2024-2025 Spring Georgia Music News | Spring Issue

SPRING ISSUE

Missing Males in American Chorus Programs Jess i c a Kea c h

Restorative Practices Anhvu N. Tran

A S S O C I AT I O N N E W S

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ISC RECAP

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DISTRICT NEWS

VOLUME 85 | NUMBER 3 | SPRING 2025

The Best Learning Happens in the Moment

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In This Issue

GMEA BOARD OF DIRECTORS President Neil Ruby

District Chairs 1 - Hank Carter 2 - Dominique Lane 3 - Brian Walker 4 - Monica L. Fogg 5 - Vanessa Edwards 6 - Quinn Kearse 7 - Michael Elzey 8 - Zach Williams 9 - Nicholas Gattis 10 - Tayler Norwood 11 - Leah Williams 12 - John Palmer 13 - David Metrio 14 - Dion Muldrow

President Elect Andy Esserwein Vice-President for Performance Evaluation Events Sara Grimes Vice-President for All-State Events Jay Davis

Missing Males in American Middle and High School Chorus Programs Jessica Keach

Past Presidents’ Council Representative Dr. Richard Bell

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Executive Director D. Alan Fowler

For the complete list of Board Members please visit:

Band Division Chair Chris Shumick Choral Division Chair Michelle Austin

GMEA Staff Dr. Bernadette Scruggs Laura Webb Megan Williams Aleta Womack

College Division Chair Dr. Josh Byrd

THE PRESIDENT SPEAKS

Elementary Division Chair Letricia Henson Orchestra Division Chair Dr. Krissi Davis

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Editor, Georgia Music News Victoria Enloe

Advertising/Exhibitors Cindy Reed

ADVERTISER INDEX

Restorative Practices:

How Music Educators Can Engage in a Restorative Mindset Anhvu N. Tran

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© Copyright 2025 by the Georgia Music Educators Association 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.

S P R I N G 2025 | G E O R G I A M U S I C N E W S

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Association News The

President Speaks

Neil Ruby

As the final notes of the 2024-2025 school year conclude and the calendar turns toward summer, let's pause and celebrate a magnificent year of musical growth and achievement across Georgia!

Reflecting on the past two years as your president fills me with immense joy and a profound sense of gratitude.

GMEA stands tall, a testament to the dedication and passion of our 3500+ members, making us not only one of the largest but undeniably one of the very best Music Education Associations in the nation.

Do you remember the energy of the 2024 In-Service Conference? Our theme, “Their Future is Our Mission!,” wasn't just a slogan; it became the guiding principle of our collective efforts over the past two years. And thanks to each and every one of you, our dedicated members, GMEA has continued its vital work of positively shaping lives through the power of music. Every GMEA event this year has been a vibrant celebration of collaboration, a showcase of innovative teaching, and a powerful reaffirmation of our shared commitment to inspire and empower the next generation of musicians and leaders.

Our focus on the future has yielded exciting growth within GMEA. The GMEA: High School Experience continues to flourish with our largest number of participants yet, and the ongoing success of TechTown has propelled GMEA forward, providing invaluable music technology opportunities for our students. The CNAfME and HBCU receptions at the In-Service Conference have seen increasing engagement, fostering connections and opportunities for current and aspiring educators. The permanent addition of the Tenor/ Bass All-State Choir has already fueled significant growth in student participation within those voice parts. Furthermore, the creation of the district-level Music Educator of the Year awards has shone a well-deserved spotlight on the truly exceptional teaching happening in classrooms across Georgia – a testament to the incredible work you all do every single day.

The groundwork laid by our previous executive committee in regaining our financial footing has been built upon with diligence and care. Your willingness to lean in, to 2

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find efficiencies without compromising the quality of our events, coupled with the enthusiastic return to and even surpassing several pre-pandemic participation levels, has placed GMEA in a significantly stronger financial position.

We wholeheartedly recommend that GMEA maintain this transparency with its membership and continue to explore diverse funding avenues to ensure the long-term financial stability and continued success of our association.

As the terms of our dedicated Executive Committee and Division Chairs approach their end on June 30, 2025, I want to extend my deepest appreciation to each of them for their unwavering support and tireless efforts. To our Vice President for Performance Evaluations, Sara Grimes; Vice President for All-State Events, Jay Davis; President-Elect, Andy Esserwein; Past Presidents’ Council Representative, Richard Bell; and our Executive Director, Alan Fowler – thank you for your invaluable contributions to our shared goals and initiatives.

Our exceptional Division Chairs – Chris Shumick (Band), Michelle Austin-Copeland (Choral), Laetricia Henson (Elementary), Krissi Davis (Orchestra), and Josh Byrd (College) – have poured their hearts and expertise into providing premier events that enrich both our educators and our students.

None of our accomplishments would be possible without the incredible support of our GMEA office staff. We are eternally grateful for the daily dedication and unwavering efforts of Alan Fowler, Laura Webb, Aleta Womack, Cindy Reed, Bernadette Scruggs, and Megan Williams. Your tireless work ensures that our association thrives and that our members are well-supported. We also extend our sincere gratitude to our numerous committee chairs, district chairs, and the many dedicated volunteers across the state who are the backbone of our success.

On a personal note, I want to thank Amber WeldonStephens, Chair of the Exceptional Student Success Committee, for her passionate advocacy and tireless work in ensuring that our exceptional students have meaningful opportunities to experience the transformative power of music in Georgia. Witnessing the powerful performance

of the National Anthem by the United Sound Orchestra from Roswell High School at the 2024 ISC and the moving vocal/piano rendition of "God Bless America" by Prahlad Athimuthu from Milton High School at the 2025 ISC served as profound reminders that these students not only can but should have these experiences. Let us continue to champion the vital work of this committee, firmly embracing our belief that ALL students deserve access to the enriching world of music education.

Finally, a heartfelt thank you to my dear friend, Matt Koperiniak, our Immediate Past President. Matt's guidance, unwavering support, constant encouragement, and wise counsel over the past two years have been invaluable. He is one of the most genuinely kind, remarkably humble, and deeply dedicated individuals I know, and he has been an incredible mentor to me and countless others within our organization.

As you navigate the whirlwind of end-of-year activities – the awards ceremonies, the final concerts, the graduations,

and the celebrations – please take a moment to recognize the profound difference you make in the lives of your students. See those victories, big and small, and know that your commitment to positively changing lives has yielded incredible results. You are the very engine that drives GMEA, the heart and soul of music education in Georgia.

On behalf of our entire executive committee, we extend our deepest and most sincere gratitude to each and every one of our members for your unwavering support, your tireless dedication, and your collaborative spirit over the past two years. It has been an absolute privilege to serve this remarkable association, you, and your incredibly talented students. Your passion and collaboration have been instrumental in our collective success, and as we transition to new leadership, let us all carry forward this momentum, continuing to work together with enthusiasm and purpose towards our shared goals in the years to come. The final note of this year may be approaching, but the melody of music education in Georgia will undoubtedly continue to inspire and uplift for generations to come.

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Association News From The

Executive Director D. Alan Fowler

As the spring semester winds down and the final performances of the school year come to a close, it’s a fitting time to pause — to reflect on the road we’ve traveled and the work that still lies ahead. A key component of our last two years has been the theme, “Their Future is Our Mission.”

We must never lose sight of that when it comes to the music students across Georgia — but it’s also important to remember that, as a member of the GMEA staff, your future is our mission, too.

This spring marks my third as Executive Director of GMEA, and with each year, I grow more grateful for the privilege of serving our association. One of my earliest goals in this role was to visit all 14 GMEA districts. I believed then — and still do — that in-person connections matter. What began as a personal ambition has become one of the most meaningful aspects of this work. In fact, the weeks since spring break have kept me at my desk and computer more than usual, and I’ve found that I miss seeing folks.

Something I’ve realized — both while sitting here at my desk and as I’ve traveled around the state — is something I’ve known since I was a first-year band director at Stephens County Middle School in Eastanollee: it’s the volunteers who make it happen. Whether it’s the teacher hosting fall and spring district meetings, the director organizing a performance evaluation event, the members running all-state auditions or serving as adjudicators, or those stepping up to serve as district and state officers and chairs — GMEA is all of those people and more.

When Megan Williams and I speak to CNAfME students about GMEA, we show a slide featuring photos of our Executive Committee and state chairs. I always tell those future music educators that one day they will be filling those roles, as well as the many other volunteer positions that are essential to the success of GMEA and the continued advancement of music education here in Georgia.

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If you’ve read my columns or heard me speak at meetings or events, you may be tired of hearing me say what an honor it is to serve our association. But the reason I say it — and feel so strongly about doing so — is that I was one of those volunteers from the very beginning of my career. I tell the collegiates about how, during my two years teaching in District IX, I typed the program for the District Honor Band — and that was just the start. Dr. Tim has taught us, “You can lead without a title, and a title does not make you a leader.” That message is echoed when I encourage young educators to attend LGPE and help move chairs, assist with Honor Band and Solo & Ensemble events, and simply find ways to be helpful. Get to know people, learn how districts and GMEA operate, and get involved.

As someone who volunteered across multiple decades, I have developed deep respect for the GMEA staff and the incredible amount of work they do. Over the past few years, that respect and appreciation have only grown. It truly is special to get to do this work alongside people who care deeply and want to do all they can for our members as we work together.

Finally, as summer approaches, I encourage every member to take pride in their role in this mission. The hours you spend planning, rehearsing, organizing, and performing matter — not just to your students, but to the future of music education and our association across the state.

I hope you will find time this summer to relax and recharge. At GMEA, we will continue our work in preparation for another year of excellence, collaboration, and growth.

And if you happen to see me on the road, in Athens, or near HQ East, here in Covington, don’t hesitate to say hello. The conversations, the connections, and the shared purpose are what make this journey so worthwhile.

Thank you for all you do — and thank you for being a part of GMEA!

Division News Band

Chris Shumick As we wrap up another school year, I’d like to use the final Georgia Music News publication of the 2024-2025 school year to express my deep appreciation for all who contribute to the success of the GMEA Band Division and the advancement of music education across Georgia.

To the countless members who volunteer their time to host and organize auditions, honor bands, meetings, and serve as judges—thank you. Your dedication, both personal and professional, ensures that these events continue to serve our students in meaningful ways. I’m sincerely grateful for the many hours you've invested to make these opportunities possible.

As this is my final letter as State Band Chair, I want to extend a special thank you to everyone who supported us during the transition to video submissions for the AllState Band final round this year. January brought unique challenges, and the effort required to make this process successful was significant. I was deeply moved by the overwhelming support—through social media, texts, emails, and phone calls. While I wasn’t able to respond to everyone personally, please accept this as a heartfelt (and slightly belated) thank-you to all who reached out with encouragement and assistance.

I’m incredibly proud of the progress we’ve made over the past two years. We’ve implemented several positive changes, including in the upcoming release of a revised GMEA handbook featuring, for the first time, a comprehensive section on Marching Band events and the standardization of GMEA-sanctioned Marching Band Competitions and Festivals. We’ve also made extensive updates to the AllState Concert Band audition process, as well as a complete overhaul of the All-State Jazz Band audition requirements and procedures.

Starting next year, we’ll enter a new three-year rotation of the new All-State Concert Band etudes. After beta testing and receiving valuable feedback, I hope these finalized versions meet the needs of both educators and students.

And yes—for those wondering—the middle school tenor saxophone lyrical etude has had its octave adjusted and will be ready for use again in 2027!

GMEA office, Alan, Laura, Aleta, Bernadette, Megan, and Cindy bring a clear, optimistic vision for the future while remaining grounded in service to our members and students. The future of GMEA is undoubtedly bright.

Please join me in welcoming Mr. Sean McBride as the incoming State Band Chair, effective July 1st. Sean has a long history of service to GMEA and has spent the past two years preparing for this role. I’m confident that the Band Division will continue to thrive under his capable leadership.

Wishing everyone a restful and enjoyable summer.

Congratulations to all our Band Division retirees—though your time in the classroom may be ending, I know your contributions to music education will continue for years to come.

Choral

Michelle Austin As another school year draws to a close, I want to congratulate each of you on your incredible work. So much of what we do to “make the magic happen” is not seen or understood by our students, parents, or community, but know that your choral colleagues recognize the hard work you put in every day. I hope this year has been filled with joy, growth, and meaningful music-making.

It has been an honor to serve as the Choral Division Chair. I have deeply appreciated the opportunity to support, celebrate, and advocate for the work of choral educators across Georgia - and, by extension, the thousands of students we teach and inspire every day. I appreciate you all for supporting me and openly sharing your ideas and concerns. I will remain a committed supporter and advocate for our GMEA choral community.

This summer, I am thrilled to pass the Choral Division Chair baton to the amazing Velma Jenkins. Velma is not only an exceptional musician and educator, but also a thoughtful and inspiring leader. I have no doubt she will do an outstanding job guiding our division forward.

Wishing you all a restful and restorative summer!

I’d also like to take a moment to recognize the incredible leadership within our organization. Congratulations and sincere thanks to outgoing GMEA President Neil Ruby for two years of outstanding leadership, and to my fellow division chairs and VPs for their tireless efforts. At the S P R I N G 2025 | G E O R G I A M U S I C N E W S

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Division News Elementary Letricia Henson

As I approach the end of my term as Elementary Division Chair, I find myself reflecting on a wonderful journey—one that has felt like a delightful rollercoaster ride at Disney.

Each round truly got better and better, and your unwavering support and thoughtful feedback have made this experience an outstanding adventure throughout 2023-2025.

I would like to extend my heartfelt wishes to the incoming Chair Elect, Mrs. Erika Brown. I am confident that the future is bright for our Elementary Division, thanks to you and all the amazing teachers in our great state who consistently show up for our division.

It has been an absolute joy to meet so many of you, the GMEA Elementary music educators, over these past couple of years. Learning about the exciting programs you have at your schools has been a source of inspiration.

GMEA is truly blessed to have many highly qualified music educators who go above and beyond for every child in our schools. It has also been heartwarming to witness the strong support from parents and administrators for your music programs.

I must take a moment to thank our phenomenal Executive Team—Mr. Alan Fowler, Mr. Neil Ruby, Ms. Laura Webb, and Ms. Aleta Womack. Your support and creative ideas were invaluable, and I am deeply grateful for your collaboration.

A sincere thank you goes out to every member of the Elementary Music Council who served from 2023-2025.

Your contributions were nothing short of amazing and vital in keeping teachers informed. You are all true powerhouses, and your dedication to GMEA has been a guiding light.

experience two full choirs registered over the past two years, and I believe we will experience continued growth, reflecting the strong interest from students eager to attend this annual event.

Thank you for attending and serving at the In-Service conferences in 2024 and 2025, whether as volunteers, hosts, or presenters. Your willingness to learn and share your knowledge enriches our community, and I am especially grateful to our presenters for filling our buckets with wisdom for our classrooms.

Orchestra Krissi Davis

Happy Spring!

I hope your spring semester has been productive and successful! As we wrap up the 2024-2025 school year, I want to take a moment to wish everyone a restful and rejuvenating summer. Before you head to the beach or other summer destinations, please keep the following reminders in mind: • Attend your district spring meetings. Your input is invaluable during these meetings.

• Submit an application for a performance or session at next year’s GMEA In-Service Conference. The deadline is May 15, 2025.

• LGPE list submission – Don’t forget that the submission deadline is May 15, 2025. The submission form can be found in OPUS under "Applications and Forms."

I also wish to extend my gratitude to our choir organizers—Mrs. Anita Clay Moody, Mrs. Erika Brown, and Mrs. Heidi Long. Each year brought its own set of challenges, yet you rose to the occasion, helping the Statewide Elementary Honor Chorus to reach new heights.

It has been a true honor to serve as the Orchestra Division Chair for the past two years. If you hosted a district-level event, I extend my sincere gratitude to you. My thanks also go out to the All-State Committee and the Orchestra Standing Committee for their hard work and invaluable advice throughout the year.

A huge, resounding Thank You to our Elementary Music teachers and parents for your dedication to the Annual Statewide Elementary Honor Chorus. Your commitment to preparing students for each concert has made a significant impact. We are proud to see our Elementary Division

Wishing you all a wonderful and restorative summer!

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Looking ahead to the 2025-2026 school year, I am filled with excitement as Kevin Anderson takes over as Division Chair. I am confident that his leadership will continue to advance the Orchestra Division.

Historian

Matt Koperniak

As you celebrate the end of a successful school year, take a moment to preserve important documents from this year. Historians speculate that this period in history may be known as a “digital dark age.” Electronic records could be lost due to deletion, outdated file formats, and disorganization.

Consider taking a few minutes to print any digital concert programs. Download concert recordings and other media onto an external hard drive. You might start an archive in your music library or school media center to preserve these documents.

Digitize paper records as well to ensure you have backups.

Many music teachers already scan and store their LGPE ratings and comment sheets each year. Be sure to save the original paper copies just in case.

We are continuing to add historical documents on our GMEA history website. Consider adding a history section to your school music program website as well. This could include a listing of previous music teachers, significant performances, pictures, concert programs, recordings, and more. Music teachers are always busy, so perhaps a student or parent volunteer could lead this project. Best wishes for a safe, happy, and restful summer!

Multi-Cultural Awareness Maria Menendez

Happy Spring and almost the end to the school year for us all! It has been such a successful school year, and seeing the variety in our performed pieces has warmed my heart. In addition, it has been special to learn about new composers, educators, and students in our field doing incredible things. Our committee is hard at work creating action steps to continually push us all to include, inspire, and educate others about the value of diversity in our profession. Be on the lookout for opportunities to shout out your peers, recommendations on great literature, and opportunities for connection and fellowship with each other. This is going to be a well-deserved summer break for us all, and I wish you the best of luck as you finish off this school year!

Guitar

Caryn Volk Why? A colleague recently came to me and asked, “Why?” “I have been at my school for a few years, I have made strong connections with the students and school community,I have a good plan for growing my classes into a robust program.

Why should I go to local professional development, to a district meeting, to a GMEA conference? What would I get there that I can’t find on my own?”

With information at the touch of a button, unfettered access to brilliant ideas and performances is yours for the taking. We provide state and district guidelines and lesson plans, as well as direct interaction with content specialists.

So why attend another meeting or conference?

People. A simple but important component we miss as the only person doing our job at the local level. You may be the only one teaching your subject in the school, or perhaps in your district. Who do you go to when you want another viewpoint on your class?

Professional development and conferences fulfill a need and offer something that online viewing cannot equal— the chance to interact face-to-face with professionals doing the exact thing you are doing. You can bounce ideas around, consider a perspective you hadn’t before, create farther-reaching connections, and learn in ways you never even considered. Our music becomes more personal when shared!

As Anne Lamott wrote, “Nobody in isolation becomes who they were designed to be.” We learned in the Covid closures that music especially became a lackluster struggle with the distance between us and our students, our peers, our people.

Do not let impediments to attendance stop your attempt— go to that professional development, the annual GMEA conference, a national conference for your specialty, even just dinner with colleagues. Our art was meant to be shared and we are meant to grow together!

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Division News Research

Rebecca Atkins We had a fantastic inservice conference in the research division where over 20 projects were shared between the research sessions and the poster session. Outside the research sessions, clinicians and presenters cited research and helped connect research to practice. Thank you for all your contributions!

Here are just a few of the recently published articles this year in peer-reviewed journals Congratulations!

If you don’t have access to a copy and want one, please email me or the author directly and we will get it to you. If you are interested in someone’s research, feel free to contact them (I can connect you). We love to talk about our research and always get great ideas and questions when we visit with other people: (presented in alphabetical order).

Atkins, R. L., & Hurley, C. R. (2025). Research Report: Teach Expression First! Applying Research Results to the Rehearsal. Choral Journal, 65(7), 41–47.

Brinberg, I. (2025). Eight Sounds, Two Continents: An Analysis of Ba Yin by Chen Yi. Journal of Band Research 61(1).

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Brinberg, I. (2025). Programming Trends of the Big Ten Wind Band Programs from 2017-2022. Journal of Band Research, 60(2), 34-59.

Brinberg, I., & Geraldi, K. (2024). Friendship and Cooperation Through Music: Cultural Diplomacy Between the United States Army Band "Pershing’s Own" and the Central Military Band of the People’s Liberation Army. World Association for Symphonic Bands and Ensembles Journal 28, 31-70.

Brinberg, I. (2024). Common Individual and Ensemble Timing Issues and Solutions. Georgia Music News 85(1), 28-30.

Brinberg, I. (2024). Common Individual and Ensemble Timing Issues and Solutions. The SC Musician 78(1), 13-15.

Bugos, J. A., Gbadamosi, A., Laesker, D., Chow, R., Sirocchi, S., Norgaard, M., Ghent, J., & Alain, C. (2024).

Jazz Piano Training Modulates Neural Oscillations and Executive Functions in Older Adults: A Pilot Study. Music Perception, 41(5), 378-392.

Chen, Y., & Norgaard, M. (2024). Important findings of a technology-assisted in-home music-based intervention for individuals with stroke: A small feasibility study. Disability and Rehabilitation: Assistive Technology, 19(6), 2239-2249.

This Summer camp from the Atlanta Symphony Orchestra returns July 13-17, 2025.

Rising 5th-12th grade string players will strengthen their skills, make new friends and get the exclusive opportunity to perform on stage at Symphony Hall.

SUMMER ENROLLMENT IS NOW OPEN!

SIGN UP AT ASO.ORG/VIVO

Retired Reflections Jay Wucher, Retired Members Chair It is a joy to celebrate and recognize the works of ‘retired’, but not really GMEA member Dawn McCord who we know in Georgia as an inspirational professor who recently retired from the State University of West Georgia. Please read on to find out more about Dawn below.

Where did you grow up and go to school?

Born and raised in the Sunshine State! From Florida State University, I studied at Louisiana State and the University of Georgia. There were learning points along the way with friends and teachers who inspired me with new ideas and opportunities.

Tell us anything you would like for us to know about your interests beyond music (friends, family, hobbies…)

My non-music interests are closely linked to my music interests.

My family and civic interests are probably the rare outlier. I am still connected with those who have inspired me over the years. I can’t express my joy at knowing these wonderful people and am humbled that they would connect with me in so many ways. As teachers, watching the successes of our students is nothing new to the music teaching community.

Seeing the many achievements of my students is not just a joy but a multi-vitamin for the soul.

Where did you work until you retired from full time teaching?

My last full-time job was at the University of West Georgia (UWG) following years of teaching at K-Higher Ed schools in Florida, Georgia, Louisiana, and Illinois. My UWG colleagues, past and present, really care about their students along with being exceptional musicians. Currently, I am the organist at a lovely church in Newnan.

Since retiring from teaching full time, what have you been doing?

Retirement has given me the opportunity to join in several engaging activities, which wasn’t possible while teaching.

I am singing with the Collegium Vocale in Atlanta. Beyond making great music and friends connected to that group, I have been able to participate in causes important to me.

Two programs coordinating local poets, musicians, and visual artists keep me inspired and engaged. One program takes place in Carrollton and the other in Newnan, doubling the friendships and exposure to extraordinary talent. I am happy to say that this idea that I had in retirement has had multiple iterations. I do like working with people from different 10

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backgrounds and experiences.

I am also in a couple of book clubs. I have read sooooo many books that I did not have time to read while keeping up with my professional journals and research. Several decades ago, I started on a list created by the College Board. This long list of significant books, e.g., Proust, Shakespeare, was a suggestion of books that every high school graduate should read. I wanted to join the challenge and I am now down to a dozen books from that list. I continue my professional readings but am pouring through books recommended by clubs and friends that I could have never read while teaching. I absolutely love hearing what my friends and colleagues are reading. Here’s one for all: The Overstory by Richard Powers. It is constructed around several novelette-like sections, the protagonists of which come together for a big finish. Let me know what you are reading!

While teaching, finding time to practice was quite limited.

Newnan First United Methodist provides me a space to practice on a wonderful pipe organ and explore lots of new music. As an organist, I enjoy music from different times and places along with my revered Bach. I even played with actual recorded whale sounds. What a hoot!

What advice do you have for those who are considering becoming music teachers?

Advice? Who can possibly have a lock on wisdom particularly in the world of teaching humans? Every piece of music, every student, every administrator, every building, every instrument is unique, and we build on our knowledge and experience. We even get it right at times. You have probably seen the teaching models that have set you on the path to serving in the noble profession of teaching. What did these teachers do to inspire you? Shop freely among these leaders; listen to your peers who have a handle on what is true; search your innermost self and reveal who you are. Advocate for music education.

Your voice can swell the ocean of our important field. Made mistakes? Those are the doors to your not-mistakes.

Please feel free to add anything else you would like us to know.

Ray Charles said, “Music is to me like breathing. I don’t get tired of breathing, so I don’t get tired of music.” Let us all give a shout out to GMEA and all professional connections that fuel our future; let us remember our colleagues that reveal a community of friends. We continue to reflect on students that are the sustenance of our future. Be nourished by sharing your joy, music and love.

Retirees

L to R: Michael Plunkett, Patti Martin, Michelle Lokhorst, Kathy Kirby, Renita Humphrey, Dr. ToddHowell, Charles M. Hernandez, Kimberly Robbin Geter, Neal Crawford, Faye Boyer, Rebecca Barlow, Alan Armstrong. Not pictured Julie Bryant

Featured Retiree

Kimberly Geter An educator with 30 years of dedicated service in the classroom, Kimberly Geter has pursued her vision of using voice to impact the next generation of vocal talent. A graduate of Georgia State University with a degree in Music Education, she also holds a Master of Educational Theatre from New York University. She integrates her passion of the arts, music, and drama with her calling to influence young minds.

Geter has taught in the DeKalb County School District for her entire thirty-year career, leading both middle and elementary school learners. She currently teaches at DeKalb Arts Academy, DAA, formerly DeKalb Elementary School of the Arts, where instructs K-8 grade levels in chorus and general music. While at DAA, she has conducted choirs at the Governor’s Mansion, and State Capital. Her students performed with the Atlanta Symphony Orchestra, All-State Chorus, 6th grade Statewide Honor Chorus, Statewide Elementary Honor Chorus, Spivey Hall Treble Chorus and many district and county honor choirs. Additionally, her students have performed the national anthem at the Atlanta Hawks, Gladiators’ and Georgia State University games. Her students have earned superiors at Large Group Performance Evaluations (LGPE). Get-

er was named Teacher of the Year at Woodward Elementary School in 2002.

When classroom learning shifted to virtual platforms in 2020, Geter pivoted and created two virtual choirs, both of which are showcased on her YouTube channel, Performing Arts Educator. That platform is also the home to the short film she directed, Reflections on Bullying. Many of her students have pursued music after graduation, earning music degrees at Georgia State University, Berklee College of Music, and Clemson University. Many of them have performed with Atlanta Young Singers, Decatur Avondale Children’s Choir, Atlanta Music Project, Spivey Hall Children’s Choir and Dynamix Percussion Ensemble Group. She also has a former student who was featured on NBC’s The Voice.

Outside of the classroom, Geter has impacted learners while also remaining engaged in the arts herself.

She taught drama at the prestigious Alliance Theatre from 2006 to 2014. Further, she has graced the performance halls, acting in various plays and musicals, including the premiere of SWEAT or Isithkuthuku by Walter Chakela at 7 Stages Theatre.

Throughout her career, Geter’s mission has been to share the joy of creative expression as a professional talent and inspire students to appreciate the arts, while using their cognitive skills to be creative and resourceful, ultimately developing their own sense of artistic expression in the arts.

Born in Ft. Sill and raised in Lawton, Oklahoma, Geter has called Atlanta home for over three decades. A self-described “Peach Sooner,” Geter’s next act following her retirement from education is to continue as a fulltime performer, singing in choral music, and pursue a career as an actor, while continuing her voice over business, Geter Voice Over Services LLC. S P R I N G 2025 | G E O R G I A M U S I C N E W S

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The Veteran 10 Scott Martin, GMEA 2025 Music Educator of the Year 1. Please tell us a bit about your musical background and teaching experience.

After singing throughout school, I earned my bachelor’s degree in music education at Shorter College and master’s degree in music education at The University of Georgia. I am in my 27th year of teaching overall, and currently in my 13th year of teaching at Creekview High School.

Creekview is the 5th school where I’ve taught, and I would’ve never imagined that I would end up teaching at so many schools. However, each school environment has been different, and the various experiences have allowed me to grow and learn throughout my entire career.

2. What first drew you to music education?

I spent the first three years of my undergraduate career as a vocal performance major, hoping to sing professionally and eventually teach voice lessons at the college level. However, the summer after my sophomore year I was hired to direct a local small church choir, where the average age of the singers was around 65-70 years of age.

Of course, I sang in choir in high school and college, but it was this experience of leading a choir that showed me what I was meant to do as a career. I learned a lot about the voice in a choir setting, particularly the aging voice and how to take care of it. So, at the beginning of my senior year in college, I changed majors to music education, which meant I had to complete a fifth year of undergrad to complete the degree. I will never regret making that decision, and still sing professionally from time to time.

3. Who has been the biggest influence on your teaching career? What lessons did you learn from them?

I was fortunate to live in a household encouraging us to pursue our dreams. I knew I wanted to do something in music, and my mother and father fully supported my aspirations.

However, I would be remiss if I didn’t also recognize the monumental impact of my elementary and high school music teachers, Martha Burdette and Richard Gnann (guh-Nann), as well at Pat Jones, my church music director.

Martha Burdette was my very first music teacher at Oneonta Elementary School in Alabama. She saw the musical potential in me, and from an early age encouraged and nourished my musical abilities. Was it the mere belief in me that came before the talent? Who knows, but she said it and I believed it!

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After I moved to Georgia from Alabama my family joined a church where I was mentored and encouraged to sing by our music director Pat Jones, who was also my 7th and 8th grade science and English teacher. My school in Georgia had no K-8 general music or choir program at the time, and for some reason I didn’t join band in 7th grade. She recognized that I had an ability to sing and gave me ample opportunity to learn and grow by performing in church. I had never been in a standard choir or taken piano before I joined the adult choir at church in 8th grade, so I was literally learning about musical notation on the spot, simply figuring out what the symbols mean. I am forever grateful for that experience that continued to spark my interest in singing.

The one teacher that offered the most formative influence on my life and future career is my high school chorus teacher, Richard Gnann. Mr. Gnann was a great teacher in the classroom, but he also knew how to treat people with kindness and understanding. He knew that students must be loved and respected before they would truly learn anything. I cannot thank him enough for the hours and hours of before and after school time working with me as a vocalist, and it was only years later that I realized how many “free” voice lessons I received throughout my high school life. Mr. Gnann was always there for me and still is. Thirty something years later I still look to him for guidance. Perhaps the most important lesson he taught me was properly balancing school life with home life.

4. What have been the biggest changes to music education in the course of your career?

There have been so many changes in our profession that are too numerous to count. One of the greatest positive changes in music education has been access to teaching tools or performance examples via the internet. It’s amazing how I use these tools daily in class without a thought, and it is such a time saver.

5. How has your teaching philosophy evolved throughout your career?

I believe in being a lifelong learner, so I hope my philosophy has changed some over the years. As a young teacher I was concerned with recruiting and having higher numbers of singers in the choir. Of course, we need multiple singers to have a functional choir program (and a job!), but I think it’s important to have students in the choir program that really want to be there and be a contributing member of the ensemble. Many students may thrive and blossom more in another arts discipline, and I think it’s rather selfish to try and pack in our choirs with lots of singers just because we want to show off our numbers. That being said, I do think it’s important to give every student a chance to get to know the art of singing in a choir, and we can certainly help cultivate a love for choral singing along the way.

I have also changed as a person and as a teacher. In my early years I think I took things too seriously, meaning I was more interested in getting all the notes and rhythms right, and not understanding why some students couldn’t get things correct as quickly as our higher performing

and/or more experienced singer. I think I have developed much more patience now and because of that, there’s less pressure on the students to get things right immediately, which enables them to get things right at their own pace. It’s important to remember why our students take the class to begin with, how it makes them feel singing together with their friends.

student. If the students buy in to what the teacher is doing, then generally the administrators and parents will also. A good friend of mine says program for the choir you have, not for a choir you may not have yet.

Good music performance is good music performance, and the level of difficulty of the music is secondary to amazing tone, pitch, rhythm, dynamics, and text.

6. What has been the proudest moment of your teaching career?

Set clear boundaries between your personal life and professional life and understand that your students are not your children. At time I hear teachers calling their students their “babies.” Although I understand the feelings of family that naturally occur in an ensemble, and particularly when we get to teach them for multiple years, it is unwise for teachers, especially young teachers, to go down that road.

There have been some very proud moments of my career, and being honored as the GMEA Music Educator of the Year this year is a major highlight, as well as serve GMEA is various capacities including State Choral Chair. We have an amazing group of teachers involved in GMEA, and it is a pleasure serving with them. I’ve also been honored to experience having multiple choirs perform at GMEA and ACDA conferences, being blessed with wonderful students to partner with to share our music with a knowledgeable audience. However, I think the proudest moment of my career is something that continues daily in our classrooms. The performances are a fraction of a percent of the overall experience, but our daily connection with students in the classroom have such an impact on all our lives. Honors and awards are nice but making sure our daily experiences are meaningful is what I’m most proud of.

7. What wisdom/experience/skills do you hope to have impart on your students when they leave your program?

As a classroom teacher, one of the most important things I can do for my students is to help the students build their singing/choral skills to have a lifetime of meaningful experience with music. That's the greatest contribution. I think sometimes we get busy preparing for the next concert, etc... that we forget that we are in an educational institution preparing our students to succeed in the future. I want my greatest contribution to be former students using their skills the rest of their lives. Nothing means more to me than when I hear from a former student who excitedly tells me of their current musical experiences, and that they were equipped to succeed because of their experiences in my classroom. We live in the little things, and I hope to teach my students that if we take care of the little things on a daily basis, the big things will naturally coalesce. Take care of the things that are right in front of you.

8. Is there a particular musical work or composer to which you feel all students should be exposed?

I think it’s important to make sure we are introducing our students to music of various eras and styles. Don’t forget about great renaissance composers as well as the genres that you as a teacher may not enjoy so much. As far as newer composers today, I get great joy out of Sarah Quartel’s music, as well as the Spanish composer Josu Elberdin. And of course…Elaine Hagenberg.

I really do believe that we, as educators, should always think of where we want our students to be 5, 10, 15 years from now, and even more. It is important to me that they keep singing for the joy of it all. I am fortunate to conduct our local community choir here in Cherokee County. We have singers as young as 18 and as old as 80 (ish...). Not a rehearsal goes by that I don't imagine every singer as a young person learning from their music teachers during the formative years in their lives, and now they are using their skills to do something that gives them so much pleasure.

Finally, I’ve always felt that every student in the building has a right to take music, whether they function at the highest levels academically or are a part of the school’s special needs program. I once had a superintendent who continually reminded us that “all students can learn and achieve.” Each student’s definition of achievement is individualized for them, and as a teacher I need to constantly hear that quote in my head to remind me of that concept. I am particularly proud that our choral program welcomes all students and celebrates our diversities of experience. It is also heartwarming to see how our young people support and encourage their classmates. This doesn’t happen by accident, but through the act of intentionally including all types of students. Students will model their teacher’s behavior, and if the teacher shows the value of inclusion, students will do the same. A great musical experience is for everyone. My son is now in my classroom as a special needs student, and I did not have to change a thing about how we do things at Creekview to accommodate him. I am very proud of this.

10.What still inspires you about teaching?

Honestly, the thing that still inspires me in teaching chorus is when a student who has had trouble matching pitch begins to overcome that hurdle. The excitement and joy of those moments are the fuel that brings me back to school every day. Never, ever, ever, give up on a student who is willing and wanting to learn.

9. What advice would you offer teachers beginning careers in music education?

It is difficult to be a new teacher, working so hard to blaze your own path and creating a reputation from scratch. I would advise teachers beginning their career to plan and be intentional about everything…no detail is too small.

Administrators and parents want students to succeed, and it’s easy to notice those teachers who plan so little that if they are successful from time to time it is merely an accident. Focus on the students first and focus on every S P R I N G 2025 | G E O R G I A M U S I C N E W S

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COMMITTED TO

POSITIVELY CHANGING LIVES

ISC RECAP

THEIR FUTURE IS OUR MISSION.

A Joyful Celebration of Excellence: 2025 GMEA In-Service Conference

The 2025 Georgia Music Educators Association In-Service Conference, held this January at the Classic Center in Athens, GA, was a vibrant and inspiring event that honored the dedication, talent, and achievements of music educators and programs from across the state. As one of Georgia’s largest annual gatherings of music educators, the conference filled the Classic Center with energy and purpose. With a robust schedule of clinics, performances, and recognitions, it served as a powerful showcase of the state’s thriving music education community.

Opening Session Highlights Performances

The conference began with a series of performances that captured the depth and diversity of musical excellence throughout Georgia. The University of Georgia String Project, directed by Jennifer Norris, opened the session with a compelling performance that underscored the importance of collegiatecommunity partnerships in music education. Prahlad Athimuthu, a member of Milton High School’s Community-Based Instruction (CBI) music therapy program, performed a moving rendition of “God Bless America.” Later, the ELEVATE Chorus—comprised of 46 students representing all 23 Carroll County Schools—brought a powerful, unified presence to the stage, exemplifying the collaborative spirit and high standards nurtured throughout the district.

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Major Honors

GMEA proudly recognized outstanding contributors to music education:

Music Educator of the Year Scott M. Martin

Distinguished Career Award Tommy and Eva Jameson

Friend of Music Education The Atlanta Symphony Orchestra

Volunteer of the Year Jon Cotton

Administrative Leader of the Year: Bob Carnaroli, Principal of North Forsyth High School

Music Program of the Year Autrey Mill Middle School, Fulton County Schools L to R: President-Elect Andy Esserwein, Vanessa Edwards, Trey Martin, Tim Anderson, Autumn Smith, NAfME Southern Division President Susan Smith S P R I N G 2025 | G E O R G I A M U S I C N E W S

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District Teachers of the Year

Outstanding educators from each GMEA district were recognized for their exemplary teaching, leadership, and dedication to students and communities.

GMEA 2025 Teachers of the Year

Emily Allison (D14), Amy Clement (D13), Dr. Michele Sampson (D12), Dr. Todd Howell (D11), Phillip Streetman (D10), Scott M. Martin (D9), Andrew Hill (D8), Seth Bates (D7), Sam Lowder (D6), Vanessa Edwards (D5), John Williams (D4), Joshua Milam (D3), Debra Hughes (D2), Sean McBride (D1)

Service Recognitions

The conference also celebrated long-standing service in music education. Notably, Vincent K. Rosse and Steve Myers were honored for 40 years of commitment, alongside the 25-year honorees whose influence and dedication have left a lasting legacy.

James Christiansen Christy Hauert Danyal Johnson Elizabeth R. Rawls Robert N. Seymour

25 Years of Service Suzanne Grant Greg Hucks William Majors Joseph D. Salter Dr. J. Scott Smith

Geoffrey Harden Ira Jenkins Amie McCaleb Schaff Karisa Seymour Kelley Townsend

Keynote Address

The opening session concluded with a stirring keynote address

by Mickey Smith Jr., whose message of empowerment, resilience, and the transformative power of music resonated deeply with attendees. Emphasizing the importance of building authentic relationships and helping students discover their unique “sound,” Smith inspired educators to continue making a meaningful difference in students’ lives.

A Resounding Success

The 2025 GMEA In-Service Conference was more than just an event; it was a celebration of purpose, passion, and accomplishment. Through performances, professional growth, and sincere recognition, the conference underscored the importance of music education in Georgia and recognized the exceptional people who make it possible. It also served as a joyful reunion for friends and colleagues from all over the state, as well as a valuable chance for younger educators to enter and engage with Georgia's lively and supportive music education community.

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ADMIT IT Start your journey today! utc.edu/music @utchattanoogamusic

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Missing Males in American Middle

Jessica

Abstract This literature review aims to investigate the issue of missing males in American middle school and high school choral programs. Specific areas of focus were (a) the scope of the issue, (b) negative stigmas and victimization, (c) possible selves theory and motivation, (d) pedagogical suggestions, (e) scheduling limitations and choosing alternative priorities, and (f) males who currently participate. I concluded that the missing males issue is based on homophobia and sexism. Recruitment of males is more of an issue than retaining males, as retention of males is more within the control of the choral educator through pedagogical methods. Further research should investigate American society’s perspectives of males in choral ensembles.

Introduction Many music teachers teach significantly more female than male students, a phenomenon known as the missing males issue (Elpus, 2015; Freer, 2010; Koza, 1993). The word male in this context describes a person's biological sex. The issue causes arguably the most significant disturbance in choral programs by creating a disparity between traditionally male and female voice parts.

The imbalance may cause a lower-quality performance in an otherwise well-prepared choir. Additionally, many choral works are written for mixed voices, so choirs without male singers miss performing these pieces as intended.

This literature review examines the missing male issue within American middle and high school choral programs. This review aims to explore the extent of the missing males issue, factors influencing male participation in choral programs, and potential solutions from the literature. It is important to note that there is a large body of literature referencing the general gender discourse in the field of music and vocal ensembles specifically.

This review will focus only on the influences on young males specifically. The sections within the review include (a) the scope of the issue, (b) negative stigmas and victimization, (c) possible selves theory and motivation, (d) pedagogical suggestions, (e) scheduling limitations and choosing alternative priorities, (f) males who currently participate.

Review of Literature The Scope of the Issue The missing males issue is prominent in American choral programs and has been well-documented for over a century (Koza, 1993). Koza (1993) wrote a literature review to analyze gender-related references in the Music Supervisors’ Journal (MSJ) from 1914 to 1924. One of the questions posed was whether discussions of missing males existed in the music journal during the proposed timeframe. Koza (1993) concluded that the discussions did exist, and frequent attention was given to the missing males problem.

In 2012, Freer suggested that the missing male issue persists, and a historical perspective may be beneficial when looking 20

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for solutions. His chapter highlighted the historical progression of philosophical and pedagogical strategies in response to evolving curriculum goals, student dropout patterns, and research insights on the changing male adolescent voice (Freer, 2012). Freer illustrated that the demand for American choral music programs in public schools originated from a need for better community choirs. In the early 1900s, prominent music educator publications popularized the philosophy that all children should be included in chorus education (Freer, 2012).

Eventually, in the 1920s, the “a cappella choral movement” rose in popularity and elevated the expected performance standards of American high school choirs (Freer, 2012). At this point, best practices for teaching the adolescent male voice were a popular discussion within the Music Educators Journal, but the missing males issue persisted despite the frequent attention towards the topic (Freer, 2012).

In more recent times, the missing males issue was studied by Elpus in 2015. The purpose of the study was to estimate the participation rates in American high school music ensembles by gender over time (Elpus, 2015). The datasets were taken from 10 separate and nationally representative High School Transcript Studies that were originally conducted by the National Centre for Educational Statistics between the years 1982 and 2009. The findings showed that, over time, chorus programs averaged 70% female and 30% male (Elpus, 2015).

The findings of the Elpus 2015 study were consistent with the findings of a 2017 study conducted by Williams. Williams utilized an online survey platform to collect data from random middle and high school chorus teachers who were members of the National Association for Music Education. The survey was designed with qualitative and quantitative questions and had an appropriately adjusted response rate of 25.1% (Williams, 2011). The findings demonstrated that across the United States middle school and high school programs, male enrollment was 26.85% (Williams, 2011).

Research shows that the issue of missing males in choral music has been a consistent problem throughout American history.

This awareness has been documented in music educator journals for over a century, but the issue still persists (Koza, 1993). Currently, male enrollment in American chorus programs averages between 26.85% and 30%, which can negatively impact choir balance (Elpus, 2015; Williams, 2011).

It is up to those passionate about choral music to investigate the factors that contribute to it.

Negative Stigmas and Victimization In response to the missing male issue, researchers have investigated the effects of negative stigmas and victimization on chorus enrollment. The negative stigma that young boys are avoiding is the perception that if a boy likes to sing, he is weak, feminine, or homosexual (McBride, 2016; Nannen, 2017).

In a dissertation conducted by Nannen, Nannen explores the relationship between adolescent gender identity and

and High School Chorus Programs Keach

participation in choral music programs. Nannen’s purpose was to investigate why there is a gender imbalance in choral music where there are more female participants than male participants and see how it relates to perceived masculinity and femininity (Nannen, 2017). This was studied through both quantitative and qualitative means. To collect quantitative data, Nannen had a Midwestern high school’s 9th-grade class complete the Children’s Sex Role Inventory to measure the participant’s masculine or feminine characteristics and a Singing Interest Inventory.

Nannen then conducted semi-structured interviews with two groups of male students who did not participate in choir to explore their individual experiences and perceptions regarding participating in choral ensembles. The first group consisted of students with a low interest in singing, and the second was a group of students with a high interest in singing. After analyzing the data, Nannen concluded that there were no significant differences in singing interest between boys and girls when the students were categorized by gender groups (Nannen, 2017).

However, societal perceptions and stereotypes discourage boys from participating in choral music (Nannen, 2017).

Additionally, Nannen found that boys did not align with masculine characteristics more than girls did, but boys are more limited in exploring non-masculine behaviors than girls are (Nannen, 2017).

When considering Nannen’s study, it is important to note its limitations. The conclusions drawn can only be generalized to a group similar to the students being questioned. However, the study does reveal that negative stigmas can affect male choral ensemble enrollment.

The negative stigmas may affect the males currently enrolled in chorus programs (Sweet, 2010; Elpus & Carter, 2016; Nannen, 2017). Sweet conducted a case study using five of her male students in 2010. The data studied was collected through one semistructured and formal group interview, informal field notes, concert programs, the difficulty level of choral music, and her insights and observations as their choral instructor (Sweet, 2010). In one portion of the group interview, it became clear to Sweet that the boys were bothered by teasing comments they had heard from other males. These males were in their choir class and outside of their choir class (Sweet, 2010).

Moreover, according to a 2016 study conducted by Elpus and Carter, male students who are involved in a performing arts ensemble are more likely to be victims of bullying than their non-performing arts counterparts (Elpus & Carter, 2016). The materials utilized in this study were reports from the School Crime Supplement from the years 2005, 2007, 2009, 2011, and 2013. One limitation of the study is that it was impossible to distinguish the theatre students from the music students.

However, the study did account for different covariates of race and Hispanic ethnicity, sex, and parent’s level of education.

The findings stated that male music and theatre students were 69% more likely to experience bullying than their non-arts peers (Elpus & Carter, 2016). It is also important to note that the risk of bullying overall is still low even though the difference

between arts and non-arts students is high. Non-arts males face a 17% chance of bullying, while arts males face a 26% risk (Elpus & Carter, 2016). Similarly, within William’s 2011 study, data was collected regarding a random sampling of American chorus teachers’ perspectives on reasons why males do not participate in chorus. The teachers anecdotally reported that the second largest reason is the fear of being made fun of (Williams, 2011). The studies suggested that bullying and victimization of performing arts students could systematically contribute to the issues of male underrepresentation in American choral music education (Elpus & Carter, 2016; Williams, 2011).

The research shows that societal perceptions and stereotypes, and the victimization of students who participate in fine arts programs can discourage boys from participating in choral music (Elpus & Carter, 2016; Nannen, 2017). Males who participate in music programs can become victims of teasing and bullying by other students, particularly other male students (Elpus & Carter, 2016; Sweet, 2010; Williams, 2011). Young males themselves also mention that a fear of being bullied or teased for participating in choir is a deterrent from continuing in or even joining a choral ensemble (Brown, 2019). This sentiment has also been supported by teachers in the field (Williams, 2011). This may be because males have less freedom than females to explore non-masculine behaviors (Nannen, 2017).

When boys explore what society deems as non-masculine behaviors, such as participating in a choral ensemble, they may be bullied and called homosexual or feminine (McBride, 2016; Nannen, 2017; Sweet, 2010). Overall, sexist and homophobic stereotypes significantly impact male enrollment in American choral programs. Boys may choose not to join chorus to avoid potential bullying despite their interest in singing (Brown, 2019; Elpus & Carter, 2016; Nannen, 2017; Williams, 2011). While choral educators may not be able to change societal perceptions on their own, we can advocate for a “zero-tolerance for bullying” policy in schools to ensure that students who wish to participate feel safe and supported.

Possible Selves Theory and Motivation The possible selves theory may contribute to the missing male discourse in choral music. Possible selves represent individuals’ visions of their future possibilities, including their potential identities, hopes, and fears (Markus & Nurius, 1986). This concept links cognitive processes with motivational aspects (Markus & Nurius, 1986). Possible selves are shaped by an individual’s sociocultural and historical context, as well as the models, images, and symbols they have been exposed to (Markus & Nurius, 1986). In some decisions, a possible self will be utilized to guide the decision-making process. Therefore, possible selves can be incentives for future behavior (Markus & Nurius, 1986).

Male role models are essential to influencing younger males to join and continue in choral ensembles. A 2009 research article describes the choral experiences of three American high school boys through the possible selves construct. Freer (2009) studied the boys’ experiences through three separate ninety-minute S P R I N G 2025 | G E O R G I A M U S I C N E W S

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interviews and found that all three boys discussed role models and familial influence. External influences, positive singing role models, and male representation in choral ensembles assist with chorus recruitment and retention (Demorest, 2000; Williams, 2010). In Demorest’s frequently referenced pedagogical article, he states, “If we accept the idea that boys’ participation in singing is tied at least in part to the perception of singing as something men do, then our strategy as music educators is simple: give young boys opportunities to interact with other males who sing” (Demorest, 2000, p. 39).

The concept of possible selves plays a crucial role in addressing the missing males phenomenon in American choral ensembles.

Male role models are instrumental in helping young males shape their identities (Demorest, 2000; Freer, 2009; Williams, 2010). When young boys perceive singing as an activity that men engage in, it can seamlessly integrate into their male identity, potentially encouraging them to join choirs (Demorest, 2000). Conversely, in the absence of such representation, the notion of being a boy who sings may be perceived as a feared self, leading students to avoid this behavior (Markus & Nurius, 1986). Overall, the male role models would change the perception of singing in choir as a “feminine” activity.

course's purpose. Instead, directors should focus on longerterm goals through skill-based instruction that would provide boys with an understanding of their changing voices (Freer, 2010). Freer argues, in his commonly referenced literature review, that the research suggests that the neurobiology of middle school males causes them to learn differently than middle school females. Freer then suggests that current concert-focused courses are “losing boys in the middle” and ultimately contributing to the missing male issue (Freer, 2007).

However, it should be noted that he states that the research he was looking at suggested that individual variation was of greater importance than sex.

To keep boys engaged in choir, it is essential to make it enjoyable (Kennedy, 2002). While repertoire selection plays a crucial role in maintaining boys’ interest and fostering a sense of achievement, it may not be the most critical factor (Kennedy, 2002). The data on the neurobiology of boys remains inconclusive, and it is surprising that Freer’s (2010) literature review continues to be frequently mentioned in the missing male discussions. From these findings, I have concluded that it may be more achievable for choral directors to retain boys by cultivating an exciting and fun environment.

Pedagogical Suggestions

Scheduling Limitations and Choosing Alternative Priorities

Various strategies have been explored to address male underrepresentation in choirs through effective pedagogy.

Research articles, literature reviews, and anecdotal reports all highlight the importance of selecting appropriate repertoire and adjusting class structures to support male students, particularly during the voice change in middle school. It has been speculated that negative experiences during the male voice change period are a significant reason male choral participants decide not to reenroll (Freer, 2007; Freer, 2009; Freer, 2010). Investigating the physical workings of the male voice change is beyond the scope of this literature review.

Instead, the review will focus on how the generally accepted pedagogy affects male enrollment in American Choral Programs per the literature.

Some male students are interested in joining male choral ensembles but face obstacles and competing priorities. Freer (2012) shared that many were excluded from choir programs or lacked access. Some parents reported that their sons had to stop singing due to voice changes, making them ineligible for their former choirs (Freer, 2012). Additionally, 25% of educators and 20% of parents reported a need for choral programs in schools and communities (Freer, 2012).

Many teachers believe that choosing appropriate repertoire for male singers can positively influence male enrollment in American Choral Programs (Freer, 2012; Demorest, 2000).

“Some teachers felt strongly that all students should sing in unison, regardless of the voice change, while others advocated for the development of multi-part repertoire to accommodate variations in the voice change process among boys of the same age” (Freer, 2012, p. 15). The argument presented says that when the repertoire is achievable, boys will feel successful, and when boys feel successful, they will continue to enroll in choir (Demorest, 2000; Freer, 2007; Freer, 2012; Siebenaler, 2006).

Alternatively, repertoire that meets the exact needs of the male voice change may not be necessary to retain boys in choir. A 2002 qualitative study examined the participation of adolescentaged boys in choral music (Kennedy, 2002). One of the issues investigated was whether range-appropriate repertoire was necessary for enjoyment and participation in chorus. Kennedy (2002) conducted structured and semi-structured interviews with 11-12 males participating in a suburban middle school choir. Kennedy (2002) found that male students enjoyed the repertoire even though it was not range-appropriate. The students accepted their range limitations and created practical solutions, prioritizing their preference for the repertoire.

Another pedagogical suggestion was to change the traditional class structure to meet the developmental needs of males in chorus. Freer suggests that choral directors move away from presenting learning repertoire for the next concert as the 22

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The cost of music programs is a significant factor affecting both access and participation in chorus. In one study, school principals cited the expense of music programs as a reason for excluding students from all music courses (Abril & Gault, 2008).

The study also highlighted a disparity in course offerings, where schools of higher socioeconomic status offered more music courses than those of lower socioeconomic status (Abril & Gault, 2008). Alternatively, young teenage boys mentioned the low cost of chorus as a reason they had to prioritize other activities over chorus (Brown, 2019). They explained that while choral music itself was not expensive, their parents had already invested heavily in other instruments. As a result, when choosing between chorus and band/orchestra, their parents encouraged them to continue with band or orchestra to justify the financial investment in their instruments (Brown, 2019).

A study by Abril and Gault (2008) surveyed principals about their views on school music programs. The study revealed interesting findings concerning the availability and requirements of music courses. The study found that 98% of surveyed principals reported that their schools offered music courses, but only 34% required them. Specifically, 58% of middle schools required a music course, and only 18% of high schools had the requirement. It is important to note that with a 54% response rate, it is less likely that principals from schools without music programs participated in the survey (Abril & Gault, 2008).

Brown (2019) conducted a qualitative study to explore the obstacles preventing ninth-grade boys from continuing choir in high school. His research aimed to understand the specific barriers these students face from their perspective. The qualitative data was collected through forty-minute interviews with two separate focus groups. During these interviews, students were asked semi-structured questions, probed for

deeper insights, and given follow-up questions (Brown, 2019).

One group comprised five ninth-grade boys who continued with choir in high school, while the other group included five ninth-grade boys who chose not to continue participating in choir (Brown, 2019).

Brown’s study (2019) found that all ten participants wanted to continue choir in high school but struggled to prioritize it. They faced conflicts with other classes and activities, time management issues, and limited elective slots due to required courses. Some were interested in other electives, while others were influenced by their parents to focus on traditional academics (Brown, 2019; Sweet, 2010).

Overall, there appears to be a relationship between access to music courses, the requirements of these courses, and chorus enrollment (Brown, 2019). Simply put, if a school offers limited or no music courses, there will be less participation in its chorus program. When music courses are available but not required, the male students observed prioritized mandatory courses (Brown, 2019; Williams, 2011). Brown’s (2019) study showed that students found it challenging to prioritize choir among other commitments. Similarly, Williams’ (2011) study revealed that teachers believe the primary reason for low male enrollment in choir was the lack of space in students’ schedules. Additionally, Sweet’s (2010) case study found that while boys enjoyed choir, they often did not commit to high school choir because they wanted to explore new activities.

Therefore, the lack of music requirements likely affects overall choir enrollment and, combined with other factors, specifically impacts male choir enrollment.

Males Who Currently Participate Although the missing males issue perists, many young males choose to participate in chorus despite societal pressures.

The participating boys studied in Brown's (2019), Kennedy's (2002), and Sweet’s (2010) research all mentioned that they continued in chorus because they enjoyed singing. Moreover, in Freer’s 2009 research, one of his participants was a high school senior in chorus. The student said, “The overall point of music is expression. It’s the expression of one's mindset and personality and relationships, the situation at the time. It's like music never ends. There's always something new. There’s always something to learn” (Freer, 2009, p.6). Additionally, one of the middle school males in Sweet’s case study said, “Well, it’s enjoyable, and like they said, you can express your feelings, and you don’t have to feel embarrassed about it. You can just sing it out, and no one really cares” (Sweet, 2010, p.

8). Participating in a choral ensemble was deeply meaningful and enjoyable from these students' perspectives.

Another reason students feel encouraged to stay in chorus may be the community support they build with their families, teachers, and peers. In 2006, Siebenaler researched factors that predicted high school vocal ensemble participation. One finding revealed that students whose parents were involved in music and who grew up in musically supportive homes were more likely to continue participating in school choral music (Siebenaler, 2006). Similarly, positive reinforcement boys receive from parents, teachers, and administrators can encourage choir participation (Lucas, 2011; Sweet, 2010).

Additionally, the Siebenaler study found that high school students’ involvement in choral music may be significantly influenced by their earlier musical experiences, with 33.7% of participants being inspired by their middle school teacher to continue pursuing music (Siebenaler, 2006). Siebenaler also found that peer influence played a significant role in students’ decision-making, with 60.8% joining the choir to be with friends (Siebenaler, 2006).

A choral ensemble can foster a sense of belonging for adolescents that they can identify with (Parker, 2014). Social identity theory dictates that all people are members of social groups. Membership within these groups guides our selfconcept while fostering an emotional significance associated with the membership (Parker, 2014). Parker (2014) said that by singing together, choir participation transcends mere membership, fostering a sense of belonging and creating positive experiences (Parker, 2014). Additionally, important adults play a significant role in the participant’s identity development, and the students in Parker’s 2014 study were influenced by their choir teachers because of their high expectations and praise for good work.

Males who participate in chorus can be drawn by the power of music and the sense of community it fosters. Positive relationships with adults, supportive peers, and a strong identification with the choir help retain these boys. In a healthy choir environment, students enjoy fun activities and community through full group experiences, field trips, and a positive self-perception of their voices (Kennedy, 2002; Lucas, 2011).

These elements should be central to discussions about the lack of male participation in choral music, as research shows they effectively retain boys who choose to sing.

Discussion and Conclusion The American choral education field faces a missing males issue, primarily due to challenges in recruitment and retention, with recruitment being the larger obstacle (Demorest, 2000).

The literature demonstrates that retention issues stem from scheduling conflicts and pedagogical failings. The absence of choral requirements in secondary schools creates difficult scheduling conflicts (Brown, 2019; Williams, 2011). Young males may quit choral programs without support from teachers, peers, and home because it is easier than fitting choir into their schedules (Brown, 2019; Lucas, 2011; Parker, 2014; Siebenaler, 2006). Meanwhile, the pedagogical literature typically discounts the scheduling obstacles and instead states that retention issues can be remedied by using varied teaching methods. These methods include separating male and female voices during the male voice change and focusing on vocal techniques instead of only concert preparation (Demorest, 2000; Freer, 2007).

The literature suggests that negative stereotypes hinder the recruitment of young males by creating feared possible selves (Freer, 2009; Markus & Nurius, 1986). Solutions include providing more male role models, encouraging home support, fostering a safe school environment, and offering access to choral programs, as boys are equally interested in singing as girls (Abril & Gault, 2008; Demorest, 2000; Elpus & Carter, 2016; Freer, 2012; Nannen, 2017).

Research often addresses choral teachers to solve the lack of male participation in choirs. However, I believe this issue extends beyond their abilities to solve. Despite over a century of varied techniques, the problem persists (Koza, 1993). I argue that the feared possible selves could be the strongest deterrent as negative stereotypes are frequently cited in the literature (Freer, 2012; Nannen, 2017). The perception of singing as effeminate in American society deters boys from joining (Koza, 1993; Nannen, 2017; McBride, 2016). If boys were not afraid of being labeled feminine or homosexual, recruitment would be less of an issue.

When looking to the future, relying on teachers to advocate for male participation in choirs is problematic because it forces them to confront societal sexism and homophobia that they may also face personally (Koza, 1997; McBride, 2016; S P R I N G 2025 | G E O R G I A M U S I C N E W S

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Nannen, 2017). From the literature explored, it does not seem that pedagogical solutions are the key to solving the missing males issue because it has been so longstanding (Koza, 1997). While pedagogical solutions are useful, researchers must approach this issue sensitively and the community should support choir teachers in their experiences (McBride, 2016).

Community support would result in including mandatory fine arts classes to dismantle negative stereotypes. Requiring the courses would increase exposure to male role models, helping to dismantle sexist and homophobic feared possible selves while protecting those affected by those prejudices.

While teachers can positively influence school stakeholders, specifically the students, when advocating for chorus programs, they should not be held responsible for the depleted male population (Abril & Gault, 2008; Kennedy, 2002; Parker, 2014; Siebenaler, 2006). While teachers must create an inclusive, safe, and enjoyable classroom environment to retain students in choral ensembles, resolving the missing males issue requires broader societal interventions. The factors that predicted ongoing participation in choral music are positive support and involvement at home, enjoyable music experiences in elementary and middle school, a positive selfconcept regarding music skills, and peer and parent support (Siebenaler, 2006). Peer and parent support will be better established when sexism and homophobia are not inhibiting choral participation.

Future research should gather insights from both parents of students and the general public. Do they value music in society? What are their perceptions of singing? What are their perceptions of choral programs? Do they consider vocal ensemble participation as an effeminate activity? If so, why is that? Would they consider a male singing in a choral ensemble 24

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to be feminine even if he does not identify as so? If so, why?

Is that a bad thing from their perspective? Would they feel motivated to sign their children up for choral ensembles throughout middle and high school? The field has extensively studied choral classrooms. It is now time to broaden our focus and involve the community in encouraging boys to participate in American choral ensembles.

Jessica Keach is the Director of Choral Activities at Paulding County High School, where she is committed to excellence and inspiring professionalism in her students through choral music. She earned her Bachelor of Music Education degree, Summa Cum Laude, from the University of Georgia and is currently pursuing her Masters degree in Music Education at the University of Florida. Jessica is dedicated to making choral music accessible and relevant to her students, fostering a deep appreciation and engagement with the art form.

In 2022, Jessica received the New Teacher of the Year award from her school in recognition of her outstanding contributions as a new educator. She believes all students should have access to high-quality arts education and advocates for its integration into the curriculum. Jessica emphasizes that participation in performance ensembles fosters creativity, critical thinking, and communication skills. She strives to demonstrate that excellence in the arts can and should be accessible to all.

References Abril, C. R., & Gault, B. M. (2008). The state of music in secondary schools: The principal’s perspective. Journal of Research in Music Education, 56(3), 68-81.

Brown, D. M. (2019). Male participation in secondary choral music. Education Doctoral. Paper 406. https://fisherpub.sjf.edu/education_etd/406 Demorest, S. M. (2000). Encouraging male participation in chorus. Music Educators Journal, 86(4), 38–41. https://doi.org/10.2307/3399604 Elpus, K. (2015). National estimates of male and female enrolment in American high school choirs, bands and orchestras. Music Education Research, 17(1), 88–102. https://doi.org/10.1080/14613808.2014.972923 Elpus, K., & Carter, B. A. (2016). Bullying victimization among music ensemble and theatre students in the United States. Journal of Research in Music Education, 64(3), 322–343. http://www.jstor.org/stable/44631455 Freer, P. K. (2007). Between research and practice: How choral music loses boys in the ‘middle.’ Music Educators Journal 94 (2): 28–34. doi:10.1177/002743210709400207.

Freer, P. K. (2009). “I'll sing with my buddies:” Fostering the possible selves of male choral singers. International Journal of Music Education, 27(4), 341–355. https://doi. org/10.1177/0255761409345918 Freer, P. K. (2010). Two decades of research on possible selves and the “missing males” problem in choral music. International Journal of Music Education 28 (1): 17–30. doi:10.1177/0255761409351341.

Freer, P. K. (2012). From boys to men: Male choral singing in the United States.

Perspectives on Males and Singing (pp. 13–24). essay, Springer Science & Business Media.

Kennedy, M. A. (2002). “It’s cool because we like to sing:” Junior high school boys’ experience of choral music as an elective. Research Studies in Music Education, 18(1), 26–36. https://doi.org/10.1177/1321103x020180010401

Koza, J. E. (1993). The “missing males” and other gender issues in music education: Evidence from the ‘music supervisors’ journal,’ 1914–1924. Journal of Research in Music Education 41 (3): 212. doi:10.2307/3345326.

Lucas, M. (2011). Adolescent male attitudes about singing in choir. Update: Applications of Research in Music Education, 30(1), 46–53. https://doi. org/10.1177/8755123311418623 Markus, H., & Nurius, P. (1986). Possible selves. American Psychologist, 41(9), 954969. doi: 10.1037/0003-066X.41.9.954 McBride, N. (2016). Singing, sissies, and sexual identity. Music Educator’s Journal, 102(4), 36-40. doi: 10.1177/0027432116644653 Nannen, B. E. (2017). "Choir is for girls": Intersectional mixed methods perspectives on adolescent gender identity, singing interest, and choral music participation.

Education Doctoral. Order No. 10271929. Available from ProQuest Dissertations & Theses Global. (1892827729). https://login.lp.hscl.ufl.edu/login?url=https:// www.proquest.com/dissertations-theses/choir-is-girls-intersectional-mixed-methods/ docview/1892827729/se-2 Parker, E. (2014). The process of social identity development in adolescent high school choral singers: A grounded theory. Journal of Research in Music Education, 62(1), 18-32. doi: 10.1177/0022429413520009 Siebenaler, D. (2006). Factors that predict participation in choral music for highschool students. Research and Issues in Music Education, 4(5), 1-10.

Sweet, B. (2010). A case study: Middle school boys’ perceptions of singing and participation in Choir. Update: Applications of Research in Music Education, 28(2), 5–12. https://doi.org/10.1177/8755123310361770 Williams, J. G. (2011). Male participation and male recruitment issues in middle and high school chorus. Education Doctoral. Order No. 3463260. Available from ProQuest Dissertations & Theses Global. (879764386).https://www.proquest. com/dissertations-theses/male-participation-recruitment-issues-middle-high/ docview/879764386/se-2 S P R I N G 2025 | G E O R G I A M U S I C N E W S

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Restorative Practices: How Music Educators Can Engage in a Restorative Mindset Anhvu N. Tran In recent years, school districts and administrators have increasingly undertaken efforts to address students’ emotional and mental needs in addition to their academic ones. Buzz words such as social emotional learning (SEL), whole child supports, and positive behavior intervention supports (PBIS) trickle into the classroom with expectations to adopt these initiatives with limited training or a consequence if not implemented. One new word, restorative practice (RP), is making its way into schools as an alternative to traditional punitive disciplinary measures. In fact, many Georgia school districts have included restorative practice in statements regarding discipline and behavior supports. Some even go as far as embedding dedicated restorative practice coaches for staff in schools.

For music teachers, it feels overwhelming to balance these initiatives while still maintaining our music curriculum. This article will help alleviate some of these concerns for music educators by defining restorative practices and showing how music educators’ classrooms are already primed for RP to occur. This article ends on how, logistical or administrative problems aside, music educators can view restorative practice as a lens through which we can reach kids that might otherwise be pushed out of our classes.

What is Restorative Practice?

Restorative practice, used interchangeably with restorative justice, is adopted from a practice in the criminal justice system inspired by the Māori tribes in New Zealand (Zehr, 2015). The main concept is to focus on the impact of the community when conflict, crime, or harm arise by allowing for the victim and the offenders to speak and repair or transform the relationships through healing. As an educational framework, RP is touted for its role as an alternative to ex-

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pulsions or suspensions (Lodi et al., 2021). However, RP’s role in education goes beyond discipline. A Common misunderstanding is that it is only used for egregious offense or that it is a “slap on the wrist” for offenses that normally would result in suspension.

In a handbook of restorative practices for educators by Costello et al. (2019), the authors note while RP is mistakenly believed as merely a disciplinary approach, “the whole notion of actively engaging students and allowing them to take greater responsibility enhances the quality of teaching and learning in general” (p. 6). Practices in a restorative school should be proactive in the classroom. While many only see the reactive portion where formal conferences mediate conflicts or harms, the approach works best when students, staff, and families feel connected with each other in the day-to-day interactions.

To truly engage in restorative practices, we should focus on community building, honoring students’ backgrounds, and resolving conflict if it arises (Evans & Vaandering, 2022). A restorative practice-centered teacher need to approach the idea as a paradigm shift rather than a tool, not just something that comes up when two students fight in our classroom. Restorative practice is meant to be a proactive measure first and reactionary second.

This means that we have tools at our disposal to help facilitate a restorative minded classroom. If we don’t think about what this looks like in a music classroom, then we will only see the failure of a perceived lack of consequences rather than how we could have—rather naturally—prevented this.

But I’m not a counselor! How is it my place to prevent conflict?

True that some are lucky to have colleagues who specialize in

these situations, but there are some practices in music classrooms that can foster a restorative community. When we position our classrooms as a safe space embodying a community of student responsibility and connectiveness, we can effectively advocate to school administrators for arts instruction in schools.

Building Community One of the foundational pillars of restorative practice is the development of community within the classroom and school. Students, staff, and families need to be connected and develop relationships and rapport. In fact, restorative practice will fall short of its goals whenever schools fail to acknowledge the role of community building. In figure 1, the International Institute for Restorative Practices provides a continuum for how RP can be implemented holistically by educators both within a classroom and the larger school (Costello et al., 2019, p. 10).

Figure 1.

Important to note is the formal conference—which is what most teachers see happens to kids who get into egregious offenses—lies at the end of the continuum. The informal tools such as affective language and small impromptu conversations should happen daily.

Music teachers are experts at these aspects even if they do not see it in this context.

Affective statements and questions are purposeful statements that show how actions affect the community. In RP terms, instead of saying “good job today,” the affective version would be “it makes me feel happy to see you doing such a good job.” In educator terms, we are inclined to already do this in our instruction. Robert Duke (2005) stressed that good music teachers give intentional feedback in effective teaching: “Rather than a response to what happens, purposeful feedback is the planned consequence of a sequence of

events that is highly structured and whose outcome is predictable” (p. 137). According to Duke, we have a control over the students’ quality of performance when we control the rates of negative and positive feedback and direct them to do certain tasks. Similarly, purposeful statements appears in RP in the form of affective statements. Such statements first express the emotion, good or bad, and then direct them to either continue or stop a particular behavior. If we were to combine the two, the restorative music educator could say “I feel appreciative that you’ve worked so hard on this passage for the group” or “You should feel proud, and I am sure the ensemble feels more supported from your efforts.” This is much more specific, puts the community in context, and, most importantly, encourages the student to look at how their actions impact the group.

On community building, the music classroom is a space where I am sure many of you felt a proud sense of belonging when you were younger. In fact, our sense of musical belonging is “rooted in our mutual experiences within those spaces” (Edgar, 2017, p. 30). We are at times so overwhelmed by new educational buzz words that we forget they are interrelated and are rarely brand-new concepts.

Community building is touted in SEL and is something we constantly see in classrooms especially in the ensembles. Whether it is developing self-sustaining student leadership structures for our programs, connecting families through boosters, or fostering school pride, our music programs are primed as a space to develop communities.

Through student leadership and community, teachers may even see resolution of minor conflicts being handled without the teacher’s involvement. The upperclassman cellist may, for example, offer to help tutor a younger player struggling and is on the brink of quitting.

Inside this interaction, the students can share thoughts on the daily struggles of having feelings to quit and could feel a connection that makes your program stronger without your direct involvement simply through the act of building community. In restorative practice, when students can mediate, discuss, and resolve problems on their own, it is a sign of effective implementation. In the next section, I will discuss the effects of RP on the students that are challenges to our teaching.

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Who Did We Leave Out? Through interactions with SEL, we have increasingly realized that our students come to school with a diverse set of needs, emotions, home life, interactions, and economic standings. For our part, schools and teachers have become more cognizant of these issues and have tried to help in any way we can. How many have spent nights editing grants or fundraising order sheets so that our students can have the things that they deserve? However, we can also be too easily exasperated by offenses from students that can leave us questioning our work.

There is a common misunderstanding of restorative practice only deals with so-called “bad” kids. In fact, it supports thriving communities within schools and programs. So many of the tenets of restorative practice aligns with music teachers’ philosophies that we should see how we can incorporate them into our programs or use it as a tool to reflect on what music curricula are offered. Hopefully, with a clearer understanding of what restorative practices entails, music teachers can see the ways in which we can use it within our programs.

That kid that never seems to practice. Why are they still here? Maybe you have a policy that if they get into a fight at school, they can’t be in your orchestra class anymore. These thoughts are valid, but have we ever entertained what the student thinks? Or what we don’t see in class that caused them to lash out in your class?

If we exclude students from our large ensembles, then couldn’t we find a way to help by advocating or facilitating eclectic ensembles or songwriting? Participation in band, orchestra, or choir appeal to many students, but not all. Does this exclusion send a message that music in school is not for them? Songwriting, for example, is a great way to talk to students about expressing feelings musically, but this may be difficult in the packed schedules of a band or orchestra.

We frequently express that music education is for all students, To facilitate that, we should ask ourselves what musical offerings fit excluded students.

In cases of discipline, traditional measures are too focused on combining the offender with the offense and never truly hears from each party. Traditional discipline is quick to levy punishment without a word from the punished. Are they regretful? And, it subdues the voice of the victim of how they felt harmed from the action.

Restorative practice, in turn, tries to separate the action and the student by acknowledging that both happened. If a student gets into a fight, the first idea may be to kick them out of the program— because this is not the place for kids “like that.” However, taking time to speak to the student before this punishment is given—note that expulsion is not off the table—can give us insight into the broader context. Perhaps the anger is something unrelated to class.

It may turn out your class was one of the few classes the student enjoyed. Maybe the student feels inconsolably guilty for their action and is willing to do anything to stay. These are feelings that rarely come out with exclusion in mind and brings up questions of what music teachers believe in terms of access to music education. In the case above, the student can agree to come in early and set up the room as a restitution or become the “emotional check-in” member of the ensemble since they saw first-hand how it affected the community. While this seems less instantaneously gratifying, it could be transformative in how and who we serve in our schools. Something I have found through my teaching is that if you give the kid a chance to make things right, they will be more likely to respond to you because of the relationship developed between teacher and student.

Conclusion Restorative practice is a paradigm, a mindset, or way of thinking more than formal procedure, which is only a part of the larger framework. It helps us keep in mind the questions of “Who are our students?” and “How do we reach them?” If we don’t allow for students to safely and genuinely express themselves, what message are music educators sending to others as a subject so engrained in expression and creativity? So much of healing and expression is conveyed through music that it seems music educators could embrace restorative practice. These questions should lie at the very heart of what we advocate for when we say music education should be for every child.

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Anhvu N. Tran is the current orchestra director at Jean Childs Young Middle School in Atlanta, Ga. He previously taught in Gwinnett County. A public-school educator for ten years, Mr. Tran received his Bachelor of Music Education from Georgia State University in 2015 and Master of Education in 2020, where he studied double bass with Emory Clements.

Mr. Tran regularly freelances as a double bassist performing with various groups, including the Gwinnett Symphony, the Northeast Atlanta Ballet Orchestra, Gwinnett Ballet, and Georgia Philharmonic.

In addition to performing, he served as a founding member and co-conductor to the Metropolitan Atlanta Philharmonic Orchestra, located in Southwest Atlanta. He also works with the Atlanta Music Project, an El-Sistema based program operating in Southwest Atlanta. Mr. Tran’s personal belief is that music education can exist in many forms to serve all populations of students from all circles of life.

Born in Vietnam to South Vietnamese refugee parents and raised in Georgia, Mr. Tran began studying music in the Metro-Atlanta area.

He currently resides in East Point, GA.

References Costello, B., Wachtel, J., & Wachtel, T. (2019). The Restorative Practices Handbook (2nd ed.). International Institute for Restorative Practices.

Duke, R. A. (2005). Intelligent music teaching: Essays on the core principles of effective instruction. Learning and Behavior Resources Austin, TX. Edgar, S. N. (2017). Music education and social emotional learning: The heart of teaching music. GIA publications.

Evans, K., & Vaandering, D. (2022). The little book of restorative justice in education: Fostering responsibility, healing, and hope in schools. Simon and Schuster.

Lodi, E., Perrella, L., Lepri, G. L., Scarpa, M. L., & Patrizi, P. (2021).

Use of restorative justice and restorative practices at school: A systematic literature review. International Journal of Environmental Research and Public Health, 19(1), 96.

Zehr, H. (2015). The little book of restorative justice: Revised and updated. Simon and Schuster.

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"After silence, that which comes nearest " to expressing the inexpressible is

music.

Aldous Huxley