2017-2018 Georgia Music News | Winter

ASSOCIATION NEWS | DIVISION NEWS | CONFERENCE | MIDWEST BOUND

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Lauren Pike IN-SERVICE CONFERENCE

Clinicians + Performances Music Centers 101

Samuel Holmes

201E8NCE

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THE

BALANCING ACT

Casey R. Hall

VOLUME 78 | NUMBER 2 | WINTER 2017

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TABLE OF CONTENTS

GMEA BOARD OF DIRECTORS President Evelyn Champion Immediate Past President Dr. John Odom Vice-President for All State Events Amy Clement Vice-President for Performance Evaluation Events Jon Cotton Past Presidents’ Representative Frank Folds

THE

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ACT

DIVISION NEWS

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MIDWEST BOUND

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IN-SERVICE CONFERENCE CLINICIANS

15 IN-SERVICE CONFERENCE PERFORMING GROUPS

53 Samuel Holmes

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District Chairs 1 - Kenza Murray 2 - Andrew C. Bell 3 - Jonathan Carmack 4 - D. Alan Fowler 5 - Stephen Lawrence 6 - Samuel Miller 7 - Blair Callaway 8 - Alan Carter 9 - Pat Gallagher 10 - Gene Hundley 11 - Todd Howell 12 - Paula Krupiczewicz 13 - Erik Mason 14 - Dion Muldrow Editor, Georgia Music News Victoria Enloe

Executive Director Cecil Wilder

For the complete list of Board Members please visit:

Band Division Chair Dr. Matt Koperniak Choral Division Chair Kim Eason College Division Chair Dr. Keith Matthews Elementary Division Chair Emily Threlkeld Orchestra Division Chair Dr. Bernadette Scruggs

GMEA Staff Dr. Bernadette Scruggs Aleta Womack Brandie Barbee Ryan Barbee Advertising/Exhibitors Cindy Reed

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ASSOCIATION NEWS

THE PRESIDENT SPEAKS EVELYN CHAMPION, GMEA PRESIDENT

Greetings, fellow music educators!

I hope that you have had a successful first half of your school year. I am really looking forward to seeing everyone at the 2018 In-Service Conference in Athens at the end of January so we can reconnect, recharge, and feel inspired for the long haul to the end of the school year. Many GMEA officers and our office staff have been working hard for months to plan an incredible conference for you. Be sure to arrive in time for the Opening Session at 11:00 on Thursday, January 25, where our annual awards and honors will be presented, and Scott Lang will give the keynote address. There are so many outstanding performing groups and clinicians, you won’t want to miss a moment of the conference!

Congratulations to the twenty-five GMEA members who will attend the 2018 Leadership Symposium before the Conference.

They will have time for collaboration with GMEA officers and inspiring sessions on leadership, governance, finance, and more!

Margaret Alley - District 1, Chorus Ronald Hill - District 2, Band Matthew Peters - District 2, Band Anita Moody - District 2, Chorus Miranda Carlsen - District 3, Band Ian Labreck - District 4, Band Sheila Smith - District 4, Elementary Greg Miller - District 5, Band Brandon Cash - District 5, Chorus Elizabeth Benz - District 5, Orchestra

Krissi Davis - District 5, Orchestra Jessie Dixon - District 5, Orchestra Chainey Cherry - District 5, Orchestra Gabrielle Haston - District 7, Chorus Dawn-Marie Schafer - District 7, Chorus Chelsea Rhoades - District 7, Chorus Ashley Hooker - District 8, Band Andrew Bennett - District 8, Band Jefferson Doyle - District 9, Band Laura Martin - District 9, Chorus Zach Bradley - District 10, Band Jeremy Fermin - District 11, Band Krystal Newton - District 12, Orchestra David Metrio - District 13, Orchestra Matthew Everhart - District 14, Band I greatly appreciate the hard work and dedication of our two GMEA Vice Presidents, Jon Cotton and Amy Clement, as well as our five division chairs, district officers, and all the members of the board of directors. You all are the leaders who help our organization to thrive! And, as always, our outstanding office staff, who work hard every day (and sometimes well into the night) to keep our organization running efficiently.

I would like to thank you again for the honor of serving as your GMEA President, and, if I can help you in any way this year, please contact me at president@gmea.org.

Respectfully submitted, Evelyn Champion

Department of Human Services Commission for Hearing Impaired and Deaf Persons 4

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https://www.gmea.org/gdhs Visit this link for an important message from the Chair of the Commission for Hearing Impaired and Deaf Persons.

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GMEA HISTORY AND THE WINNER IS HISTORIAN Derik Clackum Maybe not everyone took note, but we recently completed a historic vote to change our GMEA Constitution and byaws. Well, maybe you did take note, but the total number of votes tells me that many members either didn’t notice what was happening, or they just didn’t have an opinion that swayed them either way. Out of 3,000 members, only 380 voted. That’s about 12% of our membership. The vote to limit district officers (with the exception of treasurers) to two terms passed 335-45.

What’s so historic about that, you say? Well, if you have read our GMEA Constitution & By-laws, you will note that district level processes are not exactly spelled out to a “T”. That’s because the districts have always been given a lot of leeway into how they conducted their business. Of the eight pages in our Constitution and By-laws, less than half a page deals with district procedures: Article V – District Units Section 1 District Chair: The District Chair shall preside at all meetings of the District Association. He/she shall have the power to appoint committees not otherwise provided for in the By-Laws. He/ she shall be responsible for implementing the overall state program within the district. He/she shall be a member of the State Board of Directors.

Section 2 Other District Officials: Other district officials, as determined by the needs of the district, shall perform such duties as prescribed by the district, Constitution or By-Laws, or by the District Chair.

Article VII – Election, Appointments, and Terms of Office C. District Elections 1. The district officers shall be elected by the separate membership of each district and they shall assume office on July 1 of even numbered years.

2. District officers are to be elected during the spring district meeting in even numbered years. A nominating committee may be appointed to solicit candidates for office, but nominations must be welcome from the floor at the spring meeting. These officers shall assume office on July 1 of that year and shall serve for a term of two years ending on June 30 two years later.

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3. In the event that a vacancy occurs in any district office, and no provision is made for a successor, the State President shall appoint an acting officer to complete the unexpired term.

4. In the event that a District Chair fails to function adequately in his duties, the Board of Directors shall declare his office vacant.

Article IX – Terms of Office Section 3: District Officers: District officers shall be elected on even years and serve for a period of two years.

You will note that the only Constitutionally required District Officer, is the District Chair! Wait, you say, how about the District Treasurer, Secretary, Vice-Chair, or the Band, Choral, Orchestra, and Elementary Chairs? What about College, Publicity, Public Relations, LGPE Chairs, or the Honor Band, Chorus, and Orchestra Chairs? Well, all the other specific district officers and chairs have historically come about due to local functionality, not state rules. Districts have traditionally been given a lot of leeway to elect officers to address their specific district needs.

Here is a summary of how our 14 districts select leaders: District Chair: All 14 districts elect a Chair (required by the Constitution/By-Laws) Vice-Chair: 9 districts elect a Vice-Chair to assist the District Chair Treasurer: All 14 districts elect a Treasurer Secretary: 12 districts elect a Secretary (and I am urging the other two to do so to help with our historical record keeping) Band: All 14 districts elect a Band Chair Choral: All 14 districts elect a Choral Chair College: 3 districts elect a College Chair Elementary: 9 districts elect an Elementary Chair Orchestra: 11 districts elect an Orchestra Chair Piano: 6 districts elect a Piano Chair It has also become common practice for districts to select (or the District Chair to appoint) chairs for specific events, such as honor groups, LGPE, district clinics, and other specialized district events.

When GMEA was in it’s infancy, the district system was brought about to promote musical activities in the local schools. The first district chairs were principals, as it was thought that involving the school administrators would legitimize music as a course offering in the schools.

Over the years, our district organizations have changed and grown to suit the needs of the times, and the district system continues to evolve today, by a vote of 335-45.

EDITOR'S CORNER GMN EDITOR Victoria Enloe The winter issue of Georgia Music News showcases the ensemble performances and clinic sessions scheduled for the annual in-service conference. As I read through the 2018 offerings and performer and presenter biographies, I am reminded once again that we belong to an exceptional community of music educators here in Georgia. We are a diverse group with a huge range of needs and challenges, but the wisdom, experience, and finely honed abilities of those presenting can bring us a long way toward the solutions we seek.

The feature articles in this issue offer some thoughtful guidance if you are looking to integrate elements of technology or student-centered learning in your classroom. Though geared toward general music practitioners, both Samuel Holmes’s article , “Music Centers 101”, and Casey R. Hall’s article, “The Balancing Act: Using Technology as Culturally Relevant Pedagogy”, offer useful resources applicable to any music educator curious about either subject.

I would like to extend a big thank you to everyone who contributed to the winter Georgia Music News and also encourage others to submit an article or short write-up. If you would like to have someone to bounce your ideas off, please let me know. I would love to help or put you in touch with someone else who can. In addition to writing about an individual area of expertise, please email me at gmneditor@gmail. com with suggestions for: Essential Reading- your recommendations for “must read” books for music educators “Veteran 10” nominees to share their experience and perspective in ten questions Best wishes for a terrific remainder of your semester!

Victoria

TRIBUTE TO LAUREN PIKE Effervescent, Loving, Kind, Compassionate, Giving, Talented, Selfless, A bright and shining star, A Daughter of the King...

Lauren Moran Pike is a Daughter, Granddaughter, a Wife, a Mother, an Aunt, a Niece, a Sister, a Cousin, a Teacher, a Friend. Lauren lived a life full of joy surrounded by family and friends who love and adore her. She made a profound difference for good in the lives of everyone who knew her and many she never personally met, because her story was shared over and over. Lauren’s love was multiplied. Her smile could light up a room. Her dedication to and love for the Lord was shared freely and with abandon. It was her mission in life so much so that she gave her life for her daughter. Lauren’s parents, her husband, her children, her family, her church, her students, and her friends will all miss her terribly. Praise God we have not lost Lauren. We know exactly where she is...absent in the body, she is present in the loving arms of our Lord and Savior worshipping at his feet. We wish we could have had more of Lauren, but we know, in the blink of an eye, we will be with her for eternity. Lauren’s music on earth may have stopped, but, in her own words... “If the music stops, just keep dancing!” Lauren, we will try our very best to keep dancing in your honor.

In lieu of flowers, Mike has asked to consider contributing to the kids’ college savings accounts.

Direct 529 Account Donation Link: https://path2college529.ebilling.com eGift Code: GAzR8Y

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DIVISION NEWS BAND DIVISION Dr. Matt Koperniak Have you made your plans for our GMEA In-Service Conference? We have an outstanding program of concerts, clinics, and exhibitors in Athens, GA, January 25-27, 2018, along with lots of opportunities to network and share ideas with band directors from around our state. Work with your administration to secure leave for our annual, statewide professional learning.

Align the clinics and concerts you plan to attend with TKES standards, and show your administrator the value of our conference to you and your students. We are excited to recognize our first year band directors during our Thursday evening concerts. At the Friday evening performances, we will recognize our recently-retired band directors and thank them for their service. Please RSVP to band@gmea.org if you are a first year or recently retired band director planning to attend the conference, so we can communicate additional information.

What an amazing fall season of marching band shows! Thank you to every director who hosted a marching band contest—it is a tremendous undertaking and valuable service to our profession. We had over thirty-five marching band festivals and competitions in Georgia this year. I attended several of these contests, and every band displayed commendable pageantry and spirit. Congratulations to every marching band director in our state, and best wishes to all who are still attending football games.

When the All-State Bands meet in Athens, March 1-3, 2018, we will hear the finest student musicians throughout Georgia. As we prepare for our first-round All-State auditions, thank you in advance to every organizer and host in our fourteen districts. If you registered students to audition, please remember it is your professional responsibility to attend and work auditions. Failure to do so results in an ethics letter to your principal.

As you consider repertoire for Large Group Performance Evaluation, please note that the Band LGPE music list is published in a new format on the GMEA website. The Band Division no longer uses an Excel spreadsheet for our LGPE music list. All Excel spreadsheet versions of the list are out of date. When considering LGPE repertoire, do not refer to any old Excel spreadsheets that you have saved or printed.

Band directors are the busiest teachers in the school, and it is easy to forget the lasting impact we have on our students. I recently had my semi-annual cleaning and check-up at my dentist’s office, where I had a new hygienist. Once she discovered I am a band director, she spent my entire cleaning telling me about her time as a clarinet player in middle

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and high school band in East Tennessee, over 30 years ago. Then, she told me all about her children’s experience in high school band and how much they enjoyed their time in band with their director, Rob Akridge. I wasn’t able to contribute much to the conversation (other than a couple of grunts and “mmmhhhmms”), but I was reminded how our work never stops when the school bell rings. Our students carry their band experiences for the rest of their lives.

In my summer and fall columns, I highlighted a new teacher and will do so each issue. I close this column by highlighting first-year teacher, Corey Fair, the assistant band director and director of percussion at Woodland High School in Henry County (District VI). Corey joined the Woodland team in January, following the tragic passing of their beloved teacher and friend, Will Campbell. Corey speaks about his challenging experience in his first months on the job: “It was difficult walking into class every day and seeing the look in the students’ eyes, wishing they had their teacher back, but the support from my colleagues, mentors, and friends kept me going.” Like many first-year teachers throughout our state, Corey approached his day-to-day teaching with energy and a positive attitude, building small successes into larger ones, including 100% retention in his classes moving into the 2017-2018 school year. Let us continue to support and mentor all new teachers throughout this year. Support them in their challenges, and celebrate their successes. Best wishes to all for a wonderful winter!

CHORAL DIVISION Kim Eason Greetings! I hope the first half of your school year is going well! I cannot believe that it’s already time to start thinking about our annual In-Service Conference, but I am so excited about this year’s offerings. Our conference sessions and performances provide something for everyone! Whether you are looking for creative strategies to improve student sight-reading, ways to include technology more effectively, or fresh ideas to recruit and retain singers, you are sure to find something to take back to your classes on Monday! But while the information and practice are wonderful, for me the most valuable part is always the people. When most of us are the only choral director in our school building, spending a few days surrounded by supportive colleagues and talented young musicians is certainly the inspiration we all need to keep going in the middle of the year.

In addition to educational sessions and local school concerts, the All-State Reading Chorus and the All-College Chorus will rehearse and perform during the In-Service Conference. Daniel Bara will conduct the Reading Chorus, and Kevin Fenton will lead the All College group. It is always a pleasure to see and hear the musicianship these student ensembles are able to demonstrate, and their performances are a great reminder of why we do what we do every day!

Other exciting events winter events are Sixth Grade Statewide Chorus and All-State Chorus. Our conductors this year are Kurt Cereske (Sixth Grade), Gretchen Harrison (Sixth Grade), Madeline Bridges (Middle Treble), Laura Farnell (Middle Mixed), Brian Galante (9/10 Mixed), Julie Yu-Oppenheim (Senior Women), Andrew Crane (Senior Men), and Andrew Minear (Senior Mixed). I also want to thank our choir organizers and our region audition organizers. These folks devote countless hours to make these events possible for your students, and I am truly grateful for their hard work!

As always, I am here to support you and your choral program however I can and I look forward to seeing you all in January!

COLLEGE DIVISION Dr. Keith Matthews Within the span of one week, two of my undergraduate music education students emailed to let me know they would not be attending an upcoming class due to the fact they were taking a “mental health day.” No need for me to describe the details of my reaction, but it does bring up an interesting issue related to our professional lives. I do not recall having such concerns when I was a student, but I have noticed today’s students are becoming increasingly aware of the work/life balance. I sound like my grandfather; “Kids today…”

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It seems we all struggle with maintaining this balance to varying degrees, and I think the midway point of the academic calendar (like now as I write) is a time when we have plenty of reminders that this is the case (projects, exams, performances). But when students complain about being too busy or stressed, I cannot help but reply, “You think you’re busy now? Just wait!” Again, not helpful, grandpa.

If you have a number of years under your belt as a music educator, you can probably relate. And even though most of us are aware of the importance of the work/life balance, it does not mean we are good at it. The calendar fills up; we stop exercising. The schedule is tight; we start eating for convenience and sleeping less. Not only does this affect our own mental and physical health, it sends the wrong message to our students. Why would a young person be drawn to a life as a musician if their mentors are so miserable?

So what is the answer? No idea. I can only speak for myself when I say that my priorities had to change and adapt to life’s circumstances. When I was a young teacher, I had the time and energy to live, eat, and breathe music and teaching… no time or need for much else.

Over time, my professional life changed in such a way that afforded me opportunities to explore life outside of work. Fortunately, I have discovered new activities and interests that keep me excited for life but also keep me fresh when I return to work each day. I expect students and young teachers will figure these things out on their own, but maybe now it’s best to simply encourage our new teachers to focus on that which excites them most.

Is this what you want to read in division news? If this is of interest to you, please feel free to contact me at matthews_keith@columbusstate.edu. Best wishes to everyone, and I look forward to seeing you in Athens.

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DIVISIONNEWS ELEMENTARY DIVISION Emily Threlkeld Superhero: a fictional hero having extraordinary or superhuman powers; also - an exceptionally skillful or successful person. Merriam-Webster Elementary music teachers are living, breathing, superheroes. When people get a glimpse of “what we do”, we are always greeted with, “How do you do it?” Every time I have the opportunity to surround myself with people of our kind, I leave with new ideas, new energy, and excitement, and new superhero skills. GMEA offers us two such occasions each year: In-Service in January and our Statewide Elementary Honor Chorus in February.

Need inspiration for classroom music and movement? We have internationally recognized and locally esteemed educators for that.

We have two evening sessions planned, including a dance session with Kelly Mraz, and a drum circle with Jim Solomon. Need to be inspired by beautiful choral singing? It doesn’t get any better than hearing the Spivey Hall Young Artists perform under the direction of Craig Hurley. The list of exciting sessions goes on and on.

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Cheryl Lavender will lead sessions about harmonizing and world music. Always popular sessions with Quaver, as well as sessions with talented fellow Georgia educators, including a session with Rick and Angee McKee on choosing elementary repertoire for a “once a week rehearsal choir” sponsored by J.W. Pepper, are also on the schedule.

There will be something for everyone!

Just one month later, we will be in Athens again for our Statewide Honor Chorus event. Karen Nicolosi and Craig Denison will serve as our clinicians. They have selected beautiful repertoire for our young children’s voices that will be further enhanced by the theater at the Classic Center. The performance will start at 11:30 a.m. on Saturday, February 24.

I look forward to seeing everyone in Athens, January 25-27, for our In-Service and February 22-24 for Statewide Honor Chorus!

ORCHESTRA DIVISION Dr. Bernadette Scruggs Orchestra colleagues, let’s start a debate: Is the hardest part of the year over or about to begin? When I taught at the middle school level, I did not think anything could be more difficult than recruiting and starting beginners. Even now, as I visit my middle school feeder programs, I am not entirely comfortable working with the sixth graders until their fabulous teachers (I’m so lucky) have them working with their bows and reading notes. So, in my humble opinion, that’s a pretty challenging time of year for many of us- certainly those at the middle school level.

At the high school level, I believe the part of the year that I like to label, “After the Fall Concert but Before the Winter Concert Preparation Has Begun,” is the best time to work fundamentals with my students. I would definitely not call this period my most difficult time of the year, but it is a rather satisfying one and offers a good time to get acquainted with my new students. Would I save that delineationhardest part of the year- for Large Group Performance Evaluation preparation? Perhaps, but that is also the period of the year when my students and I are the most focused and might be my favorite instructional time of the year. LGPE season can, however, be somewhat tense.

Spring concerts often include pop music with tricky rhythms that students like to play in the way they know rather than the way the

rhythms are written. Every other student has a conflict that they share with you the day of the performance. Innovative concerts rule, so you try your best to top whatever you did the previous year. Perhaps this is the most demanding time of the year? Undoubtedly, you are the most exhausted you’ve been all year in the spring so that is like adding another pressure to your day. Thank goodness it’s the end of the year, however, and you can go home and recharge your batteries so you can start all over again in two months.

I have always subscribed to the Tortoise and the Hare theory. Slow and steady may not win the race, but it will keep you in the game.

How do we keep moving forward- albeit at our own pace? Attending a conference offers such a lift to my spirits- even though my students groan as I come back from the Midwest Clinic full of renewed enthusiasm and vigor. Attending the GMEA In-Service has always been a highlight of my year, not only because of the performances and clinics, but because of the chance to connect with fellow teachers I might only see once a year.

As I move toward the twilight of my years as an educator, I have only lately begun to realize how lucky I am to be in a “job” where my focus is striving to create beauty for an audience. Who do I work with (besides an amazing co-teacher)? The best kids at our school, who, by the way, opt to be in my class. Thank you, Bill Fry, for encouraging me to go to music school. Thank you, Mom, for shoving me out of your house to go to Columbus State. Thank you, Floyd County, Clayton County, and Gwinnett County for encouraging me to be a lifelong learner while you allowed me to “play” for my living. It’s a busy, crazy, life because of this job that I truly love. I hope most of you feel the same way.

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t s e Midwd n u o B Listen With Your Eyes Dr. Josh Byrd Picture this…

The ensemble is focused; the students lock eyes with you as your preparatory beat rises. There is a human connection, a link between teacher and student that is palpable. The downbeat is placed, and the sound that follows from the clarinets is… terrible. It’s truly bad, like a partially opened jar of mayonnaise from Memorial Day that rolled under your driver’s seat and just now cracked open because you pumped your brakes too aggressively in Atlanta traffic. Unfortunately, this isn’t your major instrument, and it wasn’t even an instrument that you took to in methods classes in college. In short, you have no idea what to do to make what you just heard go away (not the students, the sound).

Have you dealt with a situation like this before? Why do students make uncharacteristic sounds? Is it because they have a latent, negative childhood memory of concert-C and are lashing out subconsciously? Most often it is not an intellectual or musical roadblock that gets in the way; it is a physical concept—the “how” element of sound production—that needs to be addressed. Take the following issues and teaching suggestions, for example: • Airy clarinet tone: “focus the sound.”

• Abrasive cello tone: “gentle, like a mountain goat’s feet on the walls of Machu Picchu.”

• Sharp trumpet pitch: “listen.”

• Violent, angry triangle sounds: “not so much, Stevie!

Ting! It should sound like TING!” These types of suggestions are not only common, they are frequently the default statements for younger teachers. Instead of just listening with your ears, listen with your eyes in order to find what might be causing these types of sounds. For the clarinet issue above, have the students show you their setup. Are their reeds too far down, or is one of them chipped so badly it resembles a mountain range? As for the cellist, where are they playing

in relation to the bridge? Did the student forget to tighten the bow prior to rehearsal? Are any of the trumpets’ main tuning slides pushed all of the way in (they just look better that way, let’s be honest), or is the pitch issue one person out of fifteen playing a B-natural instead of a B-flat? How is Stevie holding the triangle? The beater?

How is his arm moving?

These types of issues require not only listening and watching, but focused observation. Due to the setup of the room, this approach can demand that the teacher GET OFF OF THE PODIUM to better identify problems and solutions. Moving around the ensemble allows you to see and hear what the students are doing on an individual basis, while also holding them more accountable.

Know that many horns are going to (successfully) try to get away with bad hand position if you only shout its importance from the conductor’s stand. Getting up close and personal can be very informative. For instance, it is nearly impossible to identify a clarinet beginner “hooing” (articulating with bursts of air instead of the tongue) without watching and listening to students individually.

There is another element that can inhibit a better student/teacher connection: the score. With one’s head buried in the music, it is impossible to see the frustration of the last-chair violinist during a scalar passage or a percussionist using only one mallet to play an eighth note line. It’s a bad idea to tour the edge of the Grand Canyon with your head buried in a map, yet the score is so often the default location for a teacher’s eyes.

However, score reading and study prior to class can provide the teacher with so much information in advance; virtually every pitfall is right in front of you. It is our job to empower the musicians with the tools that will provide success. So often the students allow their instruments to tell them what to do, i.e. “hey, kid… listen… these throat tones are just going to be sharp and nasal, so just deal with it.” It is up to the teacher to provide the students with the information that will allow the child to physically manipulate the apparatus in their hands.

Work hard to become an “instrumental psychic.” Get to know the pitch, response, and tonal tendencies of as many notes on as many instruments as possible; use this

JOHNS CREEK HIGH SCHOOL

information to predict what might need to be addressed prior to rehearsals. Talk to your colleagues and add as many ideas as you can to your bag of tricks. The more issues you know exist, the better your eyes and ears will work in tandem to solve them. Instruments have been around for a pretty long time, and so have the problems—and solutions—that accompany them.

It can be frustrating to know that something needs to be changed but not know what that something actually is. It is often easier to identify a problem than to actually fix the issue and its accompanying concepts. Young teachers so often default to a verbal explanation as to what should change with the sound, but not with the instrument or its approach. Much like when you’ve been pulled over for speeding, talking your way out of it rarely works. There are concepts that surround the craft of playing each instrument in your ensemble. Physical suggestions are not only more pertinent; they can also have a longer lasting impact. Listen with your eyes and ears to find both the problems and the solutions.

Going to Midwest this year? “Listen with your Eyes” will take place at noon on Wednesday, December 20, where we will discuss more of the above as well as additional concepts such as rhythm, balance, and phrasing.

L-R, David Roth (Kell HS), Matt Koperniak (Riverwatch MS), Mary Land (Midwest Clinic board of directors), Young Kim (Johns Creek HS), Taylor Watts (Kell HS). The picture was taken on June 10, 2017, at McCormick Place in Chicago, IL.

Johns Creek High School Chamber Orchestra

The Johns Creek High School Chamber Orchestra (District 5) has been selected to perform at the 71st Midwest Clinic conference in Chicago this December. The orchestra is scheduled to perform on Friday, December 22 at 4:45pm in the McCormick Conference Center, room W190. This is Johns Creek High School Orchestra’s second appearance at the Midwest Clinic and Young Kim’s third time directing at this prestigious venue - once with the Centennial High School Orchestra (2005) and the other time with the Johns Creek High School in 2012. The Johns Creek High School Chamber Orchestra also received the GMEA Exemplary Performance Award for 2016-2017.

The Midwest Clinic “Preview” concert is scheduled to take place on Friday, December 15 at 7:00pm in the Johns Creek High School Auditorium. The guest conductor will be Michael Palmer (GSU) and the guest soloist/violinist is William Pu (former Associate Concertmaster with the ASO and founder of WP Academy).

Johns Creek High School Chamber Orchestra Director: Mr. Young Kim

CHAMBER ORCHESTRA

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CLINICIANS

INFORMATION LISTED AS SUBMITTED

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2018

CLINICIANS

SUSAN AHMAD

•PBL 2.0 - PROJECT-BASED LEARNING FOR THE MUSIC CLASSROOM FOLLOW-UP

Susan Ahmad is a graduate of Shorter University. Mrs. Ahmad has been teaching general music at Lake Windward Elementary School in Fulton County for 29 years. She has served as a Fulton County Fine Arts Support Teacher where she coaches and provides support for elementary music teachers across the district for 28 years. She is a co-author of the book “Music á la Cart”, has served in numerous leadership roles across the state, county and at her home school. Susan has presented at music conferences in Georgia, Mississippi and Tennessee, including TKES readiness, choral techniques, differentiated instruction, teaching music from a cart, rigor in the music classroom and PBL. She holds certificates for Expert Teacher, Master Teacher, and Teacher Support Specialist. Mrs. Ahmad has also served as the Minister of Music at Clear Springs Baptist church for 31 years.

MELISSA ARASI

•MUSIC SUPERVISORS PANEL DISCUSSION •TRANSGENDER STUDENTS IN MUSIC CLASSROOMS: A PANEL DISCUSSION Melissa T. Arasi is Assistant Professor of Music and Music Education at Reinhardt University. She is a former Supervisor of the Performing Arts for the schools of Cobb County where she also taught high school for 14 years. She is a former visiting assistant professor of music at Georgia Tech. She frequently serves as clinician, guest conductor, and adjudicator throughout the Southeast. Dr. Arasi is the conductor of the Atlanta Women's Chorus. She received her BME from Shorter College, her MME from Georgia State University, her Leadership Certification from the State University of West Georgia, and a Ph.D. in Music Education at Georgia State University. Dr. Arasi serves on the education boards of the Atlanta Symphony Orchestra, Spivey Hall, the Atlanta Opera, and the Cobb Energy Centre for Performing Arts. Choirs under her direction have performed at Carnegie Hall, Notre Dame Cathedral in Paris, and in Montreal, Quebec City, Venice, Florence, Rome, Vienna, Budapest, with her women’s choir receiving second place in an international festival in Prague Dr. Arasi served as the ACDA Southern Division Women’s Choir R&S chair for three terms.

REBECCA L. ATKINS

•SIGHTREADING FOR EFFICIENT TEACHING TAKES ONLY 5 MINUTES A DAY •MUSIC ADMISSIONS 101: DEMYSTIFYING THE COLLEGE MUSIC ADMISSIONS AND AUDITION PROCESS

Rebecca L. Atkins joined the Hugh Hodgson School of Music at the University of Georgia as Assistant Professor of Music Education (Vocal Music Education) in the Fall of 2016. At the undergraduate level, Dr. Atkins teaches Choral Methods, Elementary Methods, voice classes, and supervises the vocal student teachers. She also teaches music education courses at the graduate level and supervises doctoral dissertations. Previously she was the Assistant Professor and Coordinator of Music Education at the University of Tennessee-Chattanooga (2013-2016). She received her Ph.D. in Music and Human Learning at The University of Texas at Austin (2013), an M.M. in Choral Conducting at Missouri State University (2008), and a B.M. in Music Studies at The University of Texas at Austin (1994). Dr. Atkins is an active clinician, adjudicator, performer, and music education researcher. Her current research focuses on the effects of attention on vocal tone quality. She is also drawn to research questions that pertain to the development of performance skills and the refinement of pedagogy. Before her collegiate career, Atkins successfully directed 14 years of middle school and high school choir in the public school systems of Texas, Alabama, and Tennessee, earning superior and excellent ratings consistently at competitions.

DR. RICKEY BADUA

•EVERY STUDENT SUCCEEDS: TWENTY-FIVE REHEARSAL GEMS TO INSPIRE YOUR ENSEMBLE Rickey Badua is the Director of Bands at California State Polytechnic University, Pomona where he conducts the Wind Ensemble, Symphonic Winds, Concert Band, teaches beginning & instrumental conducting, and oversees all aspects of the wind studies program. His scholarly research involves championing new wind band repertoire and studying the globalization of the wind band medium. Dr. Badua’s most current research project involves exploring the wind band developments of Australia and Asia. Dr. Badua successfully taught public school as the Director of Bands and Arts Department Chair at Peninsula High School and District Music Coordinator of the Peninsula School District in Gig Harbor, WA. Under his leadership, Dr. Badua developed a comprehensive high school band program, where each ensemble consistently received “Superior” ratings at all festival and contests in the region, most notably, the Wind Ensemble’s performance at the 2011 National Association for Music Education Conference-Northwest in Bellevue, WA. Dr. Badua received his Bachelor of Music Education and Master of Arts in Teaching degree from the University of Puget Sound, where he studied conducting with Robert Taylor, he received his Doctor of Musical Arts in Wind Conducting degree from the University of Georgia where he studied with John P. Lynch.

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MARLA BALDWIN

•"WHAT WAS I THINKING!" ADVICE FOR THE BEGINNING CHORAL DIRECTOR

Marla Baldwin is in her 22nd year as a choral educator in Cobb County, Georgia. Currently, she is the director at Palmer Middle School where she was honored as Teacher of the Year in 2013. Her students perform throughout the community at county leadership meetings, nursing homes, local museums, community festivals, as well as collaborative concerts with her feeder elementary schools and high schools. Marla often serves as mentor to choral directors as they begin their teaching careers and is frequently called upon to take leadership roles at both the local and state levels. As an active member of GMEA, she has served as District XII choral chairperson, organizer for All State Chorus, presenter at In-Service Conference, chairman of the All State Standing Committee, organizer of Large Group Performance Evaluation and is our current State Choral Chair-Elect. Marla is passionate about empowering students through music, advocating for our profession, and

providing experiences for all to see the beauty of our art form.

RYAN BARBEE

•SELLING YOURSELF WITHOUT SELLING OUT... OR BREAKING THE BANK

Ryan Barbee is in his 9th year as the Director of Publications for the Georgia Music Educators Association. He actively pursues putting GMEA at the forefront of cutting edge presentation within the music education community. In 2016, Ryan began the his own design firm, Ryan Barbee Creative, and has worked with large clients such as Georgia Power and partnered with small local businesses such as Ace of Photos, Hounddogwood, Magnolia House and Garden, and more. Mr. Barbee is a student of culture and doctrine; trying to find the balance without compromise. Ryan resides on the south side of Atlanta with his beautiful wife Brandie and their daughter India.

DR. JILLIAN BAXTER

•"THE ARTICULATE PERCUSSIONIST" - HOW TO SEPARATE THE AVERAGE PLAYER FROM THE EXCELLENT MUSICIAN •I'VE GOT TOO MANY PERCUSSIONISTS! WHAT DO I DO?

Dr. Jillian Baxter serves as Adjunct Instructor of Music at Young Harris College where she teaches Applied Percussion, Percussion Methods, Percussion Pedagogy and directs the Percussion Ensemble. She has also served in similar capacities as an Instructor at Albany State University, Spelman College, and South Carolina State University. Ms. Baxter received the Bachelor of Music degree from Middle Tennessee State University, the Master of Music from Belmont University, and the Doctorate of Musical Arts at the University of Georgia. Ms. Baxter has played on national and international convention stages and has had the honor to adjudicate, present master-classes, and provide individual instruction in South Carolina, Tennessee and Georgia. While being a winner in the International Percussive Arts Society International Convention (P.A.S.I.C.) Individual Keyboard Competition and a Yamaha Young Performing Artist, she is also the Co-founder of the Amari Percussion Duo with performance partner Darrell Thompson. In the spring of 2010, the Amari Percussion Duo premiered Raymond Helble's Duo Concertante for Vibraphone and Marimba (2009), Raymond D. Ridley's FyrStar (2009) for Vibraphone and Marimba with nine single reed instruments and percussion, Hunter Stricklin's The Approach to Springer Mountain (2010), and the Arizona premier of Gérard Grisey Stéle with Simone Mancuso conducting. Ms. Baxter is a member of the Percussive Arts Society, College Music Society, National Associations for Music for Music Education, and Georgia Music Educators Conference. She currently resides in Athens, GA and continues performing on the piano, her first instrument, and percussion.

DR. RICHARD BELL •ORCHESTRA ISSUES THROUGH THE AGES

Dr. Richard Bell is currently in his sixth year as associate professor of music at Clayton State University. His teaching areas include orchestra, conducting, double bass, music education and music theory. He is also the conductor of the Southern Crescent Symphony. He holds bachelors and masters degrees from Florida State University and a doctorate from the University of Georgia. He taught middle school and high school orchestra in the Clayton and Henry County schools for 29 years and served for two years on the faculty of Reinhardt University as conductor of the Reinhardt Orchestra. During his time in the public schools he served as president of the Georgia Music Educators Association and the Georgia Chapter of the American String Teachers Association. Dr. Bell has presented sessions at the GMEA In-Service Conference, the American String Teachers Association National Conference, the Music Educators National Conference and the National Association for Music Education in Ireland. As a composer he has numerous published and commissioned works for school orchestra. His double bass teachers included Ralph Jones, Lucas Drew and Pamela Andrews. Awards received during his career include the Georgia String Teachers Association Lifetime Achievement Award, the Mr. Holland’s Opus Foundation Award, the Walmart Foundation Teacher of the Year Award and the STAR Teacher Award.

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DR. STEVEN BENHAM

•TEACHING TECHNIQUES THAT WORK: TWENTY-FIVE STRATEGIES DESIGNED TO ENGAGE YOUR STUDENTS •HOW DO I COUNT IT AND WHEN DO I PLAY IT? DEVELOPING RHYTHMIC UNDERSTANDING Dr. Stephen Benham is Associate Dean of the Mary Pappert School of Music at Duquesne University and President of the American String Teachers Association. He is an active guest conductor and workshop clinician focused on string teaching, pedagogy, and urban music education. He has presented at ASTA and NAfME, among others. Benham is a former graduate instructor and doctoral fellow of school and community music education from Eastman School of Music. He has held many teaching positions, such as strings teacher/administrator of a pilot string program in Rochester City School District in NY, music director and conductor for the Salem, OR Youth Symphony, orchestra director/strings teacher in Salem-Keizer, OR Public Schools, Emerson School in Ann Arbor, MI, and Grand Haven, MI Public Schools. He has also been music director and conductor of Holland, MI Area Youth Symphony. Benham is the recipient of multiple grants for research and development of music education programs from the Reimer Foundation (2001), Presser Music Foundation (1998), Mustard Seed Foundation (1998-2004), and ASTA (1997). He is a member of MENC, ASTA, CMS, AERA, and SEM.

LIZ BENOIT CREW •STRING-MAKING 101

As the Product Specialist for D’Addario Orchestral Strings since 2011, Liz Benoit Crew delivers educational clinics to thousands of string players, students, and teachers each year, including such venues as the Juilliard School and the National ASTA annual conference. She is also an active performer on cello, violin, and voice. Specializing in contemporary, chamber, folk, and musical theater performance, she holds degrees in Cello Performance and Classical Civilization. Memorable performances and collaborations include the Vienna Boys Choir, Philip Glass, and Kanye West. Liz lives in Brooklyn, NY, and plays with a number of ensembles, including the Brooklyn Symphony Orchestra.

FAYE BOYER •LEARNER CENTERED MUSIC

Faye Boyer is a teacher who has taught twenty years from grades K-College and is an Alumni of Columbus State University.

She is known and respected Statewide as a singer, church choir director, teacher, and pageant coach. Faye was formerly a Grammy Quarter Finalist after being nominated by a former student. In addition, she has served as the teacher of the year at her school and mentors New Music teachers in the school system. She presently teaches at Lake Joy Primary school in Warner Robins, GA. She presently teaches General Music and Percussion Band. After twenty years of teaching she has learned how to maximize her time through Differentiated Learning Centers. It’s this strategy of developing budding musicians and consumers that has become a real passion for this Columbus State University Alumni. “Once a student has mastered a standard, why continue to simply review the notes on the treble clef, when their potential is so much greater?”

KEVIN BOYLE

•TO THE BACK! BUILDING A MUSICAL PERCUSSION SECTION AS A SOLO MIDDLE SCHOOL BAND DIRECTOR Kevin Boyle is in his thirteenth year of teaching instrumental music and his third year as the Director of Bands at Creekland Middle School in Canton, GA. He is also the Percussion Director at Creekview High School. Prior to arriving at Creekland, Mr. Boyle taught band and percussion in Pickens County Schools for ten years. Ensembles under Mr. Boyle's direction have received Superior ratings at the Georgia Music Educators Association's annual Large Group Performance Evaluation.

His band students participate in both the District IX All-District Band and the Georgia All-State Band, and his percussion ensembles perform at the Lassiter Percussion Symposium each year. Mr. Boyle is an active clinician, presenting at state and local In-Service Conferences throughout the country as well as the Feierabend Association for Music Education 2014 International Conference. He also taught at Vandercook College of Music in the summer of 2016. He is currently the percussion section leader of the Cobb Wind Symphony under the direction of Alfred Watkins. He also arranges the percussion and wind scores of several high school marching programs and has extensive experience in percussion performance in both the concert and marching venues. He was the assistant director and music arranger for 2009 WGI World Champion Pariah Marching Percussion Ensemble. Mr. Boyle is a member of National Association for Music Education, Georgia Music Educators Association, the National Band Association, the Percussive Arts Society, and The Feierabend Association for Music Education. Mr. Boyle currently resides in Canton, GA with his wife Allison, and step-daughter Anne.

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DR. JEFFREY M. BROOKS

•5 FUNDAMENTALS THAT WILL IMPROVE THE SINGLE REED SECTIONS IN YOUR BAND OR ORCHESTRA! Dr. Jeffrey M. Brooks, clarinetist, has performed all across America from New York to Seattle including a concert in Carnegie Hall, with John Rutter conducting, a week as guest Principal Clarinetist with the Seattle Symphony, and performances with many other organizations nationwide. Presently based in Atlanta, GA Jeff is a working clarinetist and performs orchestral engagements regularly throughout the Southeast including organizations such as the Atlanta Symphony, Charleston Symphony, Savannah Philharmonic and many more. On approximately twenty occasions, Jeff has been heard as a concerto soloist and he has been revered as a recitalist on nearly forty different recital programs. Jeff is a passionate teacher and hold positions as Artist Affiliate in Clarinet at Emory University, adjunct Clarinet Professor at Morehouse College, and the Clarinet Instructor at the Westminster Schools. He has additional teaching experience at Florida State University, Ohio University, Central Washington University, and Walla Walla University. In the spring of 2017, Jeff completed his Doctorate in Music from Florida State University. “Monsters of Clarinet” is Jeff’s newest project and he is taking the world by storm with this exciting new pops show for clarinet, jazz trio, and symphony orchestra. This program highlights the music of three “clarinet monsters”: Benny Goodman, Artie Shaw, and Jeff Brooks. All of these clarinetists are famous for their innovative use of the instrument and substantial contributions to the ever-expanding clarinet repertory, both in the jazz and western art genres. The world of clarinet music comes to life in this single concert.

DR. KERRY BRYANT

•PROGRAMMING ISN'T EVERYTHING...IT'S THE ONLY THING! Dr. Kerry Bryant is currently the Director of Bands at Adairsville High School (GA), and has served as Adjunct Professor of Music in the graduate program at Reinhardt University. He has been Director of Bands at numerous schools in Georgia and South Carolina. He has also taught elementary general music at Statham Elementary (GA), and served for three years as the Coordinator of Fine Arts for the Barrow County Schools (GA). His music education experience totals 26+ years and spans all grade levels, kindergarten through post-graduate courses. Dr. Bryant’s symphonic bands have been invited to perform at numerous college band clinics, conventions and symposia. He has performed at the Mid-West International Band Clinic two times as a charter member of Tara Winds. He has arrangements, transcriptions and editions of concert band works in various private and school libraries and catalogs, including Schirmer, Inc. Rental and Arrangers Publishing.

Dr. Bryant maintains an active travel schedule throughout the southeastern U.S. with guest conducting, evaluation, and clinician services for many band programs, music festivals and state music associations. Dr. Bryant was awarded Music Educator of the Year in 2016 by the Georgia Music Educators Association, and was selected as a 2011 Honoree for the Woodruff Arts Center (Atlanta, GA) Salutes Georgia Arts in Education Leaders.

RICK BURGESS

•GUITAR IN THE SCHOOL JAZZ BAND: A BAND DIRECTOR'S SURVIVAL GUIDE Rick Burgess is a 30 year music educator specializing in guitar and jazz studies. He holds BM and MM degrees from the University of Georgia, a certificate from the Berklee College of Music, and is a certified music educator in Georgia. Rick has performed with the Atlanta Symphony Orchestra, The Alabama Symphony Orchestra, The Atlanta Pops, The Macon Pops, The Alliance Theater, Theater Of The Stars (Fox Theatre), Bob Hope, James Brown, Debbie Reynolds, Audra McDonald, Bernadette Peters, Clay Aiken, Col. Bruce Hampton, Howard Shore (“Lord of the Rings” soundtrack composer), The Coasters, The Platters, The Shirells, The Dixie Cups, and numerous Atlanta area performers. Formerly head of the jazz guitar program at Georgia State University, he is a member of the Jazz Educator’s Network and the Atlanta Federation of Musicians and a former governor of the Atlanta Chapter of the National Association of Recording Arts & Sciences. Rick has taught guitar classes at the University of Georgia, Georgia Tech University, and the Gwinnett County Continuing Education Program. He taught applied guitar at the Lovett School and was an Artist in Residence with the Georgia Council For the Arts and North Atlanta High School. He currently teaches applied guitar as an Affiliated Artist at Oglethorpe University and has an active private studio at Maple Street Guitars in Atlanta.

DR. J.D. BURNETT

•SIGHTREADING FOR EFFICIENT TEACHING TAKES ONLY 5 MINUTES A DAY •THE TAMING OF THE CREW: SIMPLE STRATEGIES TO IMPROVE YOUR MEN'S CHOIR TONE AND RANGE

J.D. Burnett enjoys a varied career as a conductor, singer, and teacher. He is Assistant Professor of Music and Associate Director of Choral Activities at the University of Georgia Hugh Hodgson School of Music, where he conducts the Men’s and Women’s Glee Clubs and the Collegium Musicum, and teaches courses in choral literature and conducting. Burnett is also Artistic Director of Kinnara Ensemble, a professional chamber choir based in Princeton, NJ. Formerly, he served as Assistant Director of the Dallas Symphony Chorus, conducted New Jersey Youth Chorus Young Men’s Ensemble, was Associate Conductor of the Masterwork Chorus of New Jersey, and was Acting Director of Choral Activities at Montclair State University. His earlier posts include Interim Director of Choral Activities at San Jose State University, Artistic Director of the New Jersey Chamber Singers, Music Director of the Houston Masterworks Chorus, Founder of Men’s Consort Houston, and member of the choral music faculty at Kingwood High School in suburban Houston. He also served as Choral Editor at McGraw-Hill, Inc. Burnett did undergraduate study at Stanford University and Oklahoma State University. He holds advanced degrees in choral conducting from Westminster Choir College and University of North Texas. As a professional choral singer, Burnett has performed seasons, concerts, and recordings with the Stillwater Chamber Singers, Cantare Houston, The Santa Fe Desert Chorale, The Robert Shaw Festival Singers, Fuma Sacra, the Choir of Trinity Church Wall Street, the Oregon Bach Festival Chorus, and Conspirare.

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DR. JOSH BYRD

•LGPE: FROM PREPARATION TO ADJUDICATION

Josh Byrd serves as Director of Bands and Associate Professor of Music at the University of West Georgia. His primary responsibilities include conducting the Wind Ensemble, teaching music education classes, supervising student teachers, and administrating all aspects of the UWG band program. Prior to his appointment he served as Director of Bands for Arrowhead High School in Hartland, Wisconsin and Assistant Director of Bands at Lanier Middle School and Norcross High School in Gwinnett County, Georgia. Dr. Byrd received the Doctor of Musical Arts degree in Conducting from the University of Georgia where he studied conducting with John Lynch and minored in Music Theory. He received his Master of Music degree in Conducting while studying with Tom Dvorak at the University of Wisconsin-Milwaukee and his Bachelor of Music Education degree from the University of Georgia where he studied saxophone with Kenneth Fischer. His professional affiliations include Georgia Music Educator’s Association, National Association for Music Education, College Band Directors National Association, the National Band Association, Pi Kappa Lambda, Phi Mu Alpha Sinfonia and Kappa Kappa Psi. Dr. Byrd lives in Carrollton with his wife, Katie, and his two children, Tripp and Haley.

DR. STEFANIE CASH

•USE OF MOVEMENT TO ENHANCE CHORAL REHEARSAL AND PERFORMANCE

Stefanie Cash is the Director of Music Education at Berry College. She is responsible for teaching methods and techniques classes, conducting the Berry Women’s Choir as well as supervising student teachers. Cash has experience as both Director of Music Education and Director of Choral Activities. She has conducted multiple collegiate choirs and also taught classes in conducting, choral techniques, choral pedagogy and choral methods. Dr. Cash also frequently serves as a guest clinician for various district and All-State honor choirs. Prior to joining Berry College, Dr. Cash taught at the middle school level in Kentucky and both the high school and collegiate level in Georgia. Choirs under her direction have performed for KMEA and GMEA in-service conferences as well as the 2008 ACDA Southern Division Convention. Dr. Cash received her Ph.D. in Music Education with a choral conducting emphasis from Florida State University, M.M. from the University of Kentucky and B.M.E. from Morehead State University. Dr. Cash studied conducting and music education with André Thomas, Jefferson Johnson, Richard Miles, Judy Bowers, Lori Hetzel and Larry Blocher. She currently holds professional membership with the American Choral Directors Association, National Association for Music Education and the Georgia Music Educators Association. Dr. Cash resides in Rome, Georgia with her husband Courtney, daughter Caroline and cat Ryleigh.

JENNY CHAMBLESS •IT'S AS EASY AS K,1,2!

Jenny Chambless is in her 13th year teaching in Gwinnett County Public Schools and is currently the Music Specialist at Chattahoochee Elementary School in Duluth, GA. Since coming to Chattahoochee Elementary, she has begun an Orff/ DRUM ensemble, Little Kids Rock guitar program, continued the established Chorus, and recently received a grant for classroom ukuleles. She has been involved in GMEA since 2001 as a student at Georgia Perimeter College where she was a CMENC member and recipient of a GMEA scholarship in 2002. Continuing her education, she received a Bachelors Degree in Music Education in December 2004 from the University of Georgia. She presented at GMEA in January 2016. Because of the influence that GMEA has had on her life and career, allowing her students to experience GMEA events has always been a priority. She has sponsored students to both 6th Grade Statewide Honor Chorus and Statewide Elementary Honor Chorus every year since taking her first teaching job in 2005. She has organized the SEHC Vivace Choir since 2014. Ms. Chambless is Past President of the Atlanta Chapter AOSA and has served in many capacities during her membership. Her school, Chattahoochee Elementary is the host site for chapter meetings. Level 3 coursework for AOSA has been completed and she attended Master Class summer of 2017.

JAY CHAMPION

•ASSESSMENT PHILOSOPHIES AND GRADING PRACTICES IN THE CHORAL CLASSROOM: DISCUSSION AND EVALUATION Mr. Champion has taught chorus, general music, and electronic music composition at Lost Mountain Middle School in Kennesaw since 1998. He is sought after as a clinician, guest conductor, music technology instructor, composer and arranger. Recognized as a leader in the use of technology in the music classroom, Mr. Champion has taught professional courses and presented at state and national conventions. He contributed to the book "Growing Musicians - Teaching Music in Middle School and Beyond" by Dr. Bridget Sweet. At Lost Mountain, Mr. Champion's choirs have performed at the GMEA Inservice Conference, the Georgia State University Mid-Sing Fest, the University of South Carolina Invitational Choral Workshop, and the Lovett School Invitational Choral Festival. Mr. Champion has had the pleasure of conducting multiple honor choruses in Georgia. The Electronic Music Club, a digital music composition studio, has garnered much attention and performed joint concerts with the Computer Music Ensemble at the University of Alabama at Birmingham. Mr. Champion received a Bachelor Degrees in Music Education as a voice major and Music Composition from Louisiana State University in Baton Rouge. He earned his Master's Degree in Music Education, and Education Specialist Degree at the University of Georgia. He has performed and recorded with the LSU A Cappella Choir, the Moses Hogan Chorale, and the Atlanta Symphony Orchestra Chorus and Chamber Chorus, and Coro Vocati. Mr. Champion has enjoyed success in a wide variety of areas of composition and music production. He lives in Marietta with his wife Evelyn, his sons David, Charlie, and Sam, and his father, Albert.

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CLINICIANS MIKE CHRISTIANSEN

•RHYTHM GUITAR SKILLS FOR THE JAZZ ENSEMBLE GUITARIST •FLIPPED LEARNING FOR CLASSROOM GUITAR: DOUBLE THE OUTCOME WITH HALF THE WORK •UKULELE: FOUR STRINGS, SO MANY POSSIBILITIES •SO...YOU'RE THE ONE THAT WILL BE TEACHING THE GUITAR CLASS Mike Christiansen is Professor Emeritus in the Music Department at Utah State University and currently the Director of Curriculum for Consonus Music. He founded the guitar program at USU where he was Director of Guitar Studies for 39 years.

In 1994, he was selected as Professor Of The Year at Utah State University. In 2012, Mike was selected as a U.S. Carnegie Professor of the Year and was also selected as the USU Caine College of the Arts Professor of the Year. In 2013, he was invited to be a TED speaker. He has authored/co-authored over 40 guitar instruction books.

BRIAN THOMAS CLEMENTS •LGBTQ INCLUSION IN THE MUSIC CLASSROOM

Brian is a veteran music educator in the metro Atlanta area in both public and private schools. He holds degrees from the University of Georgia and Georgia State University in Music Education and serves as a state representative for the A Cappella Educators Association. Brian is proud to be a member of both Phi Mu Alpha Sinfonia and Kappa Kappa Psi. His work with both local and state equality organizations and with the Atlanta Freedom Bands led him to closer examination of the inclusion of marginalized or underrepresented populations in music and the fine arts.

STEPHANIE CLEVELAND

•VOCAL HEALTH AND HYGIENE: VOICE DISORDERS, PREVENTION, AND WHY IT IS IMPORTANT TO YOU Stephanie Cleveland is the elementary music specialist at West Jackson Elementary School in Hoschton, GA where she teaches grades K-5 and directs the West Jackson Singers. In addition to elementary music, she has served as an instructor for The Music Class, a parent and child music and movement class for children ages infant to 4, and is in demand as a private voice instructor. As a vocalist, she champions the vocal development of her students, producing tuneful singing from the earliest grades. She holds a bachelor of music from Shorter College and a master of music education from The University of Georgia. She resides in Jefferson, GA with her husband David and their three children.

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CLINICIANS AMBER COLBERG

•MUSIC EDUCATION FOR FUTURE "MATHEWS": DOWN SYNDROME IN GENERAL MUSIC EDUCATION Proud Honors graduate of Columbus State University, Amber Colberg received her Bachelor of Music Education with a concentration in flute in Spring of 2017. She studied music education with Dr. Keith Matthews and Dr. Michelle Herring-Folta, flute with Dr. Andrèe Martin at CSU and Ms. Sarah De Bates in England, and voice with Mrs. Lawler-Johnson at CSU. She studied abroad in Chichester, England Fall of 2016 taking a variety of music courses and traveling Europe. She was the student teacher at Aaron Cohn Middle School Fall of 2017, where she taught both orchestra and band. Her thesis, Music Education for Future “Mathews”: Down syndrome in General Music Education, was completed and defended in the 2016-2017 school year. She has also completed Honors course work with extensive research on J. S. Bach’s Mass in B-minor, and music repertoire for her senior flute recital. She has been an instructor for both the Harris County High School Band and the Dacula High School Band during their marching band camps. She has been the direct care provider for an individual with Autism. She is also an active member in the music community.

DR. N. MASON CONKLIN •FINALE FOR THE MUSIC EDUCATOR

Dr. N. Mason Conklin is an Assistant Professor of Music at Reinhardt University where he teaches Theory, Class Piano, and Technology for Music Education Students. As a graduate and former professor in the Big XII schools of Baylor University, University of Oklahoma, and Iowa State University, he is generally non-plussed by SEC hype. In his spare time, Dr. Conklin gets his hand dirt-y. Literally. He puts his hands in dirt, and they come away with dirt on them. Don't ask him about the permaculture installations on his property where he grows pears, kiwi, apple, muscadine, strawberry, persimmon, raspberry, and elderberry, or the many medicinal herbs he grows, or he will plant you, firmly in your place, until you hear his permaculture spiel. You've been warned. Despite his abuse, Dr. Conklin's students think he is pretty awesome. In fact, without their cajoling, he might not have submitted proposals to the GMEA conference. In addition to his professorial duties at Reinhardt University, Dr. Conklin also teaches piano privately to Elementary, Middle, and High School pianists. He is also the Program Director for the Reinhardt Piano Festival and Academy. If you haven't heard about RPFA yet, you will soon. Dr. Conklin likes his eggs over medium, and his bacon pliable. He has several other kudos to mention from his CV, but who really cares? Come to his presentation. Walk out if it isn't any good. Throw tomatoes if it's really bad. He'll just save the seeds and start them as small plants in the next growing season.

LANIE COX

•TRANSGENDER STUDENTS IN MUSIC CLASSROOMS: A PANEL DISCUSSION Lanie Cox has a masters degree in counseling education and has been working in the clinical and school fields since 2000.

She has worked exclusively in the private school sector for the last 13 years. Her entire career she has taken a special interest in marginalized populations. This work began in her early years counseling youth adjudicated by the juvenile court systems, followed by working at a special needs private school as the Head Counselor. In recent years, she has focused much of her time supporting and advocating for Transgender Youth. She has hosted conferences and professional development on this topic as well as liaised with other schools to bring support to their Transgender Community. Lanie is currently the Head of Personal Counseling at Atlanta International School.

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DR. CHIP CROTTS •GMEA JAZZ READING SESSION

Dr. Chip Crotts serves as Director of Jazz Studies and Assistant Director of Bands at Georgia Institute of Technology (Georgia Tech) in Atlanta, GA. Previously, Chip served on the faculties of Samford University, Jacksonville State University and The University of Texas at Austin. A GRAMMY nominated musician, Crotts has performed and recorded for the Disney Company in Europe and the United States, and maintains an active career as a first call musician for national touring shows and orchestral dates throughout the United States. Chip has toured and worked with numerous international artists over the years, including Boston Brass, The Manhattan Transfer, Ray Charles, Rhythm and Brass, Natalie Cole, The O’Jay’s, Frankie Valli, The Temptations and Maynard Ferguson, among others. He received his undergraduate degree from East Carolina University, a Masters of Music in Orchestral Performance from Penn State University, as well as the Doctor of Musical Arts degree in Trumpet Performance with a Jazz Emphasis from the University of Texas-Austin. Highly involved in the marching arts, Dr. Crotts has served as a brass instructor with Spirit of Atlanta, Phantom Regiment, Blue Devils and The Cavaliers. Chip is very active as a clinician and adjudicator and serves in this capacity with organizations such as Bands of America, Drum Corps International, Winter Guard International and numerous state and national music educator associations. A Yamaha Performing Artist and Clinician, Chip resides in Acworth, GA with his wife Kelly and daughter Abigail.

MELANIE DARBY

•DISTANCE LEARNING WITH THE ULTIMATE STEAM MACHINE

Melanie Darby began her tenure as Education Manager with Spivey Hall in November 2013. In that role, she programs approximately 36-40 performances for PreK-12 grade audiences, manages the marketing and communications with 1215,000 patrons, coordinates student honor workshops, summer music camps, master classes, and professional development workshops for teachers. She also provides support to the Spivey Hall Children’s Choir, a 170 member treble choir whose membership includes students 10-18 years old that meets weekly. Ms. Darby has a Bachelor of Arts degree in Speech/Theatre/Art from Berry College. She freelanced in Atlanta as a theatre technician and set designer for 11 years with regular clients that included the Atlanta Opera Company, Theatre Gael, and the Atlanta Symphony. This led to her engagement as the manager of the 120 member Atlanta Symphony Youth Orchestra in 1998. This ‘temporary’ contract turned into 13 years with the ASO in which she helped create and build an education department that managed training programs for over 200 young musicians, programmed family concerts and Young People’s Concerts for thousands of Georgia students, and coordinated community engagement opportunities with musicians and guest artists.

KRISSI DAVIS

•LISTENING PAST YOUR FIRST STAND: STRATEGIES FOR PROGRAMMING AND PREPARING A SUCCESSFUL LGPE PERFORMANCE Krissi Davis is in her 13th year in education as the orchestra director at Flat Rock Middle School in Fayette County, Georgia.

She is also the director of the Fayette Philharmonic Senior Orchestra. She previously taught at the middle and high levels in Clayton County and Atlanta Public Schools. While in Clayton County, she directed the Clayton County Middle School Honor Orchestra, and founded the fine arts magnet orchestra, now Stilwell School of the Arts Orchestra. In Atlanta Public Schools, she served as the Lead Middle School Orchestra teacher. Ms. Davis earned her Bachelor of Music Education degree from Georgia State University in 2004, and Master of Music Education degree from the University of Georgia in 2017.

Orchestras under her direction consistently earn superior ratings at GMEA Large Group Performance Evaluations. Orchestras under her direction have also traveled and presented performances in Washington, DC; Orlando, Fla; Symphony Hall in Chicago, Ill; and Carnegie Hall in New York, NY. Students in her orchestras consistently participate in honor orchestras such as the Metropolitan Youth Symphony, Georgia Youth Symphony, and Georgia All-State Orchestra. Ms. Davis has adjudicated Large Group Performance Evaluations in GMEA districts 4,5,6, 10, and 12. In her spare time, Ms. Davis plays violin with the Southern Crescent Symphony Orchestra and maintains an active violin/viola studio.

MATTHEW DAVIS

•INCORPORATING LOCAL HISTORIES AND PRIMARY SOURCE STUDY INTO THE MUSIC CURRICULUM Matthew Davis is a native of Kinston, NC and received his education at Georgia College. Graduating Summa Cum Laude with a Bachelor of Science Degree in History in 2002 and a Master of Arts in History with a concentration in Public History in 2004, he is currently employed as the Director of Georgia’s Old Governor’s Mansion and the Sallie Ellis Davis House. His duties include oversight of the historic properties, coordinating administrative functions, research, curatorial work, educational programming, fundraising, and management of the Watson-Brown Foundation Junior Board of Trustees, Milledgeville Chapter. In 2012, Davis was appointed to the Board of Directors of the Georgia Association of Museums and Galleries, and has served as the chair of the Programming Committee for the Southeastern Museums Conference. In 2016, Davis was invited to participate in the 21st Century Museum Leadership Seminar, coordinated by the Smithsonian Institution and George Washington University. He is frequent guest speaker and presenter at museum conferences nationwide. Aside from his duties at the Mansion, Davis teaches history as an adjunct professor at Georgia College and Georgia Military College. He has also taught courses at Middle Georgia State College. In 2012, Davis was named as the Museum Professional of the Year by the Georgia Association of Museums and Galleries. Davis has also served in a variety of capacities in various local organizations including Chair of the Gray Historic Preservation Commission, Chair of the Milledgeville Museum Association, and as a member of the Executive Committee of the Georgia College Alumni Association Board of Directors.

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CHAD DEAL

•GET BACK ON THE PODIUM USING GOOGLE APPS TO STREAMLINE THOSE ANNOYING, NON-MUSICAL TASKS Chad Deal spent 20 years in music education as a high school band director and currently serves as Technology Coordinator for Archer High School in Gwinnett County, GA since May of 2015. During his career, Mr. Deal has taught Band, Chorus, and Guitar in South GA, Las Vegas, NV, and Gwinnett County. Chad received his Bachelor's of Music Education in 1995 from Troy State University and his Master's in Instructional Technology in 2010 from Troy University. His extensive use of technology in the classroom led him to pursue his current path and his duties include providing In-service training to teachers, administrators, and staff at both his school and throughout the county. Chad is married and is the father of two very active boys. He enjoys pizza and complaining about not losing weight.

DR. ANDREA DeRENZIS STRAUSS •GITTY UP-N-GO PROGRAM A WARHORSE! •PROGRAMMING ISN'T EVERYTHING...IT'S THE ONLY THING!

Andrea DeRenzis Strauss is the Conductor and Artistic Director of the Tara Winds Community Band. She is the former Director of Bands at Georgia Tech, and Associate Professor of Music at Shorter University. Dr. Strauss has conducted in Japan and Italy, adjudicated in Canada and Ireland, and has conducted all-state and honor bands across the United States.

She has served as Rehearsal Lab Clinician for the Midwest Clinic and articles by Dr. Strauss have been published in the Music Educators Journal and the National Band Association Journal. Dr. Strauss is currently the Education Director for the Georgia Music Partners.

DAVID DeSTEFANO

•OLD TEXT, NEW TRICKS: FINDING RESOURCES INSIDE THOSE OUTDATED TEXTBOOKS

David DeStefano has taught elementary school music in Florida, California and Georgia and is currently the lead music teacher at Crabapple Crossing Elementary in Fulton County. Mr. DeStefano has degrees in Clarinet Performance and Music Education from Bradley University (Peoria, IL). He completed his Orff Schulwerk Levels training in 2004 and became a National Board Certified Teacher (Early/Middle Childhood Music) in 2008. Mr. DeStefano has presented sessions at local, state and national music education conferences in Florida, California, Wisconsin, Missouri, Nevada, Georgia and New Jersey, has been interviewed for Teaching Music magazine and has written for the Orff Echo and Reverberations. He is a member of the National Association for Music Education, Georgia Music Educators Association, American Orff Schulwerk Association and Atlanta Chapter AOSA.

ASHLEY DRAKE •GUITAR IS NOT A FOUR LETTER WORD

Ashley Drake was raised in the Gwinnett County Public School system and is proud to be an educator in her home county.

Mrs. Drake holds a Bachelor of Music Education from Shorter University in Rome, Georgia, and Master of Curriculum and Instruction: Integrated Arts from Lesley University in Cambridge, Massachusetts. She began teaching in Gwinnett County in 2008, and has been a proud member of the Duluth Middle School faculty ever since. Mrs. Drake currently resides in Peachtree Corners, GA with her husband Phil and their fur-child, Gelato.

JAMEZ DUDLEY

•TRI-M MUSIC HONOR SOCIETY: BUILDING MORE THAN MUSICIANS

Mr. Dudley is currently a music educator in Atlanta, Georgia, and holds a professional teaching license with certification to teach K-12 choral music in SC and GA. In addition to hus duties as a music educator, he also serves as Choirmaster/Organist at Saint Mary and Saint Martha of Bethany Episcopal Church in Buford, GA. Mr. Dudley earned a Bachelor of Arts in Music from Brevard College, Masters of Science in Entertainment Business from Full Sail University, and Masters of Education from Concordia University. In addition to the previously mentioned programs, he will complete a Master of Music Education from Anderson University in 2018. Additional course work has been completed at the University of South Carolina in Arts Curriculum Development, Arts Assessment, and Curriculum Leadership in the Arts; Southern Wesleyan University in Gifted and Talented Education; and Classroom Management at University of Phoenix. In addition to the above mentioned degrees, he has served as an AmeriCorps member. Mr. Dudley is an active member of the International Society for Music Education (ISME), American Choral Directors Association (ACDA), National Association for Music Education (NAFME), Georgia Music Educators Association (GMEA), and Kappa Delta Pi International Honor Society of Education (KDP). He has presented on the topics of Music Integration in the General Education Classroom - as well as Program Building and Funding Music Programs at the South Carolina and South Dakota Music Educators Associations State Conferences; and at the National Association for Music Education’s 2016 annual In-service.

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CLINICIANS

DR. ANDY EDWARDS

•SELLING YOURSELF WITHOUT SELLING OUT... OR BREAKING THE BANK

Dr. Andy Edwards is in his tenth year of teaching. and his seventh year at Peachtree Ridge High School. He teaching experience includes nine years of band with additional experience in Musical Theater, Guitar, Piano, Photography and is Music Technology. He was born and raised in the mountains of Western North Carolina. He was a 2004 graduate of James F. Byrnes High School in Duncan, SC. He graduated from Furman University in 2008 with a Bachelors of Music Education and in the summer of 2014 with his Master's Degree in Music Education from the University of Georgia. Recently Mr. Edwards received his EdD. in Music Education from the University of Georgia. He is primarily a saxophonist with a strong passion for guitar. Dr. Edwards has also worked as a marching band drill designer for Marching Show Concepts, where he conceived and created shows for several area high schools. Dr. Edwards is a member of Phi Mu Alpha Sinfonia, Pi Kappa Lambda Music Honor Society, National Association for Music Education (NAfME), and Society for Music Perception and Cognition (SMPC). He is also an active researcher in Assessment in the Music classroom. Additionally, he serves as the official photographer for the Georgia Music Educators association.

MEGAN ENDICOTT

•ENGAGE YOUR MUSIC STUDENTS WITH A PERSONALIZED LEARNING ENVIRONMENT •NEAR, FAR, WHEREVER YOU ARE! USING NEARPOD IN THE MUSIC CLASSROOM •PBL 2.0 - PROJECT-BASED LEARNING FOR THE MUSIC CLASSROOM FOLLOW-UP

Megan Endicott is the general music teacher at Dolvin Elementary School. She serves as a Fulton County Fine Arts Support Teacher where she coaches and provides support for elementary music teachers across the district. In addition, Mrs. Endicott is a lead coach for the district Vanguard team and works with educators across multiple grade levels and disciplines to support a personalized learning environment in their classrooms, build capacity, and seamlessly integrate technology.

She holds a bachelor’s degree in music education from the University of Georgia and a master’s degree in educational technology from Central Michigan University. She is currently working on her specialist degree in instructional technology with a leadership certification from Kennesaw State University. Mrs. Endicott was recognized and awarded the Atlanta Families’ Award of Excellence in Education and Teacher of the Year. Mrs. Endicott has presented at various conferences on topics such as PBL, Personalized Learning, Rigor & Blooms Taxonomy in music, Voice and Choice, and App Smashing to name a few at conferences such as: ISTE, CUE, TI:ME, GMEA, GaETC and local school district professional development sessions. She has co-hosted PlayDateATL and EdCamp Fulton. Mrs. Endicott serves as an ambassador for TouchCast, Seesaw, WonderWorkshop Innovation Squad, Plickers, Quaver's Marvelous World of Music, Edmodo and Symbaloo as well as a Nearpod Certified Trainer and PioNear.

TIFFANY ENGLISH

•INTRODUCTION TO ORFF SCHULWERK, PARTS 1 AND 2 Tiffany English is the music specialist at Sugar Hill Elementary School in Gwinnett County, GA and has completed Master Level Orff Schulwerk training and Level I Kodaly training. Selected as Teacher of the Year in 1997 and 2001, Tiffany was also named the 2007 Gwinnett County Teacher of the Year. She conducted the Atlanta Area Honor Orff Ensemble at the Birmingham, AL and Charlotte, NC National AOSA Conferences and is the current Vice President of the American Orff-Schulwerk Association.

PATRICK ERWIN

•ASSESS FOR SUCCESS: EFFICIENT AND EFFECTIVE AUDITION AND ASSESSMENT PRACTICES Patrick Erwin assumed the Director of Bands position at Hillgrove High School in July of 2013. He served as the Assistant Director of Bands from the school’s opening in 2006. Under his direction, the Hillgrove Bands have thrived in one of America’s finest districts for music education, Cobb County, GA. In 2016, the Hillgrove Wind Symphony was a featured ensemble at the GMEA In Service Conference. In 2015, the Hillgrove Wind Symphony was named a “National Winner” in the National Wind Band Honors competition for their recording of the Symphony for Band by Vincent Persichetti. The Wind Symphony has also performed at GMEA State Convention, The UGA JanFest, and Music For All Regional Concert Festivals. The Hillgrove band program currently serves 325 students daily, in 5 concert ensembles. The school also has a 190 member volunteer marching band which has been a consistent top-10 finalist at Bands of America Regional and Super Regional Events, being named a Regional Class AAA champion in 2012. In 2015, Mr Erwin was nominated for and awarded the George N Parks Leadership in Music Education Award. This award is given to a music educator who embodies the principals of, Collaborative spirit, Dedication to knowing students as individuals, Perseverance and enthusiasm, and the Ability to instill qualities in students beyond achievement in music. In 2014, Mr Erwin was named a “Hero In the Classroom” by the Atlanta Falcons, Suntrust Bank and the Symetra Corporation. Mr. Erwin’s professional affiliations include Phi Mu Alpha Sinfonia Fraternity, GMEA, NBA, and NAfME.

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ALISON FARLEY

•GRASPING THE BIGGER PICTURE: AN ALTERNATIVE APPROACH TO THE REHEARSAL PROCESS •STUDENTS WITH EXCEPTIONALITIES IN THE CLASSROOM: FROM MY EXPERIENCE Dr. Alison Farley is an Assistant Professor of Music Education at the University of Georgia where she teaches courses in instrumental music education, psychology of music and advises graduate students. Her research interests include psychology of music, student directed learning, teacher education and perception and performance of written notation. A native of Kansas City, Missouri, Dr. Farley taught public school in Steelville, MO (near St. Louis) where she taught middle and high school band, jazz band and chorus. Dr. Farley holds a BME from the University of Kansas, an MM in Wind Conducting from the University of Louisville and a PhD from the University of Washington.

ELIZABETH FAYETTE •STRING-MAKING 101

Violinist Elizabeth Fayette,praised by the New York Times for her “alluring, lustrous sound and seasoned virtuosity,” made her Carnegie Hall debut in October 2013 with the Juilliard Orchestra under conductor Alan Gilbert as the winner of The Juilliard School’s Concerto Competition. In recent seasons, Ms. Fayette has performed with the Houston Symphony as a prizewinner in the Ima Hogg Competition, was a Second Prize winner in the Young Concert Artists International Auditions and was awarded the 2014 Musical Fund Society of Philadelphia Career Grant as well as the 2015 Juilliard/Tel Aviv Museum of Art Sanders Prize. Ms. Fayette holds degrees from the Curtis Institute of Music, where she studied with Pamela Frank, Shmuel Ashkenasi and Arnold Steinhardt, and The Juilliard School, where she recently completed her studies with Sylvia Rosenberg in the Artist Diploma program. Ms. Fayette is also a Fellow in Ensemble ACJW, a two year program administered

by Carnegie Hall, the Juilliard School and the New York City Department of Education which supports young musicians in building careers as performers, educators, and advocates for their art form. She currently serves as one of the members of Emory University's Vega String Quartet.

ASHLEY FLOYD

•DEVELOPING MUSICIANSHIP BY IMPROVING SPATIAL AWARENESS

Ashley Floyd is the director of bands at Elbert County Middle School. Previously, he was the Assistant Director at Johnston Middle School in Houston, TX. He recently completed his Doctorate of Music Education at the University of Georgia while researching the spatial elements of music and their role in education. He is also a frequently performed and published composer and holds degrees in music composition from Brandeis University and the University of Georgia.

JIM FRANKEL

•MUSIC RESOURCES FOR GOOGLE CLASSROOM, CHROMEBOOKS, ANDROID PHONES OR IPADS WE CAN HELP! •THE MUSICFIRST SOFTWARE SUITE FOR MUSIC EDUCATION SOMETHING FOR EVERYONE ON ANY DEVICE •MUSICFIRST: PERFECT FOR ASSESSMENT, INSTRUCTION, IMPROVEMENT AND CREATIVITY

Dr Jim Frankel is the Head of Digital Education for the Music Sales Group, and Director of MusicFirst. Previously, he was the Managing Director of SoundTree, the Educational Division of Korg USA, and before that he was the instrumental and general music teacher at the Franklin Avenue Middle School in Franklin Lakes, NJ for 11 of his nearly 15 years in the New Jersey Public Schools. He completed his Masters Degree and Doctor of Education degrees in Music Education at Teachers College, Columbia in 2002.

He has been teaching courses on music technology at TC since 1999. Dr Frankel is a widely published author in various state, national and international journals of music education. In addition to his writing, Dr Frankel is a highly sought-after clinician in the local, national and international music education communities. He is on the Board of Directors for TI:ME and is the past president of ATMI.

PATRICK FREER

•TRANSGENDER STUDENTS IN MUSIC CLASSROOMS: A PANEL DISCUSSION •APPROACHING ISSUES OF GENDER AND SEXUALITY IN THE CHORAL CLASSROOM Patrick K. Freer is Professor of Music at Georgia State University. His degrees are from Westminster Choir College and Teachers College-Columbia University. Dr. Freer has conducted or presented in 39 states and 23 countries, including conducting the 2018 NW Division ACDA Youth Honor Choir, the 2014 SW Division ACDA JHS Mixed Honor Choir, and as artist-in-residence for the 2017 choral conducting symposium of the Bogotá Philharmonic Orchestra (Colombia). His 2017-18 guest conducting and lecturing take him to Austria, Canada, Colombia, Estonia, Israel, Latvia, Kazakhstan, Spain, Tajikistan, and to the US states of Alabama, Colorado, Georgia, Kansas, Louisiana, Maine, Ohio, Oregon, and South Dakota. Dr. Freer is Associate Editor of the International Journal of Research in Choral Singing, past editor of Music Educators Journal and is an Editorial Committee member for Update: Applications of Research in Music Education. He is a member of the ACDA National Standing Committee for Research & Publications. He has authored 3 textbooks, a DVD series, 16 book chapters/sections, and over 120 articles in most of the field's leading national and international journals.

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2018

CLINICIANS ADAM FREY

•BUILD YOUR BAND FROM THE BOTTOM UP - A LOW BRASS PEDAGOGY CLINIC

Adam Frey serves as the Assistant Professor of Low Brass the University of North Georgia where he teaches trombone, euphonium, tuba, and chamber music. A native of Atlanta, Georgia, Adam received his musical training at the University of Georgia, the Royal Northern College of Music, and the University of Salford. As a major ambassador of the euphonium, Adam has more than one hundred and twenty works that have been composed or arranged for him. Adam has soloed with orchestras and bands the world over. the world over, including the world famous Boston Pops, US Army Orchestra, and Harvard Pops. He has also performed with brass bands and wind bands in Singapore, Germany, Hong Kong, Brazil, and the United States. For 14 years, he has hosted a summer program for middle school, high school, and college students called the International Euphonium Tuba Festival at Emory University each June. He has two publishing companies that specialize in many commissions and Adam has also been guest soloist at festivals around the globe, including twice at the Mid-West Band and Orchestra Clinic (USA), the WASBE Convention (Singapore), Melbourne International Festival of Brass (Australia), Trombonanza (Argentina), Carlos Gomez Festival (Brazil), Jeju International Wind Festival (South Korea), Asia Pacific Band Directors Conference (South Korea), Westby Low Brass Workshop (Norway), Peru Low Brass Festival (Peru), Colombia Festubal (Colombia), Tubmania (Thailand), and Orquesta Latinoamericana de Vientos (Colombia) to name a few. His website is www.euphonium.com and he is a Yamaha Performing Artist.

CHRIS FULLER

•CHROMEBOOKS IN THE BAND & CHORUS ROOM Chris Fuller graduated from the University of West Georgia in 2009 with a bachelor's degree in Music Education. He completed a masters degree in Learning Design and Technology from the University of Georgia in 2016. He has 7 years experience teaching middle school band and chorus and is currently the Instructional Technology Specialist for the Banks County School System.

MIKE GIBSON

•GETTING STARTED WITH THE NEW WEB BASED SMARTMUSIC •USING SMARTMUSIC FOR DATA COLLECTION, DIFFERENTIATION AND OTHER TKE'S TASKS RELATED TO STUDENT LEARNING

Mike Gibson is a graduate of the University of Georgia, BMus ’85, MMus ’03. Past teaching venues include: Greene-Taliaferro High, Palmetto High, Creekside High, Evoline C. West Elementary and Bear Creek Middle. Since 1996, Mike has been the Director of Bands at Ridgeview Middle School in Sandy Springs, Georgia. During this time, the Ridgeview program grew from 97 students in two bands to over 330 students. The program now includes 4 Concert Bands, Jazz Band, Jazz Combo, Percussion Ensemble and three directors. Ridgeview bands have performed for the 1988 Democratic Convention, WSB Salute to America Parade, Bowl Games of America’s Gator Bowl Festival (15 out of 16 First Place Awards), North Fulton PTA Principal’s Luncheon, National Middle School Convention, Atlanta Jazz Festival, and Carnegie Hall. Ridgeview bands have consistently received Superior or Excellent Ratings at GMEA and national events. Ridgeview band students have been selected for Fulton County, District V, and All-State Bands as well as ’96 Atlanta Olympics’ Band, MYSO, ASYO and other metro Atlanta Honor Groups.

MARINA GILMAN

•VOCAL HEALTH AND HYGIENE: VOICE DISORDERS, PREVENTION, AND WHY IT IS IMPORTANT TO YOU

Marina Gilman holds an MM in Vocal Performance (Ithaca College) and an MA in Communication Disorders (Northwestern University). She is a singing voice teacher, performer, Guild Certified Feldenkrais® Practitioner, and licensed speech pathologist with specialization in the singing voice. In addition to serving as head of the Vocal Coaching Program at Cornell University, Adjunct Professor of Voice at Syracuse University, and Adjunct Professor of Voice and Speech at the DePaul University Theater School, she has maintained a private voice studio for over 35 years. Ms. Gilman also taught at The School at Steppenwolf Theater Company summer program. Since earning her degree in communication disorders in 1997, Ms. Gilman has worked as a speech-language pathologist with specialization in the performing voice at the University of Chicago Voice Center, the Loyola Voice Institute at Loyola University School of Medicine, and the Bastian Voice Institute in Chicago. She is currently part of the interdisciplinary team at the Emory Voice Center, Department of Otolaryngology in Atlanta Georgia.

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DANA GORZELANY-MOSTAK

•INCORPORATING LOCAL HISTORIES AND PRIMARY SOURCE STUDY INTO THE MUSIC CURRICULUM Dana Gorzelany-Mostak is an Assistant Professor of Music at Georgia College. She holds a PhD in musicology from McGill University, and she has taught courses on the history of western music, opera in the 21st century, music and politics, music since 1900, popular music, and historiography. Her research explores various facets of American musical culture—the role of popular songs in presidential campaigns, the reception of music prodigies in the age of reality television, and the history of music performance on the “freak” show stage in the 19th century. Additional research interests include opera and popular culture, public musicology, and music entrepreneurship. Gorzelany-Mostak has received the Mark Tucker Award from the Society for American Music and the Peter Narvaez Memorial Student Paper Prize from the International Association for the Study of Popular Music-Canada for her work on the intersection of politics and music in the 2008 campaigns of Hillary Clinton and Barack Obama.

Her research on music and electoral politics appears in the summer 2015 issue of Music & Politics and the May 2016 issue of the Journal of the Society for American Music. Her work on Jackie Evancho appears in the edited volume Voicing Girlhood in Popular Music: Performance, Authority, Authenticity (Routledge, 2016). Gorzelany-Mostak is the creator and co-editor of Trax on the Trail, a Georgia College-sponsored website that tracks the creative use of music and sound on the 2016 presidential campaign trail.

GARY GRIBBLE

•THERE ARE HOW MANY SETS? - TEACHING COMPETITIVE DRILL WITH EFFECTIVENESS AND EFFICIENCY Gary D. Gribble has been the Director of Bands at Pope High School since 1987. Mr. Gribble earned his Associate Degree in Commercial Music and his BMuEd from Georgia State University. He earned the MA in Music from the University of Hawaii at Manoa. Under his direction, the Pope HS Band has earned over 400 awards of excellence and has been a Bands of America Region champion, a regional finalist 19 times, and a Grand National semi-finalist twice. The Pope Band received the prestigious “Sudler Shield of Marching Excellence” from the John Philip Sousa Foundation. The band has marched in parades across the continental U.S., in Hawaii, and in London, England. Mr. Gribble is a member of GMEA, NAfME, NBA, ITG, PAS, Tri-M Music Honor Society, ASBDA, and Phi Betu Mu Band Fraternity. In 2013, Mr. Gribble was inducted into the American School Band Directors Association. Mr. Gribble served on the Executive Board of the National Band Association from 2011-2014. Mr. Gribble also serves on the Board of Directors for Spirit of Atlanta Drum and Bugle corps.

MANDY GUNTER

•INTRODUCTION TO ORFF SCHULWERK, PARTS 1 AND 2

Mandy Gunter is the music specialist at Burnette Elementary in Gwinnett County, Georgia. She holds a Bachelor of Music Education from Georgia College and a Master of Education from Lesley University. She has attained Level 3 Orff certification and currently serves as President of the Atlanta Area Chapter.

TOBIAS GUZMAN

•STUDENTS WITH EXCEPTIONALITIES IN THE CLASSROOM: FROM MY EXPERIENCE

Mr Tobias Guzmán is a current 4th year Music Education and Music Composition double major at the University of Georgia.

He studies horn under Dr Jean Martin-Williams and Cathy Kilroe-Smith. He has studied composition with Dr Jesse Jones and Dr Adam Roberts. He currently studies conducting with Dr Jaclyn Hartenberger. Tobias is the current president of UGA’s chapter of CNAfME and a brother of Kappa Kappa Psi.

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CASEY HALL

•NEAR, FAR, WHEREVER YOU ARE! USING NEARPOD IN THE MUSIC CLASSROOM Mr. Casey Hall is the Music Specialist and Fine Arts Department Chair at Wolf Creek Elementary School. He serves as a Fulton County Fine Arts Support Teacher where he coaches and provides support for elementary music teachers across the district. He is a member of Fulton County's Vanguard team and works with educators across all grade levels and disciplines to support a personalized learning environment in their classrooms, build capacity, and seamlessly integrate technology.

He holds a bachelor’s degree in music education from the Schwob School of Music at Columbus State University and a master’s degree in music education from Georgia State's School of Music. While at GSU, he studied and developed the term, culturally driven pedagogy (a comprehensive term which uses students' culture to drive instructional practices) as well as developed a songwriting curriculum for the Johnny Mercer Foundation. Mr. Hall has presented at various conferences on topics such as Project-Based Learning, Personalized Learning, App Smashing, Cultural Pedagogies, and Culturally Driven Pedagogy at international, national, state, and local school district professional development sessions. Mr. Hall also serves as an ambassador for Nearpod as a Nearpod

TRACY LYNN HARRIS

•TOP TEN EFFECTIVE TEACHING TECHNIQUES TO HELP CREATE A WINNING FLUTE/PICCOLO SECTION Yamaha Performing Flute/Piccolo Artist and Clinician Tracy Harris is a dedicated soloist, chamber musician, flute clinician, author and adjudicator for national/international competitions, and is the flute professor at the College of the Sequoias.

Tracy has been selected to present at the 2017 Midwest Clinic International Band, Orchestra and Music Conference. Members of her international studio have won national and international competitions. Performing internationally, Ms. Harris gives numerous solo performances, chamber recitals, clinics, flute boots, and master classes. She has soloed with internationally known artists and symphony orchestras and has recorded for Disney studios and PBS television. Ms. Harris is the Artistic Director/Founder of the "Tracy Harris Flute Boot Clinics" which help over 1000 flutists each year, the author of "The Flute Boot Camp Manual - A Universal Guide to Flute and Piccolo" (Recipient of the Editor's Choice award), "The Lyric Flutist" , and her own alternate fingering and trill charts - all published by Wingert-Jones. Ms Harris has presented nationally at NAFME, TMEA, NYSSMA, NFA, SCSBOA, CASMEC and many more. Ms. Harris records on the Elite Source Label and her latest CD's "Eklectick" and "The Lyric Flutist' recorded with her duo partner Svetlana Rudikova-Harris have won critical acclaim and feature new arrangements written by herself and Dr. Todd Harris. Tracy and Dr. Tadeu Coelho’s forthcoming Piccolo Guide Book for Band Directors and new duo album will be out fall 2017. Ms. Harris attended The New England Conservatory of Music, UCSB and The Music Academy of the West. Her teachers included; Julius Baker, Claude Monteux, Jim Walker and Jill Felber.

ANDREW HARWOOD

•MUSIC EDUCATOR RESILIENCE 14 ESSENTIAL SKILLS TO HELP YOU "BOUNCE" NOT "'BREAK"

Andrew Harwood has served as the Director of Bands at Lumpkin County Middle and High School since 2007. In 2016, Mr. Harwood was selected as the Lumpkin County School System Teacher of the Year. Prior to joining the LCMS/HS faculty, he served as the Director of Bands at Sandy Springs Middle School where he was the 2005 Teacher of the Year. Currently, Mr. Harwood is the Executive Officer of 313th Army Reserve Band (Birmingham, AL). In 2015 he was selected as the US Army Music NCO of the Year (Reserve/Guard Component). He was recently promoted to WO1 after successfully completing Warrant Officer Candidate School at Ft. Rucker, AL. Mr. Harwood is a graduate of the US Army Master Resilience Trainer Course. Before choosing a career in education, Mr. Harwood was a member of The U.S. Army Concert Band, “Pershing’s Own” in Washington DC. As a member of this elite ensemble, he performed regularly at the White House as well as for kings, queens, and foreign heads of state. Mr. Harwood was a soloist with The U.S. Army Concert Band on six different occasions. He has performed throughout the United States and in such notable venues as Carnegie Hall, Avery Fischer Hall and has given a solo recital at the Kennedy Center in Washington, DC.

TIMOTHY HEATH

•TEACHING IN A RURAL SETTING: TIPS FOR SUCCESS

Tim Heath is an assistant professor of Instrumental Music Education and Director of Athletic Bands at Samford University in Birmingham, Alabama. Previously, he was a graduate teaching assistant with The University of Alabama bands, where he is a candidate for the educational doctorate in music education. Tim’s other marching band experiences include serving as the front ensemble coordinator for the Music City Drum & Bugle Corps and staff positions with Methodist University’s “Pride of the Carolina’s” in Fayetteville, NC and the University of North Carolina at Pembroke’s “Spirit of the Carolina’s” in Pembroke, NC. He was also the Director of Bands at Spring Creek High School in Seven Springs, NC. He has adjudicated for the marching band activity in North Carolina, Virginia, and Alabama. Tim has presented at sessions and research at state and national music conferences and is published in Percussive Notes and The Instrumentalist. He holds a Bachelor’s degree from The University of North Carolina at Greensboro and a Master’s degree from The University of North Carolina at Pembroke.

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CLINICIANS JOSEPH HEIBERGER

•STANDOUT STUDENT TEACHING: MAKING THE MOST OF YOUR PRE-SERVICE TEACHING EXPERIENCE Mr. Heiberger is currently in his twelfth year as the Director of Bands at Lovinggood Middle School in Cobb County, Georgia. Under Mr. Heiberger’s direction, the Lovinggood Band has performed twice for University of Georgia Midfest Middle School Band Clinic, the Auburn University Middle School Band Clinic, the 2016 CBDNA/NBA Southern Division Conference, the 2016 MFA Southeastern Regional Concert Band Festival, the 2017 GMEA In-Service Conference, and has been awarded the GMEA Exemplary Performance award. Mr. Heiberger’s degrees include a Bachelor of Music Education degree from the University of Southern Mississippi as well as a Master and Specialist Degree from Auburn University. While at the University of Southern Mississippi, he was a member of the Finale Saxophone Quartet, which was named the National Champions of the Music Teacher’s National Association Chamber Music Competition in 1993, as well as national finalist in the Fischoff Chamber Music Competition. Mr. Heiberger is a six-time recipient of the National Band Association Citation of Excellence and has served in the capacity of clinician and guest conductor on the campuses of The University of Georgia, Kennesaw State University and Auburn University, as well as with middle school bands across Georgia, Tennessee, Mississippi, Missouri, and Texas. Mr. Heiberger resides in Marietta, Georgia with his wife, Renee and daughter, Emily.

MARGARET HERON

•THEORY: IT'S NOT A 4-LETTER WORD! TEACHING MUSICIANSHIP IN A PERFORMANCE WORLD Margaret Heron, an Nationally Board Certified teacher, is the Choral Director and AP Music Theory Instructor at Mortimer Jordan High School and Choral Director at North Jefferson Middle School in the Jefferson County School System. For her first seven years, Mrs. Heron also taught Jr. and Sr. High Band and her bands received superior scores at festivals throughout the south. She graduated cum laude from the University of Alabama with a Bachelor of Arts in Instrumental Music Education and is a summa cum laude graduate of University of Alabama at Birmingham with a Master of Arts in Choral Music Education. Under her direction, her choirs have consistently received Superior ratings at district, state, national and international festivals and have been invited to perform at several AMEA, AVA, and ACDA conferences. Her choirs have performed in New York, Orlando, Williamsburg, San Antonio, Los Angeles, Asheville, and Toronto, Canada. Mrs. Heron serves on the staff of Birmingham Girls Choir as the director of Una Vocé, the touring choir. She has been the Choral Clinician and adjudicator for various honor choirs, camps & festivals throughout the southeast. She has served as the High School R&S Chair for the Alabama Choral Directors Association and the State Board of Alabama Vocal Association District III Chair. Mrs. Heron is also a Question Leader for the College Board AP Music Theory Reading in the summers. In her career, Mrs. Heron has experience in choral music, instrumental music, church music, show choir, theater, general music, elementary music, community choirs, and vocal pop.

BILL HOBBINS

•VISUAL SYMPTOMS OF VOCAL PROBLEMS, DIAGNOSIS AND PRESCRIPTION

Bill Hobbins serves Augusta University as Professor of Music. In addition to directing choral ensembles, Dr. Hobbins teaches Studio Voice, Vocal Music Education, Freshman Music Theory, and as time permits, World Humanities. He has a long-term interest in the developing young voice, and often works with high school singers in the Augusta area. Dr. Hobbins holds Bacclaureate (Music Education) and Master's (Vocal Performance) degrees from North Texas State University (now the University of North Texas), and a DMA degree in the Literature and Performance of Choral Music from the University of Colorado at Boulder. In the context of his doctoral study at CU-Boulder, he studied Voice and Voice Pedagogy with Dr. Barbara Doscher, author of The Functional Unity of the Singing Voice. Hobbins is an active choral conductor/clinician and is frequently sought out to assist in troubleshooting voice problems with singers of all ages. He finds this work fascinating, challenging, fun, and gratifying. Dr. Hobbins is also a church musician. He has served St. Mark United Methodist Church in Augusta for over seventeen years. In that capacity, he re-activated the Scholarship Singer Program, and has enabled dozens of collegiate students to find a place of worship and receive assistance in paying their tuition and fees. He and his wife Carolee live in Evans, and love being the grandparents of six children, with a seventh on the way!

ROBIN HODSON

•MUSIC RESOURCES FOR GOOGLE CLASSROOM, CHROMEBOOKS, ANDROID PHONES OR IPADS WE CAN HELP! •THE MUSICFIRST SOFTWARE SUITE FOR MUSIC EDUCATION SOMETHING FOR EVERYONE ON ANY DEVICE •MUSICFIRST: PERFECT FOR ASSESSMENT, INSTRUCTION, IMPROVEMENT AND CREATIVITY Robin comes from a musical family; his Grandfather founded a Symphony Orchestra and Music Conservatory in Zimbabwe, and his Mother taught music for 50 years. An accomplished composer and performer, working in a variety of differing genres, he is also a recording engineer, songwriter and arranger. Robin received a Masters Degree at Magdalen College, Oxford, specializing in choral music. He moved to the US in 1999 and is now a US citizen. He was with Sibelius/Avid for thirteen years, followed by three years with SoundTree. During that time, he became a well-known clinician, trainer and salesman for a wide variety of world class music software and technology products. He joined Jim Frankel and an accomplished team of people to start MusicFirst in 2012, bringing cloud-based music software to schools around the world. He has authored many free guides/videos on how to use and learn all kinds of music software, and he has created a curriculum (published by Hal Leonard) for using Pro Tools in Music Education. He was also a joint author for the book/DVD/curriculum entitled Making Music with GarageBand & Mixcraft.

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BOBBY IVEY

•MAKING CONNECTIONS WITH WARM-UPS, SIGHT SINGING, THEORY, AND CHORAL LITERATURE BEING STUDIED Bobby Ivey is an Assistant Professor of Music at Brenau University where he conducts the Vocal Chamber Ensemble and Spectrum Singers. He also directs the music education program which has grown in numbers since joining the Brenau music faculty in 2009. Before going to Brenau, Mr. Ivey was the choral director at Habersham Central High School for 25 years where his choirs consistently earned superior ratings at GMEA Large Group Performance Evaluation in both performance and sight reading. He had groups perform at GMEA In-Service Conferences in 1988 and 2008, and he served as GMEA 9th District Chair as well as organizer for many District Honor Chorus and Solo/Ensemble events. Often invited to be a clinician for a district honor chorus or serve as a literary meet judge, Mr. Ivey most recently conducted the 2015 Tennessee All-State Women’s Chorale. Mr. Ivey earned a BME degree from the University of Montevallo and MMEd and Specialist in Education degrees from the University of Georgia. He presently serves First Baptist Church, Cornelia, as a part time Minister of Worship and Music. Bobby resides in Cornelia with his wife Tammy and is a proud dad of two married daughters and “Papa” to Emma Kate, William, and Finley.

EVA JAMESON

•LGPE CHORAL SIGHT READING THE "WRIGHT" WAY

Eva Jameson is a retired teacher and an active LGPE performance, sight-reading, and head judge. She and her husband are Fine Arts Facilitators for Piedmont College, traveling all over the state to play with other people’s choirs.

CYNTHIA JOHNSTON TURNER •THE ERA OF THE EXPERT AND CROWD-SOURCING OUR ENSEMBLE REHEARSALS

Cynthia Johnston Turner is the director of bands at the University of Georgia where she conducts the Hodgson Wind Ensemble, teaches conducting, leads the MM and DMA programs in conducting, and oversees the entire Hodgson band program. Before her appointment as Director of Bands at the Hodgson School at the University of Georgia, Cynthia was Director of Wind Ensembles at Cornell University. Earlier in her career Cynthia was a high school music educator, taught middle school beginning instrumental music in Toronto and choral music in Switzerland. She received the National Leadership in Education Award (Canada), the Excellence in Education Award (Ontario Secondary School Teachers Federation), the Merrill Presidential Scholars award and Kaplan Distinguished Faculty Fellowship at Cornell, and the Marion Drysdale Leadership Award. She is also the recipient of the Donald A. Reick Memorial Award for research with wearable technologies and music pedagogy, the American Prize for innovative programming with wind bands, and has presented concerts and clinics at numerous CBDNA, WASBE, and Midwest conferences. Cynthia has guest conducted the National Youth Wind Ensemble of Great Britain, the Syracuse Symphony Orchestra, the National Youth Band of Canada,the Ithaca College Wind Ensemble, the Eastman Wind Ensemble, the National Band of Costa Rica, the Austrian Festival Orchestra, the National Orchestra of Heredia, and numerous state honor bands. She is published in such journals as Music Educators Journal, Interdisciplinary Humanities, International Journal of the Humanities, Journal of the World Association of Bands and Ensembles, Fanfare Magazine, and Canadian Winds, and has recorded CDs with the Innova and Albany labels.

HEATH JONES

•SO NOW WHAT?! IDEAS AND RESOURCES FOR DEVELOPING LESSON PLANS IN THE MUSIC TECH CLASSROOM •MEET ME AT THE CROSSROADS: INTEGRATING CROSS-CURRICULAR LESSONS TO ENHANCE LEARNING Heath Jones is currently teaches Music Technology at McConnell Middle School in Lawrenceville, GA and is the Lead Teacher for Middle Grades Music Technology for Gwinnett County Public Schools. He holds the Bachelor of Music Degree in Music Education from the University of Georgia and the Master of Music Degree in Music Education from the University of South Carolina. Prior to coming to McConnell Middle School, Mr. Jones spent 15 years directing high school bands in Georgia, South Carolina and Tennessee. His bands have been featured performers at the UGA/Athens Twilight Jazz Festival, SCMEA State Convention and the University of Georgia High School Music Festival. Under his direction the Sumter High School Music program was recognized by the Grammy Foundation as a Grammy Signature School in 2004. He has served as a concert and marching adjudicator and clinician in Virginia, Tennessee, Georgia, North Carolina and South Carolina. In 2006 Mr. Jones was recognized as a National Board Certified Teacher by the National Board of Professional Teaching Standards. His professional affiliations include: National Band Association, NAfME, Georgia Music Educators Association, Phi Mu Alpha Sinfonia, Tau Beta Sigma and Kappa Kappa Lambda. He lives in Dacula, GA with his wife, Jeanine, and two children, Abigail and William.

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CLINICIANS MAVIS KALLESTAD

•FINALE 101: LEARN THE ESSENTIALS TO GET YOU GOING •YOU HAVE THE LATEST FINALE BUT ARE YOU USING IT LIKE FINALE 2000?

•EXPLORING EDITABLE FINALE WORKSHEETS Mavis Kallestad is a Finale clinician/trainer, music engraver and piano accompanist in the Minneapolis area. She has demonstrated Finale and presented clinics for MakeMusic at many state music conventions. For the past fifteen years, Mavis has taught regional hands-on Finale workshops and school in-services to over 1300 music educators, including workshops at VanderCook College of Music, the Wisconsin Center for Music Education and Minnesota Summer Music Technology Symposiums. Her textbook, Building Successful Finale 'Chops', (now in its 3rd edition) contains practical step-by-step tutorials that will help musicians and music educators learn the newest features, shortcuts and educator tools that Finale has to offer. Mavis holds a degree in music education from Dickinson State University and is an adjunct faculty member at Hamline University, St. Paul, MN.

BRITTNY KEMPFER

•SO YOU HAVE A VOCAL POP ENSEMBLE. NOW WHAT? (TEACHING CCM WITH A CLASSICAL BACKGROUND) Brittny Kempfer is in her first year as a Ph.D. candidate at Auburn University. She holds a Master's Degree in Choral Music Education from the University of Wisconsin-Milwaukee, and a Bachelor's in Choral/Instrumental/General Music Education from the University of Wisconsin-Platteville. Brittny has been a choral educator for over 10 years in Wisconsin and Georgia. She has worked with various styles of music, including: gospel, rock, country, pop, jazz, musical theater, classical, and other traditional genres of choral music. During Brittny's Master's program, she concentrated on CCM vocal pedagogy, completing her Master's Thesis titled "Contemporary Commercial Music Pedagogy: Selective Exercises for Developing Healthy Technique in Adolescent Singers". Her current research and writing continues to focus on diverse musical styles and genres within the secondary choral curriculum.

ANN KIMPTON

•MUSIC PERFORMANCE THEORY: DECODING MUSIC THEORY TO ENHANCE MUSICIANSHIP •WORK-LIFE BALANCE FOR MUSIC EDUCATORS: REAL STORIES, REAL STRATEGIES, REAL SOLUTIONS

Ann Kaczkowski Kimpton has been an assistant principal for curriculum and instruction, a department chair for literacy, and teacher. She has co-authored several books on music education with her husband, Paul, and written four curriculum guides for the Adventures with Music series where musicians are the heroes. She has given numerous presentations and workshops at the local, state, and national levels on curriculum writing for music education, literacy and its connection to music. Additionally, she is a French horn player and color guard specialist.

PAUL KIMPTON

•MUSIC PERFORMANCE THEORY: DECODING MUSIC THEORY TO ENHANCE MUSICIANSHIP •WORK-LIFE BALANCE FOR MUSIC EDUCATORS: REAL STORIES, REAL STRATEGIES, REAL SOLUTIONS A music educator for 33 years, Paul Kimpton has authored some of the most influential books in music education: Scale Your Way to Music Assessment, Grading For Musical Excellence, Common Core: Re-Imagining the Music Rehearsal and Classroom, and Work-Life Balance for Music Educators. He is a valued clinician on music curriculum, assessment, teaching methods, grading, and conducting throughout the United States and Canada. He has served on the advisory board of the Illinois High School Association and received the Outstanding Music Educator Award from the National Federation of High Schools. In addition to a bachelor’s and master’s degree in Music Education, Kimpton has certifications in guidance and counseling and school administration. Most recently, he is a contributing author to The Oxford Handbook of Assessment Policy and Practice in Music Education.

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CLINICIANS DR. DANIEL KIRK

•NO TIME? NO PROBLEM! A BUSY DIRECTOR'S PRACTICAL PLAN FOR SCORE STUDY AND INFLUENTIAL CONDUCTING Dr. Daniel Kirk serves as the Director of Instrumental Activities at Reinhardt University in Waleska, Georgia. Kirk recently completed his Doctor of Musical Arts degree in wind conducting at Michigan State University with teacher Kevin Sedatole.

At MSU, Daniel was actively involved in teaching all aspects of the MSU band program. Kirk served as Director of Bands at Blue Valley West High School in Overland Park, Kansas and was nationally awarded the George N. Parks Leadership in Music Education Award by NAfME in 2012. The Blue Valley West Symphonic Wind Ensemble was awarded Highest Kansas State Level Honors by the National Foundation for Music Education; this ensemble was also selected to appear in honored performance at the 2013 Kansas State Music Educators' Convention. Kirk received his Bachelor of Music Education and Piano Performance degrees at Missouri Western State University (2007) and his Master of Music degree in wind conducting from Northwestern University under teacher/mentor, Mallory Thompson (2015). Dr. Kirk is honored to lead the instrumental ensembles and faculty at Reinhardt University. The Reinhardt University bands maintain a proud legacy of excellence in music performance, music teacher education, and community engagement.

CHRISTINE KRAEMER

•WARM-UP WORK OUTS! A DAILY ROUTINE THAT BUILDS STRENGTH, SKILLS, AND TECHNIQUE FOR ANY BAND •GMEA 1.0 OVERVIEW FOR MUSIC EDUCATORS WHAT GMEA CAN DO FOR YOU AND YOUR PROGRAM! Christine Kraemer is the Director of Bands at Cousins Middle School where she also serves in the capacity of K-12 Music Content Specialists for Newton County Schools and serves District IV as band chair. From 2007 - 2017, Ms. Kraemer’s Bands and students have earned Superior Ratings at the GMEA LGPE, have consistently been awarded positions in the District IV Middle School Honor Bands, and eighteen students have earned a place in All State Band.

KEYNOTE SPEAKER

DANA LAMB-SCHAUBROECK •BEYOND BOOMWHACKERS

Dana Lamb-Schaubroeck is a respected music educator and Teacher of the Year in Fayette County, Georgia, a Grammy semi-finalist for Music Education, and most recently one of Music & Arts Top 25 Nationwide Music Educators. She is the National Educational Director for the Muzart World Foundation which seeks to retain and reinvigorate music education in public schools. She was responsible for overseeing the first virtual string orchestra that debuted at the "We Are Hope" event in Salt Lake City, Utah with Mark Wood. Under her direction, her programs have flourished. Most recently at Flat Rock Middle School, she has grown the program from 43 students to over 120 students in one year, created a competitive show choir program that won Southern Star in 2016, and also brought the school a successful music theater program. In her spare time, she is a professional songwriter in the Classical Crossover genre with her song "You Should Dream" camping out on Billboard Top Ten for over a year. In her twenty year career in music education, she has taught pre-K through adult (community and church choirs), general music, chorus, band, orchestra, non-traditional percussion, music theater, guitar, and songwriting. She is routinely sought out for public speaking engagements, clinics, assisting other teachers with growing and improving their programs, and working at the county level as music director for "Teacher of the Year" with an original song that she wrote with a student.

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DR. DAVID LAMBERT

•A PROGRESSIVE APPROACH TO TEACHING BEGINNING IMPROVISATION Dr. David Lambert is Assistant Professor of Trombone at Jacksonville State University in Jacksonville, Alabama. He directs one of JSU’s four jazz ensembles, teaches courses in improvisation, jazz pedagogy, and jazz history, and directs the JSU Trombone Ensemble and trombone chamber ensembles. A native of the Washington D.C. area, Dr. Lambert received his Bachelor of Music Education from James Madison University in Virginia, his Masters of Music Performance from Western Michigan University, and his Doctor of Musical Arts degree in Jazz Studies from the University of Miami. Dr. Lambert has given presentations at the American Trombone Workshop in Washington D.C., performed at the Alabama Music Educators Association Conference, served as a panelist at the University of Georgia Trombone Summit, and has been active as a performer, clinician, conductor, and adjudicator throughout the Southeast. His “Concerto for Trombone and Wind Ensemble” has been performed by ensembles at Jacksonville State University, the University of West Georgia, the University of Alabama-Hunstville, the University of Georgia, and the University of Miami. In addition to his position at JSU, Dr. Lambert has held faculty positions at Morningside College in Sioux City, IA, the University of Mary in Bismarck, ND, and the University of Georgia in Athens, GA. Dr. Lambert is an active member of the International Trombone Association.

JOYCE LAMBERT

•EDTPA AND TKES: WHAT DOES GOOD TEACHING LOOK LIKE? Joyce Lambert, Ed. D., is a Teacher and Leader Evaluation Specialist with West Georgia RESA. For the past two and a half years, Joyce has trained hundreds of leaders and teacher on the Georiga Evaluation Instrument. Last year, Joyce assisted in leading a team of teachers in revamping the Teacher Resource Link for the Georgia Department of Education, which will be launched in July 2017. With over 35 years of educational experience in public and private schools, Joyce has taught K-12, been an administrator in middle and high schools, served as a middle school curriculum specialist, and served five years as a school improvement specialist serving Title I schools identified as needing assistance. Joyce retired in June 2015, and when not working with the Evaluation System of Georgia, she enjoys spending time with her family and fishing in Mexico Beach, Florida and playing with Homer, the family boxer.

SCOTT LANG

•BE PART OF THE MUSIC, YOUR TOTAL RECRUITMENT AND RETENTION SOLUTION

For over a decade Scott Lang has been educating and entertaining audiences of all ages. As a nationally known leadership trainer, Scott conducts over 120 workshops annually and works with some of our countries finest educational groups and performing ensembles. Scott is a well known author with over ten publications to his credit including; Seriously?!, Leader of the Band, Leadership Success, Leadership Travel Guide, Leadership Survival Guide and the highly successful Be Part of the Music series. Mr. Lang currently resides in Chandler, Arizona with his beautiful wife Leah and their sons, Brayden, Evan and their highly irrational Golden Retriever Rexie. He has breathed in and out approximately 264 million times and plans to keep on doing so until he doubles that number.

DR. CHARLES LAUX

•ENGAGE YOUR MUSIC STUDENTS WITH A PERSONALIZED LEARNING ENVIRONMENT •HOW PURE IS YOUR ENSEMBLE’S INTONATION? INTRODUCING THE YAMAHA HARMONY DIRECTOR Dr. Charles Laux is the Director of Orchestras at Alpharetta High School where his duties include directing four levels of orchestra, including the nationally recognized AHS Symphony Orchestra, and teaching class guitar. He also serves as Essential Elements clinician, consultant, and contributor for the Hal Leonard Corporation. Dr. Laux holds degrees in music education from Ohio University, the University of Nevada - Las Vegas, and a Ph.D. from The Ohio State University. A string educator for over 20 years, Dr. Laux has worked with diverse student populations from elementary school through collegiate level. From 2012-2016, he served as Assistant Professor of String Music Education at Kennesaw State University. Under his leadership, KSU became the largest string education program in Georgia and the KSU String Project grew to serve nearly 110 elementary school students. Previously, he directed award-winning school orchestra programs in Nevada, Florida, and Ohio. Endorsed as an artist educator by D’Addario Orchestral and Eastman Stringed Instruments, Dr. Laux has presented over 100 educational sessions for organizations such as the Midwest Clinic, American String Teachers Association, Technology Institute for Music Education, Association for Technology in Music Instruction, and at music conferences spanning 21 states. He regularly presents professional development in-services for school districts across the country and has presented internationally at Colegio Menor San Francisco near Quito, Ecuador. Dr. Laux remains in frequent demand across the nation as an orchestra clinician, conductor, and adjudicator.

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CLINICIANS CHERYL LAVENDER

•MAKING EACH MINUTE COUNT MAXIMIZE MUSIC TEACHING AND LEARNING IN MINIMUM LESSON TIME •LEARN TO HARMONIZE 'ROUND THE WORLD •CALLING ALL WORLD BROTHERS AND SISTERS

Cheryl Lavender, DMusEd (h.c.), is internationally recognized as a master music educator, composer and clinician. Having taught music for 37 years from elementary through university levels, Cheryl maintains an active writing/speaking schedule through Hal Leonard Corporation. Cheryl’s 50+ music resources include games, songs and teaching strategies. Popular titles: ROUND the World, World Partners, Beautiful Music - Beautiful Children posters, The Ultimate Music Assessment and Evaluation Kit, Making Each Minute Count, Songs of the Rainbow Children, Rhythm/Melody Flash Cards, and the popular Bingo series. In 2016, Cheryl was awarded an Honorary Doctor of Music Education degree from VanderCook College of Music. She is a contributing composer for MacMillan/McGraw-Hill textbook Spotlight On Music and John Jacobson's Music Express Magazine. In 2005, Cheryl received the WMEA Distinguished Service Award and the Central Michigan University Distinguished Alumni Award. In 2004, she was awarded the NEA Arts@Work $5000 grant funding the school's piano lab. In 1996, she taught in South Africa for Eisenhower Citizen Ambassadors. In 1993, Cheryl received Elmbrook School’s Outstanding Teacher Award. Cheryl's enthusiasm for teaching music and her love for children make her one of the most sought-after clinicians in music education. Cheryl's academic background includes a music education degree from Central Michigan University and graduate work at Michigan State University, University of Wisconsin, and VanderCook College of Music. Cheryl and her husband, Paul, reside in Brookfield, WI.

DR. ROY LEGETTE

•EDTPA AND TKES: WHAT DOES GOOD TEACHING LOOK LIKE? Roy Legette is Associate Professor of Music Education in the Hugh Hodgson School of Music at the University of Georgia where he specializes in Elementary Music Education, grades K-5. Dr. Legette is an active researcher and some of his work can be found in the Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, Journal of Music Teacher Education, Music Education Research, and Contributions to Music Education. He is past state chair of the research division of the Georgia Music Educators Association, past chair of the Research Advisory Review Panel of the American Orff-Schulwerk Association, a past member of the editorial committee for Update: Applications of research in Music Education, and a current member of the editorial board for Southern Music Education Research. Dr. Legette has presented his work at professional conferences and symposia in the United States, Europe, South America, and Canada. His research interests include music instruction and student self-concept, student motivation and achievement, and factors that influence teaching effectiveness. Dr. Legette is a member of the National Association for Music Education, the Georgia Music Educators Association, the American Educational Research Association, and the International Society for Music Education.

DOUG LOONEY

•LGPE CHORAL SIGHT READING THE "WRIGHT" WAY

Doug Looney is a retired choral director and active choral LGPE sight reading adjudicator.

DR. ROB LYDA

•THE PROOF IS IN THE PROCESS: USING TECHNOLOGY TO UNLOCK CREATIVE THINKING •AIN'T I ROCK CANDY: MAKING DIVERSE CONNECTIONS USING FOLK SONGS Dr. Robert Lyda is the music teacher at Cary Woods Elementary School in Auburn, Alabama. Throughout his career he has taught music classes for students in grades K - undergraduate. He earned the BME at Troy University and the MEd and PhD in Music Education from Auburn University. He has won awards for his work in the classroom including Rookie Teacher of the Year, Teacher of the Year, Macon County Schools' Award for Achievement and Distinction, and the Macon County Schools Teacher of the Year. In addition to his academic degrees, he has earned certification in Kodaly, World Music Drumming, TI:ME, is an Orff-Schulwerk (Levels I-III) certified teacher, and holds Master Level Certification in Orff-Schulwerk. Dr. Lyda regularly presents sessions and research on technology integration and general music education at state, regional, and national conferences. He holds memberships in Alabama Music Educators Association, the National Association for Music Education, American Orff Schulwerk Association, College Music Society, Phi Kappa Phi, and the National Band Association. Dr. Lyda serves as the Southern Division Representative on the Council for General Music Education, the AMEA Elementary Division Secretary, and is a member of the Alabama State Superintendent’s Teacher Cabinet.

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JOANNE MAPLES

•DISTANCE LEARNING WITH THE ULTIMATE STEAM MACHINE

Joanne Maples has 29 years as an elementary music specialist, lead teacher and flute teacher in Georgia public schools.

She has mentored music teacher candidates served as GMEA State Elementary Chair. She is currently the Education Assistant at Spivey Hall where she joyfully serves near 15,000 students, teachers, and community members each year.

JOSH MARKHAM

•AP MUSIC THEORY: STRATEGIES FOR BEING AWESOME

Mr. Josh Markham is the choral director and AP Music Theory teacher at Sequoyah High School, located in Canton, Georgia in Cherokee County. He is an avid baseball fan and recently visited the National Baseball Hall of Fame in Cooperstown, NY with his family. Mr. Markham enjoys playing chess against his children, who he can usually still beat. He is an Eagle Scout who is proud own all nine seasons of Seinfeld on DVD. Mr. Markham and his lovely wife, Kimberly, live in the Hickory Flat area with their five (yes, five) adorable children. Mr. Markham’s degrees in Music Education are from Shorter College and the University of Georgia. Influential teachers include Martha Shaw, John Ratledge, Bill Caldwell, and Greg Hucks. The Sequoyah Singers Women and Sequoyah Men’s Chorus were featured at the 2015 and 2017 GMEA conferences. In the past four years the Sequoyah Boys Quartet has won back-to-back state championships and two state runner-up finishes at the GHSA State Literary Meet. Mr. Markham has presented sessions at both GMEA and ACDA Southern Division. He serves as an AP Reader in Music Theory for The College Board and as a Rater for the Praxis Music Exam for ETS. He is a strong advocate for the importance of teaching music literacy and believes that all students can and should be taught to read music.

DR. JEAN MARTIN-WILLIAMS •HEART HEALTH: BEST PRACTICES FOR SUCCESS OF YOUR HORN SECTION

Dr. Jean Martin-Williams is Josiah Meigs Distinguished Teaching Professor in the University of Georgia Hugh Hodgson School of Music. She teaches horn, directs the University of Georgia Horn Choir, coaches chamber music, and is a member of the Georgia Woodwind Quintet. Dr. Martin-Williams is also the Associate Dean for Fine Arts at UGA. Before joining the University of Georgia faculty, she was a full-time performer in New York City; she continues to be an active performer and is a member of the New York Pops Orchestra. Dr. Martin-Williams has published in The Horn Call and she is currently a member of the Executive Advisory Committee of the International Horn Competition of the Americas. In 2016 she was UGA's nominee for the USG Felton Award for Teaching Excellence. In 2001 and 2007, she hosted the Southeast Horn Workshop and will do so again in 2018. She also hosted the International Horn Society symposium in 1999 and the Paxman Young Horn Player of the Year competition in 2001. Dr. Martin-Williams has performed in many states and countries, including Brazil, Canada, China, Finland, France, Japan, Korea, the Netherlands, and Russia. She has recorded with the New York Chamber Symphony, the New York Pops, the Georgia Woodwind Quintet and the Atlanta Symphony. A native of Decatur, Georgia, Dr. Martin-Williams attended the Westminster Schools in Atlanta, Lawrence University in Wisconsin, and the Manhattan School of Music, from which she was the first brass player to receive the Doctor of Music degree.

KATHY MASON

•MAKING THE MOST OF EVERY MINUTE - BLOCK OR NO BLOCK

Kathy Mason has been the director of four very successful band programs over her twenty-one year career. In addition to receiving the Citation of Excellence from the National Band Association, her bands have earned consistent superior ratings at performance evaluations. In 2017,using the techniques in this session, Creekland Middle School in Gwinnett County (the 2nd most populated county in Georgia), had more students selected to the district honor band than any other middle school (40 students). They also had six students selected to the Georgia All-State Band. Creekland Middle school is a truly diverse school with almost equal numbers of African-American, Hispanic, and Caucasion students followed closely by a 13% Asian population. Creekland embraces it's diversity and strives to give every student the opportunity to reach his full potential.

DR. KEITH MATTHEWS •LGPE: FROM PREPARATION TO ADJUDICATION

Dr. Keith Matthews is Assistant Professor of Music and Coordinator of Music Education at Columbus State University’s Schwob School of Music in Columbus, Georgia. His teaching responsibilities include courses in instrumental music methods, music teaching & learning, conducting, classroom management, and student teacher supervision. Prior to his current post, Dr. Matthews spent 14 years as a public school music educator in Georgia and Arizona. His studies were in Music Education at Furman University, Trumpet Performance at Arizona State University, and a PhD in Music Education & Instrumental Conducting at Florida State University. Dr. Matthews is an active clinician, adjudicator, educational consultant, and performer throughout the southeast. He lives in Columbus with his wife Caitriona and two children: Maura and Colin.

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DR. DAWN McCORD

•EDTPA AND TKES: WHAT DOES GOOD TEACHING LOOK LIKE?

Dawn Harmon McCord, DMA, NCTM, is Professor of Music Education and Organ Studies at the University of West Georgia and has served on the boards of the Georgia Music Educators and Georgia Music Teachers Association (GMTA) and is Past President of GMTA. Dr. McCord is also Director Of Music and Organist at Carrollton Presbyterian Church. She holds degrees from UGA, LSU, and FSU with studies in Music Education, Piano, Choral Conducting, and Organ Performance. She regularly adjudicates piano events and her research interests include topics related to teaching and learning. She has presented her research at international, national, and state conferences. Dawn’s research interests include piano proficiency, teacher preparation, and all-state choral policies and practice. She is currently active in initiatives for Liberal Education and America’s Promise (LEAP).

C. LLOYD McDONALD

•WHICH BUTTON DO I PUSH??? SOUND SYSTEM 101 FOR MUSIC TEACHERS

C. Lloyd McDonald is the band director at Feagin Mill Middle School in Warner Robins, Georgia. He received the Bachelor of Business Administration and Bachelor of Music Education degrees from Georgia College, and the Master of Music Education degree from the University of Georgia. He has taught at the middle, high, and collegiate levels, returning to his hometown in 2008 to lead the band at Feagin Mill. He remains active as a clinician, adjudicator, and performer at festivals and clinics throughout the southeast. His bands perform at high levels of achievement, with the Feagin Mill Band receiving the GMEA Exemplary Performance Award in 2013. He is a founding director of Camp ExtravaBANDza, a summer camp for middle school band students. In his community, he serves as the president of the Warner Robins Community Concert Association, and he is the conductor of the Wellston Winds, a local community band. In 2014, he was recognized by the Veterans of Foreign Wars as the VFW State Teacher of the Year for his commitment to the promotion of citizenship and patriotism through his teaching.

He was selected as the 2016 FMMS Teacher of the Year and Top 10 Finalist for the Houston County Schools TOTY. Professional affiliations include GMEA, NAfME, Professional Association of Georgia Educators, and Phi Beta Mu International Bandmasters Fraternity. He has served GMEA in many capacities, including District Chair, event organizer and host, and “Conference Concierge.”. He and his wife, Sue, live in Warner Robins with their children Cody and Bailey, and with their dogs Token, Flash, and Dottie.

ANGEE McKEE

•WE ONLY REHEARSE ON MONDAYS! SELECTING CHORAL LITERATURE FOR THE ELEMENTARY CHORUS Angee McKee currently serves as Part-Time Assistant Professor of Music Education at Kennesaw State University, where she teaches Music For Early & Middle Grades, General Music Methods, and Choral Literature for Children's Choir. McKee holds a Bachelor of Music Education degree from Berry College, and a Masters degree in Music Education from West Georgia College. She studied piano with Gershefski protégés Faye Kesler and Betty Tolbert. McKee has earned level two conducting certification from the Choral Music Experience Institute. She has conducted music workshops in elementary music education for public school music educators throughout the Northwest Georgia area, worked as a consultant and clinician for Yamaha’s Music In Education Program, and has also served as a choral clinician for honor choruses throughout the state. During her public school teaching career, McKee supervised numerous student teachers in the field of elementary/general music education.

She was designated as a Master Teacher by the Professional Teacher Education Unit (PTEU) at Kennesaw State University in 1998. McKee was selected as 1982 Teacher of the Year at Emerson Elementary School in Bartow County, the 1992 Teacher of The Year at Cartersville Elementary School, and was also recognized as 1992 Cartersville City School System Teacher of The Year. McKee was named the 2010 Music Educator of the Year by the Georgia Music Educators Association.

RICK McKEE

•WE ONLY REHEARSE ON MONDAYS! SELECTING CHORAL LITERATURE FOR THE ELEMENTARY CHORUS Rick McKee currently serves as Part-Time Instructor of Music Education at Kennesaw State University where he teaches Music for Early and Middle Grades, and General Methods. He holds a Bachelor of Music Education degree from Shorter College, and a Masters of Music in Music Composition and Educational Specialist Degree in Music Education from the University of Georgia. He has studied Composition with Peter Dewitt, John Corina, Lewis Nielson and Michael Hennigan. He completed the Level I Orff course Shorter College, and II, III, and master levels in Orff-Schulwerk at Memphis State University. McKee recently retired from public education after teaching music in elementary schools for 29 years in Georgia and Oklahoma. He received Teacher of the Year awards at schools in Floyd, Whitfield, and Cobb Counties. McKee was named Cobb Country’s 2011-2012 Elementary Teacher of the Year. McKee is past director of the Rome Children's Choir and The Shorter College Handbell Choir, where he formerly served as Adjunct Instructor of Music Education. He has served as guest clinician for honor choruses throughout Georgia and in South Carolina, including the Georgia Music Educators State-Wide Elementary Honor Chorus in 2000 and 2012. His compositions have been performed by ensembles all over the United States. He is currently publishing his works through his own company, Cosmic Possum Music. McKee is a member of the American Orff-Schulwerk Association, National Association for Music Education, Handbell Musicians of America, and the American Choral Directors Association.

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JEAN McKEN

•BREEZIN THRU COMPOSING: NOW EVERYONE CAN CREATE MUSIC! •EXCITING NEW BREEZIN THRU THEORY NEXT GEN: ANYWHERE, ANY DEVICE! Jean McKen is the author of Breezin' Thru Theory and Breezin' Thru Composing, the award winning online resources for teaching music theory and composition for middle and high school. Jean has used music technology to compose and teach for many years and while on a teaching assistantship at IUPUI, she acquired her MSMT focusing on instructional design. She is also the composer of "I Am Song, Je suis chanson", the winning submission to the CMEA 50th Anniversary song competition.

AMY K. MILLER

•MOTOWN, HIP HOP BUBBLEGUM OR POP - WHAT'S YOUR HOOK?

Mrs. Amy Miller has Bachelor of Music and Master of Music Education degrees from Southern Illinois University at Carbondale. She has also achieved National Board Certification in Early/Middle Childhood Music, and has completed Level III Orff certification, Level III Kodaly certification, and two levels of World Music Drumming. Mrs. Miller has presented workshops for St. Louis AOSA, St. Louis Area Kodaly Educators, Missouri Music Educators Association, and Midwest Kodaly Music Educators. She served as the Elementary Vice-President for the Missouri Music Educators Association 2014-16, and as the local conference committee instrument co-chair for the AOSA National Conference in 2012. Mrs. Miller has 37 years of experience teaching music at the elementary level, and was teacher of the year at Bellerive Elementary in the Parkway School District in 2005. Memberships include NAfME, MMEA, GMEA, American Orff Schulwerk Association (AOSA), St. Louis AOSA (past chapter president), Organization of American Kodaly Educators (OAKE), St. Louis Area Kodaly Educators (SLAKE).

JOHN MLYNCZAK

•CREATION IS KEY •ADVOCATING FOR A MUSIC TECHNOLOGY CURRICULUM •DESIGNING A MUSIC TECHNOLOGY CURRICULUM •MEANINGFUL ASSESSMENT WITH TECHNOLOGY •MUSIC PREPARES STUDENTS FOR FUTURE SUCCESS •RETAINING THE TECH-SAVVY GENERATION

John Mlynczak offers an extensive range of experiences in music education. Mr. Mlynczak is the President of the Technology Institute of Music Educators, Adjunct Professor of Music Technology at LSU, and VP of Sales and Marketing at Noteflight, a Hal Leonard company. John is also a passionate advocate for music education, serving on the NAMM Support Music and State Advocacy Coalitions, the NAfME Advocacy Leadership Force, and is Advocacy Chair for the Massachusetts MEA. Mr. Mlynczak holds degrees in music education, music performance, and educational leadership.

BARRY MORGAN

•COPYRIGHT, PERSPECTIVE FROM A COMPOSER, A TEACHER AND A LAWYER.

Barry E. Morgan is a native of Cobb County Georgia, and received his Bachelor of Music Education degree from Georgia State University in 1976. In 1987, Barry graduated Summa Cum Laude from the John Marshall Law School in Atlanta. From 1988 until 1992, Barry served as an Assistant District Attorney. Barry was the Chief Assistant Solicitor General for Cobb State Court from 1992 until 1998. On March 4, 1998, Governor Zell Miller appointed Barry as the Solicitor General for Cobb County, and he has been elected to that position five times. Barry was a high school band director for the Cobb County Georgia School District serving Wills, North Cobb and Sprayberry High Schools. Barry presents a Legal Seminar for Teachers for various colleges and music conventions including GMEA, the Midwest Band and Orchestra Clinic and Music for All. Most recently Barry has been elected to the Board of Director for Music for All and United Sound.

POSTER SESSION JANUARY 26 | 10AM | LIGOTTI HALL 2

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CLINICIANS JUSTIN MORRIS

•THE INS AND OUTS OF THE BOOSTER ORGANIZATION: HELPFUL TIPS FOR THE MUSIC EDUCATOR Justin Morris is a graduate of Tougaloo College with a B.A. degree in Humanities with an emphasis in Music and a graduate of Augusta State University with a Masters in Music Education. Mr. Morris has been a music educator for 10 years. Mr. Morris is currently the director of bands at The Academy of Richmond County in Augusta, GA. Mr. Morris is a member of the Georgia Music Educator's Association, Phi Mu Alpha Sinfonia Fraternity, Inc., Alpha Phi Alpha Fraternity, Inc. and Kappa Kappa Psi National Honorary Band Fraternity, Inc.

KELLY MRAZ

•FROM CHOREOGRAPHY TO CREATIVITY: EMPOWERING CREATIVE MOVEMENT IN YOUR CLASSROOM Kelly Mraz is in her eighth year as the music specialist at R.D. Head Elementary in Lilburn, GA where she teaches music and directs the R.D. Head Chorus and Mustang Drummers. She has been teaching in Gwinnett County for thirteen years and was recognized as a county semi-finalist for Teacher of the Year in 2015. Kelly received her Bachelors in Music Education and Percussion Performance from Ithaca College and her Masters in Percussion Performance from the University of Cincinnati College-Conservatory of Music. Her performing and teaching experience includes steel band, Latin jazz, West African drumming, and marching band. She has completed three levels of Orff-Schulwerk training and Masterclass Orff studies with Konnie Saliba and Jay Broeker. Kelly lives in Lilburn with her husband and very active toddler.

DR. PATTY K. NELSON •EDTPA FRIENDLY ASSESSMENTS

Patty is Director of Music Education/Assistant Professor of Music at Shorter University. She has taught elementary music in the public school system, taught private piano and organ lessons, and is proud of the over 30 years she has served several churches leading and teaching children’s choirs. She has also taught teacher certification and classroom excellence at the college level for education majors, and also supervises student teachers in the School of Music. Patty holds a BA in Piano from Trinity University in San Antonio, TX., Master of Church Music from Southwestern Theological Seminary, and an Education Doctorate, in Curriculum and Instruction, from Baylor University. She holds a current Music Education Teacher Certificate in Texas and is Orff certified. Patty has been scoring edTPA for Pearson since spring 2014 and has successfully scored over 100 portfolios.

ROB OPITZ

•GMEA JAZZ READING SESSION

Rob Opitz is the Artist-in-Residence, Jazz Trumpet at Kennesaw State University. Rob performs regularly throughout the Southeast and Midwest. He is sought after as a trumpet artist, educator, clinician, and adjudicator. Rob has appeared as a sideman with the following musicians: Tito Puente, Noel Gallagher's High Flying Birds, Dennis Edwards and the Temptations Review, Under the Streetlamp, Claudio Roditi, The Adrian Duke Project and many more. Rob is the founder and director of the Atlanta Latin Jazz Orchestra - Atlanta's only Latin Big Band. He also appears locally with artists such as Orquesta MaCuba, the Joe Gransden Big Band, Yacht Rock Revue, Yacht Rock Schooner, Bumpin the Mango, the Georgia Symphony Orchestra Jazz Ensemble, Gwen Hughes, Kingsized, US Beat, Atlanta Beat, Rupert's Orchestra, and many more.

MICHAEL OUBRE

•ORGANIZATIONAL TOOLS FOR THE MOTIVATED DIRECTOR: HOW TO ADMINISTER AND TEACH YOUR PROGRAM SUCCESSFULLY Michael Oubre is the band director at Pickens High School in Jasper, Georgia. This is his sixteenth year of teaching and his sixth year as Band Director at PHS. Previously, Mr. Oubre was the band director at Winder-Barrow High School in Winder, GA from 2007-2011. A native of Sumter, SC, Mr. Oubre graduated from Furman University in 1998 with a Bachelor of Music in Music Education degree. After Furman, Mr. Oubre earned his Master of Music Education from the University of Georgia and his Specialist Degree in Instruction and Curriculum from Piedmont College. Mr. Oubre has served two GMEA Districts as Band Chair, Treasurer, LGPE organizer, Solo and Ensemble organizer, First Round All-State audition organizer, and more.

His bands have performed at the University of Alabama, Kennesaw State University, Columbus State University, and the MFA SE Regional Concert Festival at Georgia State University in February 2015. Mr. Oubre has received the Citation of Excellence on two occasions from the NBA. He has presented clinics at the GMEA State Convention, UGA and other band events. Mr. Oubre was named STAR Teacher for Pickens High School in 2015 and 2016. The PHS Bands have received straight Superior ratings at Large Group Performance Evaluations and the WBHS Symphonic Band was recognized as a Commended Winner in the National Wind Band Honors. Mr. Oubre is a member of GMEA, NAME, NBA, KKPsi, and Phi Mu Alpha Sinfonia Fraternity. In 2016, he was elected to the American School Band Directors Association. Mr. Oubre is married to Leslie Still Oubre and they have one son, Jonah.

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MARTI PARKER

•YES!—YOUR EARLY SUCCESS IN THE ELEMENTARY GENERAL MUSIC CLASSROOM

Marti Parker teaches in Gwinnett County at Suwanee Elementary School. Ms. Parker received her B.M.E. from Stetson University and a Masters of Education in Educational Leadership from the University of South Florida. She holds Kodaly and Orff Schulwerk certification, Creative Drama for Creative Learning levels I, II and III, World Music Drumming levels I and II, Gifted, ESOL and Coaching endorsements, and is a National Board Certified Teacher in Early and Middle Childhood/ Music. She has been teaching in Georgia and Florida public schools for 26 years, and loves to share her passion for music education. She has been a presenter at FMEA and GMEA conferences, as well as at Tampa and Atlanta Orff and Kodaly Chapter Share workshops.

DR. NATHANIEL F. PARKER

•EFFECTIVE GESTURES AND PRACTICAL SCORE ANALYSIS IN NEW ORCHESTRA MUSIC: A CONDUCTING/SIGHTREADING WORKSHOP A talented and dynamic musician, Nathaniel F. Parker is Director of Orchestral Studies and Assistant Professor of Music at the Kennesaw State University School of Music (Georgia). Dr. Parker is Music Director and Conductor of the Kennesaw State University Symphony Orchestra and Conductor of the Kennesaw State University Opera Program. He is also Associate Conductor of the Georgia Symphony Orchestra and has served as Music Director and Conductor of the Georgia Youth Symphony Orchestra’s Symphony and Camerata orchestras. Equally at home working with professionals and training future generations of musicians, Dr. Parker has conducted orchestras in the United States, Peru, Russia, Poland, and the Czech Republic. His recent guest conducting engagements include appearances with the Jackson Symphony Orchestra (Michigan), the Connecticut Music Educators Association (CMEA) All-State Orchestra, the Fulton County High School Honor Orchestra (Georgia), and the Georgia Music Educators Association (GMEA) District 9 High School Honor Orchestra. An active scholar, Dr. Parker’s writings have been published by the Conductors Guild and the College Orchestra Directors Association (CODA). He has presented research at the College Orchestra Directors Association’s national and international conferences and currently serves as Editor of the Journal of the Conductors Guild. In 2015 he received a Citation of Excellence in Teaching from the Pennsylvania Music Educators Association. Nat earned Doctor of Musical Arts in Orchestral Conducting from Michigan State University, a Master of Music in Orchestral Conducting from Bowling Green State University, and a Bachelor of Music in Bassoon Performance (magna cum laude) from Arizona State University.

ANDREW PARSONS

•NOT YOUR DREAM JOB: HOW TO SUCCEED IN A LESS-THAN-IDEAL SITUATION

Andrew Parsons is the Director of Bands for Meadowcreek High School in Norcross, Ga. A native of Duluth, Georgia, Mr. Parsons completed his Bachelors in Music Education at Georgia State University where he was selected for the Presidential Scholarship in the school of music. He studied music education under Dr. Marion Etzel, Dr. Butch Marshall, and Dr. Patrick Freer. Prior to teaching at Meadowcreek, Mr. Parsons has taught in schools all over Georgia. From the rural small communities to the bustling urban and suburban sprawls, Mr. Parsons has led successful music programs in every variety of cultural diversity Georgia has to offer. Mr. Parsons currently resides in Duluth, Ga. with his wife Grace Parsons, his daughter Lily Parsons (3), and his cat and dog (Coco and Momo respectively).

GARY PAULO

•5 FUNDAMENTALS THAT WILL IMPROVE THE SINGLE REED SECTIONS IN YOUR BAND OR ORCHESTRA! Gary Paulo – Saxophone – Gary is a graduate of Indiana University where he received a BM in classical saxophone performance while studying with saxophonist Eugene Rousseau. When he returned home in 2001 he was in high demand as a teacher and performer in the Atlanta area. He has worked teaching clinics and master classes at many of the wonderful school band programs in the metro Atlanta area and is currently on staff with the Lassiter High School Band program, teaching marching and winds. He was the adjunct saxophone instructor at the University of Alabama-Birmingham during the 2004-2005 school term before starting his master’s degree in 2006. Beginning in 2010 he joined the faculty at Emory University as the artist Affiliate for saxophone. Gary has performed for many great audiences with national touring acts, spanning many genres of music. His performance credits include the Atlanta Symphony Orchestra, the Zac Brown Band, Alabama Symphony Orchestra, Augusta Symphony Orchestra, The Temptations, the Temptations Review featuring Dennis Edwards, the Joe Gransden Big Band, and the Atlanta Latin Jazz Orchestra. In addition, he has toured internationally with the AJ Ghent Band and performed at venues such as the Hollywood Bowl, Joe Louis Arena, the Southern Ground Music Festival in Nashville and Charleston, BB Kings in Times Square, and Memphis, and the Hard Rock Casino and Resort in the Dominican Republic. Gary also performs in "the horn band of Atlanta - Bumpin' the Mango", the Atlanta Saxophone Quartet, and the Cobb Wind Symphony.

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CLINICIANS TRAVIS PERRY

•COME SWIM IN THE "SHARK TANK" WITH CHORDBUDDY,THE FASTEST WAY TO TEACH & LEARN GUITAR Travis Perry has been a music teacher for 32 years and he is the inventor of the ChordBuddy. Travis knows that keeping his students excited and interested in playing is key to their success. Today, guided by the motto “you make the music, ChordBuddy makes it easy,” Perry continues his mission to bring the joys and benefits of playing music to millions of potential musicians around the world through his ChordBuddy products.

IRA PITTMAN

•LGPE CHORAL SIGHT READING THE "WRIGHT" WAY Ira Pittman is a retired choral director and active adjudicator for LGPE performance and sight reading.

KRIS PLUMMER

•GET BACK ON THE PODIUM USING GOOGLE APPS TO STREAMLINE THOSE ANNOYING, NON-MUSICAL TASKS Kris Plummer was a high school band director for 13 years, spending his last nine years at Jefferson High School, where he was twice selected as STAR Teacher and was named Teacher of the Year for the school system in 2014. He is a Google Level 2 Certified Educator, and now serves as the Digital Learning Specialist for Jefferson City Schools. In this role, he provides support and professional development for teachers in all grade levels, as well as helping develop and manage the system's new 1:1 Chromebook initiative. He has two music education degrees from the University of Georgia, and is currently pursuing his Specialist in Instructional Technology at Kennesaw State University. He is married and has three awesome children - Malcolm, Lincoln, and Reid. There is more coffee in his bloodstream than is medically advisable.

DR. TIMOTHY M. POWELL

•AN INTRODUCTION TO EMERGING DIGITAL PUBLISHING ALTERNATIVES: OR..."HOW TO SURVIVE THE COMPUTER APOCALYPSE." Dr. Timothy Michael Powell is a composer, conductor, and music educator. Called "a skilled composer who understands the voice in all stages of development" by New York Concert reviews, Powell serves as the Director of Choral Activities at Oglethorpe University. He was one of only 25 educators in the United States to be named a Semi-finalist for the 2016 Grammy Music Educator Award, and won the American Prize in Choral Performance in 2012. He was the 1999 National Choristers Guild Scholar, and a 2002 Fulbright Scholar to Bulgaria. Powell's choirs have performed three times by peer-reviewed invitation at the Georgia Music Educators Association Conference, and performed at the 2014 at the Southern Division Convention of the American Choral Directors Association in Jacksonville, FL. International tours have featured performances on Easter Sunday at the famed St. Thomaskirche in Leipzig, Germany, the home church of J. S. Bach, and at the Vatican. Powell holds a DMA in Conducting from the University of South Carolina and his Bachelors and Masters degrees from Belmont University, where he studied with Tim Sharp. His compositions include numerous major works, premiered in the most prestigious concert halls in America. He is published through Spivey Music Press, MusicSpoke, Musica Russica, Morningstar Music, and Alliance Music Publications. Dr. Powell holds memberships in ASCAP, Pi Kappa Lambda, the Fellowship of United Methodists in Music and Worship Arts, NAfME, and ACDA. He and his wife Jennifer have three musical children.

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CLINICIANS

KRISTIN PUGLIESE

•HOW TO BRING AWARD WINNING LITERACY INTO YOUR MUSIC CLASSROOM •BUILD A GREAT MUSIC LITERACY PROGRAM AT YOUR SCHOOL!

Kristin M. Pugliese is passionate about how knowledge is acquired and believes it impacts children’s attitude toward learning for life. She is dedicated to creating a world where everyone is musically literate. She has been an educator for more than 15 years, first in early childhood education and then in the music classroom. She has worked almost exclusively in Title 1 Schools in Rhode Island, Georgia and Massachusetts, and helped create music standards for Cambridge Public Schools.

Kristin is the founder of Note Knacks, and has presented for many in-service conferences in the United States. For more info about Kristin, see her website www.noteknacks.com.

DR. JOHN PURSELL

•PRACTICE SMARTER, NOT HARDER: USING THE BODY AND THE BRAIN MORE EFFICIENTLY

Dr. John Pursell has been referred to as "the best of the brass" and "a brilliant trumpeter" in the print media. He is retired from his position as the Senior Ceremonial Trumpeter with the United States Air Force Band in Washington, DC and today performs as a Trumpet Artist & Clinician for the Yamaha Music Corp. He holds a DMA from the University of Maryland and has been widely published in national journals. He teaches trumpet at Mount St Mary's University in Maryland.

T. DEVIN REID

•TEACHING IN A RURAL SETTING: TIPS FOR SUCCESS

T. Devin Reid is currently the assistant director of bands at Georgia State University. A native of Fayetteville, NC, Mr. Reid holds degrees from Georgia State University and the University of North Carolina at Greensboro. At Georgia State, Mr. Reid co-teaches the Panther Marching Band, conducts the Panther Basketball Band, conducts the University Concert Band, teaches undergraduate and graduate level courses in conducting and wind band literature, oversees the university’s concert attendance course and supervises student teachers in the field. Since his arrival, the GSU Concert Band has grown to become the largest instrumental concert ensemble at the university. Prior to his appointment at Georgia State, Mr. Reid taught public school in Georgia and North Carolina. As an effective recruiter, his NC ensembles grew by over 300% in just three years. His ensembles performed at numerous events in and out of the community including the NC Muscadine Festival, NC PAS Day of Percussion and the Virginia International Music Festival. Mr. Reid has presented clinics and workshops on various topics at several state and regional conferences. He is a frequent guest conductor of the International Euphonium and Tuba Festival. He is also an active concert band and marching band clinician, conductor and adjudicator throughout Georgia, North Carolina and Virginia. Playing either classical or bluegrass music, Mr. Reid is an active performer around the Atlanta area. He is a member of the National Association for Music Education, the National Band Association, the Percussive Arts Society, is an endorser for Sabian Cymbals and a registered songwriter with BMI.

STANLEY L. ROBERTS

•GUYS & GALS...I'M NOT ONE OF THEM! CONDUCTING THE (OTHER) GENDER SPECIFIC ENSEMBLE Stanley L. Roberts, conductor, is in his twenty-third year of teaching in the Townsend School of Music of Mercer University, where he is the Arthur Lowndes Rich Professor of Choral Conducting. In this position, Dr. Roberts conducts three choirs and teaches undergraduate and graduate courses in conducting. Choirs under his direction have sung on numerous programs for GMEA, Southern Division ACDA, and the Southern Division of NAfME. A passionate educator, Dr. Roberts has been chosen as Mercer University’s Outstanding Faculty Member of the Year, SGA Professor of the Year, the Townsend School of Music Professor of the Year and has lead the Mercer Singers in six highly successful international tours. In high demand as a clinician he has conducted All-State Choirs, Honor Choirs, and Festival Choruses throughout the United States, in England and in Europe, and leads workshops in universities, colleges, churches, and schools. A church musician and minister for over 35 years, Stanley L. Roberts is an editor of the hymnal Celebrating Grace (2010) and currently serves as Minister of Music at the First Baptist Church of Christ in Macon—a position he has held for 25 years. A native of Alapaha, Georgia, Dr. Roberts is a proud 1984 alumnus of Mercer University. He is married to teacher/soprano and fellow Mercerian Marie Jarriel Roberts.

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CLINICIANS

ARIEL ROBINS

•NEAR, FAR, WHEREVER YOU ARE! USING NEARPOD IN THE MUSIC CLASSROOM •PBL 2.0 - PROJECT-BASED LEARNING FOR THE MUSIC CLASSROOM FOLLOW-UP Ariel Robins is the general music teacher and choral director at Findley Oaks Elementary School in Johns Creek, Georgia.

She earned her Bachelor’s degree in Music Education from the University of Georgia in 2008 and her Master’s degree in Instructional Technology from Kennesaw State University in 2015. Since 2010, she has served as a member of the Fulton County Fine Arts Support Team, which allows her to provide coaching and support for elementary music teachers throughout the Fulton County school district. Mrs. Robins also has served on the SLO writing team for the both the Georgia Board of Education and the Fulton County school district. She is a member of the district’s Vanguard team, where she works with teachers throughout her building to build capacity for meaningful technology integration and personalized learning into instruction at all levels. She regularly works to provide professional development to others in her school and district. In addition to co-teaching the New Music Teacher Class for elementary music teachers in their first year teaching in the district, Mrs. Robins has recently joined Fulton’s Teacher Induction Program (TIP) as a Virtual Coach, where she mentors new teachers in all grade levels and subject areas throughout the district in an online environment.

She serves as a teacher representative on her school’s Governance Council, which works to create and oversee the execution of the school’s strategic plan. She has been twice honored as the Findley Oaks Teacher of the Year in 2011 and 2017.

RAQUEL RODRIQUEZ

•BRASS TACTICS: BUILDING VIRTUOSITY IN THE BRASS SECTION

Raquel Rodriquez is the Assistant Professor of Trumpet at Tennessee Tech University. Raquel is a versatile musician having appeared as a clinician, soloist, and chamber musician throughout the United States and abroad. Raquel is principal trumpet of the Bryan Symphony Orchestra, 1st trumpet with the Brass Arts Quintet (TTU Faculty Brass) and an associate member with Seraph Brass, a brass quintet comprised of top female brass players in North America. Dr. Rodriquez is a clinician for the Conn-Selmer and Denis Wick Companies. Raquel has been praised for her performances on trumpet and cornet.

She has been a trumpet/cornet prizewinner at NABBA (North American Brass Band Association), the US Open Brass Band Championships, the National Trumpet Competition, and the International Women’s Brass Conference. In 2013, Raquel recorded “Cincinnati Virtuosity – The Cornet Solos of Frank Simon and Herman Bellstedt” which is available on Amazon and iTunes. Active in her discipline, Raquel is the Editor of the Trumpet Technology Column in the International Trumpet Guild Journal and Co-Editor of the ITG Video Page. She has also presented sessions at the Midwest Clinic in Chicago, Historic Brass Society Conference, TMEA (TX), OMEA (OH), KMEA (KY), and the ITG Conference. Raquel served as an adjudicator at the National Trumpet Competition and ITG Conference.Dr. Rodriquez holds the DMA in Trumpet Performance from The University of North Texas and the MA and Bachelor’s degree in Music Education from West Texas A&M University. For more information about Dr. Rodriquez please visit her personal website: www.solotromba.com

NOELLE SALEH

•NOT YOUR DREAM JOB: HOW TO SUCCEED IN A LESS-THAN-IDEAL SITUATION

Ms. Saleh is the orchestra director at Sweetwater Middle School in Gwinnett County, GA. She holds an undergraduate degree in Music Education from the University of North Carolina at Greensboro (UNCG) where she studied viola with Dr. Scott Rawls and string education under Dr. Rebecca MacLeod. While at UNCG she served as the chapter president of ASTA and was a member of the Mu Phi Epsilon music fraternity. She also holds a Masters degree in Music Education from the University of South Carolina under the supervision of Dr. Gail Barnes. Prior to teaching in Gwinnett, Ms. Saleh was an orchestra director in Sumter, South Carolina where she helped build successful programs in Title I schools at both the middle and high school levels. Her orchestras consistently received superior ratings at Concert Festival and had many students selected to participate in Region and All-State events. She is passionate about helping young teachers transition into the profession, especially in lower-SES schools where she has spent her entire career.

DR. SHELLEY M. SANDERSON

•DONT BE SCARED! GET PREPARED! TIPS ON HOW TO PREPARE FOR THE GACE CONTENT EXAM

Dr. Shelley M. Sanderson, a native of Warner Robins, GA, joined the Young Harris College music faculty in the fall of 2015 as the Coordinator of Music Education. Dr. Sanderson received her PhD from the University of Florida (2015). While at the University of Florida she taught a freshman humanities course and assistant directed the UF Women's Chorale. Dr. Sanderson is a graduate of Georgia College and State University (MME) and Georgia College and State University (BME). She has also had previous K-12 teaching/conducting experiences in Middle Georgia. She taught general music, chorus, piano, music appreciation, and musical theater. She has musically directed and conducted multiple musicals. She had the opportunity in 2009 to perform with her Houston County High School choir in Carnegie Hall, New York City under the direction of guest conductor John Rutter. Dr. Sanderson has run a private voice and piano studio since 2006, has been published in the Florida Music Director and The Fifth International Symposium on Assessment in Music Education, and is an active choral clinician and international conference presenter. Dr. Sanderson was awarded the David Wilmot Prize for Excellence in Music Education (2014), while at the University of Florida and was the vocal winner for Georgia College and State University Aria/Concerto Competition (2010). Her major research interests include musical theater on the high school level, ethics in music education, music and the exceptional child, and music education assessment.

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JEFF SCHAEFER

•GUITAR ENSEMBLE MUSIC READING SESSION •GOT GUITAR GEAR •GUITAR IS NOT A FOUR LETTER WORD

Jeff Schaefer is the Guitar Director at Trickum Middle School. He holds a bachelor degree in music education from Georgia Southern University and a masters degree in music education from the University of Georgia. Schaefer has been teaching in Gwinnett County since 1999. For fourteen years he taught with an emphasis in Orchestra classes interspersed with Guitar and General Music. Since 2014, he has taught with an emphasis in Guitar, interspersed with General Music/Ukelele, Orchestra and Chorus. He enjoys spending time with his beautiful wife, two sons and two Springer Spaniels.

DAWN-MARIE SCHAFER •#STUCKINTHEMIDDLE...NOT!

Dawn-Marie Schafer is a Middle School choral director at Mason Creek Middle School in Douglas County. She has taught middle school chorus for 11 years out of the 17 that she has taught. During the other years she taught high school chorus and band. She has a BMus in Music Education both in Chorus and Band from The Hartt School, West Hartford, CT. She has also been the Organizer for GA Statewide Sixth Grade Honor Chorus for 5 years. For a while, she felt as though she was "stuck" in middle school. But, now she has realized that it is a great advantage in both teaching and in life to work with this level.

JEANETTE SHOREY •STORIES THAT SING

Jeanette Shorey is an Arts Integration Specialist who designs exciting musical lesson for children from Pre-K through 5th grade. She has her National Board Certification in Elementary Music K - 6 and her Masters of Science in Elementary Education with a Specialization in Literacy. Jeanette has been an elementary school music teacher for over 18 years and has also directed many children's choirs. She is currently living in Birmingham, AL and teaching at Oak Mountain Intermediate School and Vincent Elementary School. Jeanette integrates literacy skills into every lesson she teaches. She has presented at music, reading, and arts integration conferences throughout Florida and Alabama. Jeanette is in the process of publishing a book of lesson plans with Denise Gagne entitled Stories That Sing.

COLE SMITH

•WHAT I WISH I KNEW: THAT FIRST YEAR

A native of Conyers, Georgia, Cole Smith is currently the band director at Edwards Middle School and remains an active performer in the metro Atlanta area. As an educator and clinician, Cole has worked with students of all ages from the elementary music students at The Community Music Centers of Atlanta to the students of Decatur High School. As a performer, Cole has performed on saxophone, clarinet, and flute in various jazz and concert ensembles and in musical theatre productions such as Music Man, Hairspray, Footloose, and Gershwin’s Crazy for You. He has soloed with the Clayton State University Big Band in Spivey Hall and has marched with the Georgia State University Marching Band in the Macy’s Thanksgiving Day Parade.

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PARKER SMITH

•EXPLORING THE FRETBOARD - IMPROVISING USING THE CAGED SYSTEM •GUITARISTS NEED RHYTHM - TEACHING STRUMMING AND FINGER PICKING PATTERNS THROUGH SONGWRITING Parker Smith is the founder and owner of Guitar Shed, a modern music school in Atlanta that opened its doors in August of 2015. With over 15 years of teaching experience, including teaching at lesson studios, summer camps, preschools, elementary, and middle and high schools, he believes in maximizing each student’s true potential by customizing individual lessons. Believing that one is never too old or too young to begin the journey, Guitar Shed fosters music learning as a lifelong process. In addition to teaching improvisation to school aged students and adults, Parker spent 5 years creating music lessons for preschool students in Georgia and Texas. Parker performs as a vocalist, guitarist, bassist, and on mandolin, ukulele and piano. He has played innumerable gigs as a sideman, soloist, and leader of his group “Parker Smith and the Bandwith.” He has also shared the stage with members of Zac Brown Band, Imagine Dragons, Hiautus Kaiyote and Fruition. He has toured the country and independently released three albums, Garden Hills (2011), Solo Flight (2013), and Long Live Jazz Vol. 1 (2014). He specializes in blues, jazz, bluegrass, fingerstyle, slide guitar, songwriting and improvisation.

Parker holds a degree in Music Business from University of Miami and a master’s degree in Music and Human Learning from University of Texas at Austin.

ROBERT W. SMITH

•COPYRIGHT, PERSPECTIVE FROM A COMPOSER, A TEACHER AND A LAWYER.

Robert W. Smith (b. 1958) is one of the most popular and prolific composers in America today. He has over 600 publications in print with the majority composed and arranged through his long association with Warner Bros. Publications and the Belwin catalog. Mr. Smith is the President/CEO of RWS Music Company, exclusively distributed through C. L. Barnhouse. In addition, he is currently teaching in the Music Industry program at Troy University in Troy, Alabama. His teaching responsibilities are focused in music composition, production, publishing and business.

JIM SOLOMON

•IMPROVISATION WITH ORFF INSTRUMENTS •SINGING GAMES FOR PRIMARY •DRUM CIRCLE •CONGA PERCUSSION ENSEMBLE FOR ELEMENTARY SCHOOL Author of eight books, National Workshop Clinician, over 30 years experience teaching public elementary school Music.

Teaches Orff Level I at Eastman School of Music and Rhythmic Training/Percussion Ensemble at George Mason University and Anderson University in summers. Has presented at nineteen AOSA National Conferences. National Board Certified 2002. Past Teacher of the Year for St. Johns County, Florida. Website: congatown.com

DAVID STARNES

•COPYRIGHT, PERSPECTIVE FROM A COMPOSER, A TEACHER AND A LAWYER.

David Starnes joined the School of Music at Western Carolina University in the summer of 2011 as Assistant Professor/ Director of Athletic Bands. He directs the Pride of the Mountains Marching Band and the Symphonic Band. A native of Chattanooga, Tennessee, Mr. Starnes graduated magna cum laude from the University of Tennessee, Knoxville in 1988, where he earned a Bachelor of Science degree in Music Education. Prior to coming to Western Carolina, Mr. Starnes was the founding Director of Bands at Kennesaw Mountain High School in Kennesaw, Georgia, where he served for eleven years.

Mr. Starnes is sought out nationally and internationally as an adjudicator, clinician, guest conductor and creative designer.

He serves as an adjudicator for several state, national, and international organizations including Bands of America (where he is a member of the Advisory Board), Winter Guard International, and Drum Corps International, where he served as an adjudicator and Percussion Caption Head from 1998-2002. He was the Program Coordinator for Spirit Drum and Bugle Corps from 2003-2007 during which time they were four-time world-class finalists. Mr. Starnes is a member of the Yamaha Educational Artist program and an educational artist for Innovative Percussion and Evans Drumheads. He also serves as an Education Consultant at Music For All in Indianapolis, Indiana, and was appointed program director for the Honor Band of America, which appeared in the Tournament of Roses Parade in Pasadena, California in 2005 and 2009 and 2017.

DR. BRIDGET SWEET

•GROWING MUSICIANS: CULTIVATING MUSIC CLASSROOM CLIMATES FOR ADOLESCENTS •NAVIGATING ADOLESCENT FEMALE AND MALE VOICE CHANGE Bridget Sweet is Assistant Professor of Music Education at the University of Illinois in Urbana-Champaign, Illinois where she teaches music education pedagogy, including choral methods and literature, middle-level general music methods, graduate courses in music education, as well as a course focused on the development of healthy practices for all musicians. Dr. Sweet has worked extensively with adolescent singers as a teacher, clinician, and adjudicator. She recently published the book "Growing Musicians: Teaching Music in Middle School and Beyond" (2016, Oxford University Press) and her research interests include middle level choral music education, female and male adolescent voice change, educating and empowering adolescent music students, and the intersection of LGBTQ issues and music education.

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LATASHA THOMAS-DURRELL •INCLUSIVE SPACES: GENDER AND SEXUALITY IN MUSIC EDUCATION

Latasha Thomas is currently a Ph.D student in music education at Michigan State University, where she assists and teaches songwriting courses and serves as supervisor for music education student teachers. Her research interests include LGBTQ issues in music education and music education and social justice. Prior to beginning her studies at Michigan State University, Thomas held teaching positions in Tennessee, where she taught general music and band classes. Thomas holds a MM in Music Performance from the University of Central Arkansas and a MM in Music Education from the University of North Carolina at Greensboro. She holds a BM in Music Education from the University of Tennessee at Martin.

BONITA THOMIE •LEARNER CENTERED MUSIC

Bonita Thomie received her degrees from Macon, Jr. College, Georgia College, and Georgia State University. She has been teaching Music 38 years combined in the Bibb and Houston County School Systems and served as an adjunct professor at Wesleyan College. She was District Eleven Elementary chair for eight years and served as GMEA and was teacher of the years at two schools. State Elementary chair for two years. She is a past director for the Houston County Honor Choir which under her leadership performed at the GMEA Teacher In-Service Conference. She is the Minister of Music at New Fellowship Baptist Church in Macon, GA, the MIOSM Chair for GMEA, and presently teaches music at Parkwood Elementary in Warner Robins, GA where she teaches general music, chorus, and strings. Ms. Thomie has discovered allowing students to work at their own pace with through Learning Centers is a great motivation for them. The students love it.

DR. MARCY THURMOND SIMMONS •LET'S INTEGRATE!

Dr. Marcy T. Simmons has been a music educator for the past 22 years. She is currently a music specialist at Beecher Hills and West Manor elementary schools in Atlanta Public Schools. She has provided leadership as a 2005 and 2017 Teacher of the Year, team leader for two elementary schools, an Inspiring Leader with ArtsNOW, Fostering an Arts Rich Education (F. A. R. E), the Assistant Business Manager and Business Manager of the Atlanta Public Schools Elementary Honor Chorus, Consultant/ Presenter for McGraw-Hill and Associates and as a Master Teacher with the artsAPS professional development project. She has been instrumental in supporting the APS goal of developing and keeping Effective Teachers in Every Classroom by conducting professional development courses for new and veteran teachers. Her love for the arts has afforded her the opportunity to serve as a leader in Douglas County through the establishment of Integrative Arts Creations, Inc.; a non-profit organization with the goal of providing research-based methods to promote academic success via arts integration and develop young artists who aspire to pursue careers in the arts industry. Dr. Simmons has a BA (Bachelor of Arts) in music/voice from Morris Brown College; a M. Ed (Masters of Education) in Curriculum and Instruction from Coppin State College and an Ed. D (Doctorate of Education) in Teacher Leadership from Walden University. She believes that “the arts provide a sure connection which joins all subject matter to help develop the whole being and produce successful citizens in our global society.”

DENNY TURNER

•WHAT THE PRINCIPAL WANTS TO HEAR IN THE INTERVIEW

As a performer, teacher, and administrator, Denny Turner's career spans a wide variety of ages and disciplines; everything from Pre-School to Graduate School. He holds degrees in Education and Performance from Auburn University, Administration and Supervision from Georgia State University, and Educational Leadership from the University of Georgia. Mr. Turner's bands have performed at numerous state, regional, and national conferences including NBA/CBDNA, MENC Southern Regional, GMEA, and UGA. Schools under his administrative leadership earned awards for Highest Growth, Achievement, and Community Engagement from the Georgia Dept. of Education.

ROBERT TURNER

•PERCUSSION MAINTENANCE: KEEP PERCUSSION EQUIPMENT FUNCTIONAL WITH TLC AND TRIPS TO THE HARDWARE STORE. Robert Turner is the assistant director of bands at Greater Atlanta Christian School in Norcross, GA. Prior to working at GACS he worked in Barrow County as an itinerant band director and percussion coordinator for all middle schools. Mr. Turner earned his BMUS, MMEd, and EdS degrees in music education from the University of Georgia. While at GACS he has received a "Citation of Excellence" form the NBA. His professional memberships include Georgia Music Educators Association, National Association for Music Education, National Band Association and Percussive Arts Society.

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JERRY ULRICH

•FOSTERING EXCELLENCE AND OWNERSHIP AMONGST NON (MUSIC) MAJORS AT THE COLLEGIATE LEVEL •TRANSFORMING (NON-SINGING) MALES INTO SINGERS

ASCAP award-winning arranger/composer Jerry Ulrich is originally from Illinois, where he received his early training in music and interest in songwriting. His compositions and arrangements are in the catalogs of six publishers in the US and abroad. His music has been performed at Carnegie Hall, Lincoln Center, and on national radio and television, as well as throughout Europe, Asia, and Australia. He has composed commissioned works for professional choirs and orchestras, including the Grammy-award winning Orchestra of St. Luke’s, and has written music for colleges and universities throughout the United States. Ulrich is currently director of choral activities in the School of Music, where he directs two mixed choirs and the all-male Georgia Tech Glee Club. Ulrich came to Atlanta from LaGuardia High School of Music & Art and Performing Arts (the Fame school) in New York City, where his choirs were featured in all major NYC concert venues and on national and international television and radio. Ulrich's prior teaching experience includes university positions in Ohio and New York. During 1990-1991 he was Visiting Fulbright Professor of Music at the Royal Scottish Academy of Music and Drama in Glasgow, Scotland. His early training included four years singing with legendary conductor Robert Shaw in the Atlanta Symphony Chorus and Chamber Chorus. In the past ten years, five different choral ensembles under his direction have appeared over a dozen times at New York City’s Carnegie Hall.

JODY UNDERWOOD

•21ST CENTURY MUSIC LABS, INCLUDING IPADS! •SOUND SYSTEMS BASICS FOR THE MUSIC EDUCATOR Jody has been working in the field of music education technology for over 15 years. His cutting-edge product knowledge (of music, audio, video and computer technology) is evident in his daily interactions with teachers. Because of his love of music, Jody also devotes many non-working hours to utilizing his musical gifts at church. In addition to leading the church band from the piano during weekly services, he also sings, plays keyboards/keytar and runs sound and lighting for his 80's band, MIXTAPE. Jody resides in Murfreesboro, TN with his wife, 2 daughters and newborn son. Jody earned his BA in Commercial Keyboard with a Technology Emphasis at Belmont University in Nashville, TN.

DR. DAVID W. VANDEWALKER

•THE ART OF THE START: BUILDING EXCELLENCE THROUGH EFFECTIVE FUNDAMENTAL WARM-UP STRATEGIES •STRATEGIC BOOSTERS: HOW TO THRIVE, NOT SURVIVE! •MUSIC PROGRAMS BUILT TO LAST: ASPIRE, ACHIEVE, AND CREATE •HOW PURE IS YOUR ENSEMBLE’S INTONATION? INTRODUCING THE YAMAHA HARMONY DIRECTOR David W. Vandewalker is the Coordinator of Performing Arts for the Fulton County Schools supporting the music education and music therapy faculty who serve 96,000 students in Atlanta. David is the artistic director and conductor of the Metropolitan Atlanta Youth Wind Ensemble and associate director of the Tara Winds (Sudler Silver Scroll award-winning community band). Additionally, he served as the assistant director of bands at Georgia State University (2012-2016) and Director of Bands at Harrison High School in Kennesaw, Georgia (2000-2012). Dr. Vandewalker earned degrees at Baylor University, Central Michigan University, and Boston University where he received the Doctor of Musical Arts degree in Music Education. A Conn-Selmer Artist/Educator, he has led concerts before esteemed audiences such as the CBDNA/NBA, Music for All National Concert Festival, and the Midwest Clinic. Marching Bands under his direction received honors including participation in the 57th Presidential Inaugural Parade, 2009 & 2014 Macy’s Thanksgiving Day Parade, ranked top-ten nationally by the 2013 College Band Directors National Association (CBDNA), and Bands of America Grand National Finalist. Dr. Vandewalker is a recipient of the Sudler Flag of Honor, nine-NBA Citation of Excellence Awards, three National Wind Band Honors Awards, is recognized in multiple editions of Who's Who Among American Teachers, and is an elected member of the American Bandmasters Association. David and his wife, Pamela, reside in Marietta where she is Minister of Creativity and Worship Programming at Johnson Ferry Baptist Church with over 900 children actively involved in music making each week.

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ROLAND VENTURA

•MAKING THE MOST OF EVERY MINUTE - BLOCK OR NO BLOCK

Roland Ventura is currently the Director of Bands at Pinckneyville Middle School in Peachtree Corners, Georgia. Since his appointment in 2007, the Pinckneyville Band program has grown to include over 340 students. Students in the PMS Band program participate in several GMEA band events such as District Honor Bands, All-State Band, Solo & Ensemble, and Large Group Performance Evaluation. The bands at Pinckneyville Middle School have received consistent superior ratings for the past 10 years. They have performed at both the Middle School Band Festival (MidFest) at the University of Georgia and at the Southeastern United States (SEUS) Band Clinic at Troy University. In addition to his duties as band director, Mr. Ventura has also served as the lead International Baccalaureate (IB) teacher for the Pinckneyville Fine Arts Department, GMEA Middle School Band Chair for district 13 and is a Lead Teacher for Middle School Bands in Gwinnett County. Mr. Ventura is an active adjudicator, clinician and consultant for groups throughout Georgia, Alabama and Florida.

CARYN VOLK

•GUITAR ENSEMBLE READING SESSION

Caryn Volk has been a music educator for twenty years, with positions including elementary and secondary general music, chorus, guitar, orchestra, and band. She has increased enrollment in performance-based music programs through creative recruitment and retention at schools in Arkansas, Colorado, Nebraska, and now Georgia. She has performed at Carnegie Hall, and toured the Midwestern United States, Germany, Italy, and Austria as a member of both vocal and instrumental ensembles. Ms. Volk holds a Bachelor of Music Education from Drake University in Des Moines, Iowa, and Master of Arts from The University of Northern Colorado in Greeley. She began teaching in Gwinnett County in 2007, and has been a proud member of the North Gwinnett Middle School faculty since the school opened in 2009.

CLAIRE WAISTELL

•GRASPING THE BIGGER PICTURE: AN ALTERNATIVE APPROACH TO THE REHEARSAL PROCESS

Claire Waistell is the band director and instructor of leadership at Sylvester Middle School in Burien, Washington, outside of Seattle. Ms. Waistell is a National Board Certified Teacher, also earning a Certificate of Educational Enquiry from the University of Cambridge and undergraduate degree from Louisiana State University. In addition to teaching in Washington, Ms. Waistell has also taught in Louisiana and Hong Kong.

ALICIA W. WALKER

•GUYS & GALS...I'M NOT ONE OF THEM! CONDUCTING THE (OTHER) GENDER SPECIFIC ENSEMBLE Alicia W. Walker is Associate Director of Choral Studies at the University of South Carolina, where she directs the University Chorus and the USC Men’s Chorus, and teaches undergraduate and graduate courses in Conducting and Music Education.

An experienced music educator, Dr. Walker taught at the elementary, middle, and high school levels in Florida and Georgia prior to joining the music education faculty at the University of Georgia. She travels each year to South Africa to teach continuing education for choral directors, and has recently taught conducting master classes in Taiwan. Dr. Walker is immediate Past President of Southern Division ACDA, and is the founder of Facets, a leadership retreat for women conductors. She maintains an active schedule as a guest conductor, clinician, and adjudicator.

DR. PATRICK WARFIELD

•MAKING THE MARCH KING: THE SOUSA MARCH IN FORM, STYLE, AND PERFORMANCE

Patrick Warfield, a specialist in American musical culture, is author of Making the March King: John Philip Sousa’s Washington Years, 1854–1893 and editor of Six Marches by John Philip Sousa, a volume in the series Music of the United States of America. He is on faculty of the University of Maryland were he serves as Associate Director of the School of Music.

Dr. Warfield has presented at conferences and meetings of the American Musicological Society, the Society for American Music, the Gesellschaft zur Erforschung und Förderung der Blasmusik, and the Nineteenth-Century Studies Association.

He has delivered keynote addresses at the North American British Music Studies Association and the Frederick Loewe Symposium on American Music, and has served as a speaker at the International Conference on Nineteenth-Century Music and the annual American Band History Conference. His publications have appeared in The Journal of the American Musicological Society, American Music, The Journal of the Society for American Music, and Nineteenth-Century Music Review.

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DANIEL WELBORN

•STANDOUT STUDENT TEACHING: MAKING THE MOST OF YOUR PRE-SERVICE TEACHING EXPERIENCE Daniel Welborn is Assistant Professor in instrumental music education at Georgia State University in Atlanta. He holds a Ph.D. in music education from the University of Southern Mississippi, a Masters of Education in educational leadership and administration from Georgia State University and a Bachelor of Music Education from the University of Southern Mississippi. Dr. Welborn has been involved with music education at the collegiate, secondary and elementary levels for over 20 years. Thirteen of these years involved teaching and growing the band program at Mabry Middle School in Marietta, Georgia. The Mabry Band is a feeder program for the Lassiter High School Band program. Under his direction, the Mabry Middle School Band program achieved great success. Most notably, the band enjoyed an invitational performance at the internationally-renowned Midwest Clinic in Chicago, Illinois in 2007. The band also performed at the Georgia Music Educators Association Convention in Savannah, Georgia that same year. Prior to his appointment as Visiting Lecturer at Georgia State University in 2011, he spent two years as a doctoral conducting assistant with the University of Southern Mississippi Wind Ensemble where he studied with Dr. Thomas Fraschillo. Dr. Welborn’s research interests include instrumental music pedagogy, music psychology and adult musicians as lifelong learners. Dr. Welborn has performed as a hornist with both the Cobb Wind Symphony in Marietta and the Tara Winds in Atlanta. Both ensembles have established a fine reputation, having performed at numerous national conventions and conferences including the Midwest Clinic, American Bandmasters Association and the College Band Directors National Association.

BRIAN WESOLOWSKI

•SKYROCKETING YOUR MUSIC PROGRAM WITH MEANINGFUL ASSESSMENT

Dr. Brian Wesolowski is an Assistant Professor of Music Education at the University of Georgia, Hugh Hodgson School of Music where his teaching focuses on quantitative research design, assessment and policy in music, and psychometrics. He earned his Ph.D. in music education from the University of Miami in Coral Gables, Florida. Dr. Wesolowski's research interests include rater behavior, scale development, and policy of educational assessment. He has published over 40 research articles, manuscripts, and chapters on music assessment that can be found in The Journal of Research in Music Education, Bulletin of the Council for Research in Music Education, Educational Assessment, PLOS ONE, The SAGE Encyclopedia of Educational Research, Measurement, and Evaluation, The Oxford Handbook of Assessment Policy and Practice in Music Education, Music Perception, Musicae Scientiae, International Journal of Music Education, Psychology of Music, Psychomusicology: Music, Mind, and Brain, Research Perspectives in Music Education, Music Educators Journal, Saxophone Symposium, Florida Music Director, and Georgia Music News. He has worked closely with the Georgia Department of Education, the National Coalition for Core Arts Standards (NCCAS), the State Education Agency Directors of Arts Education (SEADAE), NAfME's Model Cornerstone Assessment Pilot Study, and the National Board of Professional Teaching Standards on music assessment-related matters. Dr. Wesolowski currently serves as chair of NAfME's Assessment Special Research Interest Group (SRIG) and serves on the editorial review committees of Music Educators Journal and the Journal of Research in Music Performance.

LAUREN WHITHAM

•MUSIC LITERACY: USING CPDL TO PROMOTE SIGHT-SINGING IN THE CHORAL CLASSROOM

Lauren Elizabeth Whitham is a DMA student at the University of Georgia, where she studies conducting with Dr. Daniel Bara and Dr. J.D. Burnett. She is currently finishing her dissertation and plans to graduate in December 2017. Under her direction, Ms. Whitham’s choirs have performed at NAfME Conferences in Washington State in 2010 and 2014, and have been recognized at contests and festivals for their superior work. In addition to her K-12 work in the public schools, Ms. Whitham has directed university choirs at Western Washington University, Pacific Lutheran University, and the University of Georgia, and has taught undergraduate courses in aural skills, keyboarding, conducting, secondary choral methods, and choral literature. As an active member of NAfME, Ms. Whitham’s previous conference presentations include “Music Literacy: Finding the Key to Independent Learning in the Choral Classroom,” and “Creative Classroom Management: Stop Disciplining and Start Teaching.” Ms. Whitham earned her master’s degree in choral conducting from Western Washington University with Dr. Leslie Guelker-Cone, and her bachelor’s degree in music education, from Pacific Lutheran University with Dr. Richard Nance.

CECIL WILDER

•A CONVERSATION WITH CECIL WILDER

Cecil Wilder has had a 51 year career in music education. During that time he has taught jr. high school and high school band, high school orchestra and holds bachelors and masters degrees from Auburn University and has done additional graduate work at Columbus State University, The University of West Georgia, and Northwestern University, where he was a member of the 1991 Summer Fellows Program. He taught in Muscogee County, GA at Rothschild Jr. High School and Kendrick High School, in Clayton County, GA where he taught band at Jonesboro Sr. High School and was conductor of the Clayton County Youth Symphony and served as instrumental music lead teacher. He also was adjunct professor of brass at Auburn University and Columbus College. As a professional musician, he was principal trombonist of the Columbus, GA Symphony orchestra, served as music director, conductor, and arranger for the Miss Georgia Scholarship Pageant and for the past twenty years has with the Atlanta 17 Orchestra, a well known jazz band. He has been executive director of GMEA for the past 21 years.

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EMILY WILLIAMS BURCH

•THE WORLD IS YOUR OYSTER! BUILDING CROSS-CURRICULAR CONNECTIONS THROUGH FOLK MUSIC AND MOVEMENT Emily Williams Burch, is founder and artistic director of RISE Chorales, a community choir for youth of all ages with a mission to “inspire singing excellence” through singing education, socials, and service. Emmy received her Bachelors in Music Education from Louisiana State University and her Masters in Music Education from Florida State University. During her first 10 years of teaching experience, Emmy has served as Director of Education Music for the Savannah Children’s Choir, taught 6-8 chorus, K-8 general music, and currently travels the country as a Teacher Trainer for Quaver’s Marvelous World of Music Curriculum and Artistic Advisor for Perform International. Emmy serves ACDA as the Repertoire Standards Chair for Children’s and Youth Community Choirs for the Southern Division and has been the treble honor choir coordinator for Southern Division in both Jacksonville (2014) and Chattanooga (2016). She also serves as a host and liaison for the International Conducting Exchange Program.

ARTHUR WRIGHT, III

•THE INS AND OUTS OF THE BOOSTER ORGANIZATION: HELPFUL TIPS FOR THE MUSIC EDUCATOR

Arthur Wright, III is a graduate of Charleston Southern University with a B.A. degree in Music Education and a graduate of The University of Georgia with a Master in Music Education degree. Mr. Wright is currently a candidate for the Doctor of Education in Music Education at The University of Georgia. Wright has taught at the secondary and university level in Augusta, GA and Savannah, GA. He was named Teacher of the Year in 2006 during his tenure as Director of Bands at the Academy of Richmond County in Augusta, GA. Mr. Wright currently serves as Director of Bands at Berkmar High School, in Lilburn, GA where the program has consistently earned superior ratings at concert and marching contests since his arrival. Mr. Wright is a member of the Georgia Music Educators Association, National Education Association, Kappa Alpha Psi Fraternity, Inc., Kappa Kappa Psi National Honorary Band Fraternity, and Phi Mu Alpha Sinfonia Fraternity of America.

Wright is often sought after as an adjudicator, clinician, and mentor. He has recently presented at Music Education Conferences in Arizona, Rhode Island, Washington, Indiana, Illinois and recently at the National Association of Music Education In-Service Conference in Grapevine, Texas.

PATRICK WRIGHT

•THERE ARE HOW MANY SETS? - TEACHING COMPETITIVE DRILL WITH EFFECTIVENESS AND EFFICIENCY Patrick Wright has served as the Visual Coordinator at Alan C. Pope High School in Marietta, GA since 2007. His responsibilities include teaching marching technique and choreography to both the marching band and indoor drum line. Prior to coming to Pope, Patrick was a member of the DCI finalist Spirit of Atlanta Drum and Bugle Corps for three years (’01, ’02, ’04). He received his bachelor's degree in Music Education from Georgia State University and his master's from the University of Hawaii. He currently teaches music with Paula Williams at High Meadows School in Roswell, GA.

SPENCER WRIGHT

•LGPE CHORAL SIGHT READING THE "WRIGHT" WAY

Spencer Wright is in his 19th year as choral director at Dawson Co. HS. He is active as an adjudicator and clinician. The Dawson County HS Chamber Singers is an auditioned choir that is very active in performing. They have performed for the Georgia governor and legislature, Atlanta Hawks, and many community events. They performed for the GMEA convention in 2007. They are winners of many national competition awards. The Chamber Singers have a long history of LGPE Superior ratings.

TREY WRIGHT •JAZZ GUITAR ESSENTIAL LISTENING

Trey Wright is a jazz guitarist, composer, and recording artist based in Roswell, Ga. In addition to performing with his trio, Trey also freelances in the Athens and Atlanta area and has performed with Yellowjackets bassist Jimmy Haslip, John Patitucci, Joe Lovano, Corey Christiansen and Darmon Meader of the New York Voices. Trey has performed at the Montreux Jazz Festival, Jazz A Vienne, and the World Sacred Music Festival in Bangalore, India. As a solo guitarist and with his trio, Trey has been a featured performer at the Athens Music and Arts Festival, the Lake Oconee Jazz Festival, and the Atlanta Jazz Festival. In early 2008, Trey began playing with the Georgia Symphony Jazz Orchestra. Several of Trey’s compositions with the group have received international airplay and have been featured on Sirius radio and NPR’s All Things Considered. In December of 2002, Trey completed a Master of Music degree in Jazz Studies at Georgia State University and he currently teaches Applied Jazz Guitar, Jazz Theory and Composition, Jazz Guitar Ensemble, Jazz History, Jazz Improvisation and The History of Rock at Kennesaw State University. Trey has also taught at LaGrange College, Gainesville College, the Atlanta Institute of Music and was a Jazz Artist in Residence at the University of Georgia. In addition, Trey writes a column on Jazz Harmony for the Guitar for the quarterly print magazine Just Jazz Guitar. His most recent CD Songs From Oak Avenue was released on Blue Canoe Records in the spring of 2015. winter 2017 // georgia music news

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PERFORMANCES CSU WIND ENSEMBLE JAMIE L. NIX, DIRECTOR

The CSU Wind Ensemble, conducted by Dr. Jamie L. Nix, is comprised of the top music majors in the Schwob School of Music at Columbus State University. A primarily undergraduate ensemble, with most students hailing from the state of Georgia, they perform chamber and large ensemble repertoire spanning 500 years. Through collaborations with world-class performing artists and the performance of new works by highly regarded composers, the CSU Wind Ensemble has distinguished itself as a leader among university ensembles. Recent performances include the 2015 CBDNA National Conference, the 2012 CBDNA/NBA Southern Division Conference, and the 2012 GMEA Conference. Guest soloists have included artists Joseph Alessi, George Curran, Esteli Gomez, Lindsay Kesselman, Chris Martin, the Donald Sinta Quartet, Phil Smith, Charles Vernon, John Bruce Yeh, and many others. Through the annual Conductors Workshop, the ensembles have hosted conductors Frank Battisti, Eugene Corporon, Paula Crider, Steven Davis, Frederick Fennell, Col. Hal Gibson, Gary Green, Donald Hunsberger, Jerry Junkin, James Keene, Craig Kirchhoff, Allan McMurray, H. Robert Reynolds, Mark Scatterday, Kevin Sedatole, and Mallory Thompson. The CSU Wind Ensemble has been active in the commissioning of recent new works, including Stephen Goss’s Fantasia for Guitar and Chamber Winds, Zhou Long’s Ancient Echoes: Concerto for Wind Ensemble, Robert Beaser's song cycle The End of Knowing, John Mackey’s Fanfare for Full Fathom Five, Paul Dooley's Point Blank, Carter Pann's Symphony for Winds, and Mason Bates' Sea Blue Circuitry. The ensemble’s newest CD, Prelude, Fugue, and Riffs, will be released on the Summit label in 2017.

DICKERSON MIDDLE SCHOOL

PERCUSSION ENSEMBLE SCOTT BROWN, DIRECTOR

Since its inception in the spring of 2002, the Dickerson Percussion Ensemble has performed for numerous festivals and conventions including the 2003 National Middle School Association Conference, the 2004 Georgia Music Educator's Association Conference, the 2005 National Band Association Southern Div. Conference, the 2010 & 2014 Sandy Feldstein National Percussion Festivals, and the 2014 Midwest Clinic. In addition, Mr. Brown and the Dickerson Percussion Ensemble presented a clinic/performance, "Developing a Successful Middle School Percussion Ensemble", for the GMEA Conference, PASIC, and The Midwest Clinic. In 2006, 2009, and 2013 the ensemble received Commendations from the Governor of Georgia, Proclamation from the Cobb County Board of Commissioners in 2014, Citation of Excellence from the Percussive Arts Society in 2010 and 2014, and a Letter of Congratulation from President Barack Obama in 2014. The ensemble has also received invitations to perform for the Niu Valley Percussion Festival in Honolulu, Hawaii, the Western International Band Clinic in Seattle, Washington, at the University of Moscow in Moscow, Russia, and at Carnegie Hall in New York. Past guest artists and clinicians for the ensemble include: Ralph Hardimon, Nick Angelis, Emil Richards, Lalo Davila, Glen Caruba, Dr. Tony McCutchen, Dr. John Parks, Sonny Emory, Kit Chatham, Michael Spiro, "Boomshaka" from Northwestern University, Fushu Daiko Taiko Ensemble, Dom Famularo, Yasukazu Kano of Kodo, Nick Petrella, She-e Wu, Patrick Sheridan, Andy Bliss, and Zoro. Alumni of the Dickerson Percussion Ensemble have continued their percussion studies at Florida State University, University of Michigan, University of Georgia, University of Maryland, University of North Texas, and the Eastman School of Music.

FLAT ROCK MIDDLE SCHOOL

SYMPHONIC BAND MATT PRICE, DIRECTOR

The Flat Rock Symphonic Band has been invited to be a featured performing ensemble at the 2003 National Middle School Band Conference, the 2004, 2013, and 2016 Southeastern United States Band Clinic at Troy University, the signing of the 2004 HOPE Scholarship Legislation with Governor Sonny Purdue presiding, the 2007 and 2014 Georgia Music Educators Association In-Service Conference, the 2009, 2012, and 2016 University of Georgia Midfest Band Festival, the 2015 Music for All Southeastern Regional Band Clinic at Georgia State University, the 2016 University of Alabama Honor Band Festival, the 2016 Reinhardt University Band Clinic, and the opening of the 2016 Georgia General Assembly with Nathan Deal presiding. Flat Rock bands have consistently received Superior ratings at GMEA Performance Evaluation, the All-Star Music Festival, and the Carowinds Band Festival for the last 20 years. The band has also performed at Walt Disney World and Six Flags Over Georgia. Over the years, FRMS band students have consistently participated in the Georgia All-State Band, the GMEA District VI Honor Band, the John Phillip Sousa MS Honor Band, the UGA Midfest Honor Band, and the GMEA Solo/Ensemble Festival. The Flat Rock Band program strives to provide as many educational experiences as possible in order to provide an enriching curriculum for all students.

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PERFORMANCES HARRISON HIGH SCHOOL

WIND ENSEMBLE

JOSHUA RAY & JONATHAN GROGAN, DIRECTOR

The Harrison Wind Ensemble is a Sudler Flag recipient and has performed at the Mid- West Clinic two times (1999, 2007). They have performed at the Music for All National Festival (2003, 2006, 2013)multiple times as well as the UGA's January Festival (2009, 2014). The ensemble was also a featured performer at GMEA (2005, 2009). In 2012 the Harrison Wind Ensemble performed at the CBDNA conference.

HIGHTOWER TRAIL

8TH GRADE SYMPHONIC BAND ANDREW C. COLE & FRED NORTON, DIRECTORS

The Hightower Trail Band is the primary feeder for the award winning Pope High School Band and has produced outstanding musicians for the past 22 years. The band program consists of 350 students in grades 6-8. The bands have achieved consistent superior ratings at the District 12 Band Large Group Performance Evaluation. Band members consistently earn positions in the District Honor Bands and All-State Bands. Classes rehearse for 42 minutes daily. In 8th grade, students are typically divided by ability level. Extracurricular opportunities include Small Ensembles such as Flute Choir, Clarinet Choir, Double Reed Ensemble, Low Brass Ensemble, Percussion Ensemble, 7th Grade Jazz Band, and 8th Grade Jazz Band.

Directors are available for help every day before and after school. Students use this time to pass-off method book lines, prepare for auditions, and satisfy their weekly practice requirements.

JACKSON COUNTY HIGH SCHOOL

WIND ENESMBLE NICHOLAS A. GOLDING, DIRECTOR

The Jackson County High School Wind Ensemble is based on a true one player per part model, and consitently receives superior ratings at the grade 6 level. It is the most advanced of the four JCCHS concert ensembles, and has been a guest performer at the KSU Concert Band Invitational in 2014, 2016, and 2017.

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PERFORMANCES LASSITER HIGH SCHOOL

SYMPHONIC BAND

JAMES E. THOMPSON JR, JEFF HARPER, KIMBERLY SNYDER, DIRECTORS

A commitment to music making is a way of life at Lassiter High School. With the Symphonic Band Program as the core of the band curriculum, our students strive to attain excellent musical fundamentals that will carry over into any ensemble.

Lassiter’s top symphonic band has performed at the Mid-West International Band and Orchestra Clinic in both 1989 and 1996. The top two symphonic bands have performed at the Musical for All National Concert Band Fesitival in 1993, 1995, 2002, and 2015. Lassiter Chamber Ensembles perform locally, regionally, and nationally. The Lassiter Flute Choir has performed at the Georgia Music Educators Association Convention in 1986, the Tri-State Band Clinic at Florida State University in 1987, and the Mid-west International Band and Orchestra Clinic in 1989. Additionally, our Clarinet Choir has performed at the 1992 University of South Carolina Band Clinic and the 1994 University of Illinois Clarinet Choir Clinic. The Lassiter Trumpet Choir performed at the 1994 Convention of the International Trumpet Guild. Both the Trombone Choir and Percussion Ensemble performed at the Bands of America National Concert Band Festival in Chicago, Illinois in 1995. The Percussion Ensemble performed additionally at the BOA NCBF in both 2000, 2002, and 2015 and at the Mid-west International Band and Orchestra Clinic in December 2005 and 2011. Whether it is in a symphonic band, marching band, jazz ensemble, or chamber group, Lassiter Band students enjoy making music. Our commitment to music making is a way of life.

NORTH GWINNETT MIDDLE SCHOOL

PERCUSSION ENSEMBLE TRAVIS DOWNS, DIRECTOR

The North Gwinnett Middle School Percussion Ensemble contains students from 6th through 8th Grade. Members are exposed to music written specifically for the percussion ensemble, as well as Classical, Latin and non-traditional music. Members are trained in all aspects of percussion playing, providing individualized instruction they would not normally receive in the full band setting at the middle grades. The ensemble meets once a week after school year round. The NGMS Percussion Ensemble was selected to perform at the 2015 Sandy Feldstein National Percussion Festival, part of the Music for All National Festival presented

by Yamaha in Indianapolis and has also participated in the Lassiter Percussion Ensemble Symposium for the last three years held at Lassiter High School in Marietta, Georgia.

PARKVIEW

TROMBONE CHOIR JASON ATHA, DIRECTOR

Founded in 2014, the Parkview Trombone Choir was created as a way for a few strong trombonists at Parkview to get chamber experience. Over the years the ensemble has transformed into a serious performing ensemble with invitations to play at the Southeast Trombone Symposium at Columbus State and The GMEA Conference Lobby. Members of the Parkview Trombone Choir are also members of the Atlanta Symphony Youth Orchestra, Atlanta Youth Wind Symphony, and the Metropolitan Symphony Youth Orchestra. 60% of the ensemble takes privately from instructors such as Nathan Zgonc (Atlanta Symphony), Bryan Hecht (Atlanta Symphony), Ed Nicholson (Emory University), and Bill Mann (Georgia State University). The ensemble is extra curricular and meets 1-3 times per week, depending on the month.

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PERFORMANCES PINCKNEYVILLE MIDDLE SCHOOL

SYMPHONIC WINDS ROLAND VENTURA, DIRECTOR

The Pinckneyville Middle School band program is comprised of approximately 320 students, who begin their band experience in 6th grade. Students are involved in a variety of ensembles including 4 different concert bands, several different small ensembles, as well as a full orchestra. The Pinckneyville Symphonic Winds is the premier group of the program and consist of highly dedicated 8th graders. Student of the PMS Band program regularly participate in GMEA District and All-State events.

In 2017, 24 members of the band participated in the District 13 Honor Bands while 4 members continued on to participate in the Georgia All-State Band. In recent years, the Symphonic Winds have performed as featured ensembles at the 2013 Middle School Band Festival (MidFest) at The University of Georgia and at the 2011 Southeastern United States Middle School Band Clinic (SEUS) at Troy University.

SAVANNAH RIVER WINDS RICHARD D. BRASCO, DIRECTOR

Savannah River Winds, conducted by Richard D. Brasco, was established in May 2001. The ensemble is comprised of band directors, musicians from various professional fields, and college students from Augusta University. Membership in the ensemble is by invitation and/or audition. The ensemble first performed for the Memorial Day Celebration in Columbia county, Georgia. Since then they have performed for the GMEA District the Honor Band Clinics, the Living Heritage Park concert series, North Augusta Arts Council summer Concert Series, Veterans Day concerts, the Burke county fine Arts concert series, and the Homeland Gardens concert series, in Aiken, South Carolina. SRW has performed at the 2004 and 2009 GMEA InService Conference, and at the South Carolina Music Education InService Conference in 2005 and 2012. The ensemble has commissioned David Shaffer, Larry Clark, and Paul Ayres to composed original works for wind ensemble, and wind ensemble and choir. SRW is in the process of commissioning Mr. Philip Sparke for an original piece to be premiered by the composer at the GMEA District Ten Honor Band Clinic in February of 2019. Savannah River Winds has had David Shaffer, Larry Clark, Steven Reineke, Brian Balmages, Robert Sheldon Williams Owens, Ralph Ford, and Pau Ayres from London, England as guest conductors. SRW performed a PRISM concert several times for the Westobou Festival held in Augusta, GA. Savannah River Winds was the 2010 recipient of the Sudler Sliver Scroll Award for adult bands. This award is sponsored by the John Philip Sousa Foundation and the Sudler Foundation.

SCHWOB

JAZZ ORCHESTRA DR. KEVIN WHALEN, DIRECTOR

The Schwob Jazz Orchestra is the flagship ensemble of the Jazz Studies Program.

Under the direction of Dr. Kevin Whalen, this 19-piece large jazz ensemble focuses on presenting the best in contemporary and classic big band music. The band is comprised of young artists from around the United States and the world and includes many of the finest musicians at the Columbus State University Schwob School of Music in Columbus, Georgia. Designed as a laboratory for the study of jazz music in American history, the band regularly presents music from all eras of jazz to diverse audiences throughout the region. Most recently, the Schwob Jazz Orchestra performed for First Lady Rosalynn Carter, Princess Khaliya Aga Khan, and Kessel Stelling at the Millennium Gate Museum in Atlanta and presented a world-premiere

by ASCAP Award-winning New York jazz composer Tyler Gilmore.

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PERFORMANCES THE GEORGIA

WOODWIND QUINTET

The Georgia Woodwind Quintet is Ensemble in Residence at the Hugh Hodgson School of Music. Since its founding in 1967, the quintet has maintained an active schedule performing woodwind chamber music from the early quintets of Danzi and Reicha to twentieth-century compositions. The quintet champions new compositions for woodwinds. It has sponsored seven Symposia for New Woodwind Quintet Music at the University of Georgia since 1978 and recorded a compact disc of winning compositions from past Symposia entitled Twigs: Winning Compositions from the University of Georgia Symposia for New Woodwind Quintet Music by ACA Digital Recordings, Inc. Their latest CD, CHROMA, was released in 2017 to critical acclaim.

UNIVERSITY OF WEST GEORGIA

WIND ENSEMBLE DR. JOSH BYRD, DIRECTOR

Under the direction of Dr. Josh Byrd, the University of West Georgia Wind Ensemble is comprised of the most advanced woodwind, brass, and percussion players at UWG. The group meets year-round with a focus on educational opportunities for its members through literature, conducting, and concerto performances. The ensemble is open to all West Georgia students.

ETOWAH HIGH SCHOOL

ELITE WOMEN'S ENSEMBLE WILLIAM J. HALL, DIRECTOR

Formed in 2011, the Etowah High School Elite Women’s Choir has transformed into the premier performing ensemble at the school. It is comprised of students from tenth to twelfth grade who represent the best of Etowah not only musically, but also academically and artistically. The group performs a wide array of repertoire including authentic music from all over the world, advanced 21st century compositions, operatic choruses, and traditional choral music for women's choir. Elite routinely receives superior ratings at GMEA Large Group Performance Evaluation, has members participate in GMEA All-State Chorus, and students who go on to college majoring in both music performance and music education. They have had the privilege to perform with numerous touring college choirs, professional opera musicians, the rock band Foreigner, at Turner Field in Atlanta, and with numerous guest conductors. Most recently, GA Southern University named the Elite Women Grand Champions at the 2016 Southern Invitational. William J. Hall, who holds degrees from GA Southern and Louisiana State Universities, conducts the Etowah Elite Women.

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PERFORMANCES KENNESAW STATE UNIVERSITY

CHAMBER SINGERS DR. LESLIE BLACKWELL, DIRECTOR

The Kennesaw State University Chamber Singers is the premiere auditioned choral ensemble at Kennesaw State University. Ranging from freshmen to seniors, the choir is open to all students including both music majors and non-majors from across campus and represents a variety of musical backgrounds and academic disciplines.

The KSU Chamber Singers have performed master works of Bach, Haydn, Duruflé, Mozart, Britten, and most recently Brahms Ein Deutsches Requiem. In the spring of 2012, the KSU Chamber Singers, KSU Chorale, and KSU Symphony Orchestra performed Beethoven’s Ninth Symphony broadcast on Atlanta 90.1WABE. The KSU Chamber Singers performed at the 2002, 2006, 2008, and 2011 Georgia Music Educators Association State Conferences. In 2010, the choir was invited to sing at the American Choral Directors Association Southern Division Conference in Memphis, Tennessee, presenting music of South America. In October 2013 the KSU Chamber Singers was selected to perform at the National Collegiate Choral Organization 5th National Conference performing David Maslanka’s masterwork A Litany for Courage and the Seasons.

LASSITER HIGH SCHOOL

CHORALIERS

DR. BRIAN WILLIAMS, DIRECTOR

The Lassiter Choraliers began originally 10 years ago as an extracurricular ensemble meeting for one and a half hours per week. Currently, the ensemble is the Mastery level choral ensemble at Lassiter and meets as a regular class every day. Several of its members love singing so much that they sing also with the advanced level Concert Chorale as an added choral class. Choraliers is made up of auditioned tenth through twelfth grade singers.

MCINTOSH HIGH SCHOOL

CHIEFS

HANNAH BETH POTTER, DIRECTOR

The Chiefs are a group of 46 non-auditioned 9th-12th grade boys from McIntosh High School in Peachtree City, GA. The chorus is composed of 15 District Honor's Chorus students, 7 All State Chorus students, 1 All State Sight Reading Chorus students, and 1 Voice major for the Governor's Honor Program. Outside of Georgia, they have performed in North Carolina, Florida, Tennessee, New York, Italy, and Spain. Cantabile is directed by Hannah Beth Potter. She earned her undergraduate degree from Milligan College with a degree in Fine Arts, emphasizing in Music and Theater. She earned her graduate degree at Florida State University receiving a Masters of Music Education. She has studied conducting and choral education with Dr. Judy Bowers, Dr. Kevin Fenton, and Dr. Andre Thomas. She is an active member of the Georgia Music Educators Association and the American Choral Director's Association. She has served as the District VI Honor's Choral Chair. Hannah Beth has conducted choirs in London, Paris, Spain, Italy, Germany, Switzerland, and Austria. She is passionate about choral music, directing music productions, and working with teenagers.

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PERFORMANCES MERCER SINGERS STANLEY L. ROBERTS, DIRECTOR

The Mercer Singers, an auditioned ensemble of 45 voices, is the primary touring choral ensemble of Mercer University. The choir includes undergraduate & graduate students and performs a wide range of choral music spanning from the Renaissance to works written by composers of our time. The Mercer Singers have sung on programs for the Georgia Music Educators Association, the Southern Division of MENC, and the Southern Division of American Choral Directors Association. The choir and their director tour extensively and have performed throughout the United States and Europe. Since 2000, the Mercer Singers have experienced six highly successful international tours of England and Wales (May 2000), Italy (2002), Austria & Czech Republic (2004), Germany, Poland, Slovakia, & Hungary (2006), Japan (2007), and Russia (2011). The Mercer Singers made their Carnegie Hall debut under the baton of their director in 2017. The choir has also collaborated with several international choirs including the Warwick University Chamber Choir (England), St. Petersburg University Chamber Choir (Russia), the Gnessins Chamber Choir (State Music College, Moscow), and Claudio Monteverdi Choir (Castelfiorentino, Italy). In 2012, they joined with the McDuffie Center for Strings to film A Grand Mercer Christmas that has been distributed nationally to Public Broadcast Stations throughout America. Additionally, the ensemble has gained a regional following with its annual performances of A Festival of Nine Lessons and Carols held each December. The choir is widely acclaimed for its spirited performances, breadth of repertoire, and dedication to singing repertoire of the a cappella idiom.

RENFROE GIRLS CHORUS DR. DAVID HIRSCHORN, DIRECTOR

The Renfroe Middle School Girls Chorus is in its 2nd year under the direction of Dr. David Hirschorn. The choir has performed at the 2016 Lovett School Festival under the direction of Dr. Craig Denison and the 2017 Berry College Choral Festival under Dr. Judy Bowers. The has consistently rated superiors at GMEA Large Group Performance Evaluations. As the only middle school in the City Schools of Decatur, these students articulate into the Decatur High School Chorus under the direction of Dr. Elise Eskew Sparks.

RISING STARR MIDDLE SCHOOL

MEN'S CHORUS CHRISTY TODD, DIRECTOR

The Rising Starr Middle School Men's Chorus is comprised of approximately 60 nonauditioned singers, in grades 6th, 7th, and 8th. The choir consistently receives superior ratings in both sight-reading and performance at LGPE. In addition to learning traditional choral music, students participate in a weekly rock program with community mentors, where they study piano, guitar, ukulele, and drums, as well as write and record their own music in their classroom recording studio.

Chorus members are actively utilized as music mentors, accompanists, section leaders, choreographers, conductors, and instrumentalists during rehearsals and performances. Members of the ensemble annually participate in All State Chorus, District Honor Chorus, local community choral ensembles, church choirs, theatre groups, and private music lessons. In addition, over 85% of the members participate in school or intramural sports.

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PERFORMANCES SOUTH FORSYTH HIGH SCHOOL

WOMEN'S VOCAL ENSEMBLE KIRK GRIZZLE, DIRECTOR

The Women's Vocal Ensemble has been under the direction of Kirk Grizzle since he began at South Forsyth High School in 2004. This is an auditioned group of 9th12th grade girls. They have received Superior ratings in both performance and sight reading at the Class A level since 2005. One of the premier performing choirs at South Forsyth High School, the choir performed at the GMEA In-Service Conference in 2007. These girls challenge themselves to perform music of the highest quality and difficulty

SOUTHERN CHARM

Dr. Leigh Miller (clarinet), Dr. Richard Knepp (guitar), Dr. Jillian Baxter (percussion) & Bart Hansard (narration) present Kim Maerkl’s “The Snake Charmer” – an exciting story of a boy named Shiba and his cobra, Bonji. Enjoy the musical journey to India as Shiba plays his pungi and tells the story of Emperor Jahan and his wife, Mumtaz Mahal.

SPIVEY HALL

YOUNG ARTISTS CRAIG HURLEY, DIRECTOR

Singing with unmistakable spirit, expression, and beauty of tone, the Spivey Hall Children’s Choir Program proudly represents Spivey Hall’s dedication to music education and commitment to artistic excellence. Founded under the direction of Dr. Martha Shaw in 1994, the Spivey Hall Children’s Choir Program (SHCCP) now consists of three choirs and draws from 17 metro-Atlanta counties. Choir Members receive professional-quality instruction in all aspects of vocal production, musicianship, and choral performance. Involvement in the SHCCP also enhances young people’s lives, helping them to develop self-reliance, personal integrity, responsibility, compassion, teamwork, and confidence in their abilities. The Spivey Hall Young Artists Choir was established in the fall of 2002 and is the youngest choir in the SHCCP family. The Young Artists rehearse for 90 minutes per week during the school year and mostly consist of first-year choir students. Under the direction of Craig Hurley, this ensemble focuses on fundamental musicianship skills as well as performing a wide range of repertoire. Auditions for the program are for male and female students ages 10 through 13 and are held each spring. Applications are made available by March 1st each year on our website: www.spiveyhallchildrenschoir.org. There is an annual tuition and need-based assistance is available to those who qualify. The program gratefully acknowledges the support of Clayton State University, the Spivey Education Committee, The Walter and Emilie Spivey Foundation and the surrounding arts community. The foundation laid by area music specialists, choral directors, church music programs, and other organizations is a large part of the success of this choral program.

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PERFORMANCES UNIVERSITY OF GEORGIA

WOMEN'S GLEE CLUB DR. J.D. BURNETT, DIRECTOR

Since its foundation in mid-1920's, the University of Georgia's Women's Glee Club has offered a wealth of choral music to the campus and the community. Open to all women at the University of Georgia, this ensemble is dedicated to the study and performance of treble-voice repertoire from all periods from medieval to contemporary, including jazz and popular styles. In addition to various on and off-campus featured performances, the Women's Glee Club also performs with other UGA choirs and instrumental ensembles throughout the year.

VICKERY CREEK MIDDLE SCHOOL

BELLA VOCE

MELISSA GRIZZLE, DIRECTOR

Vickery Creek Middle School in Forsyth County boasts a strong non-audition chorus program with around 260 singers in grades 6 – 8 divided into 5 performing ensembles. Since beginning its participation in 2001, the choirs at VCMS have consistently received Superior ratings at LGPE. With a mixed and treble class at each grade level, Bella Voce is the 7th & 8th grade treble classes. These girls strive to make each performance as musical as possible and enjoy the challenge of advanced literature, especially a capella selections!

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PERFORMANCES CENTENNIAL ACADEMY

GUITAR ENSEMBLE ERIK HERNDON, DIRECTOR

The Centennial Academy Guitar Ensemble was created in 2015 under the direction of Erik Herndon. The ensemble is a mixed grade group consisting of students from grades 5-8. Most of these students are enrolled in a guitar class at the school, but some students also participate in band and orchestra. The group performs around metro Atlanta and attends the Giocoso Guitar Performance Evaluation annually.

DULUTH MIDDLE SCHOOL

ADVANCED GUITAR ENSEMBLE ASHLEY DRAKE, DIRECTOR

Duluth Middle School, located in Duluth, GA, is one of the first schools in Gwinnett County to offer a performance-based guitar program. The DMS Guitar Ensembles focus on a folk-style approach with exploration into alternative styles of rock, pop, and classical performance. DMS’s enrollment is 1,400 students with sixty percent of the population involved in a performing Fine Art. Currently, the guitar program has approximately 200 students participating in five separate ensembles in sixth to eight grade. The DMS guitar program began as an Advanced Guitar Ensemble, and has since expanded to include Beginning and Intermediate Ensembles. In 2014, the DMS Advanced Guitar Ensemble was featured on GCPS TV in the ArtStage “Sounds of the Season” program. The DMS Guitar Ensembles are very involved in the community, performing for candlelight luncheons at feeder elementary schools, as well as having performances at Eddie Owen’s Red Clay Theater in downtown Duluth. Additionally, the Duluth Advanced Guitar Ensemble has received superior ratings at Giocoso, the Guitar Performance Evaluation. The DMS guitar program continues to grow thanks to developing guitar programs in the elementary feeder schools, and the on-going support of faculty, staff, and administration of Duluth Middle School.

COLLINS HILL HIGH SCHOOL

CHAMBER ORCHESTRA ROSIE RIQUELME, DIRECTOR

Collins Hill High School is part of the Gwinnett County School System and there are 3,054 students enrolled. Founded in 1994, the Collins Hill Orchestra began as a 56 person orchestra program under the direction of Mr. John Harriman. After Mr. John Harriman, Mr. Michael Giel was the head director from 2007-2012. The orchestra is currently under the direction of Ms. Rosie Riquelme, and assisted by Mrs. Megan Kendall who came on board in 2014. The Collins Hill Orchestra program is comprised of over 260 string students dedicated and committed to the growth of string orchestra education and performances throughout the metro Atlanta community. These orchestras consistently receive straight superior ratings at the GMEA District XIII Large Group Performance Evaluations. The Collins Hill Chamber Orchestra is made up of 40 students, and individuals from this group also participate in the All-State Full and String Orchestras, Governors Honors Program, Metropolitan Youth Symphony Orchestra, Atlanta Symphony Youth Orchestra, Emory Youth Symphony, and Gwinnett County Youth Symphony.

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PERFORMANCES DODGEN M.S.

CHAMBER ORCHESTRA ASHLEY CULLEY & HEATHER LOFDAHL, DIRECTORS

The Dodgen M.S.Chamber is auditioned group of 6th-8th grade orchestra students. This ensemble rehearses three mornings a week before school. The Dodgen M.S. Chamber Orchestra won First Place at the A.S.T.A. National Orchestra Festival in March 2017. The Chamber Orchestra has performed at GMEA Conference in 2011 and 2015.

FULTON COUNTY

YOUTH ORCHESTRA

SHARON M. ANDERSON & DR. JAMES BARKET, DIRECTORS

The mission of the Fulton County Youth Orchestra program is to provide a performing ensemble for the most talented middle and elementary school string orchestra musicians enrolled in the Fulton County Public Schools. This orchestra supplements the school orchestra programs and challenges its members to greater musical excellence via weekly rehearsals and regularly scheduled performances. The FCYO is an auditioned group that meets once a week at Alpharetta HS under the direction of Sharon Anderson & James Barket.

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PERFORMANCES SANDY CREEK HIGH SCHOOL

CHAMBER ORCHESTRA KELLY GALLMAN, DIRECTOR

The Sandy Creek High School Orchestra program encompasses a chamber orchestra, a symphonic orchestra, and a concert orchestra, totaling over 100 students. This program teaches musical skills through performance and educated lessons. Along with SCHS Orchestra's history of achieving superior ratings at Large Group Performance Evaluation for the past 11 years, The Sandy Creek High orchestra program has earned the Georgia Music Educators Association "Exemplary Performance Award."

Chamber Orchestra performed at the 2016 KSU Orchestra Invitational. SCHS Orchestras perform at local farmers markets, meetings, receptions, and weddings. We also help raise money and awareness for world events such as our Haiti benefit concert this year. Members of this ensemble are selected for local youth orchestras, all-county orchestras, Spivey Hall Honors Orchestra, All-State Orchestra and consistently receive superior ratings at Solo and Ensemble.

WHEELER

CHAMBER ORCHESTRA DWAYNE WASSON, DIRECTOR

The Wheeler Chamber Orchestra is an ensemble of students in grades 10-12 at Wheeler High School in Cobb County. The orchestra performs at a variety of venues in the area. Each year at LGPE, the orchestra has received superior ratings. Members of the orchestra are actively involved in community groups such as the Atlanta Symphony Youth Orchestra, Georgia Youth Symphony, and Emory Youth Symphony Orchestra.

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USING TECHNOLOGY AS CULTURALLY RELEVANT PEDAGOGY

At

times, I find myself comparing the educational world to a circus act. Implementing new standards and instructional practices, teacher evaluations, state-mandated tests, technology, teaching methodologies, and other school-related responsibilities merely skim the surface of what we must balance as music educators. I can almost hear the ringmaster welcoming the crowd, “Ladies and gentlemen! Step right up! Prepare to be amazing and bewildered!

You are a part of the grand balancing act of teaching in the 21st century!

Thank you for joining us!” This silly comparison may ring true for teachers who struggle to find balance between the many expectations that we are charged with upholding. One of those expectations is the popular buzz word, technology. As a part of my school system’s technology team, I promote the use of technology within the classroom.

This requires me to take on the role of a mentor for not only teachers, but also other faculty members and administrators within my learning community.

Personally, I find technology incredi-

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CASEY R. HALL bly helpful for educators. It is particularly useful because it should make our jobs easier. I frequently find, however, teachers who seem hindered by technology rather than helped. What should make us excited about new possibilities of teaching has also become something we dread.

There are a variety of reasons educators are wary of implementing technology into their classrooms. Many do not see its benefit within their classroom, feel they are too “old,” not technologically savvy enough, or do not have enough time to effectively implement technology. Some educators are resistant to incorporate technological tools because they just add another ball to the already hectic juggling act. Whatever the thinking may be, the reality that we all must face—regardless of years of teaching experience—is that we are living and teaching in the 21st century. Technology has become a continually increasing part of our society. It has become engrained in the DNA of who we are as a modern culture. It has shaped us as a society, so how can we not adapt our teaching to reflect the technological culture in which our students live?

But what of the existing methods of teaching music—such as Orff, Kodály, Dalcroze, and Comprehensive Musi-

cianship? They are strong and effective teaching methodologies that we have employed for years to engage students in active music learning. Do these methods fall by the wayside when we are expected to implement technology in our classrooms?

As an enthusiastic advocate of technology in the classroom, I believe there are multiple opportunities to weave technology into our effective teaching methodologies to enhance our students’ learning environment.

A number of music educators have examined facets of incorporating technology in the music classroom. Frank Abrahams’ (2015) perspectives on teaching millennial students and Patricia Riley’s (2013) technological applications have become the foundation for my ideas. Examining Ruth Gurgel (2015), Kate Fitzpatrick (2012), and Carlos Abril’s (2013) ideas on the key role culture plays in the classroom, I aim to highlight how technology has permeated our 21st century culture and how it influences the students we serve each day.

My main aim in this article is to offer strategies for integrating technology with our existing methodologies in a balanced manner. I will define culturally relevant pedagogy by providing several concepts of its teaching practices. I will then address how technology should be considered an effective teaching strategy within the realm of culturally relevant pedagogy, as

well as evidence of the benefits and disadvantages of technology’s use within the classroom. Finally, I will present balanced, leveled examples of effective technology-infused instructional practices that work in tandem with the existing music methodologies of Dalcroze, Kodály, Orff, and Comprehensive Musicianship.

WHAT IS CULTURALLY RELEVANT PEDAGOGY? In her book, The Dreamkeepers, Gloria Ladson-Billings defines culturally relevant pedagogy as: A pedagogy that empowers students intellectually, socially, emotionally, and politically, by using cultural refer¬ents to impart knowledge, skills, and attitudes.

These cultural references are not merely vehicles for bridging or explaining the dominant culture; they are aspects of the curriculum in their own right. (p. 20) At its core, culturally relevant pedagogy does not change the content we teach, but rather places emphasis on connecting students’ real-life experiences to enhance their learning (Gay, 2010). Within the most effective culturally relevant classroom is an educator willing to put in effort to make instruction relevant to the students they are teaching. Culturally relevant pedagogy encourages: • Positive classroom environments and relationships (Gurgel, 2015).

• Students to use critical thinking skills (Abrahams, 2015).

• Student ownership of learning (Gurgel, 2015).

• Connections between inside and outside of school experiences (Ladson-Billings, 2009).

• Engaging, technology-infused, and student-centered activities (Riley, 2013).

• A sense of community and collaboration, both locally and globally (Ladson-Billings, 2009).

• Recognizing multiple viewpoints of culture (Abril, 2013).

Culturally relevant pedagogy is a continual pedagogical process where teachers and students refine learning through research, trial-and-error, and personal reflection (Ladson-Billings, 2009).

TECHNOLOGY AS CULTURALLY RELEVANT PEDAGOGY Integrating technology into the music classroom has the potential to create balance between existing methodologies

and newer teaching strategies influenced by technology. Julia Shaw (2012) mentions that, “cultural concerns have become increasingly important to the many teachers charged with the responsibility of teaching students from cultural backgrounds different from their own” (p. 76). Understanding that our students are a part of a larger culture—in this case, a technological culture—is the foundation on which all subsequent instructions rests (Fitzpatrick, 2012).

We live in a highly technological society. Our students have been born into a technological world and are growing up in a time where technology is readily available. Even my youngest students know how to work an iPad better than I do. Their ability to transfer technological skills from one device to another is amazing. As much as I try to be ahead of the curve, I still find myself picking up technology tips from my students. School systems across the county, attempting to keep up with this influx of technology, push to integrate it in their curriculum. Policy makers and administrators spend countless amounts time and money on professional development to assist teachers in implementing technology within their schools. Even the 2014 National Standards for General Music (PK-8) are infused with technology. Though technology has infiltrated our culture, it would seem that some teachers are trying to suppress the technological “culture” of the students we are serving today (Abrahams, 2015). Are we being relevant to our students if we try to teach them only using the existing methodologies that we already know to be effective in the classroom?

Technology plays a large role in culturally relevant pedagogy. It has become the “dominant culture” of which Ladson-Billings was speaking. Technology has created a platform in which all people can participate, transcending race, socioeconomic status, religion, language, social circles, and general interests. It has united various cultures by creating a universal culture that offers a number of benefits.

TECHNOLOGY IN THE GENERAL MUSIC CLASSROOM BENEFITS Technology-infused culturally relevant pedagogy allows for a multitude of opportunities to provide creative and engaging

activities for students that can go beyond the classroom. It transforms not only how we teach, but also how our students learn (Riley, 2013). When used effectively, technology can produce a variety of student-driven benefits. Apps specifically designed to promote creative student-led products, such as Educreations, are easily accessible on all devices. These creation apps promote student ownership of their own work and allow for students to become peer teachers for their classmates.

Social media avenues such as Facebook, Instagram, and Skype allow students to become connected and collaborate with people inside and outside of their community (Albert, 2015).

Some new technology allows us to get creative as teachers when selecting activities to engage our students in learning and assessing. Presentation tools such as interactive white board resources as well as apps such as Nearpod and Kahoot! allow teachers to not only present new information but collect and assess student responses in real time. Though not specifically related to using technology as culturally relevant pedagogy, I believe that Kevin Mixon’s (2009) ideas of creating ensembles related to the student culture as an effective means to engage and teach students can be influenced by technology. Music apps such as GarageBand give students opportunities to create and record new kinds of music ensembles with

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devices such as iPhones and iPads. Other apps such as YouTube and Vimeo have the ability to expose students to new information through engaging videos, tutorials, and activities. There are endless technological applications for students within educational settings.

DISADVANTAGES All that being said, there can be pitfalls to utilizing technology in the classroom. With the development of thousands of educationally-based apps, websites, and devices, becoming overwhelmed with the wealth of resources available is easy. Peeling through all of the countless apps is time-consuming and then figuring out how to use these apps is a whole other ball game! Setting up the devices and teaching students how to use your apps of choice takes a considerable amount of time and strategic classroom management procedures will need to in place to ensure smooth and quick transitions between activities.

Unfortunately, though technology has created great ways to connect with people, it can also become a distraction for students. Checking social media apps and texting peers during class are problems for educators who use technology within their classrooms (Albert, 2015). Further, the availability and capability of technology varies from student to student based on socioeconomic status (Albert, 2015). The teacher must be cognizant of each of these considerations before planning lessons that require technology.

The role of authenticity also comes into play when discussing technology within the music classroom. Lisa Huisman Koops (2010) argues several definitions of authenticity within the music classroom. She suggests that music can be authentic through different avenues such as historical, personal, and cultural (Koops, 2010). However, when analyzing technology against authenticity, can technology create authentic music experiences for our students? Or rather, does it aid in merely informing students of the musical experiences of other cultures?

There are obvious benefits and disadvantages to integrating technology into the music classroom. However, if effective measures are incorporated successfully, technology can be a great addition.

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THE BALANCING ACT

supplemental strategy, the classroom has the potential to falter due to lack of student engagement and further results in a lack of cultural relevance. Alternatively, if the pole tips the other way and technology reigns supreme over our teaching methods, the classroom again falters as the flashiness of technology supersedes the core practices of each methodology.

Incorporating technology into existing methodologies rather than completely replacing our current approaches may help us achieve a balance between the two. The goal of implementing technology in a balanced manner can be an easy process if we start with a focused goal and take a few small steps at a time. In the next sections, I provide three ways to begin integrating technology within four well known music teaching methodologies. These examples aim to spark creativity for the interested educator who seeks to incorporate technology within their lessons.

The most common concern expressed to me by music teachers looking to implement technology in their classrooms is balancing the time involved with all of our other required activities. It is not that teachers are against integrating technology, it is that they cannot seem to find time to figure it all out. Their current classroom practices are effective without technology, so why waste precious time trying to repair something that does not need to be fixed? They often get overwhelmed by the number of technology-based resources available. My response is: “We are not re-inventing the wheel. We are simply guiding it down a new path.� My aim when mentoring teachers is to simply find a balance between those effective music strategies already being used with newer, technological activities that would enhance those strategies. Some authors suggest that technology can only be supplementary to our music methodologies, our primary focus (Carlisle, 2014). Howev- BALANCING TECHNOLOGY er, I would argue that technology’s power as WITH THE DALCROZE culturally relevant pedagogy has a far great- APPROACH The Dalcroze method of teaching music er influence on those methodologies than relies heavily on movement and body awareness, otherwise known as Eurhythmics (Choksy, 2001).

This teaching practice is highly effective in analyzing student understanding through observing improvised movement while listening and responding to music (Choksy, 2001). Incorporating technology into a Dalcroze activity could be as simple as using an iPad to create simple accompaniments to which students could move. A wide range of apps like Virtual Piano or GarageBand allow you to create accompaniment or simple music tracks. Some teachers may use YouTube videos to provide some initial examples of how to move to music. This sounds archaic to some, but for others, it is a great initial step into integrating technology.

we may believe. If this is true, where do we find the balance point between the two?

Imagining ourselves as tightrope walkers can shed light on the importance of balancing existing methodologies with technology. We hold a balancing pole and on one end is technology, on the opposite end our existing methodologies. If technology tips below existing methodologies as merely a

An extension of this activity could involve recording students responding to dynamics, pitch, or rhythm through body movement. The teacher (or even select student leaders) could use a recording device of some kind to record students moving their bodies to different music. Afterward, students can self-evaluate and/or peer-evaluate the performance they just recorded. This is a fantastic way to get students to become actively engaged in dis-

cussing musical elements with their peers.

And it is also a great assessment activity for the teacher!

A teacher who is more comfortable with technology within the classroom may choose to create an advanced lesson that collaborates with another classroom—maybe even one from a different culture—using video chat apps such as Skype. Students in one class could perform “music” with no sound and the students in the other classroom would have to guess the mood of the “music.” This activity shows a transfer of knowledge of musical concepts into a performance.

upload them to a Nearpod presentation.

You can add open-ended questions, drawing tools, quizzes, polls, and other activities to your presentation to ensure students are engaged and focused. It also collects data in real time, so you can track student mastery of learning. I have used this app within a Kodály-inspired lesson. I created a short PowerPoint presentation about finding solfege pitches on the staff lines. Then using the drawing function on Nearpod, I asked students to find select pitches on the staff, and oppositely, draw where sol is, for instance. This app was such a useful tool on many levels because it showed student growth in real time and collected the data BALANCING TECHNOLOGY for my usage. It was an engaging presenWITH THE KODÁLY APPROACH tation and assessment tool for both myself Singing is a vital part of the Kodály ap- and the students. proach to teaching music (Choksy, 2001).

The uses of strategic sequences for each BALANCING TECHNOLOGY musical element are connected to the de- WITH THE ORFF APPROACH velopmental stages of each child (Choksy, The Orff approach is a very hands-on 2001). Remember those “old school” foam process to teaching music (Choksy, 2001). felt boards with staff lines? Using these Essentially, it is all about exploring sounds, boards is still effective because it requires space, and structures of music (Choksy, students to do a particular task. They are 2001). Students are taken on a journey in not only composing simple melodies on the which they observe how to make music, board, but they also must be able to sing imitate it, then move to experimentation their own creation. As an introductory ex- and then finally musical creation (Choksy, ample to technology integration, simply 2001). At its core, exploration and expetaking pictures and/or making vocal re- rience are paramount to the Orff process cordings of these felt board compositions (Choksy, 2001). Exploration of soundand posting them to school-related social scapes has been an easy way that I have media accounts is a rewarding way to show found to integrate technology. For examthat student work is valued and appreci- ple, you can find videos on YouTube of ated within your classroom. An app called underwater aquariums to make underwater Audioboom is a great tool to have for an soundscapes as the “soundtrack” for the vidactivity like this. It is also an easy way to eo. Using Orff instruments such as metalloshare with parents the classroom activities phones, chimes or triangles, and rain sticks they may not get to see every day. or ocean drums help to create shimmery, underwater timbres. This is a fantastic acAnother use of technology within a Ko- tivity to introduce timbre, instruments, and dály activity using the camera on a device to improvisation. take pictures or videos of students performing simple melodies such Curwen hand Instead of traditional lectures informing signs and solfege syllables. If you connected students about how to correctly play Orff these pictures and/or videos together using instruments, I have found that letting stuiMovie or another video making software, dents watch a video is much more effective. posting them outside your classroom using Creating a silly video using iMovie to teach a QR code is a way to promote student ex- students how to have proper instrument amples in the hallways. Students, parents, technique is much more engaging (and poand administrators can use a device and tentially more fun). Having “bloopers” in capture the QR code that takes them di- the video show students how to not play rectly to pictures and/or video that you have instruments in a light-hearted way. And put together. It is a great way to showcase having their music teacher be in the video? student work!

Even more intriguing!

I have used the app, Nearpod, several times within my own classroom. It is a presentation tool that allows you to use previously made PowerPoint presentations and

on iPads is an awesome way to incorporate technology into an Orff arrangement. Popular music and other diversified music is also another way of creating a culturally relevant activity through the use of technology (Allsup, 2011; Campbell & Lum, 2008).

Creating Orff arrangements that sound similar to popular music styles using YouTube videos such as instrumental rap beat videos can also be an interesting addition to an Orff arrangement or activity.

BALANCING TECHNOLOGY WITH COMPREHENSIVE MUSICIANSHIP Comprehensive Musicianship deals with teaching music through all aspects of music study (Choksy, 2001). This approach encompasses composition, sight singing, music theory, music history, and listening skills (Choksy, 2001). It is highly focused on developing a student’s sense of imagination within music through teaching the elements of music (Choksy, 2001). Using coloring apps, websites, or even interactive white boards can help students visualize musical concepts such as pitch, melodic direction, dynamics, and articulations.

Having students draw out representations of these musical concepts gets students actively listening to the music and applying what they hear to what they can see. This can also be applied as an assessment activity to show student understanding of musical concepts.

Some creation apps like Educreations, allows students to explain concepts in their own way through pictures, drawing, and embedding video. Putting students into groups, you can get each group to create an instructional video for the class that discusses main musical topics like beat, rhythm, pitch, melody, dynamics, articulations, etc. This requires collaboration and teamwork to be able to produce a creative product to present to the class.

Getting students to create compositions through use of technology is a more advanced method of making music. Popular music curriculum websites such as Quavermusic.com allow students to explore the composition process in an interactive way.

It has “games” that discuss creating compositions in various fun ways that are student appropriate. GarageBand offers students real-life examples of what music producing Some more technologically-savvy teach- looks like as a career and offers them the ers may choose to use instruments within ability to create their own accompaniments music creation apps like GarageBand. Cre- to songs or soundtracks that they create. ating ostinati or bordun accompaniments

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REFERENCES

CONCLUSION As music educators, we have adapted to many changes over the years. We are able to balance more than we can handle and yet still manage to complete our circus act.

The case of incorporating technology as a means of culturally relevant pedagogy is no different. When integrating technology into the classroom, we are providing culturally relevant instruction to students who live in a technological society. Thus, by integrating technology into your classroom methodologies, you are able to create balance between the two. I provided several benefits and disadvantages to technology integration within the music classroom. I also presented leveled teaching examples that I have seen successfully find balance between our effective teaching methodologies and new technologies. Is incorporating technology stressful and frustrating? Yes. Is it time consuming and does it require hard work? Yes. And in the end, does it matter?

Absolutely. Students don’t see the hectic mess “behind the curtain.” All they notice is you, the teacher, performing a juggling act of some pretty awesome teaching strategies—and they can’t help but be entranced and join in with the wonder of our circus act.

Abrahams, F. (2015). Another perspective: Teaching music to millennial students. Music Educators Journal, 102(1), 97–100. doi: 10.1177/0027432115590860 Abril, C. R. (2013). Toward a more culturally responsive general music classroom. General Music Today, 27(1), 6-11. doi: 10.1177/1048371313478946 Allsup, R. E. (2011). Popular music and classical musicians: Strategies and perspectives. Music Educators Journal, 97(3), 30–34. doi: 10.1177/0027432110391810 Campbell, P. S., & Lum, C. H. (2008).

Musical America: United yet varied identities for classroom use. Music Educators Journal, 95(1), 26–32. doi: 10.1177/0027432108321251 Carlisle, K. (2014). Handheld technology as a supplemental tool for elementary general music education. General Music Today, 27(2), 12-17. doi:10.1177/1048371313505590 Choksy, L., Abramson, R. M., Gillespie, A. E., Woods, D., & York, F. (2001).

Teaching music in the twenty-first century (2nd ed.). Upper Saddle River, NJ: Prentice Hall.

Fitzpatrick, K. R. (2012). Cultural diversity and the formation of identity: Our role as music teachers. Music Educators Journal, 98(4), 53–59. doi: 10.1177/0027432112442903

Gay, G. (2010). Culturally responsive teaching: Theory, research, and practice. New York, NY: Teachers College.

Gurgel, R. (2015). Building strong teacher–student relationships in pluralistic music classrooms. Music Educators Journal, 101(4), 77–84. doi: 10.1177/0027432115574554 Huisman Koops, L. (2010). “Can’t we just change the words?”: The role of authenticity in culturally informed music education. Music Educators Journal, 97(1), 23–28. doi: 10.1177/0027432110376892 Ladson-Billings, G. (1994). The dreamkeepers: Successful teachers of African American children. San Francisco, CA: Jossey-Bass.

Mixon, K. (2009). Engaging and educating students with culturally responsive performing ensembles. Music Educators Journal, 95(June), 66–73. doi: 10.1177/0027432109335479 Riley, P. (2013). Teaching, learning, and living with iPads. Music Educators Journal, 100(1), 81–86. doi: 10.1177/0027432113489152 Shaw, J. (2012). The skin that we sing: Culturally responsive choral music education. Music Educators Journal, 98(4), 75–81. doi: 10.1177/0027432112443561

+ Casey R. Hall

Mr. Casey Hall is the Music Specialist and Fine Arts Department Chair at Wolf Creek Elementary School. He also serves as a Fulton County Fine Arts Support Teacher where he coaches and provides support for elementary music teachers across the district. He is a member of Fulton County's Vanguard team and works with educators across all grade levels and disciplines to support a personalized learning environment in their classrooms, build capacity, and seamlessly integrate technology. Most recently, he was selected to be a member of the Working Committee to revise the Georgia Performance Standards for Music. He holds a bachelor’s degree in music education from the Schwob School of Music at Columbus State University and a master’s degree in music education from Georgia State's School of Music. While at GSU, he studied and developed the term, culturally driven pedagogy (a comprehensive term which uses students' culture to drive instructional practices) as well as developed a songwriting curriculum for the Johnny Mercer Foundation. Mr. Hall has presented at various conferences on topics such as Project-Based Learning, Personalized Learning, App Smashing, Cultural Pedagogies, and Culturally Driven Pedagogy at international, national, state, and local school district professional development sessions. Mr. Hall also serves as an ambassador for Nearpod as a Nearpod Certified Trainer and PioNear.

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ESSENTIAL TIPS FOR INCORPORATING COOPERATIVE LEARNING MUSIC CENTERS IN THE GENERAL MUSIC CLASSROOM SAMUEL HOLMES

I

recently presented a workshop about cooperative learning in music classrooms. I was amazed by the outpouring of excitement from teachers regarding cooperative learning music centers. Many educators expressed their desires to attempt center-based learning, yet few knew how to begin, or even why it would be beneficial in their classrooms. This article is designed to answer some of the questions that teachers may have regarding cooperative learning in the general music classroom. While our classrooms are diverse, the concept of cooperative learning can be effective in any environment. My experience with cooperative learning centers has spanned multiple settings: SES population, availability of resources, geographic location, and varied teaching schedules. Before we begin, though, we must understand why we want to start, as well as how to start.

What Does the Research Say? While there is no universal method to cooperative learning, the general definition remains the same: working together to accomplish a mutual goal ( Johnson, Johnson, & Holubec, 1990). In other words, students work cooperatively in an effort to increase not only their own learning, but that of their group. General education classrooms readily employ this concept and it can easily be transferred to the general music setting. The ultimate

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goal of cooperative learning is interdependence, where each group member’s ideas are an integral part of achieving the ultimate assigned task (Kaplan & Stauffer, 1994). Interdependence can yield not only academic (musical) goals, but also positive sociocultural outcomes.

What do these social skills look like?

In cooperative groups, communication is key to successful partnerships (MacDonald & Miell, 2000). This communication can strengthen peer relationships, raise self-esteem and self-acceptance, as well as maintain those relationships beyond the assigned task at hand. The Johnson and Johnson (1989) model of cooperative learning encourages face-to-face interactions, where students must communicate their decisions to one another.

This, in turn, results in accountability for each student, which produces heightened small group skills, where students learn how to communicate with each other.

All components should ultimately lead to reflection (group processing) in determining the success of the group. Simply put, working together toward a common goal can strengthen students’ bonds with one another.

Why Do It?

As music educators, we continually look for ways to engage our students, yet we are inundated with administrative requirements: multiple assessments, detailed

lesson planning, and juggling schedules.

Cooperative learning can provide a viable solution for both, in a way that allows students to remain active, while achieving teacher mandates that won’t put us to the point of exhaustion. Here are some ways that cooperative learning centers can benefit our classrooms.

Sparking Creativity

We all want our students to be creative, whether in the form of composition or improvisation, or simply singing or playing in innovative ways. Yet, we rarely have additional time to give our students the opportunity to simply create (Miller, 2004). Cooperative music centers can provide students this opportunity, possibly leading to higher levels of creativity (Baloche, 1994). Groups can create products such as songs, rhythms, and raps. It is in the cooperative setting where individual ideas come together to build a collective creative product (Wiggins, 1999).

Technology has been a great asset to my classroom, in terms of creativity and its capacity to support cooperative learning approaches. Consider iPads, active boards, and laptops as creative means to incorporate composition. Programs such as GarageBand, software such as Finale, and apps such as Lauchpad and Monkey Drum can provide students with fruitful, creative experiences. Many interactive

keyboards (think Yamaha MIE) have the ability for group interaction and recording capabilities, offering various sound choices and play back functions. Even in the absence of technology, groups can create their own compositions from standard non-pitched and barred percussion instruments, as well as soprano recorders.

Teaching and Assessment

Before implementing cooperative music centers, there were instances when I wanted to spend more time reinforcing students’ musical concepts and would then find myself lagging behind on providing proper student assessment. Using cooperative music centers, however, allows students to remain active in music making while affording teachers more opportunities to teach small mini-lessons and assess students. Ultimately, educators are able to give students individual attention that may not be available in wholegroup lessons.

I’ve assessed students in two ways while cooperative music centers were actively taking place. First, I taught mini-lessons to small groups and assessed their progress throughout the lesson. The teacher-led mini-lesson essentially became part of the center rotation schedule.

At the conclusion of an entire rotation of music centers, every group had rotated through the mini-lesson. I used this time to reinforce proper singing voice, teach more detailed recorder lessons, and strengthen rhythmic notation and recognition. Second, I would pull out one child at a time from their small group, in an effort to assess at a more detailed level. Perhaps there was a student who struggled with matching pitch or singing in head voice. Working one on one helped the child improve at a faster pace. This setting could also assist students resistant to singing or participating in a whole-group setting. Working on an individual basis, children may become more comfortable with developing the ability to perform and participate on a larger scale.

Cross-Curricular Learning

non-music standards while really getting to the core of what students are expected to learn can be a struggle. Through cooperative music centers, teachers can incorporate not just one, but several areas of non-music subject material, while simultaneously satisfying music content in creative fashions.

For example, I developed a “Recording Studio”, where students created lyrics based on specified social studies and math content. The students collectively selected a rap track/loop, rehearsed their created lyrics, and added additional instruments if they chose, ultimately composing a song/rap. In another instance, when my first graders studied sound in their science unit, I created a “Discovery Center” where students experimented with different instruments, analyzing their sound and vibrations. To solidify their learning, I provided instructions for a written component, where the group labeled instruments and sound identifiers based on their own artistic drawings.

Additionally, in any of my centers that included composition, students were given a topic within a non-music subject standard as a basis for their creation (e.g., rain forests for science, colonization for social studies).

What Does It Look Like?

The beauty of cooperative music centers is their adaptability. You know your students and their needs better than anyone else and can design your centers to reflect their interests and musical objectives. One year, my third grad-

ers had difficulty with treble clef note recognition. I created two centers, Notation Center and Music Game Center, where student groups created and played games based primarily on the treble clef staff. I reinforced their understanding by assisting my composition groups in creating written notation of their products (Birnie, 2014). Helping students transform their creative vision into notes on the staff with written notation was a uniquely rewarding teaching opportunity.

Another beneficial aspect of cooperative music centers is their flexibility. Every school has a different set of resources, some with more access to more instruments and technologies than others. Lack of local resources does not need to deter you from creating something meaningful with students. Years ago, I found four autoharps in the back corner of my music storage closet. I cleaned them up, tuned them, and created a music center with them. My upper grades experimented with chord progressions and form by accompanying songs and reading chord charts. Autoharps that I thought would never be used again became the lead component of one of my most popular centers!

The chart below provides center suggestions that may be successful in your classroom.

I have used them all at some time or another.

Teachers are often expected to incorporating standards from non-music subject content and utilizing both music and

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Center Ideas CENTER

Keyboard Center Listening Center Recording Studio Instrument Lab Notation Center Active Board iPad Center Reading Center Video Center Music Games Center Discovery Center Recorder Center Puppet Playhouse

ACTIVITY SUGGESTIONS

Notation and rhythmic songs; Yamaha MIE for group compositions Compile a playlist based on specific subject content Lyric writing; existing text; create songs using beat tracks and instruments Grade appropriate songs/beats; composition/improvisation Create rhythms; use drums and instruments; clef activities Composition software; music website activities; teacher created charts GarageBand; music education apps Books based on music Consider music education videos (I used it to teach instrument families) Clef games; Rhythm games Science (sound, vibrations); instrument exploration Group recorder play; Recorder Karate Using puppets to sing songs and interact

Housekeeping

Once we know the why and the what of incorporating music centers, we’re ready to consider how to make it happen.

The key to successful implementation is organization (Kaplan & Stauffer, 1994).

Taking the time to organize your centers before the initial launch will pay off in the end. If you do the work ahead of time, the centers should run themselves from then on.

As you initially set up your centers in your classroom, make sure that they don’t impede your primary music space. I set up many centers around the perimeter of my classroom, and they remained there until I was ready to use them. Other centers can be transferred onto a cart or in a storage closet and set-up quickly when needed. Make sure each center is clearly marked with instructions, student choices, and written components (if applicable). Create student rosters with group names and mark which centers have been completed. Post a time schedule so students know where they are going and what to expect.

When you introduce your centers, make sure to model procedures so students will understand expectations and outcomes. Also, make sure you allow time at the end of class for clean-up and Share Time. Share Time is especially important to student groups that have created a final product. The students share with the class what they have created and perform their work. This part of the process, students presenting their shared choices and ideas, is especially important for reinforcing the sociocultural aspect of cooperative learning.

Putting It All Together

As an alternative to traditional learning, collaborative groups may increase student achievement (Isik & Tarem, 2009). In performance-based classrooms, collaborative efforts can also benefit musical achievement (Cangro, 2004; Compton, 2015). In the elementary music setting, collaboration can improve students’ sociocultural interactions (Beegle, 2010; MacDonald & Miell, 2000) while benefitting students through higher levels of creative thinking (Baloche, 1994; Wiggins, 1999).

Practitioners have even encouraged the use of cooperative learning to promote active and effective learning in both creative and standards-based music activities (Friedman, 1989; Kassner, 2002). Many music educators have conveyed to me their satisfaction with collaborative activities in terms of students’ excitement and motivation, the production of unique, creative products, and increased retention of basic musical knowledge.

Now that you know the why, what, and how of incorporating cooperative music centers into your general music classroom, you have the tools to start something special. Cooperative learning music centers can be a great addition to your classroom teaching, offering a creative outlet for your students, a more effective way to assess student progress and achievement, and as a means to easily include multiple subject areas.

References Baloche, L. (1994). Creativity and cooperation in the elementary music classroom. The Journal of Creative Behavior, 28(4), 255-265.

Beegle, A. C. (2010). A classroom-based study on small-group planned improvisation with fifth-grade children. Journal of Research in Music Education, 58(3), 219-239.

Birnie, R. A. (2014). Composition and recorders: A motivating experience. Music Educators Journal, 100(3), 73-78.

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Cangro, R. M. (2004). The effects of cooperative learning strategies on the music achievement of beginning instrumentalists (Doctoral dissertation, University of Hartford), Dissertation Abstracts International, 65, 2535.

Compton, K. R. (2015). An investigation of the effectiveness of cooperative learning as rehearsal technique for improving high school band performance. Retrieved from University of Kentucky UKnowledge (Thesis and Dissertations-Music, Paper 38), http://uknowledge.uky.edu/music_etds/38.

Friedman, M. (1989). Stimulating classroom learning with small groups. Music Educators Journal, 76(2), 53-56.

Isik, D., & Tarum, K. (2009). The effects of the cooperative learning method supported by multiple intelligence theory on Turkish elementary students’ mathematics achievement. Asia Pacific Educational Review, 10, 465-474.

Johnson, D. W., & Johnson, R. T. (1989). Cooperation and competition: Theory and research.

Edina, MN: Interaction.

Johnson, D. W., Johnson, R. T., & Holubec, E. J. (1990).

Circles of learning: Cooperation in the classroom. Edina, MN: Interaction.

Kassner, K. (2002). Cooperative learning revisited: A way to address the standards. Music Educators Journal, 88(4), 17-23.

Kaplan, P. R., & Stauffer, S. L. (1994). Cooperative learning in music. Reston, VA: Music Educators National Conference.

MacDonald, R., Miell, D., & Morgan, L. (2000). Social processes and creative collaboration in children. European Journal of Psychology of Education, 15(4), 405-415.

Miller, B. A. (2004). Designing compositional tasks for elementary music classrooms. Research Studies in Music Education, 22(1), 59-71.

Wiggins, J. H. (1999). The nature of shared musical understanding and its role in empowering independent musical thinking. Bulletin of the Council for Research in Music Education, 143, 65-90.

Samuel Holmes

is currently a doctoral student at Georgia State University, pursuing a Ph.D. in Teaching and Learning (Music Education). A music educator for over fifteen years, Samuel has taught in public and private schools in Georgia, California, and New Mexico. His research interests include student collaboration, creativity, and technology-integrated composition.

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