2019-2020 Georgia Music News | Spring by Georgia Music Educators Association

ASSOCIATION NEWS | VE TERAN 10 : JAY DAVIS| DIVISION NEWS

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RECRUITING & RETAINING Shawn Morton

OPTIMISM DURING COVID-19 Scott N. Edgar, Andrew E. Morrison, and Bob Morrison

Perspectives on COVID-19 VOLUME 80 | NUMBER 3 | SPRING 2020

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TABLE OF CONTENTS

GMEA BOARD OF DIRECTORS President Carl Rieke Immediate Past President Evelyn Champion Vice-President for Performance Evaluation Events Jeff Funderburk Vice-President for All State Events Alan Fowler

PERSPECTIVES 18 ON COVID-19

Past Presidents’ Representative Frank Folds

Editor, Georgia Music News Victoria Enloe

Executive Director Cecil Wilder

For the complete list of Board Members please visit:

Band Division Chair Rudy Gilbert Choral Division Chair Marla Baldwin College Division Chair Dr. Josh Byrd

DIVISION NEWS DIVISION CHAIRS

ONLINE LEARNING

MARLA BALDWIN

16 RECRUITING & RETAINING

SHAWN MORTON

30 OPTIMISM DURING COVID-19

VETERAN 10 JAY DAVIS

District Chairs 1 - Michael Nestor 2 - John Scanling 3 - John Inzetta 4 - Christine Kraemer 5 - Seth Gamba 6 - Stan Kramer 7 - Douglas McConnell 8 - Alan Carter 9 - Michael Oubre 10 - Katie Bennett 11 - Jay Davis 12 - Andy Esserwein 13 - William Owens 14 - Dennis Naughton

Elementary Division Chair Brianne Turgeon Orchestra Division Chair Samuel Lowder

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

-ADVERTISER INDEXBOB ROGERS TRAVEL INSIDE COVER BREEZIN' THRU PAGE 2 GEORGIA SOUTHERN UNIVERSITY PAGE 39 KENNESAW STATE UNIVERSITY PAGE 33 LEE UNIVERSITY PAGE 29

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All pieces reproduced in this issue are under prior copyright of the creators and publisher by the contractual arrangements. Nothing shown may be reproduced in any form without obtaining the permission of the publisher and any other person or company who may have copyright ownership. Unless otherwised noted, photos are provided by Andy Edwards of Ace of Photos Visit aceofphotos.com

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EDITOR'S CORNER BUILDING OUR LEGACY GMN EDITOR Victoria Enloe The COVID-19 pandemic has dominated our lives for two months now, drastically altering many of our educational practices. Replacing our face to face classes with online lessons has also exposed existing inequities some students faced long before now. One such problem is the “homework gap,” students’ inability to complete assignments from home due to lack of internet access and devices. Based on colleagues’ responses in “Perspectives on COVID-19,” (in this issue of Georgia Music News), the homework gap is a hardship with which many Georgia music educators are familiar. A recent Professional Association of Georgia Educators (PAGE) survey similarly revealed that 37% percent of Georgia educators perceived their greatest COVID-19 teaching challenge to be students’ inability to access the internet (https://www.pageinc.org/wp-content/uploads/2017/05/ PAGE-Uncharted-Instructin-Ex-Summ-4.28.2020.pdf ). Recognizing the lack of connectivity many students currently face across the U.S., NAfME, along with other organizations, is asking Congress to address the homework gap in its next emergency relief package. The “Emergency Connectivity Fund” would be housed within the Federal Communications Commission E-rate program and would provide schools and libraries with $4 billion. These funds would supply

Wi-Fi hotspots, connected devices, and mobile broadband Internet service to areas in need. GMEA members can help by writing their House Representatives and Senators to ask for their support here: Encourage Congress to address the homework gap. Let’s do what we can to ensure long term improvement in equal access to online education! Along with disrupting our usual spring events, the Coronavirus leaves us wondering how to move forward with plans for the 202021 school year. While we may not know exactly how the new school year will look just yet, we can be (or can continue to be) proactive with regard to recruiting and retention. In Recruiting and Retaining in the Midst of Online Learning!, Shawn Morton provides some practical suggestions for building and maintaining positive relationships with students. Optimism Through the COVID-19 Disruption: Utilizing Social Emotional Learning for Reflection and Growth offers practical steps we can take to help students cope with the new landscape of online music education. While we have to continue preparing for what is next, I hope everyone finds a few quiet moments to reflect and be proud of persevering in an overwhelming time. Making a positive difference in children’s lives looked very different this spring, but you still did it! Stay well and enjoy a peaceful summer. NAfME Resources: Free Professional Development Weekly 10 NAfME Academy webinars are now available for free to music educators. Earn professional development with topics for Band, Strings, Chorus, General Music, Inclusion in the Music Classroom, and Performing Ensembles. https://nafme.org/community/elearning/free-nafme-academy-webinars/

Free Curriculum Units for the Music Responding Standards Created through the Teaching with Primary Sources program of the Library of Congress Focused on helping educators connect to the Library of Congress’s digitized archives, and helping teachers learn how to incorporate primary sources into the classroom, NAfME has created curriculum units connected to the Library’s vast resources in music, including audio, video, still images, and sheet music files. •

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ASSOCIATION NEWS THE PRESIDENT SPEAKS CARL RIEKE,, GMEA PRESIDENT

I hope this article finds you healthy and safe as we near the end of a very unusual school year. I can honestly say that I have never before started an article with that sentence! The last five weeks have taken me on an emotional roller coaster that I could not have anticipated in my lifetime. It took me quite some time to get past the “surreal” stage and on to the “it is what it is” stage. Our current situation has proven to me once again that I have chosen the best profession. Despite the fact that we are all “distanced” from one another, every day I see a togetherness from music educators all over the world. The virtual performances, lesson plan sharing, and the creative ways to maintain connections with music students (just to name a few) are incredibly inspiring. It is my hope that we will all be able to take away some positive and valuable lessons and come out stronger when we return to whatever “normal” may look like when this ends. The 2020 In-Service Conference in January was a major success! I was overwhelmed with the number of folks who stopped me during the event to chat and share their excitement about various sessions, performances, and events. If I had to pick a highlight, it would be the opportunity to meet Mary Frances Early and recognize her contributions to music education in Georgia and to GMEA. A big thank you goes out to all the division chairs and the many volunteers who helped plan and run the event. As always, I would be remiss if I didn’t thank the best administrative

staff any organization could ask for. As you already know, the GMEA office staff is the reason our annual in-service conference is among the best in the nation and their tireless work throughout the year does not go unnoticed. I know many of you were also able to watch Dr. Tim Lautzenheiser do his thing to kick off the conference. He is among the best in his field and never asks for a penny to share his wisdom and inspiring words with us. If you’re so inclined, I would encourage you to send a quick note of thanks to Steve Zapf, the CEO/President of Dr. Tim’s sponsoring company, Conn Selmer Inc., for making his presentation at the conference possible. E-mails can be sent to Mr. Zapf at szapf@conn-selmer.com. As we wrap up this semester and all of our digital learning responsibilities, please consider sending in an application to perform with your ensemble at next year’s in-service conference or to present a session. Because the end of our school year will not be typical, please double check submission deadlines on the applications as they may have changed. As I reach the end of the first year of my term as GMEA President, I have come to realize that I am a very small cog in the intricate machine that makes our organization successful. I said it in an earlier article, but feel I need to say it again: it makes me proud to call Georgia my home in music education. We are a state that other states look up to. I appreciate you and the hard work and heart that you pour into your music programs and students. I welcome and value your opinions and ask that you never hesitate to contact to me at president@gmea.org. Hang in there, you got this!

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GMEA HISTORY WE ARE MAKING HISTORY! HISTORIAN Derik Clackum Most of my GMN History columns have been about what has happened in the past. GMEA has a long and storied history of serving the music teachers and students of Georgia. But this time, instead of us looking back to our past, we are instead making new history and blazing new paths due to the Covid-19 pandemic that has struck our state. Very rarely are we involved in historical moments and take note of their significance while we are in the experience. Usually, these historical moments pass us by and later we realize that something really important happened. Over my career, I have seen schools close for various reasons, principally weather, or flu, or mold, or some local event, but even then, school closures never involved every school in our state. Today we find ourselves in a historical moment when something we canâ&#x20AC;&#x2122;t even see has forced all our schools to close statewide. As most of you do know, the United States was propelled into WWII when Japan Bombed Pearl Harbor on December 7, 1941. But, even during the war, Georgia schools remained open and educating children. Our nation and Georgiaâ&#x20AC;&#x2122;s response was to move every aspect of our society to a wartime footing. Supplies of gasoline and materials needed by our armed forces were placed on a rationing system for

G E O RG I A M U S I C N E W S | S P R I N G 2020

civilians, and school-related field trips were considered non-essential. Many might not be aware that during this period, from 1942-1946, GMEA did have to shut down most of their events due to the lack of gas. Events such as district festivals (now called LGPEâ&#x20AC;&#x2122;s), All-State ensembles, and other events were just not possible. Especially critical during this period were band instruments. As the armed forces greatly expanded the number of field band units, all newly manufactured band instruments went to them. This demand created quite a shortage of instruments in civilian life, especially in school bands, but it was, after all, for the good of the war effort. The historical response of our GMEA members to the challenge of teaching students online music lessons has been uplifting. This is no small task for any of us, but we have proven we are up to the challenge. It has been especially challenging for those of us with performing groups, because we are used to getting that immediate oral and visual feedback from our students as they work together to produce musical performances. Over the past few weeks, I have been pleased to see our members finding new and innovative ways to utilize internet technology for teaching purposes. I dare say that many more untried avenues will soon be discovered. One sure lesson to come out of this situation is that we as a society need to move every child into the internet age. Many children still do not have access to a home computer or the internet. History will record how our society reacted to this challenge, and we shall see if this is the event that finally propels our entire society into the age of online technology.

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EXECUTIVE DIRECTOR EXECUTIVE DIRECTOR Cecil Wilder It goes without saying that we are living in times unlike any we have known. The concerns over health, financial security, the way we do our work, isolation from those we care for, uncertainty about the future, and loss of the comfort of human touch and closeness leave us somewhat disoriented and confused. Those of us who have family members and friends who have contracted the illness have an added dimension of fear and anxiety with which to cope.

rary camp commander. He doesn’t want the job, and is frustrated by the responsibility and stress it adds to his life. After he starts blaming other people for his struggles, Margaret Houlihan, who has been at times the subject of his criticism, comments that “It’s not so easy to be a clown when you have to run the circus.” Standardized testing has fallen by the wayside, at least for the time being. Maybe this will allow us to re-evaluate its usefulness as a way to assess success, as well as the value of the time taken to administer the tests in relationship to the instructional time available. Ask your supervisor if she knows what your score on the Iowa Test of Basic Skills was (or your GPA for that matter).

Many leaders and thinkers tell us the world will never return to the way it was before this, and my guess is they are correct.

Colleges and universities are dropping SAT and ACT scores as criterion for admission, in some cases for one year, and in other cases more. Planned or not, it provides an opportunity to evaluate the true usefulness of those kinds of tests in predicting a student’s chance of success in college. We will see.

In dealing with this pandemic, we’ve had to do many things in new ways and question many long held assumptions. This is true in most areas of our lives and can be positive if we approach the changes objectively and don’t resist them just because they are unfamiliar. Some examples are:

The term “Zoom meeting” has entered the vernacular for many people and professions. As with online teaching, is it the solution for all meetings? Of course not. Does it have advantages in some situations? Of course. If nothing else, it helps people make better use of their time and cuts down on the amount of carbon emissions into the air.

Teachers are having to teach online. The ones I have talked with say they like some things about it. Discipline problems, for instance, have become nonexistent. Students who have difficulty functioning in a traditional classroom sometimes blossom when they work remotely one-on-one with a teacher. The teachers get to know their students better as people. Their hours are more flexible. They are less exhausted at the end of the day.

In light of all the adjustments we are making as a society, there are probably going to be changes in schools and teaching for which we need to be prepared.

Is teaching exclusively online the answer to all our problems? Of course not. There are many things kids get at school that are outside the realm of academic knowledge and are too often taken for granted because they cannot be tested and do not show immediate results. In many ways a school is a faith-based community. Maybe teaching online does have a place in some ways and for some students. We need to find creative ways to use it. Parents who have always depended on schools for childcare are having to realize that the job isn’t as easy as it looks, and that their offspring aren’t always as angelic as they’d like to think. After experiencing what it’s like to have full-time responsibility for both managing and educating their children, parents may decide that paying teachers for the real value of their work (something in the realm of six figures comes to mind) is not so unreasonable or unrealistic. In my all-time favorite television show, M*A*S*H, Hawkeye Pierce is made tempo-

G E O RG I A M U S I C N E W S | S P R I N G 2020

Given the economic conditions we now face, which will probably last for some time, tax revenue is going to be adversely affected. As a result, school financing, including financing for music programs, is undoubtedly going to suffer. We need to be prepared to adjust to that and avoid involvement in territorial battles with other disciplines. Our energy needs to go toward pulling together for the greater good of our students. Many music programs will probably be asked to justify allocations for staffing, instructional materials, and facilities, and we need to be prepared for those questions before they are asked. I cannot emphasize too strongly that your best defense against budget cuts and other changes that may negatively impact your program is parental support. While parents may not always know or understand how well your groups perform, they always know how you treat their kids, and that is what matters most to them. Remember that none of this is about you. It may seem like a marginal thing in the bigger picture, but athletic programs and events are going to be curtailed, at least until it is determined to be safe for us to assemble in large groups again. Our band programs are tied to some extent to athletic programs, especially foot-

ball, and we need to have a plan for adjusting to that. If athletic games are not played, or played to empty stadiums and gymnasiums, how will that affect marching band contests and the programs that depend on them partially for funding? We need to have a plan for that. We have already seen how the pandemic, and the government and public response to it, can affect GMEA events and programs. We need to have plans in place to address those issues that will optimize the way we serve our members, their students, and their families. This needs to be done with the financial impact in mind since we depend largely on those events and programs for our financial solvency. Your state and district leaders will need to prepare for that eventuality now, before we are faced with adverse consequences. Going forward, there will be many families who struggle financially until the compensation and unemployment situation is somewhat normalized. Some will no longer be in a financial position to support their children’s involvement in school music programs at the level they did before this started. Do we need to consider scaling back what is required for students to participate?

It is my opinion that the world will never go back completely to the way it was. There will be things that will be made better, and things that will disappear. Schools and teachers can and must be major players in what happens. We will have to find our place in the “new normal,” whatever that might be. Our highest goal should be to do that in ways that serve our students, our members, and our profession, in that order. My money is on all of you. I have seen you weather too many storms to doubt whether you can survive this one, and I have faith that together we will come out stronger than we were before. As always, if your officers and office staff can support or help you in any way, please let us know. Just one last word of advice for us all: Have a plan, and remember that hope is not a plan.

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DIVISION NEWS CHORAL DIVISION Marla Baldwin Am I the only teacher who feels demoralized when the scores come in from the All-State Auditions? All those hours I poured into my students can seem like such a waste. I had to convince them to audition. I collected their money. I made sure I met the GMEA deadline. I harassed my students to practice. I begged them to come in early to work with me. I even made sure they had a ride to the audition. Yet at the end of a long day judging, I’m standing there holding score sheets that show some of my students having done poorly. Despite my best efforts, they still didn’t make it. What am I doing wrong? Who is All-State for? Is it for the smart kids or the talented kids? Do the privileged kids have an advantage? Does it prove who the best teachers are, or which kids had the easiest judges? In my career, I’ve probably given every excuse possible, trying to justify the low scores of some of my singers. Obviously, I have a lot of questions that don’t seem to have a clear answer. After 25 years of feeling like I’m doing it wrong, here’s what I’ve decided—All-State is for the kids who don’t make it. Yes, you read that right; it’s not a typo. In my classroom anyway, All-State is for the kids who don’t make it. Those kids that I convinced to audition and begged to come in and work with me are now better human beings because I poured my energy into them. They chose to sing some pretty hard stuff for me, in order to become something more than they were before. I put aside all the other stuff on my desk and focused on them and what they wanted to achieve. They could have chosen a zillion other things to do with their time, yet they chose to sing. I watched them struggle through so much sight reading, improving all the time. I witnessed their courage and self-confidence grow daily. I heard stories of their home life and fears about the future. They connected with me as a musician and pushed themselves to strive for better. As I watch the singers who auditioned throughout the year, I see that they are changed. They are now the leaders in class. I make sure I spread them out in the room so that all my other students hear them while sight reading. These are the kids who raise their hand to politely tell me I did a rhythm wrong. The kids who auditioned for All-State Chorus, even if they didn’t make it, are the ones who are hungry for more challenging music. They won’t settle for less than their best or mine. They push me to become a better teacher.

G E O RG I A M U S I C N E W S | S P R I N G 2020

The truth is that if there were no All-State auditions, I probably wouldn’t have invested so much into those children. Yes, I pour myself into every student of each class, but All-State preparation is different. Those kids are special. They’re the kids who might not have a lot going for them otherwise. Music is their thing, and I’m their mentor. The All-State event is magical, and the choirs are amazing, but I’m just as proud of my students who aren’t there. Their day is coming.

COLLEGE DIVISION Dr. Josh Byrd First off, I sincerely hope that all of you and your families are safe and well. The closures of our campuses have resulted in a very strange semester. I know that you are missing your students, your classrooms, your rehearsal spaces, and your colleagues. I hope that all of you have found ways to connect with your students in an effort to give them the best experience possible during our state’s shelter-in-place. I also hope that this time away from campus has afforded you with other opportunities as we navigate this digital learning territory, whether it be time with your family, an opportunity to focus on your research, or discovering more efficient ways to teach and connect with others. Next, thank you so much to everyone who took the time to present at the state conference this year. The sessions were incredibly thoughtful and well-attended. As our deadline approaches for the 2021 conference, I hope that many of you are considering submitting a proposal. Please know that I am happy to answer any questions that you might have regarding the process or the event itself. Lastly, I was wondering… what is one “thing” that you would like to see changed within the College Division at the 2021 In-Service Conference? Are there any topics that you would like to see addressed? Do you feel that enough of our students attend? How can we continue to grow this division within GMEA? No idea is too small or too crazy— please email me directly (jbyrd@westga.edu) if you would like to start a conversation or simply throw out an idea. Good luck with the end of your spring semester—may your bandwidth be powerful, your video remain smooth, and your online platforms stay crash-free!

ELEMENTARY DIVISION Brianne Turgeon Near the end of January music educators from across Georgia gathered in Athens for the GMEA In-Service Conference 2020. During the opening session we were challenged and inspired by Dr. Tim Lautzenheiser and saw how the importance of Music Education can extend beyond our content areas as Dr. Mary Frances Early was recognized after having the UGA College of Education renamed in her honor. Music education matters. Not only can we make an impact in our schools and communities, when it comes to sharing and learning Elementary Music Educators in Georgia have FUN, and we embrace the chance to learn all we can, for as long as we can if it means we’ll be better teachers for our students. We sang every kind of music, we danced, we played every imaginable instrument (Ukuleles! Yoga balls! Recorder! Orff instruments!), we composed, we connected, we rapped, and we learned about Orff, Modern Band, great pedagogy, classroom management, STEAM, and we boogied on down with Chelsea Cook and Dynamix Orff Ensemble, until the very last sessions on our very last day. Plus, our very first Elementary Ensemble Day was a hit. During the afterglow of the Saturday sessions I experienced a full-circle moment when I happened upon Bonita Thomie and former Elementary Chair Faye Boyer. Bonita had been honored at the Opening Session, because this is her retirement year, and she closed out the final day presenting with her dear friend. I wish Bonita all the joy and continuing fulfillment through music into her retirement. It was a thrilling conference, and on behalf of the team who planned and executed this year’s ISC, we want you to know that we are grateful for the joy and enthusiasm you showed, and we appreciate any feedback that will help us plan for next year. The feedback link is still open: https://bit.ly/2Vg5pqA Looking ahead, we are starting to plan for next year, so check the GMEA website for applications for performers and presenters for next year’s Inservice Conference. Valentine’s Day Weekend nearly 500 students and teachers from across the state gathered once again at the Clayton County Performing Arts Center for our 2020 Elementary Honor Chorus, conducted by Dr. Angela Broeker, accompanied by Joan Hill, and Emily Floyd, accompanied by Kelly Jackson. The event went off without a hitch because of the remarkable and creative planning from GMEA Elementary Chair-elect Amie Schaff and the amazing Marti Parker. There is nothing quite like the sound of children singing to give us hope for the future. The singers lifted their voices with songs like “You Are Loving, You Are Loved” and “Allunde Alluia”, which is a prayer for our children to be watched over until they are grown. Some pieces left us wondering at the way the world can change— “Flooding Rains” was written by Australian composer Harley Mead in response to immensely damaging floods that occurred in 2008. As our singers prepared this song the news was of massive wildfires raging throughout Australia, yet finally, thankfully, the rains did come, and the threat of fires abated. The beautiful performances and connections extended past our students and clinicians as the Kay Pace School of the Arts competition team, led by Erin Oxford, performed an excerpt from “Mary Poppins,

Jr.” for their peers, and our talented teachers helped to accompany a fulfilling concert--special thanks goes to Amber Colberg, flute and April Saxton, clarinet, as well as the percussion ensembles who added so much groove. Looking back at the events that have transpired in our world since our Winter Edition of the Georgia Music News, our Inservice Conference and Honor Chorus seem like years ago or from a different world. It was a different world, and we are now in a time of change and uncertainty, but one thing that we all have is music to guide us, to heal us, to strengthen us, to connect us to one another, to our students, and to the world. We will prevail. I leave you with some verses from one of my favorite songs (this interpretation from the Donnelly/Strid arrangement of “How Can I Keep from Singing?”). My life flows on in endless song, above earth’s lamentation I hear the distant melody that hails a new creation. ... And when my life is full of strife; and all around me sadness I lift my voice in melody and fill my heart with gladness! No storm can shake my inmost calm. I hear that music ringing! It sounds an echo in my soul, how can I keep from singing?

ORCHESTRA DIVISION Sam Lowder Spring may well have sprung, but we find ourselves desperately wishing someone would spring each of us from our shelter-in-place, COVID-19 quarantine, lockdown! It is admittedly difficult for me to find the proper words for this article during this unprecedented time. If this were the usual April, most of us would be sharing pictures of our recent spring break adventures, travels taken, and memories made. We would be reflecting on our large group performance evaluations, embarking upon a fine arts trip, perhaps to Orlando or even another country. We would be gearing up for statewide testing, proms, college auditions, recruitment, and graduation. Unfortunately, most of those things had to be cancelled or rescheduled and we find ourselves attempting to teach in an entirely different environment that simply cannot replace our traditional methods and techniques. For just over a month, we have been navigating some of the most challenging and uncertain times. We have continued to do amazing work, remained dedicated, and put forth tremendous efforts to stay connected to our students and families. In addition to all-things-orchestra, we have been reinforcing that people are flexible and adapt; people “show up,” even when it's hard; communities work together to help each other; the world is a good place; that even when times are scary, people are good; and that teachers love and miss their students. Amidst all of the cancellations, I am so pleased that we had such a wonderful Conference. We were truly inspired and encouraged by some of our state’s most talented students, directors, and clinicians. I also believe we were so fortunate to still be able to hold a very successful All-State event! We had some amazing conductors this year: Kirt Mosier, Jeffrey Grogan, Chuck Cushinery, Bill Bitter, Richard Meyer, and Amy Williams. Thank you all for teaching and preparing your stu-

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DIVISIONNEWS dents. Thank you to Joel Perkins and his group of student and parent volunteers for hosting our final auditions at the Martha Ellen Stilwell School of the Arts. Of course, I cannot say thank you enough to the 2020 All-State Organizers: Cathie Hudnall, Lori Buonamici, Rosie Riquelme, Patricia Cleaton, Bo Na, Kathy Saucier, our Percussion Organizers – Todd Manson and Stacy Brown, the state All-State Organizer for Band – Patrick Gallagher, and of course Evelyn Champion, our Orchestra State All-State Organizer. They all devoted so many hours of tireless service. I hope you were able to attend the fabulous concerts and enjoy your students’ performances. I also want to offer my gratitude to the Orchestra Standing Committee: Kevin Anderson, Bo Na, Bill Scruggs, Emily Calhoun, and Sara Grimes. These wonderful folks serve as an advisory committee to the Orchestra State Chairs for a five-year term and are instrumental in providing guidance and a variety of ideas and opinions which lead to the best decisions for our division. I hope and pray that upon reading this article you and your loved ones are getting well or staying well, physically and emotionally. I hope that our nation’s rebuilding process is well underway and that we are planning for an amazing rebirth filled with more compassion, collaboration, and connection than ever before. Please consider applying to have your group perform or to present a session at our 2021 Conference! Also, remember to send any new LGPE literature suggestions or mistakes you know of by May 20th. It remains my great honor and privilege to know you and to teach with you.

RESEARCH DIVISION Dr. Martin Norgaard This spring we find ourselves in very unusual circumstances. Just like the World Wars shaped previous generations, COVID-19 is upending our lives and changing our outlook forever. During this worldwide pandemic, we all share challenges associated with health, confinement, finances, work, childcare, and the list goes on and on. As music educators, we have the advantage of continued employment though long-term budget constraints could influence the profession in the future. However, the work of teaching in-person music classes has profoundly changed as we all had to move instruction online within a very short period of time. Specifically, for current teacher candidates engaged in field experience, this change has been disruptive. But here comes the silver lining: I am extremely impressed with responses from both teacher candidates and cooperating teachers. Many are working together to create exciting online learning experiences for school students. This includes using online multitrack recording technology that allows students to create chamber music recordings by layering each part (e.g. using Bandlab or Soundtrap) and compositions using instruments and loops. Unfortunately, I have reports of music students without access to school instruments. But for these students, composition and music theory instruction is done online also (e.g. using Noteflight). Music history and listening projects are also being created for students. I am excited to report that the university research community is currently engaged in collecting information about these online teaching procedures. What is done synchronously and asynchronously? Are teacher candidates engaged in 14

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planning, execution, and/or evaluation? What are teacher candidates’ challenges and rewards in this new paradigm? A team of researchers from The University of Georgia, Georgia State University, and Georgia Southern University are working together to collect this information. We hope to present the results at the next GMEA conference. Hopefully we will see you all there in person! I hope you are all healthy and safe.

RETIRED MEMBERS Jay Wucher For those of you who were able to attend the GMEA In-Service Conference, I hope you found it to be worth your time and effort. As I listened to Dr. Tim in the opening session, I could not help but be reminded that the profession we chose, or chose us, has a lasting effect on countless people we touched over so many years. He commented that our General music teachers are the real heroes of our profession. Unlike current and recovering Band, Chorus and Orchestra teachers, the General music teacher takes whoever walks in the door. There are no draft picks in their classrooms. In my past role as Coordinator of Music Education in the Fulton County Schools, each General music teacher taught an average of six hundred and fifty students per week. Multiply that over a 30 plus year career. That is an opportunity to make a difference in a lot of lives. The retired teacher I want to introduce to you is Joanne Maples who taught General music in Clayton County. When I first approached Joanne about telling her story, she said to me, “I’m not retired, I am still an active GMEA member.” I answered by telling her I wanted to highlight the careers of retired teachers, not those who are not active. It might be more appropriate to consider those of us still meaningfully engaged in our profession as re-purposed not retired. Joanne is still making a difference in the lives of young people as she serves in the Education Department at Spivey Hall, the acoustical jewel of the southeast. From my personal experience at Spivey Hall, which dates back to its inception I am reminded that there is an easy way to validate the worth of our careers as music educators. All one has to do is stand at the foot of the stairs leading into the hall and watch the expressions of children who descend the stairs for the first time to attend a school performance. Words are meaningless when you gaze at the wonderment. Joanne is part of that each and every day. Where did you grow up and where did you go to school? I grew up in Forest Park, GA where I attended J.E. Edmonds Elementary and joined the band program with Guerry Youmans in 5th grade when I chose to play the flute. I looked forward to that year as I heard each year about the opportunity announced over the intercom to come take the “Band Test.” The highlight of going to Forest Park Junior High was playing in the band where I made lifelong friends and was enriched by challenging music. My lifelong goals were set soon after joining Lloyd Tarpley’s band at Forest Park Senior High where marching band exercised our bodies as well as our brains with a mostly new show each week and concert season produced music at a symphonic level. The Pride Of Forest Park, as the program was was called, was known across the state for its high quality musicianship.

Why did you choose Music Education as a profession? Teaching was a part of my family history with my grandmother and mother being teachers. As a child, my favorite “play” was being a teacher. Combining the heritage of teaching and passion for music resulted in my lifelong goal as a music educator with the guidance of Lloyd Tarpley and Assistant Band Director Frank Tanner. Where have you worked (or are still working)? After graduating from Georgia State University, Martha Ellen Stilwell had her eye on me as well as Lloyd Tarpley in Clayton County Public Schools. Having full support of administrators, teachers and parents through my 30 years of my role as Elementary Music Specialist and Lead Teacher, I stayed in CCPS experiencing an enriched life seeing thousands of children grow musically, educationally, and personally. What do you do now that you are retired or semi-retired (both in and out of music)? I am currently the Education Assistant at Spivey Hall on the campus of Clayton State University, working part time. I have the passion to expose children to great music in a world class music venue in hopes of stirring a lifelong desire for music. The education program at Spivey Hall works toward that goal through the Choral and Chamber Orchestra Workshops, Young People’s Concerts, Summer Music Camp and Summer World Music Festival, as well as residencies and masterclasses. It’s very exciting to meet and work with educators, artists, and children of all ages through these programs.

What advice do you have to those young people who are considering Music Education as a career? 1) A music educator must like and enjoy being with children. 2) An educator must be a lifelong learner willing to keep up with the changes in education, children, and music. 3) Flexibility is key to success. Be willing to accept last minute changes as well as the larger ones that come with education and music. 4) Continue to be a performer personally so that you continue to experience what your students experience during a performance. What advice would you give to other retirees or teachers who are getting close to retirement? Stay connected to former coworkers in some capacity whether as a mentor, for a lunch date, or attending their concerts. You have much to offer when you want to do so. Enjoy the fruits of their labors. Continue to perform at a church, in a community group or small ensemble. Plan a “bucket list” of things you like to do (travel, projects, community activities) and do them in your own time. Have a purpose for each day no matter how large or small. It’s your day! Live life to the fullest.

WHERE TEACHING MEETS RESEARCH

THE MASTER OF MUSIC EDUCATION ONLINE online.uga.edu/mmed

Online Learnin for Chorus

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M A R L A

BA L DW

W I N

here’s a short video of an adorable young teacher who wrote a song to express how she feels about the transition to online learning. She plays a beautiful chord progression on the ukulele... and then screams. I think that sums up how so many of us are feeling. We’re holding it together, barely. We’re creating wonderful, imaginative ways to keep our students engaged in learning while we feel them slipping out of our grasp. So far, I’ve made 16 lessons in FlipGrid and have loved watching all 1,642 responses. I love seeing their faces on my screen and hearing them

sing at least some correct pitches. I am desperate to inspire them, show them love, and keep them motivated to make music. I can only imagine what their home life is like right now. At this point, I’m in survival mode and my students probably are, too. Are my students learning the standards for choral music? Nope. Are my choirs going to be able to sight read Class A music on the first day back? That’s hysterical! Do my students know that I desperately miss them and can’t wait for us to be back in the choir room making music? Absolutely! In all this chaos, I’m not stressing about the choir; I’m focusing on the children.

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LISTEN WITH YOUR EYES

perspectives on covid-19

Music Educators around Georgia Share Challenges and Insights

perspectives panel

KATIE O. ANDERSON

FINE ARTS COORDINATOR, PAULDING COUNTY SCHOOL DISTRICT (GMEA DISTRICT 7)

MATT KOPERNIAK

PERFORMING ARTS COORDINATOR, FULTON COUNTY SCHOOLS (GMEA DISTRICT 5)

DAN SMITH

CURRICULUM COORDINATOR OF FINE ARTS, HEALTH, & PHYSICAL EDUCATION, CLARKE COUNTY SCHOOL DISTRICT (GMEA DISTRICT 14)

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MICHAEL OUBRE

BAND DIRECTOR, PICKENS COUNTY HIGH SCHOOL, PICKENS COUNTY SCHOOLS (GMEA DISTRICT 9)

CHRISTOPHER M. FERRELL

SUPERVISOR OF INSTRUMENTAL MUSIC, COBB COUNTY SCHOOL DISTRICT (GMEA DISTRICT 12)

LAURA WEBB

BAND AND CHORUS DIRECTOR, PEPPERELL MIDDLE SCHOOL, FLOYD COUNTY SCHOOL DISTRICT (GMEA DISTRICT 7)

CATHERINE KEYSER

FINE ARTS SPECIALIST, FORSYTH COUNTY SCHOOLS (GMEA DISTRICT 9)

nder usual circumstances, Georgia music educators teach within a wonderfully diverse range of communities. Talking with colleagues at our in-service conference tells us that each district, and every music program, really, face distinct challenges and definitions of success. The COVID-19 pandemic brings these strengths and weaknesses into sharp relief. Music educators have been forced to function in an unsettling vacuum, isolated from established routines and expectations and, deprived of our greatest motivator, making music with our students. In many ways, this routine disruption intensifies existing problems within our schools and communities. Hopefully, though, our new teaching circumstances also reveal previously unrecognized and new found strengths. To capture music educatorsâ&#x20AC;&#x2122; response to Covid-19 school closures, Georgia Music News asked district music supervisors and music educators around the state to share how the Covid-19 crisis has impacted their communities. We thank those who made time to participate and hope to provide responses from other districts in coming issues. Respondents were sent a list of questions and wrote either narrative reflections or answered the questions individually. Those who responded question by question will be represented by their initials. These participants are: Katie O. Anderson (KA), Paulding County Schools Fine Arts Coordinator, Matt Koperniak (MK), Fulton County Schools Performing Arts Coordinator, Dan Smith (DS), Clarke County Schools Curriculum Coordinator of Fine Arts, Health, & Physical Education, Michael Oubre (MO), Band Director, Pickens County High School, Christopher M. Ferrell (CF), Cobb County Schools Supervisor of Instrumental Music, Laura Webb (LW), Pepperell Middle School Band and Chorus Director (Floyd county), and Catherine Keyser (CK), Forsythe County Schools Fine Arts Specialist. Narrative responses will be published in their original format.

ARE STUDENTS CONTINUING WITH SCHOOL AT HOME? IF SO, HOW ARE THEY PROCEEDING? DIGITAL LEARNING, WEEKLY WORKSHEET PACKETS, ETC.

learning. FCS has provided a Microsoft Surface to students without access to a computer at home. Grades K-2 are not engaging digitally, but are using distributed packets distributed by individual schools.

KA: Yes. We have a combination of digital learning and paper packets as there are pockets of our county which do not have access to the internet (literally, there is a portion of our county where there is no internet connectivity), although our public library and our schools have added boosters to the front of their facilities so people can pull into our parking lots and have access if needed.

DS: Yes, digital learning started shortly after our Spring Break ended (back around March 16). CCSD has implemented digital learning and made worksheet packets available for many content areas

MK: Yes, in Fulton County, all students are expected to continue with school at home. Grades 3-12 are primarily engaging in digital

MO: Yes! Digital learning, uploading playing assignments, assignments from GPB site, occasional fun assignment like send a band selfie with your instrument or make a band meme.

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CF: Absolutely, All of the students in the Cobb County School District have engaged in distance learning from home since our system closed in March. Students have been learning in a variety of ways. The bulk have been engaging digitally, some have also been receiving printed activities and materials as well as viewing content on our cable-access network. LW: Yes. As time has marched on, Google Classroom and paper packets have been the primary means of learning for core academic classes. For those students who have a device and internet, it is an ideal setup. For those who do not, the paper packets have been an option but requires more effort for parents who have to actually go and pick up and return completed the packets. The reality though is that only about 25% of students are doing any kind of work. We (non-core, extracurricular classes) were told to consider our classes as enrichment. We can assign work and ask for students to submit but it is to be considered enrichment. It was the superintendent’s directive that grades do not need to create undue stress on families. Compassion is more important than curriculum right now. We were told all teachers could enter grades as long as those grades did not negatively impact the student’s grade. CK: We hope so. For the vast majority of the beginning of the at-home learning, the numbers of kids logging in and completing work was really strong. As a district, we delivered Kajeet Hotspots and chrome books to families that needed them, in hopes of keeping students engaged. After spring break we noticed a slide in the % of student participation, and of course, the closer we get to the end of the year, the less kids are doing. Part of this is due to the "hold harmless" grade policy that most metro counties put into place, some may be due to family situations, and some just because some kids check out. We continue to provide meaningful learning experiences and communicate with families to make sure their physical and mental state is taken care of- we simply have no idea how families are affected at this point. We went completely online- no worksheets or packets. We have had our learning management system in place for a long time and most students (younger ones not as much) are very familiar with the platform, and google classroom, so the switch was not as painful as maybe some other districts. 20

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WHAT TOOLS ARE MUSIC EDUCATORS IN YOUR DISTRICT USING TO PROVIDE INSTRUCTION? KA: Canvas is our district LMS and we use that. Elementary music uses Quaver as well as other tools. MK: Fulton County music educators are using a wide variety of tools to provide instruction and engage students. In terms of instructional platforms, most teachers are using either Microsoft Teams or Google Classroom. Additional tools include Flip Grid, Smart Music, Quaver, Sight Reading Factory, Acapella, Seesaw, etc. The list goes on and on! I am very impressed with the multitude of ways that music educators are reaching students during COVID-19 pandemic. Collaboration between music teachers is strong, as we all navigate these uncharted waters together. DS: I would say that Google Classroom has been widely used with middle and high even before the switch to distance learning, so that continued. Each school implemented a distance learning plan based on district expectations, for example, elementary schools are rotating Specials daily so the music teacher prepares a video for the students that introduced the activity/lesson for the day. MO: Google products, specifically Google Classroom, is what we are using. CF: They are using a variety of tools including Microsoft Teams, Zoom, CHARMS Recording Studio, SmartMusic, MusicFirst, FlipGrid and a variety of other platforms and software. LW: For me personally as a middle band and chorus teacher, I have offered work through Google Classroom and not paper packets. I have offered SmartMusic and Sightreading Factory subscriptions to any student who requested an account. I’ve provided links to videos and performances on YouTube that would be beneficial and serve as enrichment. CK: We use ItsLearning as our management system, and a lot of teachers use google classroom. Our middle

and high school directors use Charms some, but found other platforms better for assignments. We have had teachers use Flipgrid, Nearpod, Quaver, Smartmusic, Sight Reading Factory, Noteflight, etc... and it's actually been a great time to try some of the products out for free. Teachers have been doing a variety of assignments from playing tests/videos to discussions, choice board activities that are musically related, video chats, etc.

DO MOST STUDENTS HAVE ACCESS TO WHAT THEY NEED TO BE SUCCESSFUL (WIFI, DEVICES, INSTRUMENTS, ADEQUATE PARENTAL SUPPORT, ETC.)? KA: Some do and some do not. Where computers were not available to students, we have done technology check-out programs. In some cases, they have devices but they also have several people in the house needing the device and they must share. MK: This question is tough to answer, because “successful” is a moving target right now and looks very different from student to student. Music teachers are going above and beyond trying to reach and connect with every student during this time. This pandemic has exposed inequities in our society, including access to internet/WiFi, and there are a number of students who struggle with dependable access. In terms of completing assignments, many students do have WiFi, devices, and parental support, but some still struggle with motivation, workload in other classes, or other factors. Many parents are working from home, so it is difficult for students to practice at certain times. Some band and orchestra students still do not have instruments. In some cases they are still locked at school, and in others, they are sharing school owned instruments and were unable to bring them home. It varies student to student. DS: I wish I could answer more specifically, but as with much in education, things like wifi, devices, instruments, adequate parental support, etc. are always a concern when we think of educational equity even outside of distance learning, so I believe it would be safe to say those concerns would be increased in the time of digital learning.

MO: Yes, we are a 1:1 county with Chromebooks and there have been wifi stations set up by our local internet provider to do what is needed. All of my instruments went home before this started and parents have been helpful in nudging the students who are slow in doing the work. CF: A good part of the community does, but the district has been working to provide digital tools and access for those who are in need as well as providing alternate sources of instruction where possible. LW: Like the rest of the state, Floyd County Schools is coping the best it can in light of the circumstances. One of the biggest obstacles to online/distance learning has been lack of resources. All homeroom teachers in the system were asked to call each student and find out if they had access to the Internet and if they had access to a device. A significant number of our students do not have access to the Internet. Some have access to the Internet but do not have devices. The only students in FCS who have devices (Chromebooks) issued to them are high school students. K-8 has access to devices at school but not outside of the building. We are a Google Classroom system and utilize that platform. Closure for us was announced when the students were headed into a four-day weekend. We were not able to let them know to take their instruments home for the closure since the announcement was made after dismissal that Wednesday. Since then, we have been very restricted as far as getting in the building or getting instruments for our kids. Personally, I’ve handled each parent request by either delivering instruments to their homes or meeting them during the school meal pick-up on Monday or Thursday. Only about 25% of my kids have instruments at home. CK: We are fortunate in that most of our county is ok. We of course have some that aren't-we are providing as much support as we can with home visits, food delivery, tech support, etc. Our school administrators are very in-tune to their communities and know which families may need the extra support. Of course, again, physical, emotional and mental health first. We know there are families where both parents are working and the oldest child is trying to teach the other children in the home-

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and therefore not getting their own work done. As far as instruments- that has been an issue for people who have had to turn them in to the store because they can't afford them (we've tried to support families as we know about the situation), or kids without instruments because they were sharing- we've tried to do what we can to support these situations.

WHAT ISSUES OR CONCERNS ARE MUSIC EDUCATORS FACING OR EXPRESSING? KA: Connectivity issues at first but those are corrected. Student engagement. In some pockets of the county, students are not engaging as much as in other pockets. That is mostly it. MK: I believe music educators across the country have met this situation head-on and are doing amazing work. And, every teacher I know is grateful to have a job. But that doesnâ&#x20AC;&#x2122;t mean it is easy or enjoyable under these circumstances. The biggest over-arching issue is uncertainty. Like everyone else, music educators are working under a veil of uncertainty. We all share universal concerns about physical and mental health, the economy, and isolation away from friends and family. Teachers are concerned about our students and their well-being and education. High school teachers are particularly concerned for seniors who are missing many rites of passage, such as their final concert, spring trip, awards banquet, prom, and graduation. We are concerned what music program will look like in the fall. Music teachers are doing their best to make preparations for the upcoming school year, which is stressful given the uncertainty of the future. Additionally, many teachers have children of their own at home, which can be very challenging to balance their schedule and schoolwork while also teaching music from home simultaneously. MO: With Spring concerts and performances cancelled, it's hard for me to assign music pass offs knowing we are not going to be playing that music. I don't believe in busy work. The kids miss band terribly. It's hurting our recruitment time for 8th graders as well. CF: First and foremost, they miss teaching and interacting with their students in the way we have all become accustomed. The miss music! They have all done their

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level-best to provide meaningful experiences for students at home, but there simply is no substitute for making music together. We will do everything we can do until we are all together again! LW: Personally, I have felt kind of useless. Everything has been geared toward core or academic classes. Connections and Special Education has kind of been an afterthought. I have offered things to students but very few have taken advantage of it. In lieu of not feeling very useful, I volunteer on Monday mornings to assemble breakfasts and lunches for students. On Thursday, I put my CDL to use and deliver student meals to remote sites for distribution. CK: Where to even start- this is what keeps me up at night. What will next year look? What will performance groups look like? How will we match kids to instruments and get them in the right class? How do large classes function safely? Will we all still have jobs? What will the calendar look like? Marching band? Budget? So many unknowns. Will all of our kids come back to school? What about the teachers that are immuno-compromised? We are working to create as many plan A, B, Cs as we can, and hope for the best. Again, constant communication for teachers and their administrators, and across the district and state is crucial. We need to keep a positive mindset and find solutions.

WHAT ISSUES OR CONCERNS ARE YOUR STUDENTS AND THEIR FAMILIES FACING OR EXPRESSING? KA: Joblessness, stress, frustration at having their work, school year, senior year, plans interrupted and losing money they have paid into trips or other things. Same issues as the entire nation, I would assume. MK: Many households are struggling to balance parents who are working from home with students who are working from home. This is particularly challenging with younger students, who need active parental assistance as they work through their school work. Like teachers, students are growing fatigued with screen time. Even All-State students have expressed personal issues with motivation during this time. Many parents have lost their job, either permanently or temporarily. These

families are experiencing the stress of lack of income, which affects students in countless ways. MO: Everyone wants to be back. That's all. Even kids who hate school want to be back. CF: I imagine, some of those same issues basic to all human beings. Interaction is important no matter the level. There are so many challenges at play for families in this time of crisis. However, some positives have come about as well. Families have gotten to strengthen bonds as well as learn so much about each other in many cases. If there is a silver lining, I believe this is it! We may never be the same, but we will be better in untold ways and I truly believe that. LW: For the students and parents I have been in touch with, most seem to be handling it pretty well. A couple of kids said they are tired of babysitting their younger siblings. One noted he will be doing that until band camp starts in July. They all seem to be bored and want to go back to school. One student even said he is ready to actually do his work when we do go back to school. Hopefully, there are many lessons to be learned from this experience. CK: We as a district are working on plans to support our students/families and teachers when we come back. We are deeply concerned about the emotion/mental health of people after all of this, and of course the fear of the unknown weighs heavy as well. My own personal children have faced struggles during this time- not being able to be social (in person), not being able to see family (in person). Just because a student might be a high achiever in the school building does not mean they thrive in the on-line learning environment. Likewise, students who may have struggled with the 8 hour school day could be doing better in on-line learning. It certainly is going to be interesting to see the effects of all of this- we just want to be able to support them in a way that meets their needs.

a mentor, however, we are making chicken salad out of chicken poop. The best digital music lesson does not compare to the experience of making music with other humans in the same physical space. Students need music in their lives more than ever, and we are all anxiously awaiting the opportunity to make music in person again. DS: Our music community in Athens has had to adjust to social distancing in our community. There are a plethora of local musicians live streaming from home every day and we've had great community awareness and response to supporting artists that are not able to earn income from home. We have a survey that is currently circulating to artists and performers to help identify specific needs so the best response can be strategically arranged. The cancelation of AthFest 2020 (which helps generate funds for K-8 school arts grants through AthFest Educates) was disappointing for the community, but we all look forward to AthFest 2021. CF: Stay happy, stay healthy, and stay safe! LW: I realize that this is a brand new precedent - one our country has never faced before. My hope is that my school system realizes that it is one thing to say we can deliver digital instruction but logistically we are nowhere close to that. And as for all of us, I hope this teaches us patience, understanding and compassion towards mankind - especially for those who have continued to provide essential services. CK: Teachers are amazing. Kids are amazing. And, many of us across the state have strong leaders in our districts. Jessica Booth and her team from the GaDOE have certainly been a tremendous asset, especially for teachers in areas that may not have a county-level support system. Title IVa funding and the fact that the Arts are part of CCRPI is definitely going to help us through this- we didn't have that support in 2008. Frequent communication is vital during this time.

IS THERE ANYTHING ELSE YOU WOULD LIKE TO SHARE? MK: When this is all over, I believe music educators will look back with pride on how they handled this situation. Music educators have approached this situation with energy, flexibility, creativity, and empathy. To paraphrase S P R I N G 2020 | G E O RG I A M U S I C N E W S

I have personally felt uplifted by the incredible sharing of resources across the country- people all over are willing to share their ideas, and even offer a simple "You're not alone, and it's ok to be sad, frustrated, grieving" with people they've never met. We've seen a collective efficacy like never before in our field (arts in general, not just music). Professional and military musicians reaching out, through concerts, masterclasses, etc. Small business, especially local music stores, having to reinvent themselves and providing services in a new way and still hopefully surviving enough to restart. Maybe these changes will have a positive impact in the long term. In education, we've needed to have tough conversations about grading and how we teach, how we structure a school day and classes, and this time is really forcing us to now have these conversations - what really are the priorities. I also see higher education having to rethink how they work. Not necessarily a bad thing. How many rules and regulations do we really need in education? So many modifications have been made that have loosened the chains on what we can do- do we really need some of those rules? We seem to be doing better without them :) So, much of this is personal philosophy that has come from 20+ years in a vastly changing educational world and a perspective as a teacher, building and now district leader. Ultimately, I see this as a time for arts to be stronger as more and more people are seeing the importance of what we do for kids. We are being recognized in a way that maybe we wouldn't have before- we are the social-emotional support for kids. They need us, and the human element that keeps us connected, now more than ever. And we need our students- that's why we are passionate arts educators- it's all about the kids :)

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3 4

David Dubose

DAVID DUBOSE DIRECTOR OF FINE ARTS | GWINNET T COUNTY PUBLIC SCHOOLS (DISTRICT 13)

Digital Learning in the arts certainly has presented challenges with the most glaring one being that our students and teachers miss seeing each other every day. In the arts we, more often than not, have the same students for 3 or 4 years or even more and the relationships that are created certainly makes times like this even tougher. However, we are finding great success in the classrooms as teachers have realized that they must make the learning and artistic growth of our students move forward. After all, for all the students returning in the fall to our programs, we need them to be ready and prepared. Our teachers have certainly faced the issues where some students have access to their instruments at home while many do not. The concepts of designing separate lesson plans for these two groups has shown beneficial. Students with instruments are still being provided etude and exercise assignments, links to pieces for sectional work online (through many programs and various apps), and many are submitting short performance assignments weekly. Students without instruments are facing an obvious challenge and the teachers have certainly been using the free access that many of our incredible music vendors have provided to their platforms to get students engaged in theory and singing exercises as well activities to show performance or modified performance without actually needing the instrument in hand. Teachers have become overwhelmed with the amount of individual grading that is above and beyond the normal practice but have realized that longer-term projects with intentionally scheduled due dates has haled begun to pace out the work load. Teachers have also expressed concern with spring recruitment for their incoming classes and fall programs. However, the creativity they are showing in digital media and work to address these hurdles has proven successful. From online Drum Major interviews, enhanced program recruitment videos, and virtual information sessions and booster meetings; these and more are proving to help us re-think options for â&#x20AC;&#x153;the way we have always done thisâ&#x20AC;?. One of the biggest things that I like to remind our teachers is through all of this, you cannot turn on the TV without seeing how another musician, another artist, another, music educator has done something innovative and creative and is bringing life and smiles to so many. It continues to prove that in all times, especially in times of difficulty, the arts is ever more necessary and our core dedication to delivering that quality instruction to maintain strong arts in our schools and communities is even more essential.

S P R I N G 2020 | G E O RG I A M U S I C N E W S

Tangela D. Kimber

TANGELA D. KIMBER DIRECTOR OF FINE ARTS & WORLD LANGUAGES | VALDOSTA CITY SCHOOLS (DISTRICT 8)

Thanks so much for reaching out to us, here in Valdosta City City Schools! This has been an amazing,yet unprecedented time for all educators across the nation. Although this year served as my first as the Director of Fine Arts & World Languages, the Valdosta City Schools Fine Arts department was well underway! The Valdosta High School bands just completed some excellent & superior ratings for their large group performance evaluations, as well as Valdosta Middle School. Many of the VCS elementary and middle schools had just successfully completed Black History performances, along with the high school chorus. On an inaugural note, after being coordinated by a grant, the Valdosta City Schools Strings program was moving into their fourth practice for students on a middle and high school level. However, this pandemic has set in great heartache for Valdosta City Schools. The Valdosta Middle School Players were just days shy of putting on their annual Spring Performance of We Will Rock You! The Valdosta High School Theater group was steadily preparing to put on a production of Little Shop of Horrors. In essence, to say that this spontaneous school shutdown for the state brought everything to a devastating halt here in Valdosta City Schools, would be a gross understatement. VCS administrators, band, choral, theater, dance and music teachers were shockingly paused for a moment, and then gradually shifted to a new educational technology driven curriculum. In Valdosta City Schools, the district has consistently continued communication about COVID updates including family support and instructional resources with all stakeholders through various calling posts, the school district website, and various social media outlets (FB, twitter, youtube, gmail, etc...). Most VCS teachers are communicating with classroom students through various virtual and social media means like google hangout, zoom, class dojo, and Remind tools. As mentioned, class instruction has carried on through a plethora of curriculum resources listed on the school website, printed instructional packets released by the local schools, as well as various chromebooks allotted to various students.Wifi has been extended throughout the Valdosta community for households. While the Valdosta City School district continues to devise plans socially, instructionally, operationally, and physically, communication is consistently unfolding on every level to keep all stakeholders abreast of the latest updates.I again, graciously appreciate your reaching out to our district, especially the Fine Arts department, at such a tumultuous time. At the beginning of the school year, no one could have ever foreseen the challenges we are currently facing, making our motto this year even more appropriate; "We are All in this Together!"

G E O RG I A M U S I C N E W S | S P R I N G 2020

Monika M Wiley

MONIKA M. WILEY DIRECTOR OF FINE ARTS/SCHOOL CHOICE, CLAYTON COUNTY SCHOOLS (DISTRICT 6)

Due to COVID-19 Music Educators in the Clayton County Public School District and across the United States have left their rehearsal spaces and adapted a new virtual learning space. Virtual Learning in Music Education has been explored before COVID-19, but not to the extent that COVID-19 has forced upon us. As a district, we are happy to see the positive outlook that our teachers have when embracing virtual learning. Our teachers are continuing to collaborate and share resources and provide quality instruction that is rigorous and meaningful. Currently, we are a Google District, so our teacher and students have full access to everything that google provides for virtual learning. The technology department is providing round the clock support and professional development for teachers to make them more efficient with the google platform. The Fine Arts Department has provided support by providing virtual lessons and virtual resources to support our teachers. The Fine Arts Department has also received feedback from our teachers via surveys sent using google forms. In addition to surveys, virtual meetings were held with each Fine Arts content with Dr. Monika Wiley, Director of Fine Arts and School Choice and Isaiah Bell, Fine Arts Instructional Specialists, to check the general well-being of our teachers and to find out their Grows and Glows with virtual learning. The biggest concern that our music educators are expressing is the well-being of our students. Not being able to teach them and make music within them in a traditional rehearsal space is missed because music often provided a safe space for them to express themselves socially and emotionally.

S P R I N G 2020 | G E O RG I A M U S I C N E W S

"Nine tenths of education is encouragement.â&#x20AC;?

Anatole France

Recruiting & Retaining

in the Midst of Online Learn

BY SHAWN MORTON

s I write this from my dining room table, I never would have believed seven weeks ago that this is where I would be sitting on a Thursday morning! I thought I would be in the middle of all the fun and craziness that comes with the end of spring semester- concerts, awards nights, banquets, youth orchestra events, and recruiting tours! And while I often complain about being tired and worn out at the end of the semester, I am now missing these activities more than I could ever imagine! Since moving to online learning, one of the questions that has been in the forefront of my mind has been, â&#x20AC;&#x153;what effect will online learning have on our programs?â&#x20AC;? There are still many unknowns about what school will look like in the fall and how COVID-19 will affect our classrooms, schools, and our music programs. I am especially concerned about how it will impact the successful recruiting and retaining of our high school fine arts students. After thinking through some ideas and how to adapt them to a digital platform as well as talking with some fantastic colleagues, here are some thoughts about how to keep numbers up during this time!

G E O RG I A M U S I C N E W S | S P R I N G 2020

ning!

1. RELATIONSHIP BUILDING IS NOW MORE IMPORTANT THAN EVER! Someone who builds great relationships with students is often found at the heart of a successful music program. Our students often buy into us first and then the music- we are usually their first introduction to the music program. Our students need us now more than ever, and it is important we continue the relationship building we do in our classrooms on a daily basis. Due to COVID 19, there are so many creative ways to build relationships being shared online now! Hold zoom sessions with kids, send positive postcards home, create fun activities online (song of the day, silly questions, etc.), check in on kids via remind, email and phone calls! Find ways to connect with students that work with your personality and style! 2. COMMUNICATE WITH YOU CURRICULUM ADMINISTRATOR, MIDDLE SCHOOL FEEDER TEACHERS, AND OTHER STAKEHOLDERS. Keeping open the lines of communication is key during this time. Feeder teachers are the best resource you have to reach your incoming 9th graders! It is important to get up to date rosters for the fall semester from curriculum administrators and make sure kids are signed up! If kids arenâ&#x20AC;&#x2122;t signed up for your class- call them, e-mail them, and have their friends check in on them! Keeping good relationships with these groups of people makes it much easier to track down students and adjust their schedules! Check in with their parents. Sometimes there are issues that are easily solvable if we just take the time to check in. 3. SET UP ONLINE MEET AND GREETS FOR INCOMING 9TH GRADERS! With the help of the middle school teachers, set up an online question and answer session with your incoming 9th graders! Have some of your current join in on the online meeting to answer student questions and help give incoming students feedback about high school. It is really important you get your current students involved that are from a variety of backgrounds and experiences (athletes, AP students, dual enrolled, club leaders, different ensemble levels etc). This will help show the incoming 9th graders that being in an ensemble class does not limit the other activities they can do in high school! In addition, this activity will give them great information not only about your ensemble program but high school in general! Have your 8th graders post their picture to a padlet with their name and instrument, and then share it with your current studentsthis is a great way for them to start learning the incoming 9th graders names! 4. LOOK FOR WAYS TO HONOR STUDENTS. There are many different ways we honor students, and most often we do these activities during the spring semester. Try hosting your awards banquet online. If that is too much, mail certificates or other awards home. Honor kids in small ways, too. Pick an ensemble student of the week, and share information about that student with your classes. If someone turns in an amazing assignment, share it with the class as an example. Tell students they did a good job individually when they do something well. As time consuming as it can be, I think leaving online feedback on their assignments is another small way we can positively affect kids.

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5. DONâ&#x20AC;&#x2122;T FORGET YOUR SENIORS! The class of 2020 is experiencing a senior year like no other! Look for ways that work for your situation to honor this special group of students. Write senior letters to each senior, set up zooms with them, make sure they get their cords, diploma seals or other special awards, make a senior ensemble photo composite for each student, create an online photo slideshow, set up a flipgrid where other ensemble members can leave special video messages for the seniors, set up an online folder for each senior where other students can leave a note or memory. There are endless possibilities, but it is important to recognize that these students need a little extra TLC as they go through a very different end to their high school experience. It can be easy to get overwhelmed during online instruction and all the pressures that come with it. I believe it is important to do activities that fit within your personality type and match your teaching style. In addition, we all have to work within our time constraints and abilities. I try to remind myself daily that my goal is to continue building great relationships with my students and help them keep music in their lives during this time. Recruiting and retaining is important for many reasons, but I think it is even more important now because students need music in their lives now more than ever.

SHAWN MORTON Shawn Morton is in her eighteenth year as an orchestra teacher in Gwinnett County. She currently teaches at Duluth High School. Her students have been named as members of Kendall Youth Orchestra, Gwinnett County Youth Symphony, Metropolitan Youth Symphony Orchestra, Emory Youth Symphony Orchestra, Atlanta Symphony Youth Orchestra, and the Georgia All-State Orchestra. In addition, Mrs. Mortonâ&#x20AC;&#x2122;s orchestras have performed at the 2007 Midwest Clinic, 2009 American String Teachers Association Conference, the 2011 Georgia Music Educators Association Conference, and the 2013 National Band and Orchestra Festival at Lincoln Center. Mrs. Morton is a member of the American String Teachers Association, Georgia Music Educators Association, Professional Association of Georgia Educators, and Sigma Beta Delta.

G E O RG I A M U S I C N E W S | S P R I N G 2020

Announcing Dr. Leslie J. Blackwell Interim Director, School of Music

SCHOOL of MUSIC where PASSION is

heard

Bachelor of Music in Performance Instrumental, Jazz, Piano, and Voice Bachelor of Music in Music Education Band, Orchestra, Choral, and General Music Education Bachelor of Arts in Music Applied Studies, Composition, Ethnomusicology, Musicology, and Theory

2020 AUDITIONS February 22, 2020 March 21, 2020 April 25, 2020

musicKSU.com S P R I N G 2020 | G E O RG I A M U S I C N E W S

T H R O U G H UTI L IZIN G FOR

T I T H E

C O V I D - 1 9

SOCIA L

D I S R U P T I O N

EM OTIO N A L

REFLECTIO N

A N D

L EA R N IN G

G ROWTH

Written by Scott N. Edgar, Andrew E. Morrison, and Bob Morrison

Reprinted with permission from School Band and Orchestra Magazine

With the mass cancellation of student musical events, school and college closures, and shifts to online learning becoming a part of our new reality, this is a unique opportunity for students and teachers to develop new strategies for teaching and learning and to reflect and grow as musicians and people. While it may be increasingly difficult to view the current environment as positive for music education, teachers are being forced to develop new educational strategies, and students developing new approaches to learning, that could be viewed as an opportunity for an increased emphasis on social and emotional growth. So how can we, educators and students (K-16) alike, take the lemons created by COVID-19 and turn them into lemonade?

G E O RG I A M U S I C N E W S | FA L L 2019

WHAT IS SOCIAL EMOTIONAL LEARNING AND HOW IS THIS CONNECTED TO MUSIC EDUCATION? Social Emotional Learning (SEL) is a construct being implemented across the globe intended to provide students with the SKILLS to confront challenges by being self-aware, socially-aware, and to make responsible decisions. Broad SEL instruction often takes the form of reflection, discussion, and lecture. Students can view this as forced, formulaic, and scripted. For SEL to be most effective, it needs to be embedded in the curriculum. Music teachers can do this in a much more authentic way—through music. Music students can become self-reliant and resilient in the process. Clearly, this is something today’s environment calls for! SEL is naturally embedded in our physical classrooms and can be embedded in our online instruction, as well. Music is social. Music is emotional. For SEL to be optimized in the music classroom, it must be explicit, consistent, and structured. We, as teachers, do not teach music; we teach people music. Because students trust their music teachers, we are in the perfect position to help them not only encounter the accidentals in music but to confront the accidentals in their lives with strength and skill. In addition to guiding students through musical experiences, music teachers show students how to view challenges as opportunities. Embracing these opportunities through an SEL approach is a recipe for success. We can help our students (and ourselves, as teachers) deal with the emotions created by recent events as well as encourage the development of SEL skills as they take ownership of their own learning.

TEACHERS: TEACHING INDEPENDENCE AND EMPATHY THROUGH ONLINE INSTRUMENTAL MUSIC EDUCATION We have never seen this level of disruption to the status quo of music education (having to adjust to cancelling concerts/rehearsals mid-school year and transitioning to non-in-person instruction). While we, as music teachers, are having to deal with our own emotions and disappointment with these sudden changes, our

students are navigating similar feelings and they need our leadership to handle this situation effectively. We do not like to be told “no.” It is okay to ask ourselves and our students: “How do we feel about not being able to perform/be together as an ensemble?” First, we need to provide a space for our students to express their fears and anxiety around this pandemic. Our students have often found the band and orchestra classroom the space to express worry and have a supportive community guided by the director to navigate challenging situations--they are losing this physical space (temporarily). We need to reassure them we are still there for them. The primary question for all of us has to be: “How can we continue to provide the musical, social, and emotional support that makes instrumental music so special?” There is no one solution for how to teach our students when we cannot meet as an ensemble (but it will be different, and that is okay!). Directors have often sought to teach students how to practice so they can “do it on their own.” Now, there is no other choice. This necessitates an increased use of individual reflection. Students will now be called upon to achieve accurate self-perception, self-monitor, learn how to set goals, and seek and provide help (SEL skills). While no one prefers online ensemble instruction over in-person teaching, this does provide the opportunity to teach our students to be self-guided learners, capitalize on technology and student-to-student collaboration, reflect on the process of music-making (concept over concert), and embed Social Emotional Learning activities to get students reflecting on the process of making music. As no one has done this before and it is uncharted water, students can, and should, be involved in the process. We should ask them what they would like this learning and instruction to look like. We could encourage our students to: Find opportunities for remote collaboration and peer assessment/guidance. Pair students where one student records an excerpt and the other becomes the teacher. Switch roles. Brainstorm alternatives for/to performance. How else can we share music?

S P R I N G 2020 | G E O RG I A M U S I C N E W S

Program a concert of music around a theme (social justice, genre of music, disappointment, legacy, etc.) after exploring catalogues and composer websites. Collaborate on arrangements, compositions, loops, back beats, etc. and record them. An album could be recorded with these collaborations. Make a documentary of the process of preparing for a concert remotely and share as an alternative to performing the concert. Chronicle these experiences of not being together and missing what makes our work special. Interview (email or phone, if possible) a composer about how they see their music making a difference in young musicians’ lives. Many composers are offering these services in lieu of in-person clinics! In addition, a critical element of SEL is self-reflection and self-awareness. Individual reflections should accompany all assignments/assessments.

TEACHERS: REFLECTION AS PART OF THE PROCESS The process is always as, if not more, important as the product. We can lose sight of this in music education. Remote instruction requires individual reflection even more. Students need to be able to explain their thoughts, challenges, and successes. Here are some broad reflection questions to pose to students: ● •What does band/orchestra mean to you? What will you miss the most about rehearsing and performing together? •What are the benefits of having the freedom to work independently? •How are you dealing with the disappointment of cancelling our concert/performance/trip, etc.? •How are you utilizing the increased amount of time? Are you using it wisely? Are you finding balance? •What is one area of your musicianship you can improve on before you return to your ensemble? What help do you need to achieve that goal? 36

G E O RG I A M U S I C N E W S | S P R I N G 2020

•What are you doing to maintain healthy social relationships? This increased level of accountability, independence, and ownership can facilitate a skill set that is often advocated for, but not always achieved in our large ensembles. This is the silver lining. We have the option of treading water and writing off this school year; but, if done well, our students can return to our classrooms with a new perspective on what we do, and how to collaborate. They will appreciate what was missing during this disruption because they will have learned how to empathize, be independent, and be more flexible. Absence really will make the heart grow fonder!

STUDENTS: TAKING OWNERSHIP OF LEARNING Students across the nation have been rattled over COVID-19. Many are asking the question: “How will I still be able to advance as a musician without face-toface instruction.” Currently, individualized/Social Emotional Learning is a hot topic in our schools. Regardless of what kind of music student you are, the odds are that some aspects of our future will include having to teach others. Understanding and developing these concepts as students during this period of uncertainty and questioning of the unknown, could ultimately lead to improving overall music education in the future. If we all recognize how to teach ourselves by embracing/ utilizing SEL, we will become more effective in teaching others. Self-guided musical learning is a key to success by becoming self-aware and managing one’s musical/ practice/personal habits. Here are some suggestions for music students (both K-12 and collegiate) on how we can all become stronger independent learners, while also embracing SEL: •Recognize strengths and weaknesses. We are not always aware of what they are. When we practice, it is easy to default to practicing what we are good at, as it can make us feel good. Targeting and embracing one’s musical weaknesses in the practice room with the intention of improvement, is a sign of high musical self-awareness and maturity. - Some examples of how to do this are: Creating

your own exercises or writing your own etudes to target a particular issue. Isolating problem spots in the music one is working on. Turning melodies/ motives into scalar patterns and practicing them in multiple keys, as well as creating pitch, rhythmic, articulation, or even exercises based around musicality/phrasing. Oftentimes when we create our own exercises, it can further spark creativity with new ideas/concepts around our own playing that have value. This is a phenomenal way for us to begin to take extreme ownership of our craft. ● •One of the most difficult parts of practicing can be developing a consistent plan. Because of COVID-19, time is no longer a significant barrier. However, creating structure can still be a daunting task. We are creatures of habit, so building consistency is important. As good practice habits become more consistent, our rate of progress will begin to accelerate and improve. ● •Goal-setting is extremely unique to each individual’s needs when it comes to music. Oftentimes we fail at meeting our goals because they are too broad and we do not set parameters. A simple way to break down goal-setting is by making a timeline. Identify long-term goals and break them down into monthly, weekly and daily goals. Write the long terms down, and remind yourself of them every day. Daily goals are micro in regards to the long-term goals. When reaching for these micro/daily goals, celebrate the small victories and use them as motivation going forward when you feel stagnant. By adopting this mindset, we may surprise ourselves with how much we can accomplish in a short period of time. ● •Expand the conception of music. We are incredibly influenced by the music we listen to. Between the music we love and the music we may not care for, what we listen to shapes our music education and the rest of our lives. Therefore, by taking this time to reflect on the music that made us and new music we expose ourselves to, we can inform our own teaching and learning. This reflection reminds us of the positive benefits of music, remembering the strength it has, and allows us to further to develop collectively and individually, as a whole society. ●

•Awareness and honesty is crucial in regards to goal-setting. If we are not honest with our professors/ teachers we may remain stagnant in skill level. Being aware of our goals ahead of time, will make our practice sessions accelerate in efficiency. We can not be afraid to communicate with teachers/professors in regards to what goal-setting could look like for our specific instruments, and for where we individually are in our respected musical journeys. Taking ownership of goal-setting and the process could improve our relationships with the teacher(s)/professor(s). ● •Communicate with peers on their practice strategies and ask what works for them. (Especially those who play a different instrument.) Oftentimes we can learn just as much if not more from each other to improve our own craft. (However, keep enough space!) ● •A healthy mindset is key! Focus on strategies to target alleviating stress and frustration while practicing. Stress builds tension, which leads to poor mental and musical habits. Try taking time to meditate, deep breathe, and reflect at the start of every practice session. Doing this consistently over time will increase productivity, mental focus, and help keep our emotions in check while practicing. ● •Beware of dependence on technology. Smartphones can be a great practice tool, but they can also be detrimental to our focus levels. Afterall, we live in a world filled with distractions. Therefore, we should become aware of them, and attempt to minimize them during practice. ● •If we track how we use time everyday we will maximize how to utilize it. We may all be surprised by what we learn by doing this. It may help us navigate how to become more productive and efficient during these crazy times. ● •Avoid self-destructive negativity! Some days will be better than others. It can be easy to beat ourselves up when this happens. We all have done it. Giving ourselves short breaks to drink water and breathe is a great way to reset the mind. Once again, awareness is key! ●

S P R I N G 2020 | G E O RG I A M U S I C N E W S

•Stop comparing ourselves to others. Plain and simple. The best musicians in the world are human beings. Regardless of generation, they have once been where we are in some regards, psychologically. Remember, music is a lifelong journey, and there will forever and always be room for improvement. ● •But instead, we can try comparing ourselves to ourselves. Recording a segment of practice can help further train our ears in new ways as well as serve as reminders of progress overtime on the days we feel like we do not improve as much. Who knows what the results of this could be later on for when we have the privilege to once again, make music with each other. ● •Reflecting after practice, is equally as important as doing it before. Ask ourselves questions such as: How has my mood changed? What went well? How was my focus level? How can I improve the next time I practice? How was this practice session compared to my previous one? Did I reach my goals?

detail-oriented in practice is crucial. Further, training to be mindful and intentional will make an extreme difference not only in our musical lives, but our everyday life as well.

MAKING LEMONADE We can forget sometimes why we make music in the first place and COVID-19 serves as a great reminder for how special making music with others can truly be. If we begin to take extreme ownership over our craft, the next opportunity we all have to make music in a large group may become that much more meaningful. Times of great challenge also create moments for advancement. Necessity truly is the mother of invention. As we come together as a broader nation to deal with this once-in-a-century public health crisis we can also reimagine how we teach and learn. How we encourage and how we empower individual learning. How we grow within ourselves and how we encourage the growth of our students.

Creating a healthy relationship with practicing/music is imperative in order to avoid burnout. During these unpredictable times we should promote/encourage positive practice habits to help us get through. Being

Scott N. Edgar is Associate Professor of Music, Music Education Chair, and Director of Bands at Lake Forest College and the author of Music Education and Social Emotional Learning: The Heart of Teaching Music. Andrew E. Morrison is in his third year at West Chester University, studying saxophone performance and music education. Bob Morrison is the CEO of Quadrant Research, Director of Arts Ed NJ and the co-chair of the New Jersey Social Emotional Learning and the Arts Taskforce. Originally published March 16, 2020 in School Band and Orchestra Magazine. sbomagazine.com

Music and Social Emotional Learning: What Parents Need to Know NAfME recently developed a SEL brochure for parents and other music education advocates. Its aim is to educate parents about SEL and the integral role music educators play in helping students develop these skills. Citing research-based evidence, it discusses the unique relationship between music education and social emotional learning. Access the brochure here: https://nafme.org/wp-content/files/2020/05/Music-and-SEL-Pamphlet.pdf

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DISCOVER MORE. CONNECT MORE. BE MORE. DEGREE OPTIONS:

Statesboro and Armstrong campuses Bachelor of Arts in Music Bachelor of Music in Composition Bachelor of Music in Music Education Bachelor of Music in Performance Music Minor Music Technology Minor

Statesboro campus only Master of Music in Composition Master of Music in Conducting Master of Music in Music Education Master of Music in Music Technology Master of Music in Performance Certificate in Music Performance

AUDITION INFORMATION CAN BE FOUND BY VISITING GEORGIASOUTHERN.EDU/MUSIC S P R I N G 2020 | G E O RG I A M U S I C N E W S

THE

VETERAN 10 Questions for Experienced Teachers

Jay Davis is concluding his eighteenth year in education, fifth as the Director of Bands at Houston County High School in Warner Robins, Georgia. He holds degrees in Music Education from Georgia College and Auburn University. As Director of Bands at Houston County High School, Davis oversees over 320 students daily. Bands under his direction have consistently received Superior ratings at adjudicated events throughout the southeast in both the concert and marching areas, including Grand Champion honors at several marching band competitions. Additionally, the Houston County High School Band was awarded the Exemplary Performance Award by GMEA for the 2016-2017 school year. Currently, he is the chairman of the GMEA All State Committee and is GMEA District 11 Chair and will serve again in this position for 2020-2022. He is also an advisor to the Educational Resource Committee of the International Horn Society. Davis holds or has held memberships in the International Trumpet Guild, Pi Kappa Lambda, GMEA, the National Band Association, Kappa Kappa Psi (Honorary), and has been Province Governor for Phi Mu Alpha Sinfonia. He has served on the Board of Directors of the Georgia College Alumni Association and the community band, Tara Winds. Jay currently performs with Wellston Winds, where he serves as an associate conductor. He was inducted into the Phi Beta Mu International Bandmasters Fraternity in March of 2020. Jay is married to Dr. Tina Holmes-Davis, Assistant Professor of Music Education at Georgia College, and is the proud father of 15-year-old twins, Emma and Jonah, who are freshmen at HoCo this year.

1. PLEASE TELL US A BIT ABOUT YOUR MUSICAL BACKGROUND AND TEACHING EXPERIENCE. I started in band when I was in seventh grade in the metropolis of Gray, Georgia. I was supposed to play trombone, however my parents brought home my “trombone”, but it had three valves and a Bach 7c mouthpiece. I fell in love with the trumpet pretty quickly and by tenth grade decided I wanted to teach band. I went to Georgia College in Milledgeville for my undergrad and Auburn University for my M.Ed., where I was the trumpet GTA and performed with the faculty brass quintet. Fall 2020 will begin my 19th year in education and I have taught at all levels from elementary music through college, but I feel most at home in a high school band room. Currently, I am finishing my fifth year at Houston County High School in Warner Robins, GA.

2. WHAT FIRST DREW YOU TO MUSIC EDUCATION? I guess I just couldn’t envision my life without band rehearsal. I loved playing, and the thought of not being a part of the band life just didn’t appeal to me at all. I had a great time in high school band, large40

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ly thanks to Charlie Harbor, my high school band director, and wanted to give kids a chance to love band the way I did. I know it’s cheesy, but it’s true.

3. WHO HAS BEEN THE BIGGEST INFLUENCE ON YOUR TEACHING CAREER? WHAT LESSONS DID THAT PERSON TEACH YOU? I have been very fortunate to have so many people look out for me during my career. My college band director at GC, Dr. Todd Shiver, was a huge influence. I am eternally grateful to have been able to student teach with Jeffrey Rowser, and have been lucky to have had so many friends mentor me along the way. I am indebted to Wally Shaw and Tom Brown for their support and friendship, and to Lloyd McDonald for being a sounding board ever since college. I am also lucky to teach in a great community of directors here in Houston County. We are all so supportive of each other and that is really awesome. I was fortunate to start my career with Mike Ryan at Lovejoy High School, who gave me unending advice during my first few years of teaching, most notably that to do well in this profession, you simply have to work your butt off every day. He didn’t say it exactly like that, but you get the idea.

4. WHAT HAVE BEEN THE BIGGEST CHANGES TO MUSIC EDUCATION IN THE COURSE OF YOUR TEACHING CAREER?

8. IS THERE A PARTICULAR MUSICAL WORK OR COMPOSER TO WHICH YOU FEEL ALL STUDENTS SHOULD BE EXPOSED?

The biggest changes have been just dealing with the ever evolving “great ideas” that school systems have regarding curriculum and the non-teaching aspects of the job. So much of what we do is administrative now, and often times takes away our ability to teach at the level we want to because we have little to no time to plan. It is what it is, I guess, but this shut down has shown that teachers will be great if you let them be.

I have this great fear that I will never get to do all of the music that my students need to do to and I want to do before they force me to retire, because there is simply too much great music out there! I love mixing old and new pieces on a program, because each present technical and stylistic challenges for the students that need to be addressed and taught. Typically, I like to do orchestral transcriptions and pair them with newer works. I absolutely love Julie Giroux and have done several of her pieces recently. I have also done Tchaikovsky, Dvorak, and Shostakovich recently as well. I still have so much left that I want to do, I just hope I can get to it all!

5. HOW HAS YOUR TEACHING PHILOSOPHY EVOLVED THROUGHOUT YOUR CAREER? My philosophy has surprisingly stayed pretty consistent throughout my career. I always want my band to be a family and cultivating that family atmosphere is the most important thing to me. Students (and their parents) will do whatever you ask of them if they feel safe and loved.

6. WHAT HAS BEEN THE PROUDEST MOMENT DURING YOUR TEACHING CAREER? I have had so many great moments in my career. My twins, Emma and Jonah, are both band kids and are in my band now, but were fortunate enough to come through a great middle school program at Feagin Mill Middle with Lloyd McDonald. The FMMS Band was invited to perform at Midfest at UGA a few years ago and I was the guest soloist, performing Cherry Pink and Apple Blossom White. Being with my children on that stage in that environment and performing with one of my closest friends conducting was one of the best days of my life.

7. WHAT WISDOM/EXPERIENCE/SKILLS DO YOU HOPE STUDENTS GAIN FROM THEIR TIME IN YOUR PROGRAM? I want them to have a great experience and teach them to be good people. My main goal has never been to create world class musicians, but rather world class people, though I have had some really amazing players in my band over the years. My number one priority is to give them an experience that they will remember long after high school so that when their children want to do band, they sign them up without hesitation. For me, it is about creating an environment for students that they will always remember fondly that will help school band continue long after I am gone.

9. WHAT ADVICE WOULD YOU OFFER TEACHERS BEGINNING CAREERS IN MUSIC EDUCATION? Find someone that you can trust to mentor you through those first few years of your career (and even later in your career!). Experienced directors are always willing to come along side young directors and help in any way we can. Directors who are just starting out typically feel that they are on their own private island with no lifeline to the outside world, and that is simply not true. Young educators often feel very insecure about asking questions because that don’t want to seem like they don’t know how to do their job and that questions will make them seem weak or incompetent. My advice is to ASK QUESTIONS! We all know what it is like to be at the beginning of our career and we want you to be successful. All of us experienced directors would love to help in any way we can!

10. WHAT STILL INSPIRES YOU ABOUT TEACHING? I love the process. I love hearing that first set of eight on a hand at band camp and watching the guard do drop spins for the first time, knowing what they will be able to do and achieve very soon. I love handing out concert literature and seeing my student’s eyes widen because they don’t think they will ever be able to play it, even though I know they will. I love Friday nights and the smell of a football field on game day. I love the perfectly arranged chairs on the stage before a concert. Mostly, I love my students and their parents and the relationships that we are able to build while they are in my program. Some days are harder than others for sure, but I still love it everyday!

S P R I N G 2020 | G E O RG I A M U S I C N E W S

Georgia Music Educators Association 245 Country Club Dr., Bldg. 300A Stockbridge, GA 30281

Enjoy the summer