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.
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
GRADUATE
Master of Music in Education:
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!
Questions?
Contact Michelle Holmes: msholmes@anderson.edu or 765-641-4543
NOTES FROM THE EDITOR
ur editorial staff began the year intending to address the issues of professional mental health, the generational divide, and the changes to graduation requirements.
Now, however, we have growing concerns about the safety of our most vulnerable students and the future of education in our country. As public education continues to be put in political crosshairs, teachers are left asking questions we never thought would be part of the equation. “What’s next?” and “what can we do?” are commonplace, as is the sense of helplessness.
I don’t know about you, but when I became a teacher, this is not what I signed up for.
I teach to help students understand beauty, creativity, and expression through music. I teach to help students find a place in the world and find the path to a bright future. I teach, in my own small way, to positively change lives – like my music teachers changed mine. THEY were the music.
My high school band director had a poster of a poem by Allen Innman called “I Am Music” hanging in the band room. He gave me a copy when I graduated, which I display in my office to this day. When the going gets rough, I read that poem. It is a gentle reminder of why I do what I do. Music unites us. Music teaches us collaboration. Music teaches us compassion. Music teaches us empathy. Music teaches us to LISTEN then RESPOND. Right now, we need all of that more than ever. Your students are looking to you because, in their eyes, YOU are the music. Don’t ever forget that.
You’re not helpless. In these trying times, you need to do what you do best: be the music for your students and help them be the music for others – unifying, collaborative, compassionate, empathetic, and a listener.
You’ve got this - if you don’t, who does? But, in case you need a gentle reminder:
Jon Noworyta Editor, INform
I AM MUSIC, most ancient of the arts. + I am more than ancient; l am eternal. + Even before life commenced upon this earth, I was here in the winds and the waves. + When the first trees and flowers and grasses appeared, I was among them. + And when Man came, I at once became the most delicate, most subtle, and most powerful medium for the expression of Man’s emotions. When men were little better than beasts, I influenced them for their good. +In all ages I have inspired men with hope, kindled their love, given a voice to their joys, cheered them on to valorous deeds, and soothed them in times of despair. + I have played a great part in the drama of Life, whose end and purpose is the complete perfection of man’s nature. + Through my influence human nature has been uplifted, sweetened and refined. + With the aid of men, I have become a Fine Art. From Tubalcain to Thomas Edison a long line of the brightest minds have devoted themselves to the perfection of instruments through which men may utilize my powers and enjoy my charms. + I have myriads of voices and instruments. I am in the hearts of all men and on their tongues, in all lands and among all peoples; the ignorant and unlettered know me, not less than the rich and learned. + For I speak to all men, in a language that all understand. Even the deaf hear me, if they but listen to the voices of their own souls. + I am the food of love. + I have taught men gentleness and peace; and I have led them onward to heroic deeds. + I comfort the lonely, and I harmonize the discord of crowds. + I am a necessary luxury to all men. + I am MUSIC.
DEGREE PROGRAMS
Certificates
●
Music scholarships are available to outstanding students who apply and audition for the Music Conservatory.
Ensemble Participation Scholarships are available for non-Music majors who perform in a music ensemble.
PRESIDENT’S MESSAGE
March, 2025
talk to music teachers from around the state and am reminded of how much our jobs take out of us. You could be the best educator, but if you are not physically, mentally and emotionally ready for your students, you won’t be effective for them. In my last article I focused on some quick tips to try and promote self care: make sure you drink enough water, get your body moving, and don’t be afraid to unplug from technology. Here are a few more ideas to help you make sure you are at your best.
Stillness Within Chaos
When I was in the thick of stress in college, there would be times that I would turn off all the lights in my apartment. I would light a single candle, and just stare at the flame. In my current life I find these moments at a fire in the backyard. Finding stillness can mean connecting with a higher religious power in prayer, or it can mean practicing yoga. It can be staring at a fire or just listening to the sound of water. What is important is to block out the worry and fear that you find in your life and focus on the now. Corrie ten Boom, a Dutch watchmaker who helped shelter 800 Jews during the holocaust said “worrying doesn’t empty tomorrow of its sorrow, it only empties today of its strength.” Find the stillness within the chaos to silence your worry and give your soul a moment of rest.
I’m Busy
In “Seven Habits of Highly Effective People,” Dr. Stephen Covey explores principles of effective self-leadership and improvement. If you have never read this book, I highly recommend it. Dr. Covey’s last habit is “Sharpen the Saw.” You have to take time for yourself so that you can be ready for the demands of being the effective person you want to be. When I was a young teacher, I worked all the time. Breaks were a time to get extra work done. As I have become a more seasoned educator, I’ve realized that I need to also find the
“off switch.” Find activities that make a deposit in your physical, mental or emotional bank account, and don’t be afraid to hit pause on work. It will be there when you come back. One technique is to actually block out time in your calendar that you title “I’m Busy.” This way if somebody asks you if you can do something you can look at your calendar and respond with “I’m sorry. I’m busy then.” Prioritize your wellness.
You Can’t Control Flying Wheelbarrows
The last chapter in the book I might write someday is entitled “You Can’t Control Flying Wheelbarrows.” My family was on a trip down to Florida over Spring Break. We had left northern Indiana early in the morning to start our pilgrimage. Driving south on I-65, we hit Indianapolis during the morning rush hour traffic. I found myself behind a landscaping truck that was pulling an open trailer full of equipment. All of a sudden, a wheelbarrow flew out of the back of the trailer, and onto the highway. In my Honda Odyssey, I engaged evasive maneuvers the likes of which you would only see in a high speed movie chase. Swerving this way and that, I managed to only knick the corner of my bumper on the projectile that was threatening the safety of my family. Unaware of the dangers on the road, and my heroism, my family cried out in anger at my driving, to which I responded with “can’t control flying wheelbarrows!” It has become an approach in life for me. You will never be able to control the flying wheelbarrows of life. All you can control is how you respond to the situation. Control in life is an illusion, and one that will be made painfully apparent to you at the worst times. All you can control is your own reaction during these times.
None of these ideas on self care are new. My hope is that they have reminded you of the incredible person and teacher that you are. We are at a difficult time in our profession as we face a teacher shortage, and a political landscape that is uncertain. You are a beacon of light for the people in your life, and especially the students in your classroom. Give them the best version of yourself that you can.
Johann Sletto President, Indiana Music Education Association
(IMEA)
prelude:
MARK YOUR CALENDARS WITH THESE IMEA DATES!
IMEA will continue to publish further details and information at https://www.imeamusic.org/ 25
• Conference Session Proposal
Submission Deadline
March 19, 2025
• Children’s Folk Dance Festival
Registration Deadline
April 2, 2025
• Conference Performance Group
Submission Deadline
May 7, 2025
• Composition Competition Submission Deadline
June 4, 2025
• High School All-Region Choir
Registration Deadline
October 8, 2025
• Honor Choir Audition
Submission Deadline
October 8, 2025
• Circle the State With Song
Registration Deadline
December 10, 2025
INTERESTED IN SERVING AS A CIRCLE THE STATE WITH SONG COORDINATOR?
IMEA is currently looking for a Middle School teacher to fill an open coordinator spot for Area 7 Middle School. This position could also be filled with two co-coordinators.
If you are interested or would like more information contact the incoming State Chair Christina Huff –chuff@marion.k12.in.us
EXPLORE MUSIC AT CONCORDIA
PROGRAM OPPORTUNITIES
• Ensembles for majors & non-majors
• Exciting concert series
• Domestic & international tours
• Christian higher education community
• Scholarship opportunities available for all students
MUSIC MAJORS
• K–12 choral & instrumental music education
• Music (major & minor)
• Church music
• Music therapy equivalency
ENSEMBLES
• Band
• Choir
• Drumline
• Handbells
• Jazz Ensemble
• Orchestra
• Pep Band
CUW.EDU/MUSIC FOR MORE INFORMATION: Mrs. Johanna Anderson Music Department Recruiter johanna.anderson@cuw.edu 262.243.4265
BY DR. TIM LAUTZENHEISER
THE MUSIC TEACHER: ONE PERSON MAKES A DIFFERENCE!
aving always been a fan of quotes, I find myself reading them time-and-time again. Each review of the message embraces more understanding and relevance. Read: The process creates BENEFITS to advance our own contributions as music teachers, mentors, guides for our students to tap into their individual unlimited potential.
Daisaku Ikeda offers this powerful bit of wisdom spotlighting the immeasurable value of all teachers. With that said, it seems tailored for those of us who are members of the arts community.
Knowledge alone cannot give rise to value. It is only when knowledge is guided by wisdom that value is created. The font of wisdom is found in the following elements:
* An overarching sense of purpose,
* A powerful sense of responsibility and finally,
* The compassionate desire tocontribute to the welfare of humankind.
The essence of education is this process whereby one person’s character inspires another. Once students feel their teachers are genuinely concerned for their individual welfare, they will begin to trust them and open up to them.
It appears Mr. Ikeda shared an enlightened perspective of what a MASTER TEACHER truly is. His powerful insight spotlights the priceless importance of the person-on-the-podium; YOU!
Arguably, the posture of the music educators makes him/her a key aspect of the curriculum, focusing not only WHAT we teach, but (as much as) THE WAY we teach WHAT we teach. While the math teacher will see the students for one semester (perhaps twice within the middle/high school setting), we see our music students every semester of every year; often, everyday of the week. (…and that doesn’t include the countless hours they spend in the rehearsal hall, because - for many, it is their home-away-from-home.). Thus, the bridge-of-learning widens to include both musical knowledge *and* the development of life-habits. The establishment of a “trust relationship” with our students IS *the* critical cornerstone to the positive impact we have on the hearts-’n-minds of those who choose to be in our ensembles.
Music is different, thus music teachers are different. We become surrogate family members, confidants, role models, and we are often the reason our students choose to follow in our footsteps. The love of music combined with a caring-sharing music director is a powerful combination. Might I suggest many of you reading this article are doing so BECAUSE OF A MUSIC TEACHER/MENTOR who has been a major influence in your life. After all, wasn’t it “that special teacher” who availed you to the endless treasury of music and the wonderful, one-of-a-kind music/arts nation?
To look a bit closer at our poetic quote:
The essence of education is this process whereby one person’s character inspires another.
YOU (we) are that ONE PERSON. The one who INSPIRES, who connects the students to the value of music learning and music making with INSPIRATION; ...whereby one person’s character inspires another.
This dramatically amplifies the importance of WHO WE ARE. In simpler terms: THE BAND-ORCHESTRA-CHOIR REFLECTS THE MUSIC TEACHER; not just the musical transfer-of-information, but the ROLE MODELING our students witness each and every day.
After a half-century-plus of engaging with outstanding music educators throughout the world, it is ever-apparent the: The ensemble mirrors the director; not only musically, but it terms of behavior, discipline, sensitivity, and all the character attributes that make-up our personalities. ROLE MODELING is still (and probably always will be) the most efficient and effective form of leadership.
Let’s conclude with Arthur Ward’s quote harmonizing with that of Ikeda, reminding us of our one-of-a-kind posture in the world of education; the teacher that makes the difference.
BY AMANDA HARRISON
2025 IMEA AWARDS RECIPIENTS
ADMINISTRATOR OF EXCELLENCE
Kurt Michael Frederick, Assistant Principal, Westfield High School
“Kurt Frederick tirelessly supports and advocates for the performing arts department through his humble and encouraging demeanor. He truly brings out the best in others through his servant leadership. He is always willing to jump in and help wherever needed to bring out the best in both staff and students. I am truly grateful to work with him and cannot think of a more deserving person….”
COLLEGIATE MUSIC EDUCATOR OF EXCELLENCE
Dr. David Mruzek, Professor Emeritus of Music, Hanover College (retired)
“Dr. Mruzek has received numerous award throughout his career for his dedication to excellence in the field of music education. He holds a reputation as a program builder. He guided the development of an outstanding program at Hanover College, where he taught for 16 years as the Director of Instrumental Music Programs. He taught for a total of 38 years in Ohio, Kansas, and Indiana. He retired in 2022 at the rank of professor emeritus after 16 years of service to Hanover College. He served as mentor to thousands of students.”
HIGH SCHOOL MUSIC EDUCATOR OF EXCELLENCE
Daniel E. Borns, Director of Choirs, Batesville Comm. School Corporation
“Dan Borns is the perfect example of a music educator. He is caring towards his students, supportive and collaborative with his colleagues, and passionate about his craft. Dan has transformed our school’s choir program and music department in just two years. His mentorship has been invaluable to our music department, and his leadership has directly served students in every program of our department.”
ELEMENTARY MUSIC EDUCATOR OF EXCELLENCE
Mary Buckalew, Elementary Music, Harris Elementary
“Mrs. Buckalew is a teacher of strong character. She is…passionate and has a strong desire to perfect her craft to ensure that all students have appropriate access to the power of music education. She strives to offer a strong curriculum that engages and challenges all the types of student learners we serve. Her character is marked by her kindness, excellence, and steadfast commitment to student achievement.”
MULTI-LEVEL MUSIC EDUCATOR OF EXCELLENCE
Dr. Matthew C. Murdock, Band Director & Asst. Choral Director, Sycamore School
“Dr. Murdock is the type of educator you remember the rest of your life. He’s engaging, brilliant, and above all, an encourager. He is a relational educator. He has truly transformed our music program in just a few short years, and has transformed my own teaching as well. He’s taught me the amazing things that can happen when you put your trust in students, ask them to dig deep, and encourage them relentlessly along the way.”
MULTI-LEVEL MUSIC EDUCATOR OF EXCELLENCE
Diane Stebbe, Decatur Township & University of Indianapolis
“‘Come walk with me’ is a phrase that Diane says to everyone to showcase her love of children (of all ages) and music. She breathes music in all that she does and intertwines with every aspect of teaching. Diane instills the love and joy of music each day for our Kindergarten through 6th graders through her lessons, convocations, and programs that are presented to our school’s families. Diane runs a choir of our students, the West Newton Singing Tigers, who perform at every convocation as well as events in the community. One of Diane’s favorite events to share her choir with are members of the community’s nursing home and memory care facilities to spread the joy of the holiday season. Performances that she prepares…move others to tears due to the passion felt by Diane and her performers.”
COMMUNITY IMPACT
AWARD
Joyce J. Click, Adjunct Professor at Anderson University, Butler University, & University of Indianapolis
“Joyce Click is a treasure in our community. Her love for people and music is apparent in her enthusiasm for everything she does…Joyce certainly impacts her community every day by going above and beyond in every aspect of her life. The highlights and legacy of her teaching career speak for itself; however, she as an individual never stops growing, developing and nurturing others.”
JR. HIGH/MIDDLE SCHOOL MUSIC EDUCATOR OF EXCELLENCE
Ronald E. Ways, Band Director, McCullouch Jr. High
“Ron is a true example of music being inclusive. He welcomes any student who wants to be part of the band into his classroom, regardless of their experience and grade level. He promotes a sense of belonging and success in his classroom.”
HOOSIER MUSICIAN AWARD
Scott Bradford, Choral Education Director, ISSMA
“This past year, I watched Scott coordinate masterfully the training for the UINDY students. The role model of respect, caring and musical integrity that he provided was striking and inspiring.”
BY BRIAN WEIDNER
Preparing Qualified Music Teachers
o have high quality music education in Indiana schools, it is imperative that we have well-prepared teachers for all classrooms. According to the US Department of Education’s Teacher Shortage Areas database, available music educators in Indiana have not met demand for three of the past five years. Moreso, many positions are being filled by underqualified teachers who are on emergency licensure, who obtained licensure through non-music transition-to-teach programs, or who have PK-6 licensure without a music background. These issues are particularly pronounced in elementary general music and under-resourced schools in rural and urban spaces where they are often singleton teachers without robust music mentorship.
While these underqualified teachers provide a necessary alternative to having no music programs, the lack of music-specific teacher training can have detrimental impact on both teachers and students in these settings. For those with transition-to-teach or PK-6 licensure, they lack exposure to music-specific content and pedagogies that address the unique space of the performing arts. Early career music teachers also rely heavily on established networks formed through undergraduate studies and student teaching which are often absent for those without traditional licensure. For those teaching on emergency licensure with previous music backgrounds, the lack of specific training in curriculum, instruction, and pedagogy creates an environment that can be detrimental to learning and safety for students.
Both emergency and transition-to-teach licensure present issues with teacher retention, which is particularly detrimental in music settings as programs thrive on teacher stability.
Short-term resources
For those currently teaching on non-traditional licenses, several resources are available to hone music teaching skills and build connections within the music community.
NAfME/IMEA membership. NAfME and IMEA provide several resources for teachers of all levels, including the State Conference in January, the General Music Workshop in September, and the New Teacher Workshop in November. These events provide professional development and networking opportunities. As a member of IMEA, you also have free access to NAfME resources which include Teaching Music, Music Educator Journal, and biweekly webinars on a range of topics.
Professional organizations. Indiana has a rich tapestry of professional organizations, including the Indiana State School Music Association, Indiana American String Teachers Association, Indiana Bandmasters Association, Indiana Choral Directors Association, and Indiana Orff Schulwerk Association. All of these organizations provide valuable networking opportunities for teachers and experiences for students.
Workshops and partnerships. Indiana is home to the Conn-Selmer Institute and Bands of America’s Directors Academy each summer, which are multiday workshops with expert music educators. Local college and universities throughout the state also are ready partners in supporting developing teachers.
Long-term resources
Masters plus licensure programs. Music specific master’s degrees at Butler University and Indiana University provide intensive, purposeful teacher training embedded within music-specific contexts coupled with a traditional master’s degree.
Post-baccalaureate licensure. Butler University provides a 2-year program for those currently in teaching settings without full licensure, allowing
them to stay in their classrooms and obtain teacher licensure without completing an additional graduate degree.
Brian N. Weidner is an Associate Professor of Music Education at Butler University. In addition to national positions with the Society for Music Teacher Education and the College Music Society, he serves as the Higher Education Representative and the Coordinator for the Diploma Task Force for the Indiana Music Education Association.
Rudzhan Nagiev
BY AMANDA HARRISON
From the Podium to the Interview Room: Insights from a Former Music Teacher Turned Administrator
tarting your teaching career is both exciting and overwhelming. As a former music teacher who transitioned into administration after 16 years in the classroom, I understand the nuances of stepping into and navigating the education world. Finding the right job isn’t just about landing a position, it’s about finding a school and setting where you can thrive! Here are some tips to help you on your search.
1. Know What You Want
Before casting a wide net, take time to reflect on what you want from your teaching career. Some questions to consider:
• What age group or subject area excites and fulfills you the most?
• What type of school culture aligns with who you are and want to become?
• Are you looking for opportunities to coach, lead extracurricular activities, or collaborate on interdisciplinary opportunities within the school? Knowing what you want makes it easier to target the jobs that are the best fit for you!
2. Polish Your Resume and Cover Letter
Your resume and cover letter are your first impression. Ensure they reflect your unique experiences and skills and why you’re the best candidate.
• Highlight relevant experience: Even if you’re a recent graduate, include student teaching, volunteer work, or any leadership roles.
• Match the job description: Use keywords from the posting to show you’re a good fit.
• Make it personal: Research the school and mention
why you’re excited about the position.
When applying for a music teaching position, detail how your student teaching experience and/or work experiences has prepared you to lead ensembles, organize performances and events, and build relationships with students and families.
3. Network Strategically
Building relationships in the education field can open doors. Sometimes it’s all about who you know. Here are some ideas on how to build connections:
• Attend job fairs: Many districts host fairs where you can meet administrators and HR representatives.
• Leverage social media: LinkedIn and social media platforms are perfect for connecting with other educators, professional associations and organizations, and school districts.
• Stay in touch: Reach out to mentors, professors, and former supervisors. They can provide references or tips on job leads.
4. Prepare for Interviews
The interview is your chance to shine, and preparation makes all the difference:
• Know your strengths: Be ready to talk about your teaching style, experiences, and how you have or would handle challenges.
• Practice common questions: Be short and concise and do not be afraid to ask the committee to repeat the question.
• “Could you please introduce yourself and share what inspired you to apply for this position?”
• “How do you make your lessons engaging and ensure student participation?”
• “What strategies would you use to recruit and sustain interest in your music program?”
• “In what ways do you incorporate student voice and choice in your curriculum?”
• “Can you describe some of the approaches you use to build meaningful relationships with students?”
• “Could you provide an example of a time when you successfully managed a challenging classroom behavior?”
• “How do you ensure that your teaching practices are inclusive and promote equity for all students, particularly in terms of diverse cultural backgrounds, learning needs, and perspectives?”
• “How do you differentiate instruction to meet the diverse needs of your students?”
• “What motivated you to apply to our school, and why do you believe you would be a good fit?”
• Come Prepared with Materials: Bring copies of your resume, cover letter, and any letters of recommendation. You can carry these in hard copy or provide digital access via a QR code. If opting for hard copies, three copies will suffice.
5. Ask Thoughtful Questions
An interview is a two-way street. Asking thoughtful questions shows your interest and helps you determine if the school is the right fit for you. Some questions to consider asking:
• “What are the expectations from the school regarding annual concerts and other performances?”
• “Does the school district expect participation in music competitions?”
• “Is there a Booster organization within the Music Department, and what is its role?”
• “What types of support does the district provide to the Music Department?”
• “Who evaluates the Music Educators at your school?”
• “What is the process for scheduling students in music classes and are music classes scheduled in a way that allows the music director to place students in groups where they will thrive and be most successful?”
• “How does your school support new teachers?”
• “How does your school or district actively foster and
integrate principles of equity, diversity, and inclusion within the curriculum, classroom environment, and school community?”
• “What is your school’s approach to student discipline and behavior management?”
• “What are some challenges your school is facing right now?”
• “How does your school engage with parents and the wider community?
These questions demonstrate your commitment to growth, teamwork, and community involvement but also will help you discern if the school is the right fit for you.
6. Understand What Schools Are Looking For
Administrators are looking for teachers who are enthusiastic, collaborative, and open to learning. Here’s what stands out:
• Passion for teaching: Communicate that you genuinely care about teaching and making a difference.
• Collaborative spirit: Highlight experiences where you collaborated with colleagues and worked well with others.
• Growth mindset: Share examples of how you’ve learned from feedback or overcome challenges.
7. Be Open to Different Opportunities
Your first job might not be your dream position, and that’s okay. Every experience is valuable!
• Consider substitute teaching: It’s a great way to get your foot in the door and learn about different schools.
• Explore related roles: Positions like paraprofessional or after-school program coordinator can lead to fulltime teaching jobs.
• Be flexible with locations: Expanding your search area increases your chances of finding the right fit.
8. Stay Organized and Persistent
The job hunt can be exhausting. Stay on top of things with these tips:
• Track your applications: Use a spreadsheet to keep tabs on where you’ve applied and follow up when needed.
• Follow up after interviews: Send a thank-you email to express gratitude and reiterate your interest.
• Keep going: Rejections are part of the process. Use them as learning opportunities to keep moving forward.
9. Invest in Professional Development
Schools value candidates who are proactive about professional development. Here are some ideas to consider:
• Joining professional organizations to network and stay current.
• Attending workshops or conferences relevant to your content area.
• Pursuing certifications can make you a more versatile and viable candidate. Consider music certifications such as Orff or Kodály or adding an additional content area to your teaching license.
10. Prioritize Self-Care
Searching for a job is stressful, so take care of yourself!
• Maintain a healthy work-life balance and make time for things you enjoy outside of teaching. It’s important to set boundaries and feel comfortable saying ‘no’ to requests beyond your contracted hours.
• Seek support from friends, family, or peers when you need it.
• Celebrate small victories, such as landing an interview or completing an application.
ARE YOU PASSIONATE ABOUT MUSIC?
If so, IWU’s Division of Music and Theatre is the place for you. Majors in Music, Music Education, Music Therapy, Worship Arts, Composition, and Performance, as well as a minor in Music, all provide perfect opportunities for you to grow in your musical talents in valuable ways. Ensembles and opportunities like the Marching Wildcats, Chorale, Orchestra, Jazz Band, Theatre, and more provide additional avenues for you to showcase your musical talents in worthwhile ways.
BY BRIAN N. WEIDNER ASSOCIATE PROFESSOR OF MUSIC EDUCATION BUTLER UNIVERSITY
THE NEW INDIANA DIPLOMA: CREATING SPACES FOR ARTS EDUCATION
his article is the third in an INfORM series on the new Indiana high school diploma. The first two articles provided an overview of the diploma and its implications for arts education. This current article will investigate opportunities for the arts within this new diploma with the intent of preserving and enhancing arts education in all schools across the state. Unfortunately, the new diploma does not explicitly include the arts within its required coursework, but the new structures do not exclude the arts and create new opportunities that arts educators may be able to harness to provide innovative, responsive experiences for their students. By carefully positioning ourselves with various decision makers and intentionally presenting the arts as a solution for new challenges, arts educators can preserve and potentially extend arts opportunities for students. As this diploma is a “First in the Nation” redesign of the high school curriculum, Indiana educators are exploring new territories without easy models to follow. The following recommendations are aligned to guidance that has been provided by the Indiana Department of Education
through mid-January 2025 and are subject to change. Visit the Advocacy page on the Indiana Music Education Association website for templates, examples, and further tools for advocacy which are being developed by a sub-committee of IMEA’s State Board.
Curriculum Opportunities
In general, arts educators need to position the arts as a critical part of a rigorous education requiring licensed teachers. Throughout the hearing process for the new diploma, it became evident that decision makers viewed the arts as an important yet extracurricular part of the school culture, akin to sports and activities. While group engagement can and should continue as part of the fine arts curriculum, rigorous standards and assessments for growth as musicians and artists will cement the role of the arts as part of a well-rounded, rigorous curricular education. As elements of this diploma plan create increased scheduling difficulties, caution should be taken in moving curricular programs into extracurricular spaces that may not require licensed educators.
The new diploma requires evidence of individual growth in key workplace readiness competencies, notably collaboration, communication, and work ethic. Fortunately, these competencies are readily developed and found within large and small group performing arts activities. By developing effective measures for these competencies within curricular and co-curricular courses, performing arts can fulfill a required skill measurement for schools in the new diploma. Additionally, under current guidance, there are possibilities that some courses in the performing arts can count for communications credit for the Language Arts, and the physical education credit for marching band and show choir continues to be an option.
Perhaps the greatest opportunity for arts programs is the creation of locally created pathways for the arts which “align to students’ interests and passions.” Several of these pathways already existed prior to the diploma change which can be altered to fit new requirements that are being developed currently. Such pathways provide a prescribed sequence of coursework that lead to both completion of the core diploma, ideally with one or more seals, and relate to a core area of career study. Samples of existing pathways can be found in the “New Diploma Resources” section of the IMEA website.
Administrative Policies
The new diploma presents several challenges for local administrators and school boards, and the arts are well positioned to address some new needs. As mentioned earlier, the performing arts exemplify the competencies of communication, collaboration, and work ethic for which all schools need to provide individualized student evidence. Similarly, the increased number of individualized electives are potentially challenging for some schools, and the arts provide existing, flexible, inclusive spaces for students looking for elective options. Unlike most discipline areas, arts courses can include students across grade levels in one classroom and can accommodate large class sizes. These factors make the arts an attractive option for budget and schedule strapped schools.
The single greatest impact that can be made at this time is the inclusion of the arts within individual
school’s required curriculum. The new high school diploma leaves the option open for local school boards to place additional requirements on top of the state required diploma. Several administrators throughout the state have already indicated that they intend to add a fine arts requirement to either the base diploma or the Enrollment Honors seal. The fine arts are part of the Humanistic and Artistic credit requirements of the Indiana College Core and provide a background in cross-cultural connections and creativity that are essential for continuing education and the 21st century workplace. It is critically important that fine arts teachers across the school work together to collectively ensure a place for the arts in the school’s required curriculum.
Increased expectations for credentials of value (such as an associate degree or vocational certifications) and job-based experiences (such as internships, practicums, and employment) are likely to create new scheduling challenges as more students spend time off campus. These challenges already are impacting arts participation with juniors and seniors and are likely to increase. Careful consideration of which courses are in prioritized times that maximize when most students are present in the building will ensure that all students continue to have access to the fine arts. Additionally, these scheduling issues will likely conflict with other departments, as stand-alone courses at prime positions in the schedule will likely create bottlenecks with advanced coursework, specialized classes, and the arts competing for the same times. Flexible scheduling options for curricular classes such as 0-hour classes before or evening courses after the traditional school day present opportunities for maintaining access to the arts. Identifying options for redundant or parallel sections that can be scheduled in contrasting times of the day may also allow more students to remain in arts classes.
Increased requirements in the first two years of high school by counselors may also make retention of students from K-8 programs into high school challenging. Arts educators need to be present in scheduling and curricular conversations to ensure that courses that have flexible enrollment windows (such as physical education, health, and speech communications) are
presented as options for schedules in multiple academic years to avoid the loss of early high school options for the arts. The creation of music courses that do not require a four-year commitment, such as songwriting, music technology, and keyboard/guitar classes, can serve as ways to allow students to maintain arts engagement while pursuing other opportunities presented by the new diploma’s flexibility.
Community Engagement
Support from the greater community is critically necessary for the arts to continue to thrive within Indiana schools as the new diploma is implemented. Arts educators should coordinate with business leaders, families, and other community members and encourage these stakeholders to engage with school administrators and board members to promote the arts through positive solutions that address school needs. The increased focus on work-based experiences opens possible opportunities for coordination with local music businesses, community arts organizations, and performing ensembles in providing student work and volunteer opportunities that allow the arts to address work-based learning requirements for the Honors Plus seals. Similarly, school corporations and districts can create work and volunteer experiences within their schools such as cadet teaching, peer music tutoring, and community partnerships (e.g., park district programs, school facility rentals, music for veteran organizations) that provide students with valuable work-based experiences in the arts meeting Honors Plus requirements while enhancing arts access throughout the community.
Coordination with various parts of the arts community is critically important not just for short-term implementation but continued ongoing development of educational options. Most areas in Indiana have an arts council comprised of arts businesses, not-for-profit groups, and community-based organizations. Music educators need to have meaningful connections with their local arts communities to ensure that advocacy messages are consistent and coordinated. Arts education faculty at both public and private institutions are committed to collaborating with area schools to enhance their programs. Collaboration with other music educators in the area can create motivation for changes
through peer institution comparisons. Ongoing communication with policy makers at the state level, notably state representatives and senators, is critically important to ensure that arts education is a consideration in policy making with attention to the strong roles the arts play in Indiana culture and commerce. Engagement with professional organizations can aid in developing messaging and coordinating actions.
Next Steps
Above all else, arts educators need to be actively involved in the discussions that are taking place regarding accommodations for the new Indiana high school diploma. While the loss of requirements for the arts in the Core 40 Honors diploma is a setback, the structure of the new diploma provides several opportunities for conversation and innovation that could potentially open expanded or more responsive opportunities for students. For now, the key action is to proactively engage in local policy making, rather than reactively respond to subsequent decisions. In the meantime, look to the IMEA Advocacy page at https://www.imeamusic.org/ advocacy for resources to aid local arts educators in helping shape their schools’ responses to this new opportunity.
BY SHAINA LIV TERANO
Teaching Teachers and Students New Pathways to Music Ma r i a C h i :
’ve come to love Mariachi. Although not part of my own culture, Mariachi brings to me a great sense of pride in my Latinidad. Through my Mariachi groups, I’ve watched students become more comfortable with their Spanish and express greater interests in other Latin styles such as Cumbia and Salsa. As you continue reading, I hope you’ll find inspiration to start your very own mariachi program!
What is Mariachi?
In the late 19th century, Mariachi groups began to develop in the western region of Mexico. Some say it originated in the state of Jalisco, but it is truly unknown. After the Mexican Revolution, Mariachi became a symbol of Mexican identity and culture. Today’s Mariachi ensembles include violins, trumpets, guitars, vihuelas, and guitarron. Harp can also be found in these ensembles.
The word “Mariachi” can also refer to the musicians themselves. Mariachi wear trajes or trajes de charro. The clothing is inspired by the clothing that vaqueros would wear while working on horseback.
Mariachi repertoire can vary depending on the area of Mexico from which it originates. Mariachi in Mexico have a very different experience than those in the US. Mariachi in Jalisco would have a different style of playing and songlist than Mariachi in Veracruz or Yucatan. In the US, a melting pot of cultures, Mariachi have a wider list of songs they may need to know for a gig.
Mariachi in My Classroom
In my orchestra classes, I program arrangements of famous Mariachi songs. Composer Jorge Vargas has some very good arrangements for orchestra and band. I took his orchestral arrangement of Cielito Lindo to ISSMA organizational, and my bassist played his part on his guitarron. Students enjoyed the arrangements, and it led to great discussion about Mariachi and an opportunity to pitch the club to the students.
I held Mariachi after school in the orchestra room. In order to be in the group, students had to be at least in their second year in music. It was important to me that the club’s focus was on the musical style and not bogged down by basic rhythm and note reading. (It also worked well as a retention tool.)
Students had the opportunity to learn a second (or third!) instrument. Orchestra students were encouraged to play violin or one of the guitar-like instruments. Band and choir students who joined were encouraged to play their B-flat instrument, non-transposing instrument, or learn the vihuela or guitarron. I needed to avoid the work of transposing parts for my own sanity, but that doesn’t mean someone couldn’t transpose a part. My original plan was for everyone to sing, but you take what you can get from middle schoolers!
Where to Find the Music
Repertoire was hard to find at first. There are the Simplemente Mariachi books, but these are more like a method book and didn’t fit my vision for the ensemble. My main source for music was Jeff Nevin’s Mariachi
Mastery series. I heavily leaned on Rodolfo Gonzalez’s arrangements as well. Here are materials I’d like to try in the future (that you could try too!): Canta, Mariachi, Canta by Jose Hernandez, music/material from Luis Talamantes, and the Habits of a Successful Beginner Mariachi Músico series.
Mariachi has brought a lot of joy not only to my life but to my students’ lives as well. There is something special about watching my students wear the moños I made and proudly represent our school in such a unique way. Mariachi is a powerful way for students to be seen and it can provide a safe space to explore a different culture. I hope the next time you feel inspired to try something new in your program, that it involves someone picking up a guitar and singing a son.
This is the third and final article of our 3-part series exploring the very real issue of burnout in the field of music education. Our editorial team reached 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.
Our panelists represent a range of expertise, experience levels, genders, races, and locations. In this edition, we are excited to feature insights from:
Jennifer Herrmann Bryan: Hamilton Southeastern Intermediate and Junior High, Intermediate General Music and Choir, 20 years experience, Self-identifies as Caucasian Female.
Jay Golando: Sand Creek Elementary, K-4 Music with 17 years experience, Self identifies as Caucasian Non-binary.
Connor Granlund: First-year teacher at West Lafayette Jr/Sr High School Co-Director of Bands (Grades 5-12). Self identifies as a Caucasian Male.
Please note: Responses have been edited for clarity and length.
Jennifer Herrmann Bryan
Jay Golando
Connor Granlund
myshkovsky
Now that we are over halfway through the current school year, has your outlook for the year changed at all?
We live in a challenging time in our society and I have felt the weight of how a variety of outside factors could affect my school, my life as a teacher and the lives of my students. However, halfway through the current year, I continue to find that when students come to the music room we find joy, creativity, unity, teamwork, and growth. Music class feels like a safe haven for all of us and I feel deeply thankful that this remains true.
This time of year always moves quickly- I have to reevaluate my goals for classes or grade levels to see what changes I might need to make moving forward. I don’t know that my outlook has changed but I know that the way I view the time remaining with my students shifts away from “what can we do” to “what have I missed?”
As a first year teacher, I went into the year excited and ready to go. I would say now that we are at the halfway point, I am probably still just as driven as before, if not a little more. Getting to finally teach everyday and work with my own students has been so exciting, and I am excited for everything we have in store for the remainder of the year and beyond!
At this time of year, what do you do to “fill your cup”-musically or otherwise-to avoid burnout?
This is a busy time of the year for me, both personally and professionally. I have found it is helpful to carve out intentional time for self-care, including exercise, time with family and friends, reading a good book, and musical outlets like singing with my church worship team or choir. Attending the IMEA conference in Fort Wayne was a great way to connect with colleagues, “get away,” and feel inspired and encouraged at this point in the year!
I try to make sure to reach out to other music teachers. I’m lucky to get to meet with other music teachers in my district every week, and group
chats where we share great ideas or spectacular fails definitely helps.
I have been teaching private lessons - this is something that I feel helps me stay excited about playing, which I can pass along to students. This provides me with a chance to still play my instrument and work with students in a one on one setting. Also, a large part for me in avoiding burnout is always finding something new and exciting to do - whether this is listening to new pieces in our repertoire, finding new techniques and exercises for the ensemble, or others, this really keeps me motivated and excited about teaching on a daily basis.
What challenges are you facing right and how are you dealing with them?
I teach in an interior classroom that doesn’t have any windows. This time of year, when I’m heading into early or late rehearsals and the temperature is cold, I find that I get very few minutes of sunshine and it can really be a challenge. There will always be another email to send or another lesson or rehearsal to plan, so I’ve had to prioritize taking a few minutes in the transition between classes to walk down to the end of the hall and step outside into the cold sunshine. This is a small thing; however, making small positive changes in practice can add up to a big difference in mindset.
So many missed days of school! This time of year my family is sick, classes have multiple absences, and we miss days for snow or cold… keeping up with who has done what for class is no easy feat. I try to stay as organized as possible… so far, so good.
Just like all of us in the high school area, I have been working with our department and school on the new Diploma Requirements. It is extremely disheartening that we are no longer included in the diploma as a directed elective, but we have been trying to stay focused on our kids and work to keep them as always. A lot of the challenges we face when it comes to scheduling will be the same, just with the extra challenge of missing the directed label. We are working on creative ways to maintain and increase enrollment despite our challenges.
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