened my practice habits, which also impacted the quality of my contribution to my school orchestra. Being in a massive Honor Orchestra also made me see my own orchestra in a different light - rather than thinking ‘this is good enough,’ I now knew that it could be better.” - Gargi, Viola, MS Honor Orchestra, HS Honor Orchestra “My experience in honor band showed me how cool it is to have a massive ensemble all working together to create a great sound playing difficult music. I learned how to use stylistic ideas from my music and apply that to music we play in school.” - Drew, Clarinet, MS Honor Band “It was a good experience to see others I don’t know playing, seeing their technique and skills.” - Katherine, Percussion, MS Honor Band “My experiences in the various honor bands that I attended really gave me something to strive for and helped my playing improve exponentially. In middle school, the music my band was given did not really give me much of a challenge since I played tuba, but working for the audition and playing harder music in an intensive environment really helped me grow as a musician. I also really enjoyed working with other students who, like me, were really passionate about music. The fact that everyone there was serious about their instruments and wanted to put in the work motivated me to do that as well. I noticed that when the other students and I came back from the honor bands, many people realized that it would be cool to be a part of one and started putting in more work so they could in the future.” - Alli, Tuba, Elementary and MS Honor Band “It provided me with a musical challenge that I was not experiencing in my school program. The experience allowed me to advance my skills as a musician, as well as network with other musicians my age in the area.” - Taylor, Bassoon, HS Honor Band “The experience was extremely fun and helped me to improve my skills as a musician. The people in the ensemble were able to communicate things we learned back to the school orchestra.” Zachary, Violin, HS Honor Orchestra “When I participated in the Capitol Section High School Honor Band in 1997 as a junior, I was fortunate to play for Dr. Bob Halseth, then director of Wind Bands at CSU, Sacramento. Dr. Bob was such an incredibly talented and inspiring conductor that I knew I had to attend Sac State so that I could continue to play for him. And I did! That honor band experience gave me focus and direction when choosing which college to attend, and the rest is history.” - Christopher Tootle (the author), CMEA-CS HS Honor Band 1997 & 1998

Winter Issue 2024

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Central Central Section Update

Southeastern

Southeastern Section Update

Elisha Wells

Dr. David Betancourt

Southeastern Section President

Central Section President

Greetings from Central California!

Hello from CMEA Southeastern Section!

As Central Section president, I have to say that I’m eternally grateful for my colleagues. They are respected university professors, brilliant general music teachers, creative choral directors, phenomenal orchestra directors, magnificent jazz teachers, excellent band directors, hard-working marching band techs, wonderful mariachi instructors, and more!….Our community is vast and vital, and I’m proud to be a part of this great community!

When asked to submit an update about the goings-on in the Central Section, I’ll admit that it was a challenge to wrap my head around the task. How can I summarize the magic that is happening in music education in the central valley? Over the past few months, I visited several parts of our section, meeting with various directors, watched competition shows, and checked in with my colleagues around the area to see how their choirs, mariachi groups, orchestras, marching bands, concert bands and jazz bands were doing. I’m thrilled to report that our teachers and students are thriving, and it seems that participation numbers are on the rise.

As we experience this surge of participation in our programs, it’s important to ask: exactly how do we measure success? We can all list state standards and rubrics to answer that question. But all too often, we measure success by comparing our students’ progress to that of our fellow colleagues’ programs, and that can be a dangerous road to travel. That road is paved with potholes of self-doubt, loss of vision for the truly important things in music education, and it’s often a dead-end road. I’d like to encourage you all to continually measure success by looking back at your “Day 1” and recognizing how much each individual student has grown, and how much you have also grown. Sometimes, that means recognizing the victory of an individual student learning how to hold a violin properly by the end of a full term. Sometimes it’s recognizing the victory of a student learning to bring their music and a pencil to class each day by the end of the semester. It could also mean celebrating the weeknight you devote to family activities rather than working straight through the week. Whether we place 1st or 9th, the experience for our students is worth celebrating. I’m not saying to lower your standards and forget about competition, but I do hope to encourage you to celebrate your daily wins.

As you gear up for the 2024 year, remember to measure your successes from the perspective of gratitude and celebration. Each young person you encounter is a gift, and the time you spend with them is invaluable. Thank you for the good work you do, and may you have a wonderful, blessed new year!

For Southeastern Section’s contributiton to this issue of CMEA magazine, please read the following article by Angela Holmes, Special Needs Representative from Southeastern Section, on Neurodivergent Students. This is an important issue in education.

Examining Trauma Drills with Neurodivergent Students

In a world of increasing violence, it seems that all classrooms now function within an underlying feeling that harm could invade the learning environment at any moment. This dreadlful, but serious, statement is unfortunately an additional factor in school life. In order to protect our students, part of our response as educational institutions is to develop safety plans. In the classroom we will review and discuss the plan with our students, as well as physically practice safety behaviors. This article will address concern for students who experience, at various levels, neurodivergent conditions related to their identified special education designations, and recommendations to consider when preparing these students for school trauma drills.

When you search for the definition of “neurodivergent,” you will see it listed as an adjective to describe the “differing mental or neurological function from what is typical or normal.” Simply stated, a person with “neurodivergent” issues is a reference to how the brain processes information, but is not typical like most individuals and can affect comprehending information, behavior and social interaction.

“Neurodivergent” is not a medical term and is not usually used to explain how a student processes differently. In the classroom we focus on the student’s processing strengths, emphasizing success in learning, knowing that a student’s particular brain characteristic helps us understand and accommodate instruction in a manner that is comprehensible. The key phrases to remember are “processing information, differing strengths, and different ways of being.”

It can be said that we are all divergent learners. All of us have patterns and strategies that we rely on to reinforce our learning.

The students we are addressing share needs in three areas: Executive Functions (planning, organizing, etc.), Behavioral issues, and Social challenges. Students who have been assessed and qualify for learning support because of one or more of the categories listed are students who will exhibit neurodivergent learning characteristics.

• Autism • ADHD

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CMEA Magazine

• •

ADD Learning Disabilities: dyslexia, dyscalculia, dyspraxia, other conditions • Anxiety Disorder • Obsessive-Compulsive Disorder • Tourette’s Syndrome Prior to discussions and drills with students, it is suggested that the IEP of all students with Exceptional Needs be reviewed.

The students who have qualified with a category listed above are the students to be discussed with the Special Education case carrier.

Together the teacher and case carrier can decide which students need to be considered for specific support strategies and potential parent contact for the purpose of receiving helpful advice that can be applied before, during or after a trauma drill at school.

Behavior information from home may be useful in supporting the student’s participation in what can be an emotional practice drill at school. The following questions may provide additional insight into specific characteristics the student may have that are not visible at school, but can be applied at school as additional support if needed.

• What are your child’s strengths at home? How do they help at home? What are the things they like to do? What are the kinds of things they do without you needing to ask?

• How does your child show stress or frustration at home?

• What is the best way that you can approach your child when they are stressed or frustrated?

• Are there comfort strategies that calm stress, anger, or frustration at home?

Parents should be notified of the day and time of a practice drill. If there is a possibility that their child may be traumatized, they need to be prepared and/or the school and parent should discuss allowing the student to opt out of the drill.

As we continue to address the potential emotional reactions of practice trauma training, consider the following supports. The first two may be helpful for the entire class.

• Visual aids: post the date of the practice drill as a reminder • Relaxation exercises: start the day or just before the drill with a breathing exercise • Relaxation area: designate a location where there are headphones to block out sound • Movement breaks: scheduled throughout the day/period, preferred seating, seated next to good behavior role model, sit away from distraction (windows), have a wiggle seat in your classroom • Allow the student to hold a comfort object In general, trauma drills can be helpful if they are done in silence, without realistic images or play-acting that mimics a real trauma.

In conclusion, the maturity and severity of the condition of each student will determine the degree of support strategies that the student will require during a physical trauma drill. The most important element for the educator to understand is that the moderate to severe neurodivergent student may not understand that the drills are not real life events. Preventing an emotional fear reaction or the instinct to run away from campus can be prevented if we take a step further in understanding the strengths and needs of our students for their safety and well-being.

CMEA-SES Spring 2024 events: contact dbetancourt@cerritos.edu for more info!

• Spring Social at CASMEC Keep an eye out for information!

• January 6th

Leadership Symposium for students of concert groups

• Choral Festival at Bloomington HS More Information TBA

• April 6th

CMEA Band and Orchestra State Festival @ Cerritos College

• May 4th

Mariachi Showcase

• May 11

CMEA Solo and Ensemble State Festival @ Cerritos College

Winter Issue 2024

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High school choir: Our director this year is Dr. Lynn Atkins from CSU Dominguez Hills. Dr. Atkins is a graduate of Westminster Choir College and James Madison University and he is an engaging conductor who will provide our students with an incredibly rich and memorable experience.

Central Central Coast Section Update

Sam Oh

Central Coast Section President

Hello from the Central Coast!

With all the hard work almost done, our event chairs have been working really hard to get everything prepared for our students. The results for both middle and high school choirs have been announced and the results for the instrumental group will be announced once we return from winter break. As we get closer to our honor events, I cannot wait to hear all the different performances.

As part of their hard work, here is the list of all of our guest conductors: Middle school choir: Our director is Dr. Angel VazquezRamos of CSU Bakersfield. This is his second time working with our MS singers and brings not only a wealth of experience, but a passion for teaching and music that is hard to find. I am very excited to welcome him back and watch him work his magic with our students.

Middle school band: Dr. Troy Davis is the Director of Instrumental Music and Jazz Studies at West Valley College in Saratoga and an adjunct faculty in the Music Education Department at Boston University. He is the Camp Director for Hayward-La Honda Music Camp, the Director Emeritus of the Oakland Municipal Band, and was the Interim Music Director of the San Francisco State University Wind Ensemble for the 2014–2015 academic year. He has served as a guest conductor for the San Francisco Wind Ensemble (now SF Wind Symphony), Cazadero Music Camp, the Peninsula Youth Orchestra, the Holy Names College Youth Concerto Festival, the Contra Costa County Honor Jazz Band, the North Tahoe County Honor Band, the Palo Alto Unified School District Honor Band, the Fremont Unified School District Honor Band, and Summer Music at Stanley, as well as on international tours to China, Canada, Australia, Brazil, Ireland, Italy, and Austria.

Middle school orchestra: Dr. Ruth Brittin is professor of music education, chair of the Department of Music Education at UOP, and has been at the Conservatory of Music since 1997. She received her PhD in Education from Florida State University in 1989, the MME from Texas Tech University in 1985, and the BME from Texas Tech University in 1983.

High school band: Dr. Sixto F. Montesinos Jr is a conductor, professor and teaching artist residing in the San Francisco Bay Area. He is also head of instrumental studies, and assistant professor of music at Saint Mary’s College of California.

High school orchestra: Dr. Thomas Loewenheim is currently Professor of Cello and Director of Orchestras at the California State University, Fresno, and the Music Director and conductor of the Youth Orchestras of Fresno. Recently he received the Fresno State Provost’s Award for Excellence in Teaching (2016), the California Music Educators Association John Swain College/University Educator Award (2015). He provided our students with an outstanding experience as the CCS High School Honor Orchestra conductor in 2017 and we are pleased to have him return to the podium. You can find out more about him here: https://cah.fresnostate.edu/about/directory/ music/loewenheim-thomas.html

Here are the dates, times and locations:

• January 18-20

CCS MS Band & String Orchestra Honors @Cabrillo College

• January 25-27

CCS MS/HS Honor Choirs @ Pacific Grove PAC

• February 8-10

CCS HS Band & String Orchestra Honor @Cabrillo College

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CMEA Magazine

North North Coast Section Update Collin Kirkwood

North Coast Section President

For this issue of CMEA Magazine, please see the following submission. This is an article by Thomas Kissinger, Deputy Superintendent for Del Norte County Schools, with a forward by Dan Sedgwick, North Coast Section Treasurer.

Counties on the move

North Coast CMEA is in the heart of the redwoods and offers services to both Humboldt and Del Norte county music students and teachers. We host Instrumental, Choral, Jazz, and Solo & Ensemble Music. We also help facilitate, in conjunction with Humboldt County Office of Education, an All-Counties honor weekend event where middle and high school students come together to share music with out-of-area directors. We are a small section (the smallest by far in the state) with around 30 active music teachers between the two counties. Being such a small section, we all know each other, help out with each other’s projects, and are a close-knit group of music educators. Music is thriving in our area. Thomas Kissinger is the Deputy Superintendent of schools for Del Norte County Schools and is one of the most supportive administrators for music that we have ever had. He cares deeply about the music programs and his article below demonstrates his leadership with the arts. ~ Dan Sedgwick

who participate in our music offerings have many opportunities to perform and further develop their talents.

Currently, nearly 100 high school students participate in the marching band, a program that has seen its popularity grow every year. Our high school students are also able to perform in groups such as the Jazz Band, Percussion Ensemble, and the Steelpan Band, along with a variety of choral music programs. For those who want to gain more experience with performance, they can join adult musicians in the Wild Rivers Symphony or Tsunami Swing, a local jazz band. Our vocalists can hone their skills in the Community Chorale, which often performs at events in the area.

An outgrowth of the popular high school music program has been a course in instrument repair. Developed in 2019 and begun in 2020 at Del Norte High School, Instrument Repair teaches students the specialized skills of fixing all kinds of instruments so that they can sound and work as well as new. We are proud to have one of the only such programs in the state and thrilled that three of our graduates have now gone on to further develop their skills at professional instrument repair schools. This program has developed into a unique career pathway for students who love music and the mechanics of instruments.

Finally, in partnership with local benefactors Nick and Lisa Rail, the County Office of Education and the Del Norte Unified School District have come together with the community to develop the Partnership for the Performing Arts, whose goal is to fund and develop a world-class performing arts center on the campus of Del Norte High School, by the year 2027. Although the project has yet to break ground, it has the support of the school district, the County Office of Education, and the communities of Del Norte County. We are all looking forward to seeing this dream become a reality.

Del Norte County Office of Education Primary Arts Contact: Tom Kissinger, Assistant Superintendent, Educational Services

Superintendent’s Statement:

Del Norte County Office of Education and the Del Norte County Unified School District have been working closely with parents, community members, teachers, and classified staff to invest in, develop, and maintain an outstanding instrumental and vocal music program. Our community has a clear vision for our music program, and we are proud of the programs we are building.

Through the LCAP process, over the past few years, we have been able to hire enough music teachers to provide high-quality instrumental and vocal instruction that can serve nearly all of our students. Beginning in the primary grades, children are introduced to basic music concepts of rhythm, notes, and expressions of sound.

We are proud of the fact that all students in Grades TK-4 receive music instruction. As our students progress to the intermediate grades, they have the opportunity to learn to play individual instruments, develop their singing skills, and participate in a variety of band and choral programs. At the middle school level, those Winter Issue 2024

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Northern Northern Section Update Tanner Johns

Northern Section President

Hello from CMEA Northern Section!

For Northern Section’s contributiton to this issue of CMEA Magazine, please read the following article by Ryan Heimlich, Director of Instrumental Music at Butte College. This article is all about community.

Building a Musical Community

When Tanner asked me to write a short piece for the CMEA Magazine on behalf of CMEA Northern Section, I did not know quite what to write. I could talk about all of the wonderful students we have, all of the wonderful teaching occurring, or all of the great music that is being made. But as I thought deeply and reflected on the past fifteen years of teaching in the Northern Section, one theme stood out: the importance of community.

The Northern Section of CMEA is an expansive section that encompasses fifteen counties. And within these fifteen counties are large schools, tiny schools, and everything in between. To say that each of these schools has wildly different needs and goals is an understatement. Any gathering of Northern Section teachers will inevitably have a conversation about how easy it is to feel isolated by distance and differences in teaching situations.

Interestingly, I think this feeling of isolation is perhaps what unites us in many ways, and the glue that binds us all together is community. Our section encourages and supports our musical community through festivals, conferences, events, collaborations with one another, and collaborations with the local universities.

Speaking from my own personal experiences, I have a large but tight-knit group of colleagues who communicate almost daily about our classes, our students, and our lives. This sense of community inspires and refuels us to continue doing the hard and important work we do.

At the same time, creating a musical community in our classrooms is of the utmost importance. Paulo Freire, Estelle Jorgensen, and Maxine Greene all write about the power of community and its role in education or music education. In my experience as primarily an instrumental music teacher, I find that creating community is the single best way to create a program that everyone is proud of and excited for. Students gravitate towards programs and ensembles that they feel they can contribute to as a community member. To me, this means incorporating student voice and leadership in all aspects of the program planning and administration, including repertoire selection, concert planning, organization, publicity, recruitment, fundraising, etc.

At Butte College, we are working hard to put community at the forefront of everything we do. I mean, we are a community college, after all! Our ensembles are all collaborations between students and directors. This includes our wind ensemble, pop bands, jazz ensemble, choir, and percussion ensemble. In the recording arts program, students record and produce music written and performed by students and other local bands and artists. We invite local students and music teachers to perform with us every concert. We feature local musicians as guest soloists with our ensembles. We host events on our campus for local schools and music organizations. We visit schools weekly and help with whatever is needed. Our pop and jazz bands are gigging at local venues. And our students run, plan, and organize all of these events and concerts.

I know it is perhaps becoming cliché to talk about the importance of community in education, specifically music education. But it seems to me that the importance of the creation of community within a music classroom, where students feel valued and welcome, cannot be overstated, especially in our unique classrooms in the Northern Section.

Ryan Heimlich Director of Instrumental Music Performing Arts Department Chair Butte College heimlichry@butte.edu

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CMEA Magazine

AUDITIONS 2023–2024

BACHELOR OF ARTS IN MUSIC Performance, Composition, Education Study with world-class faculty members, including members of the Los Angeles Philharmonic Unique networking opportunities with the Los Angeles screen and studio music industry Various music minor tracks, including worship music and music composition for the screen

AUDITION DATES October 28, 2023 November 11, 2023

January 13, 2024 January 27, 2024

APPLY ONLINE to the university

by November 1, 2023 for early action or by January 15, 2024.

Generous scholarships available for music major and nonmajor instrumentalists.

SC2106687

TO ARRANGE A VISIT, AUDITION, OR FOR MORE INFORMATION: seaver.pepperdine.edu/fine-arts/undergraduate/music • 310.506.4111 fineartsrecruit@pepperdine.edu • 24255 Pacific Coast Hwy, Malibu, California 90263 Winter Issue 2024

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Massenet’s Cendrillon and Torke’s Strawberry Fields from SDSU’s Opera Program. Teng is currently the Choir Director at Mira Mesa High School, Challenger Middle school and is the Intermediate Choir Director for the San Diego Children’s Choir.

Sharpen Your Skills - Hear and Know Southern Southern Border Section Update Emma Schopler

Southern Border Section President

Events 1.

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Fortissimo Awards, Stone Brewing Liberty Station, January 14, 2024.

Elementary Choral/Instrumental Festival, May 2024, PLNU. Middle School Choral Festival, March 8, 2024, Challenger Middle School.

High School Choral Festival, March 11, 2024, Poway High School.

Band and Orchestra Festival for Middle/High School, March 13 - 14, 2024.

Middle School Band and Orchestra Festival, April 13 - 14, 2024.

Band and Orchestra Festival for Middle/High School, April 28 - 29, 2024.

Are you a music teacher, student or performer seeking a new way to hone your skills and stay current? I recently discovered a self-paced program that surpasses any other technology I have experienced. Whether you need to develop your tonal, rhythmic or compositional skills, this program has it all. It is for Choir, Kodaly, Music Learning Theory, Orff, University aural musicianship, Piano, Guitar, Band, Orchestra and more. Here is the link: https://www. thehearandknow.com/ The tonal aspect of the technology includes exercises in four tonalities (major, minor, Dorian and Mixolydian), all keys, 30 vocal and instrumental ranges (transposing instruments included) with three syllable systems to choose from: • Moveable-do with la-based minor (and re-based Dorian, sol-based Mixolydian, and so on) • Moveable-do with do-based minor (“do-based everything”) • Fixed-do (C is always do, D is re, etc.)

Section Members in the Spotlight: Mr. Russell Shedd and Ms. Marielena Teng

Mr. Russell Shedd, a master educator in his twenty-second year of teaching. Russ will lead our section as the Instrumental Vice President coordinating instrumental, band and orchestra events while also recruiting sub-committees for festivals. The Southern Border Section Band and Orchestra festivals are open to all ensembles in California and out of state. If you are traveling to San Diego, please join Russ for a prestigious festival experience next March and April 2024. Russ originally comes from Michigan where he started playing the Clarinet in the sixth grade. He was a member of the Grand National Champion Plymouth Educational Park Marching Band and later became a drum major for his junior and senior years. Russ majored in clarinet performance and education at the Cincinnati-College Conservatory of Music (CCM). He also holds a masters degree in conducting from Central Washington University. Russ moved to San Diego where he has been the Music Director at Scripps Ranch High School since 2004. During his tenure, he has taught Band, Orchestra, Guitar, Choir, AP Theory, and Marching Band.

Ms. Marielena Teng joins our section as the Choral Vice President. Her position involves supervising and coordinating all choral music activities, and recruiting representatives for choral festivals and honor events. Marielena Teng earned a Bachelor degree in Music Education from San Diego State University (SDSU). She has held positions such as the Music Education Fellowship Assistant from SDSU, Vocal and Acting Coach from SDSU’s Filipino Organization AB Samahan, and lead roles in productions such as

For those of you wanting to jump straight into developing your rhythmic senses, it features: Four types of exercises • Echo patterns • Identify patterns • Notate patterns • Tap patterns​ Meter choices • Duple • Fast triple • Slow triple • Triple triple • Asymmetric (various) ​ Rhythm syllable system is the beat function system of Edwin E. Gordon • Basics: du, du-de, du-ta-de-ta, du for duple meter; du, duda-di-, du-ta-da-ta-di-ta, du for triple meter (and more!).

• Merits • Based on audiation--how rhythms sound--rather than notation.​ • Performable.

• Accounts for enrhythmic notation; multiple ways to

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•

notate a given rhythm pattern.

Accommodates asymmetric meters coherently.

Tune Assistant is a resource for playing, notating, and managing tunes.

Duple Pattern in 2/4

Same duple pattern notated “enrhythmically” in 2/2

Southwestern Southwestern Section Update Dr. Tamara Thies

Southwestern Section President

Ryan Duckworth, CMEA Mentorship Chair, then shared the benefits of becoming a mentee and mentor within the program.

The morning ended with an early career music teacher panel - Alix Aber (LBUSD), Sophia Cho (LAUSD), Stephen Crews (LAUSD), and Annelise Maddy (LAUSD) - who offered insights into their experiences that included their challenges and rewards within their first few years of teaching.

The CMEA Southwestern Section Board would like to thank Claudio Alcantar and the Barack Obama Global Preparation Academy in LAUSD for hosting this event. Additionally, I would like to thank the CMEA Southwestern Section Board - Ryan Rowles (Past-President), Ryan Gonzalez (Secretary), Claudio Alcantar (Treasurer), and Ben Ubovich (President-Elect) - for all their work in organizing this event.

The Fall 2023 CMEA Southwestern Section Conference occurred Saturday, November 4, 2023, at the Barack Obama Global Preparation Academy in LAUSD. All sessions focused toward our theme, Thriving as Pre-Service and Early Career Music Teachers.

The day started with Jim Petri and Brad VanPatten, former VAPA Coordinators in Long Beach and Irvine Unified, respectively, leading a session on searching, applying, and interviewing for music teacher jobs.

Three outstanding music educators - Grace Kwon (general music specialist), Molly Peters (choral music specialist), and Pin Chen (instrumental music specialist) - shared their talents and techniques for teaching students and building their music programs.

Participants had an opportunity to debrief about their mornings as well as connect with other participants during the round table session.

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WIN $5,000 WORTH OF CLASSROOM INSTRUMENTS!

Sign up to win $5,000 worth of general music classroom instruments from West Music!

Register to WIN today at westmusic.com/prop28!

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CMEA Magazine

Experience meaningful, personal mentoring by prestigious, award-winning faculty.

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CMEA Global Music Virtual Meet-Up! What questions, concerns, desires, or fears do you have about incorporating culturally diverse musical expressions in your classroom? Let’s chat!

This will be an opportunity to openly discuss your biggest questions about cultural diversity. Join us to start a hive mind, share an idea that worked well for you, or get advice about a concern or issue you’re facing.

Please fill out this brief Google Form to share your availability. We’ll be in touch soon to secure a date and time!

Dr. Will Coppola CMEA Global Music Representative

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Meet the CMEA Collegiate Council

by Dr. Diana Hollinger,

CMEA Collegiate Representative Coordinator of Music Education, San José State University

Meet your Collegiate Council, the future leaders of CMEA! In this article, I asked the following questions of our council members: • Why are you pursuing a career in music education?

• What are some of the things you believe about music education (philosophy)?

• What is something you would like to see more of in music education in the future?

• What advice do you have for high school students who hope to become music educators?

Here are excerpts from their answers.

Jackson Baker San José State University

Caitlin Cooper, CSU Northridge

Daniel Crispino, Council President CSU Chico

Brendan Lockie, UCLA

Serena Renteria, CSU Bakersfield

Andrew Vega, San Diego State University

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Why are you pursuing a career in music education?

Music is such an important art form and I feel a responsibility to pass it on to the next generation and incite that passion for music that my educators did for me. - Jackson Baker, San José State University I had an amazing experience in my middle school and high school band classes. Music class was a place I knew I belonged because I got to be with an incredible community of people working towards a shared musical goal. I am pursuing a career in music education because I want to share the beauty and goodness music has to offer with generations of future students. - Caitlin Cooper, CSU Northridge I am pursuing a career in music education to inspire, grow, and educate the future leaders of the next generation. I want to give students opportunities and create a positive classroom community where students can be themselves. - Daniel Crispino, CSU Chico Throughout my education, music class was a space to collaborate and learn from my peers and teachers. My band classes have allowed me to connect with a strong community of musicians, mentors, and friends of which I am forever grateful. I chose to pursue a career in music education to allow students the opportunity to not only enjoy music but feel welcomed into a positive learning environment. - Brendan Lockie, UCLA My first music teacher helped give me my love for music.

Mr. Morrison would always push me to try new things and do my best with any opportunity that came my way, all the way from elementary through high school to now. While I’ve had great music teachers, he has always been one of my biggest supporters. Music has always been my favorite place to be. From getting to play music with new friends, working with amazing mentors, and learning new things every day, to finally be pursuing it is truly a blessing. I hope to someday pass on that love of music to our next generation of students. - Serena Renteria, CSU Bakersfield My music education experience in elementary and high school changed my life for the better and offered me numerous opportunities plus a network of reliable colleagues and mentors.

My goal as an educator is to offer students the same musical opportunities I had and more. I have been so privileged to work with dedicated music educators that have inspired me to become part of the same community to support, advocate and, most of all, teach. - Andrew Vega, San Diego State University

What are some of the things you believe about music education (philosophy)?

We need to instill a lifelong love for music, giving students the tools and exposing them to opportunities so they can keep being active participants in music after their K-12 education. - Jackson Baker, San José State University The purpose of K-12 education is to equip students with skills that will help them be well-rounded people and successful adults in the world. Music education…is a vital part of a student’s

educational experience…Learning about and making music is one of the most human experiences students can partake in and equips them to be better citizens of the world. - Caitlin Cooper, CSU Northridge I believe that all students should have the opportunity to experience music. When students…feel like they belong…they are more likely to have higher attendance and academic success. Music is a community and students build experiences as well as memories that are important to their social development. - Daniel Crispino, CSU Chico I truly believe that everyone deserves music education. Whether they pick up an instrument, sing in a choir, or have fun with general music, everyone should have access to it. Music gives students the space to express themselves, meet new people, and participate in opportunities that only music can offer. - Serena Renteria, CSU Bakersfield I believe that all students deserve the opportunity to have a music education. Music education is a tool for students to begin developing and mastering skills such as teamwork, time management, responsibility, and leadership. These are key tools that all students can use in other academic departments, extra-curricular activities and in their future careers. - Andrew Vega, San Diego State University

What is something you would like to see more in music education in the future?

I would like to see more one-on-one instruction for all students to unlock their potential on their given instruments, and more ensembles beyond the standard band, orchestra, and choir (brass band/banda/mariachi/etc.). - Jackson Baker, San José State University All too often, students must wait until middle and high school to…have the option to take a music class. I would like to see comprehensive music education programs taught by qualified music educators in more elementary schools. Elementary school students have incredible neuroplasticity which allows them to rapidly form new neural connections when learning music and thus more easily equips these students to have a lifelong appreciation of music. Caitlin Cooper, CSU Northridge I would like to see more diverse music, composers, and ensembles. - Daniel Crispino, CSU Chico Greater access to music education in more schools, especially in communities where students wouldn’t typically have access to the resources. Music education matters and these students also deserve that space to express themselves, meet new friends, and participate in these new opportunities. - Serena Renteria, CSU Bakersfield I would like to see K-12 schools connect with their respective communities and student demographics more. - Andrew Vega, San Diego State University

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What advice do you have for high school students who hope to become music educators?

Expose yourself to every opportunity for something new that you can. Find what niche calls to you and answer it, everyone has one and it’s extremely rewarding when you find it. - Jackson Baker, San José State University As musicians and educators, we strive for perfection. On the road to achieving this impossible task, don’t forget to pause and celebrate your success! - Caitlin Cooper, CSU Northridge Make music fun! Make the most out of your high school music experiences. The more experiences you have, the more of an idea you’ll have in the future of what you want your students to experience. Audition for honor bands even if you don’t think you’ll get in. The experience of auditioning will only make you better and have you learn what it’s like to audition. Meet other musicians, the more people you network with and stay in contact with, the more help you have later in your career especially if it’s someone who does not play your instrument. - Daniel Crispino, CSU Chico As a musician and educator, it is easy to focus on the negative aspects of our music. It is important to acknowledge our achievements throughout the music-making process. Furthermore, finding stress-relieving activities is crucial to living a well-balanced life. - Brendan Lockie, UCLA

As music students, there’s so much to do! Get involved, ask questions, learn that instrument, join the choir, meet new people, find mentors, take the opportunity, talk to your professors, apply for scholarships, make yourself seen and heard! While all of these are important to do (seriously, try to take advantage of every opportunity if you’re able to) nothing is more important than you.

Yes, you! My best advice is to take care of yourselves. It’s easy to feel overwhelmed and exhausted, so take the time for some self-care and don’t be afraid to put yourself first. Despite it all, majoring in music has been one of the best decisions I’ve ever made, so I hope you can also find the joy and passion in it. You’ve got this!! - Serena Renteria, CSU Bakersfield Ask all the questions! Find out as much information as possible and reach out to others. Take the opportunities that are available.

Taking on leadership roles will help you grow as a musician and learn which areas or levels of music education captivate you.

Remember that pursuing a career in music education is about teaching and learning alike. Engage with your peers, confide in your mentors, and embrace this flourishing community—you will be just fine. We’re all rooting for you! - Andrew Vega, San Diego State University

Retired Members Update

by Rita Zigas-Brown CMEA Retired Members Representative Hello fellow retirees!

It has been a minute since we last had the opportunity to have a Zoom meeting, but with CASMEC only two months away, this is a perfect time to catch up and/or meet for the first time. Let’s connect. Speaking of CASMEC, let’s meet for lunch and a photo.

Keep reading!

Below are two links:

The first link is to a google form to RSVP for lunch while at CASMEC in Sacramento on Friday, February 2, at 12:30 at Public Market Bar on the ground floor of the Sheraton Grand.

The second link is to RSVP for a Zoom Meeting on Monday, January 8, at 7:00pm.

I realize that the majority of us are still maintaining an active day-to-day lifestyle, whether it is in music education or some other activity. It will be exciting to learn and share. I look forward to hearing from you and to either get to say hi again via Zoom (and lunch), or meet you for the first time and learn about all of the amazing things you are doing.

Please do not delay in replying by email to me personally at rzigas.brown@gmail.com and submit the Google form links. I will email you about two weeks prior to our January 8 meeting with a Zoom link. Cheers!

1). RSVP for Friday, February 2, lunch at 12:30 (CMEA General Session is at 2:30, we can all walk over together).

2). RSVP for January 8 Zoom meeting (I will send you a link to the meeting via email).

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Supporting Students with

Dis/Abilities in Music

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

There is something so incredibly special about the amazing plentiful human reactions to music. Whether a person is neurodiverse or neurotypical, music is transcendent. Early in my career, I taught a neurodiverse student who would listen to anything I played on the CDs (yes, CD back then!) and then scurry to the piano and play it. And I mean really play it. He loved classical piano sonatas, and he played them for about 20 seconds like a pro, then would get stuck on a cadence that he played over and over. I used his love of piano as a reward for completing “un-interesting music tasks.” I would say, “Tommy, if you stand with us and sing our song, then you will get to play the piano!” Another student who was on the autism spectrum loved the “Chicken Dance” and I would use that as the last activity in our lesson to motivate the student.

These tactics are considered supportive, positive reinforcements to encourage the behavior wanted by the teacher for learning.

This differentiated approach to teaching looks at the disability label and creates a strategy to try and engage that one child in the learning objectives of the lesson. We are often taught this approach in credential programs due to the typical, required public school IEP (Individual Education Plan) for a student with a disability.

And while I still sometimes use these individual strategies to help a student, I have shifted my mind \set to a label-free (dis/Ability) mindset to focus my teaching on the community of all learners in my class. All students will benefit from scaffolding and strategies to support every learner to grow in their musicianship. I highly recommend a great Winter Break Read: Teaching music to students with special needs: A label-free approach (2nd ed.) by Hammel and Hourigan (2017). In the opening chapter, the authors delve into the formidable emotions experienced by teachers, grappling with questions such as, “How can I effectively teach students with Individualized Education Programs (IEPs)? How do I navigate the diverse needs of my students?” Hammel and Hourigan (referenced herein) propose a transformative approach for music educators— one that involves transcending diagnostic labels and concentrating on implementing inclusive teaching strategies. Throughout the book, the authors offer a myriad of innovative approaches to music instruction, emphasizing a commitment to ensuring that all students benefit from an abundance of supports seamlessly woven

into every lesson.

In recent years, even with my youngest students, I have been inspired to really ask them questions about their learning needs and reflectively listen to their responses, as well as observe their behavior reactions to support strategies. When I provide a graphic organizer to break down the steps of a composition/theory worksheet, do they complete the assignment quicker? More accurate? Less accurate? Do they talk and share (collaborate) with their peers?

Are they motivated to share their music compositions? What is working? What is not? This form of action research reflection and data analysis helps me map out how effective my teaching is for my students’ growth needs and leverage their assets to create a community of learners that celebrate one another’s successes.

Finally, I have found the gift of music is an incredible catalyst for developing social-emotional well-being in all of my students.

Music is naturally a community activity. The feelings it evokes when all are singing (or playing instruments) together is a powerful flow.

The “concept of flow as optimal experience and intrinsic motivation are rooted in the desire to understand the activity that promote human creativity” (Delgado, p 145). This experience is particularly powerful to neurodiverse students. When they feel connected, social anxiety is reduced and they are more likely to share, talk and interrelate socially with their peers. This commonality propagates more opportunities for understanding, building friendships and diminishes ableism. I wish you an amazing 2024, one that is full of dis/Ability moments in your classroom and flow!

References Hammel, A. M., & Hourigan, R. M. (2017). Teaching music to students with special needs: A label-free approach (2nd ed.).

Oxford University Press. (Chapter 1) Delgado, Gabriela. (2017). Intrinsic motivation and flow condition on the music teacher’s performance. Research in Pedagogy, 7(1), 145-157. https://doi.org/10.17810/2015.56.

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Finding the Proper Technical

Tools for Pedagogy

by Holly MacDonell,

CMEA Music Education through Technology Representative

Pedagogy through technology has proven itself an exemplary method of student-centered learning, offering a variety of solutions for differentiation within the classroom. The diversity of options, however, can often present educators with an overwhelming cornucopia of tools, reminiscent of a myriad of paths that can’t all be traveled.

For music teachers, attendance at conferences provides a valuable exposure to new and established technical tools that may be used in a plethora of classroom settings - from performance ensembles to composition classes, and from elementary to high school general music classes - all while offering the opportunity to learn a multitude of ways a teacher can utilize a tool. This setting also serves as a safe haven for instructors to seek clarity and inquire about how a specific tool is, or is not, suited to their particular needs.

The California All-State Music Education Conference (CASMEC), scheduled to be held in Sacramento from January 31st to February 4th, 2024, is an event sure to provide an array of music technology sessions suitable for general, elementary, high

school, and beyond. Attendees can expect to explore sessions such as “Creating Digital Music Composition at Your Institution,” “Participatory Music Making through Digital Audio Workstations and Re/Mixing,” “Phone or Chromebook DJing Methods,” “Enriching Music Education through Media Arts Integration,” as well as an assortment of sessions offering technology tools for elementary music classrooms. With an abundance of technical solutions catering to various music classes, we are confident that you will discover a session that wonderfully complements your planned syllabus. We eagerly await your attendance at CASMEC in Sacramento this year!

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CCDA is thrilled to be part of CASMEC in Sacramento in 2024! Please scan the QR code to see the sessions we are offering at the conference. They are perfect for the band director who is also teaching choir. And be sure to stop by our booth for CCDA swag and other giveaways!

by David Green CBDA Director of Communications As 2023 draws to a close, CBDA reflects with pride on the accomplishments of the past year and eagerly anticipates the continued success unfolding as we approach 2024!

The CBDA clinics and All-State ensembles at CASMEC in February marked a pinnacle in excellence, setting a new standard for the years to come. The outstanding performances of our ensembles and presenters provided a fitting conclusion to our longstanding CASMEC conference in Fresno. With excitement, we now transition to Sacramento in 2024, poised for new beginnings.

The Social Impact Consortium project, a cornerstone of CBDA’s initiatives, thrived throughout the year. Debuting “I Am Enough” by Marie Douglas, with CBDA’s All-State Wind Symphony, garnered acclaim, and our 2024 consortium introduces two compositions by Indian maestros Aakash Mittal and Sruthri Rajasekar. Witness these musical gems at the upcoming CASMEC and explore more about these composers on their respective websites.

CBDA proudly initiated the Golden State Band in 2023, providing an “all-state experience” to students who may not have otherwise had the opportunity. Under the direction of Dr. Peter Boonshaft, the ensemble made significant artistic contributions to the CASMEC conference. As Dr. Christopher Cicconi of Towson

University takes the helm for its second year, the Golden State Band anticipates another outstanding season.

Our lineup of guest conductors for this year’s CBDA ensembles is unparalleled. Dr. Paula Crider leads the HS Wind Symphony.

Julie Giroux and Dr. Shelley Jagow guide the HS Symphonic Band and Concert Band, respectively. At the junior high level, CBDA veterans and past-presidents MJ Wamhoff and Dr. Adam Wilke will direct the JHS Symphonic Band and Concert Band. Their expertise promises an exceptional musical experience for all.

CBDA’s commitment to serving the music community extends beyond the CASMEC conference. In 2023, we introduced the inaugural “CBDA All-State Super Saturday” clinic, held on September 9. This extraordinary event, hosted at multiple locations across California, brought together over 500 students and educators. It stands as a pivotal moment in music education history, showcasing CBDA’s dedication to expanding offerings and reaching new heights in support of educators and students alike.

As we celebrate the achievements of 2023, CBDA eagerly looks ahead to 2024. With CASMEC venturing into a new city and era, we invite everyone to join us in Sacramento for a time of connection, harmony, and the celebration of music!

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CODA Winter Update

by Tiffany Ou-Ponticelli CODA President

We are looking forward to CASMEC in Sacramento, coming up soon! In addition to an exciting slate of clinicians and sessions, CODA will present four All-State orchestras at CASMEC, each with special repertoire that our conductors have selected for our California student musicians.

CODA High School All-State Symphony Orchestra, Chaowen Ting, Conductor • The Bamboula, Op. 75 by Samuel Coleridge-Taylor • Sound and Fury by Anna Clyne • Romeo and Juliet, Op. 64 (excerpts) by Sergei Prokofiev CODA High School All-State String Orchestra, Dr. Selim Giray, Conductor • Irish Dance Suite, I. Jig by Quinn Mason • Sinfonietta No. 1 for Strings, I. Sonata Allegro by Coleridge-Taylor Perkinson • Adagio for Strings, Op. 11 by Samuel Barber • Serenade for Strings, Op. 6, IV. Allegro giocoso by Josef Suk CODA Junior High School All-State String Orchestra, Katie O’Hara LaBrie, Conductor • Unbridled Spirit by Katie O’Hara LaBrie • The Brilliant Red Shandandan Flowers, arr. by Albert Wang • Grit by Lauren Spavelko • Alleluia by Ralph Manuel, arr. by O’Hara LaBrie • Danse Nègre from African Suite, Op. 35, No. 4 by Samuel Coleridge-Taylor, arr. by Baker Monday CODA Junior High School All-State Concert Orchestra, Creston Herron, Conductor • Battle by Soon Hee Newbold • O Magnum Mysterium by Morten Lauridsen, arr. by Dackow • The Winton Suite, V. Finale by Adam Carse • Visions of the Sky by Adrian B. Sims CODA’s Diversity, Equity, and Inclusion Chair Alejandro Garcia has written about some of the composers that will be featured in the All State Orchestra performances to share. Take a few minutes to learn about these composers, especially if they are new to you!

We look forward to seeing you at CASMEC!

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CODA All-State Orchestras 2024 - Composer Features

by Alejandro Garcia, CODA DEI Chair

Samuel Coleridge-Taylor (1875-1912) Samuel Coleridge-Taylor was an English composer and conductor of the early twentieth century. Born in London in 1875 to a Sierra Leonean father and an English mother, ColeridgeTaylor’s heritage greatly influenced his artistic sensibilities. Drawing inspiration from African and English musical traditions, he wove together diverse elements to create a unique compositional voice in the musical world.

One of Coleridge-Taylor’s most celebrated works, the cantata “Hiawatha’s Wedding Feast,” catapulted him to international acclaim, showcasing his ability to infuse European classical forms with melodies that echo African and African-American musical traditions. His composition “Danse Nègre” further exemplifies his mastery, capturing the vibrant rhythms and spirit of African dances.

As an advocate for racial equality, Coleridge-Taylor used his music to convey messages of unity and understanding. His legacy extends beyond his compositions, serving as an inspiration for generations of musicians who have followed in his footsteps. Samuel Coleridge-Taylor’s enduring contribution to classical music remains as proof to the power of art to transcend boundaries and foster an appreciation for diversity.

Listen to the African Suite HERE This piece, arranged by Deborah Baker Monday, will be performed by the 2024 CA All-State Junior High School String Orchestra.

Adrian B. Sims (b. 2000) Seattle-born composer, conductor, and trombonist Adrian B. Sims has swiftly become a notable figure in the world of music.

With an array of accomplishments, his compositions have graced esteemed stages like The Midwest Band and Orchestra Clinic and earned spots on the Bandworld Top 100 List. His educational impact is equally profound, as he shares his expertise with bands and orchestras across the United States, leaving a mark on programs such as the Baltimore County Summer Music Camp and the DC Youth Orchestra Program. A graduate of The University of Maryland, Sims is currently pursuing a Master’s Degree in Composition at The University of Texas at Austin, all while honing his trombone skills in various ensembles. Sims’ journey, marked by recognition and a commitment to education, positions him as a rising force in the contemporary music world.

His musicality, shaped by the mentorship of trombonists Matthew Guilford and Aaron LaVere, reflects a harmonious blend of composition and performance. Adrian B. Sims emerges as a promising artist, harmonizing the worlds of composition and education, and leaving an inspiring legacy for aspiring musicians.

Coleridge-Taylor Perkinson (1932-2004) Coleridge-Taylor Perkinson was an American composer and conductor named after the British composer Samuel ColeridgeTaylor . He carved a distinctive niche in the world of classical music through his fusion of genres. Born in New York City, Perkinson’s compositions seamlessly blended elements of classical, jazz, and African American spirituals, creating works that defied categorization.

A trailblazer in his own right, Perkinson’s contributions extended beyond composition. As a conductor, he held positions with major orchestras, championing the works of both classical and contemporary composers. His notable compositions, such as “Sinfonietta No. 1 for Strings and Percussion” and “Generations: Sinfonietta No. 2,” reflect his commitment to exploring the intersections of tradition and modernity. Coleridge-Taylor Perkinson’s life unfolded as a union of classical and contemporary influences. He navigated a career marked by discrimination, yet his music resonates today. Bridging chamber music, choral works, and film scores, Perkinson left an enduring mark, challenging conventions with a blend of dissonance and jazz idioms.

Watch a performance of the Sinfonietta HERE This piece will be performed by the 2024 CA All-State High School String Orchestra.

Anna Clyne b.1980 Anna Clyne, a Grammy-nominated singer, stands as a leader in the contemporary music world. In 2022, she earned the distinction of being the 8th most performed contemporary composer globally and the most performed living female British composer.

Clyne’s musical alchemy extends across diverse mediums, collaborating with orchestras, choreographers, filmmakers, and visual artists. Her works have graced iconic venues, including Carnegie Hall, the Kennedy Center, and the Sydney Opera House, while opening events like The Last Night of the Proms and the New York Philharmonic’s season. A dynamic collaborator, Clyne has ventured into film with “Between the Rooms” and the stage with “The Nico Project,” showcasing her ability to reimagine musical genres.

Clyne currently serves as Composer-in-Residence with the Helsinki Philharmonic Orchestra, BBC Philharmonic, and is Artist-in-Residence with the Symphony Orchestra of Castilla y León. Clyne’s artistic journey is a testament to her unwavering commitment to pushing the boundaries of musical expression.

Watch an interview with Anna Clyne HERE Watch a performance of Sound and Fury HERE This piece will be performed by the 2024 CA All-State High School Symphony Orchestra.

Watch an interview with Adrian B. Sims HERE Listen to Visions of The Sky HERE This piece will be performed by the 2024 CA All-State Junior High School Concert Orchestra.

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2021 CASMEC Professional Development Sessions January 31 - February 4, 2024

Register at www.casmec.org

Bringing CASMEC to the comfort of your home.

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!

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