INfORM Volume 78, Issue 1 (Back to School Edition 2025)

Volume 78, Issue 1

A Quarterly Publication from the Indiana Music Education Association

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https://in.gov/bmv

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EDITORS JON NOWORYTA KAYLA SMITH MICHELLE BRINKMAN IMEA EXECUTIVE COMMITTEE KEITH ZIOLKOWSKI President REBECCA HAMPTON President-Elect JOHANN SLETTO 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 AREA 7 ANDREA DRURY AREA 8 NICK SCROGGINS IMEA COLLEGIATE REPS ETHAN HACKER AUSTIN SIGLER

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

T A B L E

O F

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Rat: TopVectors /Photo: John Morrison/Goose: Elena Belous

VO L U M E

C O N T E N T S

Notes from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Gen Z Lingo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Membership Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 This Year, Be A Selfish Rat! . . . . . . . . . . . . . . . . . . . . . . . . 10 Collaborative instrumental success In A Rural School Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 All Are Welcome: An Inviting Lesson To Begin The School Year . . . . . . . . . . . . . . . . . . . . . . . . . 16 Indiana Music and Arts Education Summit . . . . . . . . . . . 18 What’s the Rush? Tips for Beginning Band . . . . . . . . . . 22

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 would like to submit an article, you may submit it here: https://imea.memberclicks.net/2025-26-inform-article-submissions

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JON NOWORYTA, NOTES FROM THE EDITOR

Welcome back! e all know that education in Indiana has been shaken at virtually every level, manifesting in changes to diploma requirements, slashed budgets, eliminated teaching positions, young teachers leaving the profession, and a legislature that believes that we should do “more with less.” Overwhelming? Maybe. Insurmountable? No. We will make it through this because you and I know that we’re better than that.

But, what would happen to our profession if we actually did less? I know that some of you are thinking: “we can’t do less, I’d lose kids” or “we can’t do less, if I lose that, it’s not coming back,” or “I’ll do it for the kids - if I don’t who will?” Each of those good-intentioned statements started “student-centered” and ended “teacher-centered.” As hard as it is to believe, those thoughts (especially the last one) actually keep us from moving the needle forward in Indiana. That said, great teachers are simply not capable of giving any less than their very best. In many cases, this leads to being taken advantage of. Sometimes we’re our own worst enemy. We’re better than that.

What are some possible outcomes of being “taken advantage of?”

Anecdotally, we’ve noted a negative impact on mental health leading teachers to adopt certain behaviors: commiserating with-like minded individuals, believing conspiracy theories, and observing the worst of our administrators because of the situation we’ve been put in. This thinking is natural, but spiraling down rabbit holes will destroy us from the inside out. We’re better than that.

I’m lucky that my job allows me to meet with and observe many outstanding teachers who are working incredibly hard throughout the state. The overwhelming message that I’m hearing this fall is that numbers are up, enthusiasm is strong, and the music is beautiful.

There are a lot more great things going on in Indiana than there are hardships. When we focus on the hardships, we lose sight of the millions of things that bring us joy. We’re better than that.

My charge to you: find balance in your life – that will help you find joy. Remember why you do this – that will help you find joy. I don’t think I’m going too far out on a limb to say that you are in this profession because you love music and because you love working with kids. That combination brings you joy. FOCUS ON THE JOY. When you focus on joy, you inspire your students to keep going when things get tough.

When you focus on joy, you provide them the safe spaces they need to be themselves. When you focus on joy, you show them how to be determined, responsible, collaborative, and empathetic. We are in the business of people and when you focus on joy, you teach your students to be better people. We need more of those.

When you focus on joy, the inspiration lasts a lifetime.

You can’t do better than that!

Jon Noworyta Editor, INform Magazine 4

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KEITH ZIOLKOWSKI, MESSAGE FROM THE PRESIDENT

Welcome back! elcome back to the 2025–2026 school year and another exciting year of IMEA events and programs!

If your calendar looks anything like mine, it’s already packed—resembling a Christmas tree in December! Finding time for our families, let alone for ourselves, can feel like a real challenge. As we approach the 80th anniversary of the Indiana Music Education Association, this is the perfect moment to reflect, recharge, and plan for the future of our organization.

We take time to reflect on the past year—What went well? Which parent phone call didn’t go as planned? What if we had tried this or that? Then we use the summer to recharge. Some of us avoid checking school email until the first day back. Others focus inward—on family, wellness, and personal growth. And some dive into planning: How many students will be in each class? Will I have enough violas to balance the ensemble?

Whichever category you fall into, I hope it brought you exactly what you needed—and that you hit the ground running at 100%.

As we look ahead to our Annual Professional Development Conference in Fort Wayne, January 15–17, 2026, featuring keynote speaker Milton Allen, I encourage you to make time for your own professional growth. Surround yourself with a strong support system of fellow educators, and remember—it’s okay to say “no” without guilt.

As president of IMEA, I want to share my goals for my term. Each of these aligns with IMEA’s mission, vision, and strategic plan: • Strengthen and grow our grade 6–12 Tri-M chapters • Enhance communication with our members and partners • Strengthen our board through intentional governance work If you’re interested in getting more involved with IMEA, please don’t hesitate to reach out to me at president@imeamusic.org or to Alicia at office@imeamusic.org.

Wishing you a fantastic school year—I look forward to connecting with many of you soon!

Warm regards, Keith Ziolkowski President, Indiana Music Education Association 5

prelude: Mark your calendars with these IMEA dates!

IMEA will continue to publish further details and information at IMEAmusic.org.

2025 HIGH SCHOOL ALL-REGION CHOIR • Registration Deadline: October 8, 2025 • North Site: November 4

at IU South Bend • Central Site: November 11 at University of Indianapolis • South Site: November 6 at AIS-Diamond, Evansville For more information visit:

circlethestate.imeamusic.org/registration

HONOR ENSEMBLE DEADLINES • Elem/MS Honor Choir: October 8, 2025 • All State Handbells: October 8, 2025 • All State Percussion: November 5, 2025 • Honor Concert Band: November 5, 2025 FUTURE MUSIC EDUCATORS’ COLLOQUIUM (FMEC) • Recommendation Deadline: November 5, 2025 For more information visit:

www.imeamusic.org/future-music-educatorscolloquium

BEGINNING & DEVELOPING TEACHERS WORKSHOP • November 12; Indianapolis

2026 CIRCLE THE STATE WITH SONG FESTIVALS • Registration Deadline: December 10, 2025 • February 14 – Area 2, Area 3, Area 3A,

Area 4, Area 5, Area 6 • February 28 – Area 1, Area 2A, Area 4A, Area 8 • March 7 - Area 7 For more information visit:

circlethestate.imeamusic.org

2026 IMEA PROFESSIONAL DEVELOPMENT CONFERENCE • January 15-17 in Fort Wayne • Early Bird Registration ends December 10 For more information visit:

conference.imeamusic.org

FOLK DANCE FESTIVAL • April 25 - Greenwood Middle School • May 2 - Mt. Vernon High School For more information visit:

imeamusic.org/children-s-folk-dance-festival

COMPOSITION COMPETITION • Entry deadline is June 3, 2026 For more information visit:

imeamusic.org/composition-competition

For more information visit:

www.imeamusic.org/beginning-developingteachers-workshop

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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. estherpoon

If you are interested or would like more information, contact State Chair Christina Huff – chuff@marion.k12.in.us.

SCHOOL OF MUSIC & PERFORMING ARTS AUDITION DATES: Music and Musical Theatre: Nov. 21, 2025 Jan. 23, Feb. 12, Feb. 20, and March 5, 2026

APPLICATION PROCESS: Step 1: Submit an AU admission application anderson.edu/apply Step 2: Submit an audition application anderson.edu/my-audition Step 3: Audition on campus

MAJORS: Instrumental Performance Music Music Business Music Education

Musical Theatre Theatre Voice Performance Worship Arts

QUESTIONS? Contact Michelle Holmes: 765.641.4543 or msholmes@anderson.edu

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Gen Z Lingo Working with middle school band students is a high-energy experience that requires cultural awareness and adaptability. Today’s students communicate in a unique, fast-evolving digital dialect that reflects their worldviews and sense of humor. As educators, incorporating some of this ‘Gen Z lingo’ into our classroom interactions can be a strong tool. Not only does it help build stronger connections, but it also creates a more engaging and relatable learning environment.

• RIZZ: Charisma or charm

Ex: That flute solo has mad rizz, the audience won’t know what hit them!

• SUS: Suspicious or questionable

Ex: The tuning on that fermata is kinda sus.

Let’s check that again.

• NO CAP: being truthful or sincere Ex: No cap, that solo gave me chills!

• BUSSIN’: When something is exceptionally good

• CHOPPED: Ugly, undesirable, or poorly done

Ex: Your reed is chopped.

• OHIO: When something is weird, cringe, or bad

Ex: The way you performed that rhythm is so Ohio.

• CLOCK IT: to notice, observe, or call out something

Ex: I totally clocked it when a trombone tried to fake-play their warm-ups today.

Ex: Our concert last night was bussin’!

• THAT’S SO SKIBIDI: cool, good, or impressive

Ex: The new piece we are playing is so skibidi.

• TUFF: something cool, impressive, or appealing

Ex: That drumset fill was tuff!

• COOKED: not good or when something is in a bad state

Ex: After sightreading that new piece with the tricky time signature changes, the percussion section looked cooked.

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About the authors: Vivian Szymkow (University of Indianapolis, 2020) & Emma Cook (Butler University, 2018) are the band directors at Avon Middle School North, where they have worked together for the past four years. With a combined 12 years of teaching experience—Vivian in her 5th year and Emma in her 7th—they are passionate music educators dedicated to developing young musicians.

In addition to their work at the middle school, both directors play an active role in supporting the nationally recognized Avon Black and Gold Marching Band. Their collaborative leadership continues to inspire students and strengthen the Avon band program. Their students are very proud of have helped them write this article.

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MEMBERSHIP

Spotlights:

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.

DR. SHAWN O’CONNOR

JOHANNA KITCHELL

Marian University Associate Professor of Music, Chair of the Department of Music and Theatre

Orchestra Director Riverside Intermediate

Why do you choose to support IMEA?

Why do you choose to support IMEA?

How long have you been a member?

How long have you been a member?

I choose to support IMEA because the programs and events that IMEA provides inspires current and future educators to try new approaches, meet new people, discover new repertoire, and consider new perspectives. IMEA ensures that our profession continues to thrive while evolving with the changing times and landscape.

I have been involved with IMEA as an educator for the past 18 years, and was involved as a student in the IMEA All-State Jazz Band back in 1999.

I choose to support IMEA as a member because I believe in the power of community. We cannot do this alone, and the community that I have found through IMEA has been instrumental in my career as a music educator; whether sourcing ideas, sharing failures and successes, or providing support to one another.

I believe I’ve been a member of IMEA for at least 16 years, all my teaching career. I’m not sure if I was a member in college, though I would guess I was at some point. I know I attended IMEA PDC my senior year in college, that’s how I ended up meeting the person who helped me get my job!

Join or renew your membership at https://www.imeamusic.org/join-renew.

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B Y D R . M I LT A L L E N

TopVectors

THIS YEAR, BE A SELFISH RAT! Ah, the beginning of a new school year is upon us.

As someone who taught 17 years in primary/secondary positions, then moved on to the university level for another bunch of years, I know full well the emotions it can bring. Excitement, trepidation, hope, fear – you get the gist. Regardless of the age of the musicians under your care, I have no doubt that you have all prepared as well as you can, mapping out plans, making connections, working on guests, putting up cool bulletin boards and getting generally organized. You’re already doing you can for your musicians and the musical mission you’re about to undertake for the year. However, I would wager there’s one extremely important thing you might have forgotten about. Yes, there’s the faculty meetings about protocols and student health and student needs and student emotions and how to care for our students in general. And, of course, they’re needed. But do you realize where the gap is? It’s also that one super important thing you might have forgotten about.

You. The care and feeding of you. You’re teaching in unprecedented times with unprecedented pressures from both within and outside the rehearsal room. Yet, you’re still supposed to lead students on some type of artistic journey while simultaneously feeling all those pressures. Budget cuts? Scheduling? Paperwork? Job security? Of course, there’s that personal life thing, too.

Hard to find balance, ain’t it? Unfortunately, that feeling 10

that no-one else gets the pressures we deal with can result in self-isolation and anxiety. Then, that anxiety can spiral into depression. Wow, when are the PD days dealing with US going to happen? Okay, okay, let’s turn a corner. Here’s just a couple things to think about as the year begins that might be of help. Yes, they may be a little “different”, but so are WE! 1.) Be selfish. Don’t be afraid to set aside time for yourself that is YOURS, both at school and away.

Start the day with 5-10 minutes of feet on the desk (or during lunch). Post a sign that says you are unavailable. NO, you are not allowed to do work. Either go for a walk, read a book or even close your eyes with your feet on your desk. When you get home, if you live with others, perhaps requesting a 15-minute decompression time before diving into home life! You get the picture. And by the way, you may be amazed what clarity your subconscious may have for you when you allow it that quiet! And by the way, it’s okay to say “NO” to things. OH, and eat chocolate.

2.) Be a Goose, Buffalo or a Rat! I’ll bet you’ve heard the story on the honkers. The family Anatidae fly in a “V” because it provides greater lift and is aerodynamic, thereby taking less energy. They take turns leading the formation as fatigue dictates. An injured goose is never left behind. Geese in front “honk” to encourage others.

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The family Bovidae: the American Bison/Buffalo.

When faced with inclement weather, say rain or a snowstorm, buffalo will always turn into the storm, rather than run away like the rest of the animal kingdom! Years of genetic adaptation have instilled in them that it is best to face the storm and run toward it, which allows them to move through it quicker, rather than simply away from it, prolonging its effects.

And the family Muridae? Well, did you know that rats love to laugh when they’re happy? Are incredibly empathetic toward each other? Value others in their colony and have an incredible ability to learn from any given situation and adapt what they’ve learned to other situations?

Okay, you’re wondering where the music education stuff fits. Fair question. And here you go.

Whether it’s your score study (hint, hint), rehearsal techniques, finding great pieces, pedagogy, mentorship – geese tell us that the resources we need are right around us, if we simply reach out to others. Apply those same concepts to our ensembles and music classes and, well, you get the drift. Those times when rehearsals aren’t’ going well? We want to take the path of least persistence? There’s trouble brewing with a student, parent, colleague, administrator, family member, etc.? The buffalo tells us to face it, to deal with it, no matter how difficult it might be. To go “the other way” is to risk staying “in the storm” longer. And the rats? C’mon, if you can’t apply those traits…

So, there you go. There are times when our music – and personal – journeys can benefit by remembering it’s okay to be “selfish”, and to remember the lessons of the goose, buffalo or even the rat. Our students can benefit, too. Most importantly, these little reminders can help us to stay connected with our authentic selves, the key to where our best teaching and best music making come from! Have a great year. Your students are lucky to have you! I’ll see you at IMEA!

Dr. Milt Allen Dr. Milt Allen is an award-winning conductor, educator, and speaker whose career thrives at the intersection of music, mission, and movement. A true outlier in the field, he defies the conventional paths of music education—choosing instead to chart bold, human-centered routes that challenge, inspire, and transform.

Whether leading ensembles, speaking to educators, or trekking across continents, Dr. Allen brings fearless energy and curiosity to every endeavor. His global adventures—musical and literal—have taken him from bustling rehearsal rooms to remote corners of the world, each journey reinforcing his belief that music is a universal language of courage, connection, and change.

With decades of experience as a band director, conductor, and clinician, he combines practical wisdom with unshakable passion. His sessions and stories challenge the conventional, urging musicians and educators alike to embrace the messiness of creativity, harness the power of risk, lead with empathy, and always keep learning. Of special note is his current emphasis on teacher mental health and how to thrive in an ever changing educational environment.

Milt’s work is rooted in a deep commitment to human potential whether it be via a rehearsal, keynote or a coffee conversation, Dr. Milt Allen is living proof that music, like life, is an adventure—and everyone deserves the chance to play it boldly.

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B Y A M Y H E AV I L I N, I N D I A N C R E E K H I G H S C H O O L

COLLABORATIVE INSTRUMENTAL SUCCESS IN A RURAL SCHOOL SETTING ineteen years ago, I was delighted to become the band director at Indian Creek High School. The community and decision makers were eager to build a program, and shared a desire for someone who would create a place for students to be excited about music. I was excited about their openness to hire someone with new ideas and expertise and their candid honesty about their goals, especially after several years of turnover. Those first few years were vital, and when the program tripled in size in as many years, the honest answer for “how?” was “I just didn’t leave.”

In my 25-year career, I have taught in just two other districts, and have been a clinician in many others.

There is quality music education happening in all areas.

The most important belief I’ve developed about education, likened to the rural setting I’m in, is that teachers are like farmers: we plant seeds that take time to grow.

My record with houseplants shows that I would not excel at being an ACTUAL farmer, so luckily I find growth in my students and the programs that I teach.

Here are some of the challenges you might face, and my advice for ways to overcome them! Rural schools face some unique challenges like funding, scheduling, and professional isolation. Early on, as numbers boomed, we needed instruments for students in need, and new marching uniforms. Social media was invaluable to get the word out to friends of our program to 12

encourage donations of instruments and repairs in the short term, while also working within our district to build up some provided resources. Ever changing graduation requirements, scheduling challenges, political navigation, and the fact that rural schools often have a high turnover with directors, it’s easy to feel unsupported. Use technology to connect you and your students to mentors, specialists, and a community to build connections. Social media can help with assistance for the needs of your program. From a personal side of things, find a strong work-life balance. I truly believe that a non-music creative outlet is essential to help with the inevitable burnout from the many responsibilities that fall on your shoulder in a rural program - honestly, in ANY program!

On the curricular side of things, it is incredibly important to meet your students where they are. New to a program? Beyond trying to find old programs or recordings, ask your new students to share the favorite piece they played before you arrived. Whether a concert piece, jazz piece, or pep piece, pull it out! Having them play something they love in those first few weeks will give you the best idea where they are, and what they need moving forward. Listening to their input and caring about their past can help instill trust. I knew my students liked me, but it took a while for them to truly trust me. High turnover in the past led them to believe I wouldn’t be around long. Connecting with them allowed me to build the trust I needed for them to be able to take risks.

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Always use literature to your advantage. Build a stable but rotating set of fundamental warm-ups to help the stronger students lead, and the weaker students to grow. We sight read A LOT. My students love to sight read, and it helps narrow down appropriate pieces, and gives us great conversation. Overprogramming is your worst enemy. If students tune out or don’t look up at you, then you know it’s too hard. You want music that allows them to MAKE music right away. When students are solely worried about the rhythms and fingerings

and cannot connect with their eyes and ears to the others in the room, the music can’t connect with THEM. They won’t trust each other, or you as the conductor.

Even now, I find that “under” programming early in the year allows us to grow faster and stronger - and then we can start to take risks and push each other.

We think of fundamentals as long tones and scale passages, but watching, listening, and balance are the rehearsal room fundamentals. It’s amazing how fast we all grow together with that as an ongoing focus.

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Smaller numbers or incomplete instrumentation in your ensembles may provide opportunities to use flex music or even chamber music. I often rewrite certain passages if needed (say, a bassoon part to be covered by a euphonium). My students love this challenge, and sometimes we even discuss what timbres we’d rather hear, or “what instrument the composer might like subbed in the best.” This ownership and discussion is something that a smaller group easily lends itself to.

The more collaborative we feel together, the more we can explore what is out there.

Many of these suggestions would work well in any setting, not just a rural setting, so hopefully there is an idea or two that you can add to your programs to make them more collaborative and successful for your students!

Amy Heavilin is currently the Director of Bands at Indian Creek High School in Trafalgar, Indiana, where she directs all the High School ensembles, AP Music Theory, Special Education General Music, and team teaches Beginning Band. Amy has degrees from The University of Akron, and her Masters Degree in Conducting from Butler University.

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BY MICHELLE BRINKMAN

ALL ARE WELCOME:

AN INVITING LESSON TO BEGIN THE SCHOOL YEAR The start of a new school year is a natural time of transition, bringing with it a mix of excitement, nervous energy, and anticipation—for both students and teachers. In the elementary music classroom, these early days are not only an opportunity to establish routines and expectations, but also a crucial moment to support students’ emotional well-being and sense of belonging. We as music educators are uniquely positioned to foster a healthy classroom climate through active music-making, social connection, and creative expression.

This lesson utilizes the Orff approach is based on the book, All Are Welcome by Alexandra Penfold. It aims to create a welcoming space where students feel seen, safe, and eager to participate through singing, movement, collaborative activities, and reflection. Students are invited to connect with one another, build confidence, and establish a positive mindset for the year ahead. This activity has always been a favorite beginning of the year lesson with my students and hope that yours enjoy it too!

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Suggested Teaching Process: Lesson One: Book and Body Percussion Piece 1. Teach the All Are Welcome Here Chant.

(Helpful Hint: Adding Snaps on the Rests prevents students from rushing.)

All Are Welcome Here. All Are Welcome Here.

All Are Welcome Here at School! All Are Welcome Here.

All Are Welcome Here. All Are Welcome Here at School!

2. Read All Are Welcome by Alexandra Penfold, adding the chant every time the phrase “all are welcome here” appears in the book.

4. Discuss the meaning of “All Are Welcome Here.”

5. Layer in the body percussion.

6. Perform the piece. • Speech • Body Percussion Only (whisper words/ audiate) • Speech and Body Percussion Lesson Two: Barred Instruments 1. Review the chant with body percussion.

2. Teach the song using echo imitation. The rhythm for this song takes inspiration from Rhythmische Übung by Gunild Keetman #17 with words and text

by Michelle Brinkman.

3. Set up barred instruments in C pentatonic (remove F & B bars) 4. Teach melody by rote.

5. Label as A section.

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Lesson Three: Rhythmic Building Bricks Rhythmic Building Bricks are short, spoken rhythmic patterns—often derived from simple words or phrases—that serve as modular rhythmic units for teaching rhythm and ensemble coordination. These bricks can be combined, manipulated, and layered to create complex rhythmic textures in a way that is accessible and intuitive for children. The Rhythmic Building Bricks were developed by Gunild Keetman (Carl Orff’s colleague) and are a foundational concept within the Orff-Schulwerk approach to music education.

1. Create a list of different ways to say “welcome.”

2. Display the following rhythmic building bricks.

qq nq qQ qn nn

3. Sort “welcomes” to fit the Keetman’s Rhythmic Building Bricks.

4. Create an eight-beat rhythmic pattern using four rhythmic building brinks using elemental forms.

5. Provide an example pattern.

6. Students create their patterns 7. Students perform a rondo, using the melody as the A section and their created patterns as the contrasting sections.

Michelle Brinkman is the K-5 music specialist at Nora Elementary School (MSD of Washington Township) in Indianapolis. She has presented at many workshops and conferences throughout the country and has served in many roles, including President, of the Indiana Orff-Schulwerk Association. Michelle is a two-time recipient of the prestigious Teacher Creativity Grant from the Lilly Endowment.

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B Y B R I A N N . W E I D N E R A S S O C I AT E P R O F E S S O R O F M U S I C E D U C AT I O N B U T L E R U N I V E R S I T Y

INDIANA MUSIC AND ARTS EDUCATION SUMMIT: he Indiana Music and Arts Education Summit took place at Indiana University on May 20, 2025 and brought together 53 leaders from across the Indiana arts education sector, including individuals from P-12 and higher education and non-profit and for-profit music organizations.

The focus of this first-of-its-kind summit was to understand the unique challenges facing the various sub-sectors within the arts in the state of Indiana and how cross-sector collaboration could address identified needs. Four working sessions were held throughout the day, with each focused on a different question: 1. What are the unique challenges and opportunities posed by the New High School Diploma specifically and current Indiana and federal policy in general that impact your sector’s work within arts education?

2. What overlaps exist between sectors in similar needs for resource development, accessibility, and strategizing and complementary resources, programs, or expertise that address identified changes?

3. What are short (August 2025), mid (August 2026), and long term (beyond 2026) goals for arts education in the state of Indiana that can be addressed through cross-sector discussions, collaborations, and actions?

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4. What are discrete, strategic actions that can be taken to address the needs that are identified during the previous sessions?

Background Briefly, the New Indiana High School Diploma, approved in December 2024 and going into effect for the graduating class of 2029, makes several key changes to Indiana educational policy. Most critically, it centers jobbased experiences, emphasizes workplace readiness, and develops competencies for work ethic, collaboration, and communication. It reduces the list of required courses as compared to the previous Core 40 diploma, providing local school districts greater latitude in determining coursework toward graduation while also increasing required credits to 43. It also increases the number of available personalized electives to 12 credits so that curriculum can cater to the student’s individual career goals. It creates a single diploma to which multiple seals can be attached, notably for Enrollment in the post-secondary education, Employment in the workplace, and Enlistment in the armed forces. Each of these seals can have an “Honors Plus” seal affixed to them which centers job-based experiences such as employment, internships, and volunteer experiences. Notably for arts education, this diploma eliminates any explicit requirement for arts-based coursework, relegating the arts to potential elective coursework. See INform articles from the 2024-2025 academic year for more details.

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exdez

The lack of existing state level infrastructure, bureaucracy, and oversight regarding the high school diploma provides an opportunity for arts organizations to position themselves as leaders in innovative change within partnership models; competency measures; and school-community partnerships. The collaborative and entrepreneurial energy that underlies the arts promotes opportunities for community-based solutions through school partnerships with non-profit and for-profit organizations.

Challenges Current and upcoming challenges related strongly to implementation issues, particularly given the lack of current state infrastructure, increased austerity measures, and lack of clear direction for new program implementation. Equity issues were discussed regarding disparities between urban, suburban, and rural communities; socio-economics; and personal and community identity, particularly regarding limited resources for partnerships, equipment, and transportation.

Opportunities Increased attention to local control of the high school diploma allows for localized, grassroots efforts to have quick and impactful effect on creating change.

Cross-sector experiences Unlike other sectors, the arts already embrace a broad albeit informal communication system that allows for quick implementation of new strategies, both through educational networks and direct ties to arts business and industry. Additionally, the arts have deep connections within communities regarding civic engagement and identity that provide for ample forums to engage in direct dialogue with local communities. Historically, the relationships between education and business have been informal and have lacked rigorous mutual development, inhibiting the promotion of new initiatives with sustained, lasting presence. Importantly, there is a symbiotic relationship that exists between educational institutions and industry partners in that non-profit and for-profit organizations can serve to fill gaps that are currently present in P-12 programs, and P-12 programs provide a rich community-based resource for building future industry partners. With intentional work in creating collaborations between the various portions of the arts sector, arts education can become a model for other areas of the educational, cultural, and business life of Indiana.

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Goal setting Short term goals (August 2025) • Develop lists of organizations seeking to partner with P-12+ programs for internships, job shadowing, and other cross-sector collaborations • Work with government partners to develop clear definitions of expectations and requirements for school collaborations, job-based competencies, and relationships with the arts • Establish an ongoing network of leaders across the arts education sector to ensure clarity of messaging and dissemination of opportunities for collaboration • Collect data for advocacy efforts within the state including demographics, economic impacts, and personal stories Mid term (August 2026) • Create and disseminate to middle and high school counselors model schedules that show how students can remain involved in the arts through high school • Reinvigorate the Indiana Arts Education Network to serve as a networking space and advocate for state level action • Develop a public awareness campaign of the impacts of the arts on education, culture, and the economy of Indiana • Pilot and document cross-sector projects for internships, work shadowing, and other initiatives that engage P-12 students in arts organizations • Explore credentials of value that build out of the P-12 curriculum that serve arts organizations throughout the state • Track critical data of the effects of the New Diploma changes on arts program health Long term (beyond 2026) • Increase systematic and cross-sector advocacy for the arts with clear messaging from all constituent organizations • Develop a network of credentials of value for various fields in the arts including teaching artistry, stagecraft, manufacture and repair, administration, etc.

• Develop workshops for implementation of arts/music internships • Gather regularly to re-evaluate progress and needs 20

across the arts sector and create strategies for meaningful and sustained cross-sector engagement • Collect data on Indiana arts graduates to understand the impacts of changes in arts education and arts collaboration with disaggregated data be region and community to allow for perspectives on equitable engagement and practice Current next steps The following actions were identified for immediate next steps. Participation and engagement are welcomed by those across the arts education sector. Contact the coordinator of the project if you are interested in supporting this initiative.

Continuation of the arts summit An ongoing forum for collaboration across the arts sector will be created. Brian Weidner (Butler University) is coordinating this effort to sustain these conversations through quarterly discussions in both virtual and live settings. The next gathering will be on August 21 virtually to provide updates and a space for discussion. An in person gathering will be held at Butler University in November to begin investigation into internships, job shadowing, and other such job-based initiatives and the creation of credentials of value that meet requirements for the New Diploma and serve the needs of arts business, industry, and education.

Cross organizational collaboration Documentation of existing and possible collaboration will begin through Lisa Brooks (Butler University), Lauren Southard (Indianapolis Children’s Choir), and Joshua Thompson (Morning Brown). This documentation will serve as a starting point for the identification of best practices and models for how partnerships may arise in various parts of the state. Attention will be placed on these collaborations in upcoming summit gatherings to understand how internships, job shadowing, and other work-based experiences are currently being used and could be developed in the future.

Public advocacy and collaboration network Work is already underway for a reimagined Indiana Arts Education Network (IAEN). Michael Kamphuis (ConnSelmer) is serving as the liaison for this project with atA U T U M N 2025

tention of having this network of industry organizations focused on public action and advocacy back to status by Q3 2025. IAEN can serve as a political force for the arts along with other existing actions by non-profit organizations and collaborations such as the Indianapolis Center for Arts Education and Innovation (Lisa Brooks) which is heading up Indy Arts Forums on a quarterly basis.

Counseling and administrative liaison and support In order for the arts to remain a vibrant part of the curriculum, access to coursework at the local level is critical. Dani Carter (Marion Community Schools) is heading up work on investigating scheduling and offerings in P-12 classrooms to lead to dissemination of information to counselors, administrators, and communities regarding how the arts can fit into the New Diploma in various communities. A platform already exists within the Indiana Music Education Association to disseminate these materials for use in area schools.

Credentials of value The Honors Plus diploma seals require credentials of value that have been achieved during high school that have value within the sector. Pete Miksza (Indiana University) and Brian Weidner (Butler University) are developing online tools that can serve as credentials, with attention starting on teaching artistry to create proof of concept. Further development of credentials of value will rely on engagement from other areas of the arts education sector to address needs in arts administration, production, industry, etc.

For further updates on materials that are available that have been created already, visit https://www.imeamusic.org/hs-diploma If you are interested in being included on communications about ongoing Summit activities, visit https://tinyurl.com/INArtsSummit

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BY MATTHEW MURDOCK, DIRECTOR OF INSTRUMENT MUSIC AT THE SYCAMORE SCHOOL, INDIANAPOLIS

WHAT’S THE RUSH? TIPS FOR BEGINNING BAND s music educators, we often find ourselves in a race against the clock, pushing to get our students to the next level. We see the big picture, but often cut corners and move too fast. I’ve discovered the secret to long-term success isn’t speed, but patience and continuing to stress the basics on a daily basis.

As I recently ran sectionals at a band camp, I was reminded of the value of “learning it right the first time.” While we focused on musical passages, the core principle was the same one we need to instill in our beginners: don’t rush the details. Learning something incorrectly creates a frustrating and time-consuming cycle of remediation. This “buy-in” from students—the understanding that proper technique and details are key—is the ultimate goal, and it starts on day one. This mindset can be transferred to other areas of study and life.

Building a Strong Foundation: The Little Things When it comes to beginning band class, the focus is often on simply playing an instrument. But before students can be successful musicians, they need to master the little things: proper embouchure and posture, internalizing the pulse, and music literacy, The daily practice of these foundational skills can seem boring to students, but it’s essential for growth. Here are a few strategies to help you instill these concepts from the very beginning: • Communicate with Parents: Many parents are eager to help but feel lost. Proactively send an email outlining your expectations, resources, and what they can look for at home. Explain key concepts like embouchure formation, sound development, and the importance of music reading. Encourage them to be positive and provide a quiet space for a consistent 8-10 minute practice session, treating it like homework. Suggest they have their children “teach” them a new concept or 22

something they are working on. Facetime grandparents or other family members to share the progress in their musical journey. This support and communication assists in solidifying a student’s understanding and builds a vital support system.

• Encourage Private Lessons: Parents often see private lessons as remediation, but they are a powerful tool for accelerated growth. One-on-one instruction allows students to develop at their own pace and often become leaders in the classroom. If your school doesn’t have a private lesson program, create a list of trusted instructors in your community. Consider organizing a fundraiser to offset costs or provide scholarships for students with financial needs.

• Leverage Technology and Peer Support: I strongly recommend using online resources like the Dr. Selfridge videos and the Foundation Series on YouTube.

These short clips provide an excellent visual reference for both parents and students. For classrooms in a heterogeneous setting, seek out qualified help to work with specific instrument groups during the first couple of classes.. This could include your best high school students, university music students, retired directors in the area, or members from a local community band. I allocate a portion of my budget for this process, which pays dividends in getting students started correctly.

Engaging Students Through “Looping” Maintaining student engagement during foundational work can be a challenge. That’s why I’m a firm believer in what I call “looping.” This is a structured approach where group play is immediately followed by individual play. This process is a great way to manage the classroom and keep students actively involved. It might take a few sessions to establish a flow, but once it’s in place, it runs itself. Students may also sing to reinforce note names, fingerings, and singing rhythms.

A U T U M N 2025

You can use tools like MakeMusic, Harmony Director, and popular music to make this process interactive and fun. I select appropriate pop music in the key of Bb Concert or transpose into Bb concert to reinforce “the sound” of the starting notes as it relates to the tonal center or scale. I also search for “rap” or “hip hop beats” to use in place of a metronome.

The Importance of Pulse and Literacy As an educator, I’ve been surprised to find that many high school students can show you a fingering for a note but can’t identify it by name. This highlights the critical need to reinforce note names beyond the beginning stages. Consistently using note names in classroom communication is essential if music theory is going to be successfully applied.

internalize timing and ensures they are playing rhythms precisely on the downbeat.

By slowing down, focusing on the basics, and giving our students the tools to succeed, we aren’t just teaching them to play an instrument—we’re teaching them how to be independent musicians. We’re building a foundation that will support their growth for years to come.

Dr. Matthew Murdock is Director of Instrument Music at the Sycamore School in Indianapolis.

Murdock is an active clinician/jazz adjudicator in Indiana. In addition, he maintains an active performance schedule.

Another fundamental skill that is often overlooked is developing the internal pulse. Without this, students may guess at note lengths and rhythms instead of truly understanding them. Encourage students to tap their foot and assign syllables or counting numbers to note values longer than one beat. This simple action helps them

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