INfORM Volume 77, Issue 2 (Conference Edition 2024)

Volume 77, Issue 2

A Quarterly Publication from the Indiana Music Education Association

Join Us! 2025

PROFESSIONAL DEVELOPMENT

C O N F E R E N C E JANUARY 16-18, 2025

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Make your band tower dreams become reality.

Kim@FieldTowers.com

VO L U M E

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I S S U E

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EDITORS JON NOWORYTA KAYLA SMITH MICHELLE BRINKMAN IMEA EXECUTIVE COMMITTEE JOHANN SLETTO President KEITH ZIOLKOWSKI President-Elect JULIE MANERS Immediate Past President AREA REPRESENTATIVES AREA 1 STEPHEN DEAN AREA 2 KYLE WEIRICH AREA 3 MICHAEL BENNETT AREA 4 MICHELLE BADE AREA 5 ALYSSA ANDERSON AREA 6 JONATHAN EDWARDS

T A B L E

O F

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C O N T E N T S

Notes from the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

AREA 7 ANDREA DRURY

Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

AREA 8 NICK SCROGGINS

President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

IMEA COLLEGIATE REPS ABBY JARMAN ETHAN HACKER

2025 Professional Development Conference . . . . . . . . . . 8

RECORDING SECRETARY BEN BATMAN STAFF LANE VELAYO Executive Director ALICIA RANKIN Operations Manager IMEA EXECUTIVE OFFICE 6510 Telecom Drive, Suite 370 Indianapolis, IN 46278 Phone (317) 342-4100 office@imeamusic.org

Burn Out! 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Membership Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The New Indiana Diploma . . . . . . . . . . . . . . . . . . . . . . . . . 16 Modern Band: Teaching Teachers and Students New Pathways to Music . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Enhancing Performing Arts in Lawrence Township through Title IV Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 How Schubert Healed My Burnout . . . . . . . . . . . . . . . . . 22 Cover Photography: Bateman Photography

Facebook: facebook.com/INMusicEd X: @INMusicEd Instagram: imeamusic

Article Submissions INform Magazine invites submission of articles by teachers on all aspects of music education. If you are interested in submitting an article, please contact a member of the editorial committee: Alicia Rankin (office@imeamusic.org).

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NOTES FROM THE EDITOR

elcome to the latest edition of INform Magazine! As we prepare for the upcoming IMEA Professional Development Conference, we recognize the incredible work music educators have done and the challenges they continue to face in today’s dynamic educational environment. This issue comes at a critical time, and we’ve curated articles that offer both support and inspiration for educators as they look ahead to the conference and beyond.

One of the main features of this edition is addressing the growing concern of teacher burnout. More than ever, educators are feeling the weight of managing their classrooms, while also navigating personal and professional challenges that can lead to physical and emotional exhaustion. Our feature article provides practical strategies for preventing burnout, fostering resilience, and maintaining a sense of purpose in the classroom. With insights from experienced educators, this piece emphasizes the importance of self-care, community support, and finding joy in the work that we do.

In addition to tackling burnout, we are thrilled to give you an in-depth preview of the IMEA Professional Development Conference. This year’s conference promises to be an exciting opportunity to engage with peers, share new ideas, and learn from the best in the field. From thought-provoking workshops to networking opportunities, the conference is designed to empower educators with fresh perspectives and innovative tools that can be implemented immediately in the classroom. Whether you are a seasoned teacher or just starting out, this event is sure to offer something for everyone.

As you dive into this edition of INfORM, we encourage you to reflect on the theme of this year’s conference: Renew, Recharge, Reconnect. It’s a fitting message for 4

educators at all stages of their careers, especially after the challenges of recent years. We hope the articles in this issue will provide a source of encouragement and help you reconnect with your passion for teaching. The IMEA conference is the perfect opportunity to re-energize and collaborate with like-minded professionals who share your commitment to music education.

We are incredibly proud of the contributions in this edition, and we’re excited to hear your thoughts as you prepare for the IMEA Conference. Let this issue serve as a reminder that you are not alone in your journey and that together, we can continue to build a vibrant, supportive community for all music educators.

Lastly, I wanted to take a second to more formally introduce myself as a member of the editing team.

I am Kayla Smith, and I serve as the co-director of The Lawrence Central Choirs and the Department Chair for Performing Arts. In addition to my work at Lawrence Central, I serve as the Secondary Performing Arts Regional Specialist for Lawrence Township. I hold a Bachelor’s of Music Education from Indiana University Jacobs School of Music and a Master’s of Music from Ball State University.

I am a fierce advocate for equity in education. I am also a graduate of the Harvard University Graduate School of Education in school leadership and I have just begun my Ed.D in Educational Leadership at Indiana University.

We look forward to seeing you all at the IMEA Conference! Happy reading!

W I N T E R 2024

prelude: MARK YOUR CALENDARS WITH THESE IMEA DATES! IMEA will continue to publish further details and information at https://www.imeamusic.org/

2025 Circle the State With Song Festivals • •

Registration Deadline: December 11, 2024 February 15 – Area 2, Area 3, Area 3A, Area 4, Area 5, Area 6 • March 1 – Area 1, Area 2A, Area 4A, Area 7 • March 8 – Area 8 • For more information visit:

h ttps://circlethestate.imeamusic.org

2025 IMEA Professional Development Conference • January 16-18 in Fort Wayne • Early Bird Registration ends December 11 • For more information visit:

h ttps://conference.imeamusic.org

Festival & Clinic • • • • •

March 1 @ IU Southeast; Choral and Instrumental March 8 @ Smoky Row Elementary; Elementary Choir and Orff March 15 @ Franklin County HS; Instrumental More dates and locations coming soon!

For more information visit: https://www.imeamusic.org/festival-clinic

Folk Dance Festival

• May 3, 2025

INTERESTED IN SERVING IN A VOLUNTEER LEADERSHIP ROLE? IMEA Board Openings • Composition Competition Chair • For more information email the IMEA Office at office@imeamusic.org.

Circle the State With Song Coordinator Openings IMEA is currently looking for a Middle School coordinator (or co-coordinators) for Area 7.

If you are interested or would like more information, contact State Chair Lindsay Bollhoefer – lindsay.bollhoefer@nwsc.k12.in.us.

2024 COMPOSITION COMPETITION RESULTS Congratulations to the 2024 Composition Competition Gold Rating recipients! They will be recognized at the 2025 Professional Development Conference in Fort Wayne. You can view more about the recipients and listen to an excerpt of each piece at https://imea.memberclicks.net/composition-competition-winners.

David Akinwole, Plainfield Community Middle School Middle School Division, Arranging “Shioreta Sakura” Samuel Strawhacker, Fishers Junior High School Middle School Division, Instrumental Solo “Nocturne No. 1” Milo Savage, Fishers High School High School Division, Chamber “The Seas” Jasper Wright, New Castle High School High School Division, Jazz Band “Caderas Suaves”

Composition Competition

• Entry deadline is June 7, 2025

Courage Barda, Indiana University Collegiate Division, Vocal Choir “Blueberry Dreams” Leo Schunn, Ball State University Collegiate Division, Full Orchestra “Glacial - I. Snowcapped” 5

PRESIDENT’S MESSAGE

y students joke that I should write a book.

They mostly have fun with the “rules on dating” that I have developed. However I do have a section of the book dedicated to feeling better. There are so many students that come into my office and feel down about life, so I developed a step by step plan for them to start feeling better. Dr. Phillippa Laly at the University College London found that on average it takes about 66 days for a routine to become habit. I try to get my students to buy in for 14 days to start. Here are a few easy things to do to help fix some of the blues you might be experiencing.

8x8 If you are feeling tired, or have a lack of energy, you probably aren’t drinking enough water.

This is the easiest thing to fix in our daily routine. About 60% of our body is made up of H2O, and not hydrating can lead to many problems. Try to drink eight 8 oz glasses of water per day. Water is crucial for almost every function of the body, including energy production and cognitive function.

It’s Not Bad Sushi Most teenagers make a face like they’ve eaten some bad sushi when I tell them they need to exercise. How many of our teenagers are spending way too much time in their rooms or on electronic devices? How many of us are so wrapped up in the next deadline or concert? I’m not asking them to run a marathon, but to simply go outside and go for a walk around the block every day. It was amazing when I bought an Apple Watch, that it tells me to stand every hour. What an easy goal to 6

achieve. Standing every hour can lead to better circulation, prevent back problems and help with cardiovascular health. Going for a walk outside helps with cognitive function, supports better sleep, increases blood flow and gives student a break from staring at a screen all day.

A Whole New World Aladdin came out when I was in high school, and this song was one of the biggest hits of the movie. Aladdin said to Jazmine: “Don’t you dare close your eyes,” and it is my favorite line when I karaoke this song. While technology is an amazing invention that has transformed our society, it has closed our eyes to the world around us. When my students are feeling overwhelmed about life, one of my recommendations is that they unplug a little every day. If they are really in the thick of drama, I suggest they unplug from social media for a few days. There is a lot of negativity on social media that you simply don’t need. Take a break and connect with the world around you in real time.

The amazing Chuck Steck was my trumpet teacher in college. Whenever I was having a bad trumpet week, he would always calm me down and bring me back to basics. This usually meant lots of long tones and lip slurs. It was almost meditative as we would play call and response in the basement of the music building. While the steps above seem obvious, I know I am not always accomplishing them. Sometimes we need a reminder to breathe and come back to basics. There are more steps to take, but you will have to read the next issue of INform to get them.

Johann Sletto President, Indiana Music Education Association (IMEA) W I N T E R 2024

SCHOOL OF MUSIC, THEATRE, & DANCE From the classroom to the recording studio to the stage of the Metropolitan Opera, Anderson University alumni are living out their dreams. Visit our campus, come to a performance, and discover how you can grow in the School of Music, Theatre, and Dance at Anderson University.

UNDERGRADUATE

GRADUATE

Audition Dates:

Master of Music in Education:

Music & Musical Theatre Nov. 22, 2024, Jan. 24, Feb. 13, Feb. 21, & March 14, 2025 Dance Nov. 8, 2024, Feb. 14, & March 14, 2025 Scholarship Audition Deadline March 14, 2025

Application Process: Submit an AU admission application. anderson.edu/apply Submit an SMTD application. anderson.edu/my-audition Audition on campus.

Earn a $4,000 audition scholarship ($1,000 per year) for on-campus auditions.

Majors: Dance Instrumental Performance Music Music Business Music Education Musical Theatre Theatre Voice Performance Worship Arts

32-hour hybrid program designed for the working music educator.

Courses are offered virtually and in person.

Application Process: Submit an MME application. anderson.edu/apply Submit teaching license, writing sample, recommendations, and transcripts.

Interview with faculty.

Summer Studies courses offered for graduate credit or for no credit include: Orff Schulwerk Certification First Steps in Music Certification Dalcroze Eurhythmics And more!

JESUS. YOU. ANDERSON. Questions?

Contact Michelle Holmes: msholmes@anderson.edu or 765-641-4543

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2025 PROFESSIONAL DEVELOPMENT

C O N F E R E N C E Bateman Photography

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W I N T E R 2024

CONFERENCE DATES:

January 16-18, 2025 LOCATIONS:

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SESSIONS OVER

THREE DAYS!

CLINICIAN SESSIONS

• Grand Wayne Convention Center 120 W. Jefferson Blvd., Fort Wayne, IN 46802 • Allen County Public Library 900 Library Plaza, Fort Wayne, IN 46802

We are fortunate to offer over 130 sessions at this year’s conference over the course of three days. Sessions offered cover teaching topics such as all-interest, band, choir, general music, orchestra, and tech/conducting.

The Conference Kick-off includes Keynote Speaker Matthew Arau from Upbeat Global and a performance by the South Bend Youth Symphony Orchestra. Other featured clinicians include Greg Gilpin, David Frego, Emily Maurek, Randy Greenwell, Laurie Williams, William Sauerland, Terence Mayhue and many others.

• Courtyard by Marriott 1150 S. Harrison St., Fort Wayne, IN 46802 • Embassy Theatre 125 W. Jefferson Blvd., Fort Wayne, IN 46802 • First Presbyterian Church 300 W. Wayne St., Fort Wayne, IN 46802 • Hilton Hotel 1020 Calhoun St., Fort Wayne, IN 46802

PRE-CONFERENCE:

World Music!

This year’s pre-conference is focused on world music. Bongo Boy Music will present a drum circle session where attendees will learn basic drum circle facilitation techniques, basic grooves, fun rhythm games, and more.

Damon Clevenger will be presenting a preview of some folk dances from the 2025 Folk Dance Festival. To wrap up the day, Manju Durairaj will present two sessions on multicultural topics.

The workshop will take place on Thursday, January 16 from 10:00am – 4:00pm EST.

Greg Gilpin

David Frego

Emily Maurek

Randy Greenwell

Laurie Williams

William Sauerland

Terence Mayhue

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ALL-STATE PERFORMING ENSEMBLES

DOWNLOAD THE CONFERENCE MOBILE APP

Friday

To access the schedule for the Professional Development Conference, please download the MemberClicks Conference App to your device. Outside of physical performance programs, everything will be communicated via the app. The app is available on both the Apple Store and Google Play.

• 11:00am - All-State Handbells • 12:00pm - Junior All-State Jazz & All-State Jazz • 4:30pm – Elementary & Middle School Honor Choir Saturday • 9:00am - Junior All-State Band • 11:30am - All-State Orchestra • 1:30pm - Honor Band • 3:00pm - All-State Percussion • 4:00pm - Junior All-State Orchestra • 6:00pm – All-State Honor Choir

INVITED PERFORMANCE ENSEMBLES Friday

• 11:00am – South Bend Youth Symphony Orchestra – Alastair Willis, Director • 1:00pm – Riverside Jr. High Philharmonic Orchestra – Johanna Kitchell, Director • 2:30pm – Voix d’Été - Andrew Robinson, Director • 3:30pm – Noblesville Wind Ensemble - Eric Thornbury, Director Saturday • 9:00am – Ball State University Symphony Orchestra - Gregory Robbins, Director • 11:30am – Ball State University Chamber & Concert Choirs - Kerry Glann, Director • 12:30pm – Zionsville 8th Grade Band & Orchestra - Josh Weirich, Ashley Murray & Sarah Wright, Directors • 12:30pm – Soma Saxophone Quartet - David Bayard, Paul Lorenz, Sean Bradley, & Ting-Hua (Arthur) Liang, Directors • 1:30pm – DeKalb High School Chamber Singers - Joshua Doubblestein, Director • 1:30pm – Indianapolis Children’s Choir - Indy Voice & Jubilate - Josh Pedde & Lauren Southard, Directors • 3:00pm – Greenwood Community HS Wind Ensemble - Randy Greenwell, Director • 3:00pm – Goshen College Chamber Choir - Scott Hochstetler, Director • 4:00pm – Purdue University Chamber Choir - Joseph Bandi, Director 10

• Download the MemberClicks Conference App. Set up your profile. Search for “IMEA Events” • Within the app, you will find a list of fellow attendees, the hour-by-hour schedule, session descriptions, information about clinicians, exhibitors, venue details, and resources.

• Participant materials related to each session will also be available in the app.

We encourage you to set up your profile and add a photo. The networking begins on the app and continues in-person at the program. We will also send periodic updates throughout the conference via the app.

RESEARCH AND BEST PRACTICE POSTER PRESENTATIONS Each year, we feature a variety of research and best practice posters presented during the conference.

This is a great opportunity for researchers to present their hard work collecting current information for the betterment of music education. Submissions were due on November 6, 2024.

For questions about poster presentations, please contact Dr. John Egger at eggerjo@pfw.edu.

CONFERENCE QR CODE

For the full schedule of sessions and performances, head to

conference.imeamusic.org W I N T E R 2024

MARKETPLACE PARTICIPANTS

Contact us

The 2025 Marketplace is where educators go to learn about products, services, and partners that can benefit themselves and their classrooms. We encourage you to join us for this opportunity on-site.

Lane Velayo, Executive Director

Marketplace hours:

• Friday, January 17 - 10:00am-4:30pm • Saturday, January 18 - 10:00am-3:00pm

If you have any questions about the Conference, please contact the IMEA staff:

— lane@imeamusic.org

Alicia Rankin, Operations Manager

— office@imeamusic.org

WE’LL BE JOINED BY EXHIBITORS LIKE:

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myshkovsky

Our panelists represent a range of expertise, experience levels, genders, races, and locations. In this edition, we are excited to feature insights from: Noah Palicki: First Year Teacher in the Eminence Community Schools k-12, teaching Band, General Music, Appreciation. Self identifies as a Caucasian Male Noah Palicki

Kristin Lin

Kevin Schuessler

This is the second article of our 3-part series exploring the very real issue of burnout in the field of music education. Our editorial team is reaching out to a diverse panel of teachers at three key times during the year, when stress levels tend to be high. Our goal is to delve into how the demands of teaching, both seen and unseen, affect the individuals in the profession.

Kristin Lin: Years teaching: 7 years teaching, currently in the Tippecanoe School Corporation as the Head Band Director at McCutcheon HS (gr 9-12). Self identifies as a Taiwanese-American, Asian, Female.

Kevin Schuessler: 39 Years teaching, currently in Center Grove Community Schools 6-12 teaching band as the Head Director at Center Grove HS. Kevin will retire at the end of this year.

Please note: Responses have been edited for clarity and length.

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W I N T E R 2024

Now that the year is in full swing, has your outlook for the year changed at all?

P

been avoiding burnout by being flexible in my routine.

I enjoy cooking, exploring, and remaining active. Every week, I spend some time making fun meals, baking, going into Indianapolis to explore, and working out.

Having these goals in mind without a set day of the week for them to happen gives me something to look forward to, while not falling into a rut of doing the same things every day.

L

I’ve dealt with burnout in a lot of different ways over the years. The biggest help is time away from school. Stepping away and focusing on other joys helps me stay sane. I’ve listened to my “angry” music to deal with stress. Recently I’ve found joy in k-pop. I have also revisited musi and playlists that I had in junior high and high school. The nostalgia brings me both great memories and some cringe moments. Listening to high level/professional performances inspires me to keep going and reminds me that music is fun, not just work. I like walking outside and enjoying nature. Traveling with family and experiencing new places. Eating delicious food. Right now I’m getting ready to start a kick-boxing class, so we’ll see how it goes!

My outlook has been up and down. I came in very nervous; I’m working with a small ensemble that hasn’t had a consistent director for several years. After first meeting the students, I became very optimistic and overly ambitious. Now that I’ve spent some time with them, my optimism is tempered with an appropriate view of the students’ needs. I’m providing new challenges and opportunities, but have learned to respect their expectations based on their past situation. I am very happy with the relationship I have with my students and I remain excited to see how the ensembles will grow.

Not really. My approach to every year is to do it better than the year before. Since I’ve been teaching in the same school for several years, including during Covid, I know what to expect. It’s not about surviving the day-to-day or worrying about if I’m good enough to serve my students. I know that I provide a positive impact to many and I love letting my creative juices flow when selecting the music I want to share with my students and presenting “new” music and experiences for them. My goals are always about providing valuable musical opportunities for them both inside and outside of the classroom.

S

No. My outlook has always been about helping the students navigate this crazy time of life: grades 6-12. It is not about me, it is about providing “safety net” opportunities for the students when they fall short, get confused, or get distracted. Life is very different now than when I started teaching, but we as teachers have to keep the focus on moving the students (and our programs) forward, for them to learn about life through music and community.

At this time of year, what do you do to “fill your cup” - musically or otherwise - to avoid burnout?

P

I just moved from out-of-state to an area nearly 4 hours away from everyone I know. This has been a challenge. My job is currently my life. I’ve

L

S

Stay committed to where I am. If I am at school, be at school. If I am helping a student navigate a personal concern, be with them. And, when I am home with my family, be at home with my family.

Quality experiences fill my cup, whether it is holding my grandson, conducting a piece, or listening to a student.

What challenges are you facing right now and how are you dealing with them?

P

My greatest challenge is balancing the goals, lesson plans, and materials I juggle teaching 6 general music classes, music appreciation, and 3 ensembles. As a first-year teacher in a program that needs some TLC, in an area I am unfamiliar with, there’s a lot of planning, networking, and hard work that has to fill every minute of my schedule. The most helpfully effective tool I’ve found is simple “to-do” lists. Every task seems daunting on its own, but when — Continues on page 14

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MEMBERSHIP

Spotlights:

— Continued from page 13

BENEFITS OF IMEA MEMBERSHIP In each edition of INform, we will feature several IMEA members who have supported IMEA over the years. We asked each member why they choose to support IMEA and how long they have been involved. If you’re not yet a member or you need to renew your membership, let their stories inspire you to give back.

DIRECTOR OF BANDS, NEW ALBANY HIGH SCHOOL AREA VIII REPRESENTATIVE

“Like all music educators, I believe music has the power to transform students’ lives, both academically and personally. Supporting IMEA gives me the platform to advocate for music programs, promote quality professional development, and collaborate with fellow educators to hopefully inspire the next generation of musicians. By serving in this role, I hope to ensure that all students have the chance to experience the joy and discipline that music brings.”

IMEA member for 6 years

AUTUMN SMITH

CHOIR DIRECTOR, WESTERN MIDDLE SCHOOL

“IMEA provides many opportunities for students to experience and grow in music. Circle the State with Song, Honor Choir, All Region Choir, and other festivals are all events my students enjoy each year. This organization has helped keep their excitement for music engaged so they want to continue with Choir throughout their time in school.”

IMEA member for 13 years

Join or renew your membership at

https://www.imeamusic.org/join-renew.

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BestForBest

NICK SCROGGINS

I lay them out in front of me, everything is much more manageable. Simple examples like “talk to the principal about a symphony trip” or “arrange music for Trunk or Treat Event” remind me about what I need to prioritize, while preventing me from feeling overwhelmed.

L

I always have lots of little things that crop up.

There are also always the lingering questions of do I want to keep doing this? Do I want to do something else? Do I want to go further? I had a Facebook memory pop up from 11 years ago, when I first started this journey: we were asked to write down what our mission statements were musically, personally, and educationally. For me they were: To make music fly off the page; to make a difference, to touch someone’s life and create a chain reaction; to guide students to their passion and become life-long learners. 11 years later, I still feel the same. I made a promise to myself that the moment I started truly hating it, would be the moment I walk away.

S

It is my last year. I have always said “I am not that significant” and I believe that. Every time a parent or student asks me if I am getting emotional about so many “lasts,” I stay in the moment and focus on what is important to me: the people and the opportunity. I only have the present, this moment, to impact the situation and no promise of the future. I definitely enjoy my teaching responsibilities and want to live everyday with excitement; like it’s the first time coupled with the peace of having years of experience under my belt.

W I N T E R 2024

https://in.gov/bmv

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THE NEW INDIANA

DIPLOMA:

IMPLICATIONS FOR ARTS EDUCATION his is the second of three articles on the proposal for the new Indiana High School Diploma. The first article, in the Back to School 2024 issue of INform, provided an overview of the proposal as a whole. This current article will focus on the new diploma’s implications for the arts, based on its second revision as it was presented in November 2024. Small changes may have been made with final approval in December 2024 after the press date for this article. The final article will discuss options that music educators have to maximize access and offerings for the arts under the new plan which goes into effect statewide for the graduating class of 2029.

The purpose of the redesign for the new high school diploma comes in three parts: to streamline the diploma process to increase educational attainment, to develop key workplace skills, and allow for more individualized educational opportunities. The approved plan includes the standard diploma and a collection of “seals” that can be added to the diploma aligned to different post-high school outcomes.

The Arts in the New High School Diploma The new diploma plan does not explicitly include credits for the arts, which is also true of the previous CORE 40 diploma. Unlike the CORE 40, there are now 12 possible elective credits (up from 5 credits in the CORE 40), and advanced world language credits can qualify for language arts, providing students with some more 16

flexibility regarding the use of those elective credits.

The previous CORE 40 Honors diploma (used by around 35% of all Indiana students) included a requirement for the arts. Unfortunately, the equivalent of the Honors Diploma in the new diploma, the Enrollment Seal, does not include any requirement for the fine arts.

Outside of the high school diploma, there are other programs that require the fine arts for Indiana high school students. The Indiana College Core curriculum require 3 credits of humanistic or artistic credit which transfer as college credit automatically at all public institutions and some private institutions in Indiana.

Additionally, for college bound students, while fine arts are not typically included on admission requirements for college admissions, they do emphasize the desire to see well-rounded students who have engaged in a range of curricular and co-curricular activities, typically including curricular arts involvement.

Impact of the Diploma on the Arts At this point, it is unclear as to what the actual impact of these changes are on fine arts opportunities in public high schools in the state of Indiana. A standalone requirement for the arts for all diplomas has not existed in Indiana statute for the past two decades. The current rule change continues to include the word “fine arts” when identifying coursework that can be used for the five personalized elective courses (specifically found in Indiana Register rule 511 IAC 6-7.1-4c.9.D.).

W I N T E R 2024

With this consideration in place, it can still be argued that the fine arts need to be present within the curriculum at Indiana high schools. Additionally, federal legislation from the 2015 Every Student Succeeds Act continues to list both “fine arts” and “music” as required parts of a well-rounded education. While local school boards and administrators could potentially argue that the arts are not explicitly identified in the diploma, fine arts educators have several policy documents that reinforce the requirement for the arts in schools.

Importantly, like past diplomas, the new Indiana high school diploma is designed to allow local schools to develop requirements which they identify as most important for their community. Many school corporations have already included an arts requirement beyond the existing CORE 40 plan as unique localized requirements for their graduates, either by specifying how personalized electives are utilized or by requiring coursework beyond the diploma’s 40 credits. Advocacy at the local level can promote localized requirements that enshrine the fine arts within the diploma at individual high schools.

Finally, in many schools in Indiana, the arts already thrive without a direct requirement for all students.

While the elimination of a requirement for at least a portion of the student population is a significant loss, it is unlikely that this requirement is what allowed the arts currently flourish. Particularly regarding performance-based music ensembles, the arts have been a significant part of high school culture from providing music for school events and ceremonies to providing engaging spaces for learning. As arts educators, we need to lean into the power of the arts to foster community and connectiveness in our schools as well as serve non-disciplinary functions such as promoting executive skills and encouraging attendance.

The next article will investigate specific opportunities both within the final diploma rule and in Indiana society for ensuring that Indiana remains a vibrant space for arts education. During the 2025 Indiana Music Education Association Conference, special town hall sessions will be held to share updates and collect input toward next steps to help ensure continuity of fine arts programs in all Indiana schools. All are welcome to participate in these sessions.

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BY TRACY PRESTON

MODERN BAND TEACHING TEACHERS AND STUDENTS NEW PATHWAYS TO MUSIC odern Band. If these two words used together invoke fear or negative feelings of any kind in you, please continue reading I spent 27 years of my career teaching band, orchestra, and general music. I grew up in the band world complete with marching band, pep band, jazz band, orchestra pit, symphony orchestra, youth orchestra, and pretty much any other ensemble that I could convince someone to let me play in. In 2016, I attended my first Modern Band 101 training through Little Kids Rock (LKR). I played ukulele, guitar, and bass guitar for the first time that day. I got to show off my chops on drumset and piano.

And I then got to do a little songwriting with a super fun 18

group of other music teachers. I had a lot of fun that day but I really wasn’t sure how to incorporate the pedagogy or the instruments into my ensembles. I was teaching middle school band and orchestra at the time and didn’t have any of the instruments we used at the training except for drum sets. And honestly, I was afraid if I got guitars and basses and tried to incorporate them, kids would want to quit their main instrument in favor of these flashy new ones.

But the Modern Band 101 training had really impacted me. It opened a world of music that I had never experienced in 37 years of being a musician: I had never played or learned music any other way than through standard notation. I had never read tab before or used W I N T E R 2024

a chord chart to learn a song. I certainly had never just listened to a song to learn the drumset part, I always just looked at the music.

At that point, I began giving kids the opportunity to play on the drum set as often as possible whether it was simply keeping a beat during the warm up or actually playing a pattern on some of our songs. I got some free instruments from LKR for attending the training, then I began to give kids the opportunity to learn guitar and bass guitar in addition to their main instrument.

The more I allowed kids to try new things and new instruments, the more exciting our band and orchestra classes became. Kids were coming in during lunch to try out these new instruments and staying after school to learn. They were getting together in small groups to play both these new instruments as well as their main instruments. They very quickly learned how to incorporate their main instrument into these small bands: a skill that even I had not yet possessed. This new way to learn music expanded their musical knowledge and gave them new pathways to learning and playing music, even music they were listening to from the radio

or their favorite movies and videos.

So when you hear the words “modern band”, I hope you will see it as one more pathway to getting kids excited and curious to learn more about music and all the wonderful ways it can impact them.

Traci Prescott currently serves as the Fine Arts Coordinator for Indianapolis Public Schools in Indianapolis, IN. In her 30 year teaching career, she taught high school band, middle school band and orchestra, elementary general music, and elementary, middle, and high school modern band.

She is an active musician playing drum set and piano in her church worship band. She resides in the Greenwood/Whiteland area of Indianapolis where she lives with her husband Kenny, their two boys Julian and Evan, and their husky Rizzo.

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Enhancing Performing Arts in Lawrence Township through Title IV Funds itle IV of the Every Student Succeeds Act (ESSA) is an invaluable resource that enriches education in schools across the nation.

In Lawrence Township, we leverage these funds to enhance our Performing Arts (PA) programs, providing students and teachers with opportunities to excel in music, theatre, and dance..

Our goal is to ensure every student, regardless of their background, can access high-quality arts education and benefit from the unique skills and Title IV, Part A, is designed to help schools deliver a well-rounded education. The funding is flexible and can support initiatives in arts, music, health, safety, and technology. In Lawrence Township, we focus part of our Title IV allocation on our PA programs, improving access, and enhancing the quality of instruction.

A key way we’ve used Title IV funds is by investing in professional development for our PA educators. We believe empowered teachers inspire students to reach their potential. That’s why we allocate funds for training in innovative music education methodologies like Orff, Kodály, Conversational Solfege, and for access to

important conferences including the IMEA Professional Development Conference and the Midwest Band and Orchestra Conference. This helps our teachers stay updated on best practices and emerging trends in arts education. These opportunities equip our educators with the necessary tools and strategies to provide engaging instruction while also connecting them with a network of professionals who can share ideas and resources.

In our district, Title IV funding also plays a vital role in providing scholarships for performance opportunities.

Events like Circle the State with Song and honor choir programs allow students to perform in prestigious settings and collaborate with peers from across the state. However, participation fees and travel expenses can be a barrier for students from lower-income families.Through Title IV, we offer scholarships that cover these costs, ensuring all eligible students can participate, regardless of their financial situation. This access allows students to hone their skills, build confidence, and create lasting memories while connecting with other young musicians and directors.

— Continues on page 23

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BY MERIDETH HITE ESTEVEZ

he afternoon before my last paper for my doctorate coursework was due, a twenty-five-page research paper on the harmonic evolution of Franz Schubert’s final composition, I found myself in a shoe store trying on $350 sandals I would never actually buy. I had left my last class at Juilliard, and instead of writing, I wandered around the Upper West Side. I woke up trying on my fourth or fifth pair of designer shoes. What am I doing here?

Burnout leaves us prey to highway hypnosis.

What if, during life’s journey, you realize your destination is somewhere you no longer want to go? You wake up and look at your life, at the dreams you used to feel so passionate about pursuing, things you used to care about, and feel nothing but numb. You keep trying to start the engine, but there is no spark to set the thing in motion.

They call people my age (millennials) the burnout 22

generation, but as a creative coach, I’ve seen it affect people in every life stage.

Studies confirm that burnout levels are at an all-time high post-pandemic.1 Many of my coaching clients describe not a specific block or traumatic event that made them lose their joy; they experience a subtle whittling away of their life’s pleasure and purpose caused by prolonged stress. They, too, wake up in stores and hospitals and on expensive vacations they can’t afford, wondering if this is it.

What I hadn’t realized that day wandering home was that behind the yellowed score of Schubert’s Cello Quintet waiting for me in my apartment— the one I had to analyze for the paper— was a composer asking similar questions. Is this all there is?

Will I ever know contentment, success… peace? The last composition Schubert ever wrote, like all great art, was an invitation. It was a sign of solidarity from the great composer; if I was willing to truly listen to it, not with critical eyes but eyes of childlike joy, it would stand with me in my emotional exhaustion. Schubert had poured out the deepest wonders of being alive, alongside the most probing questions of existence, into an exquisite and heartbreaking swan song. (I wish I’d written that in my W I N T E R 2024

paper.) Now, when I return to it with fresh eyes, it fills me up instead of emptying me.

What I didn’t know at Juilliard, what I know now, is that creativity is a powerful tool to manage stress and overcome/prevent burnout. But shockingly, we artists aren’t always the most creative people. Music becomes another stressor instead of a way to process and relieve stress.

How to use creativity to heal your burnout? Try a new instrument, write a silly song for someone’s birthday, sit down with a young child to color. Try things that have unexpected results. Invite your family to a dance party in the kitchen. Accept the invitation that all great art extends. Forget for a moment all that you know about form and analysis, and let the music soothe your soul.

But first, let’s put down the shoes.

Dr. Merideth Hite Estevez is a spiritual space-maker for artists as a writer, coach, educator, and performer. As an oboist, Merideth has performed with top orchestras in the US and abroad and has served on faculties of numerous universities and schools of music. Her education has taken her all over the world, including to Yale School of Music, a Fulbright Scholar to Germany, and The Juilliard School, where she received her doctorate in oboe.

As a coach, she has helped thousands of artists overcome creative block through her popular online creative recovery clusters and has served as an executive coach for all types of arts leaders, from major museum directors to deans of conservatories and art schools. She maintains a busy speaking schedule helping corporations and other organizations harness the power of creativity to heal and transform lives.

When she’s not creating, you’ll find her enjoying a matcha latte in metro Detroit, Michigan, where she lives with her husband, Rev. Edwin Estevez, and their two children.

— Continued from page 20

The transition from elementary to middle school is crucial for maintaining student interest in the Performing Arts. Title IV has supported our recruitment efforts by enabling us to create a more structured experience for younger students, setting them up for success as they move into middle school PA programs.

Lawrence Township’s decision to use these funds to support our PA program has been instrumental in providing access to experiences for students, supporting our teachers in their continuing education, and bolstering our ability to recruit and retain students in our PA programs from preschool through graduation, and while we are extremely fortunate to have these resources, not every school has had the opportunity to use these funds to support PA. Title IV funds are available to all traditional public school districts and charter schools that receive Title I funding, as well as equitable services for nonpublic schools. As a music educator, you can advocate for these funds to be used for PA as well, and here we provide a few tips on the best way to do this. Start by assessing your specific needs—whether it’s acquiring instruments, improving teacher training, or providing scholarships for student participation in events. Come up with a budget for these items and present them to your Title I officer in your district. Additionally, districts should focus on accessibility. By purchasing instruments and equipment, they can ensure all students have the opportunity to participate. Establishing scholarships for performance events can further help students who may face financial barriers. Moreover, Title IV ensures our programs are accessible to all students, regardless of financial background. From scholarships for performance opportunities to removing barriers to participation, we’re creating an inclusive environment where every student can thrive in the arts.

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W I N T E R 2024