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Colorado Music Educator, ISSN 0010-1672, is published quarterly by the Music Educators Association, 3617 Shoshone Street, Denver, CO. 80211. Subscriptions are $12.00 per year for members of the Colorado Music. Educators Association (included in annual dues) and $25.00 per year for non-members. This journal is published on-line at www. cmeaonline.org. For further information write to: Colorado Music Educator c/o CMEA Membership 3617 Shoshone Street Denver, CO 80211
Casey Cropp CMEA President
From the President
Community
For the past 46 years, I’ve experienced something extremely valuable… something that makes our profession remarkably better than most. We share an advantage that most workplaces rarely enjoy or experience. It’s the ingredient that made my career exceptional beyond expectation or imagination, not because of any award, achievement, or recognition. This valuable item is called community. Those who find themselves teaching music have access to unlimited resources in the form of colleagues with extensive experience and expertise. Our theme for the upcoming CMEA Conference is Music Speaks! A Legacy of Inspiration! That Legacy of Inspiration has saved me more times than I can count. Just now, I had to reach out to a wonderful friend, who volunteers her time in various music education areas across the country, to help me solve a technical problem that requires more intellect than I possess. If you know me, you know that technology has always been my Achilles heel! Without the help of these teacher/ friends, I would have given up long ago.
The community of music educators in Colorado is unique, as far as I’ve been told. Often, I’ve had experiences with clinicians coming to Colorado for CMEA, honor bands, or festivals. They always comment on the culture of being in community with teachers focused on much the same goal of creating young people who love making music and appreciate it in ways that empower them for the rest of their lives. And more specifically, how that culture and community are even more evident here in Colorado! In my capacity as CMEA President, I have the responsibility to interact with various organizations and personalities that are connected to each of us in many ways. During a few recent conversations, the subject of advantages and disadvantages of attending a festival or enlisting a clinician to work with ensembles at specific schools, and why a music teacher might be hesitant to put their ensembles in those situations. Thoughts shared included the costs of participation, the time required to participate, busing issues in many districts, and the impact on daily routines. The more interesting thoughts for me were the ideas that the clinician wouldn’t
understand our situation, our instrumentation isn’t optimal, we only meet infrequently, or we are unable to do anything like that until the ensemble is ready. The last time I taught, which I admit was many years ago, I wanted to help my students have the best experience possible, which I believe remains the goal for everyone. But let’s be honest… I realized over the course of many years that I could not provide all that the students in my classroom needed to achieve their full potential. Truth be told, I looked to those amazingly talented teachers, whom I have always held in high esteem, and inquired about what allowed them to achieve their successes seemingly every year. When they peeled back the curtain of reality, the facts became obvious. Multiple clinicians/friends/ colleagues were present in their classrooms on a routine basis. They never assumed to be the one authority. They drew on diverse perspectives and experiences to enrich their own knowledge and teaching strategies. You see, we all need community and relationships. In the present time, it has become increasingly apparent that our society has become very shallow relationally. During the pandemic, isolation became
the norm, and interaction and discussion were discouraged. It’s been a hard road to retrace the steps that lead us back to helping each other do the job we love so much!
I’ll be the example… Years ago, I recall a time when I invited a clinician into my rehearsal to share their perspective on the music we had been rehearsing for several weeks. I thought he would say some very nice things about the music making and congratulate the students on their work. He shared thoughts that I didn’t expect. His criticisms seemed to be overly harsh and uncomfortable. Or so I thought… once he began working with the ensemble, there was noticeable improvement. The students noticed and became more engaged and involved. The atmosphere in the rehearsal intensified as they bought into the fresh ideas being shared. Once again, looking at the truth, my ego was in the way of allowing my students’ progress. The realization that I could get as much or more out of the clinic experience changed my teaching for the better.
Earlier in this article, I mentioned that I wanted to help my students have the best experience possible. My ad-
vice to anyone who wants to teach music would be to enlist as many musicians as possible to help give that experience to your students. I was, if not more, the beneficiary of following the example of those master teachers than my students were. A very wise person once said, ‘You cannot grow in isolation!’ I know that to be true from my teaching career, and I believe it to be true for each of you as well.
As I finish this article, just a few final thoughts… I’ve always felt the need for relationships in teaching music to young people. The relationship described earlier involves colleague to colleague, teacher to teacher, but don’t underestimate the relationship necessary to connect with students. They need to be able to trust you. They need to know that you are truthful. They need to know that you are also vulnerable, especially since you are asking them to be vulnerable as well. Prioritize relationships with your teaching friends and your students. Everyone will benefit!
I’m looking forward to reconnecting in just a few months at CMEA!! Until then…
Casey
Instrumental Council News
Chuck Stephen
Instrumental Music Council Chair
Dear Music Colleagues,
Welcome back! Hopefully, your summer vacation allowed you to wind down, to recharge your battery, and come back energized and reinvigorated for the new school year. I hope classes are off to a smooth start for you and your students. CMEA has been busy organizing a wonderful conference for you, which will take place at the Broadmoor, January 28-31, 2026. Registration is now open on the website at cmeaonline.org.
The convention is going to be amazing this year! As always, the selected performance ensembles will be a highlight. In addition to the amazing groups performing, we have an eclectic offering of sessions that will cover a wide variety of topics to help give you the tools needed to hone your craft and be at your best for your students. Wednesday night, we are thrilled to announce a special performance at 7:30 pm by Athena Brass, the first women’s brass band in the United States, as well as a session by renowned composers and educators Bob Phillips and Chris Bernotas at 5:30 pm.
As I reflect back on my 30 years of teaching, what stands out to me is how important and beneficial my colleagues were to me and to my
programs. Bringing in other teachers or clinicians to work with your students is a great way to improve the quality of your groups, and more importantly, it can give you some new tools to use, enabling you to grow as a teacher and be more effective. We are fortunate to have so many great current and retired band and orchestra directors here in Colorado. Don’t hesitate to reach out to folks about working with your groups. I have never been turned down when I have asked for help. Regardless of the level of your group, or where you are in your career, we can all benefit from the fresh perspective of a clinician. One of the best things about the CMEA convention is meeting new people and reinforcing connections with old friends. These connections will be the single greatest resource you have in your career; make sure you utilize them. Please feel free to reach out to me if you need help connecting with people who are available to come work with your students.
I hope everyone has a fantastic school year, and I look forward to seeing you at the convention in January.
Sincerely, Chuck
General Music Council News
Thoughts on Improvisation in the Elementary Classroom
When I think about meeting kids where they are, improvisation seems like the natural place to start. From an early age, kids create through play. We improvise our realities. There are many ways to incorporate improvisation into your elementary music classroom, even if you yourself are not a great improviser. In order for the kids to find their vulnerability, a teacher must set up an environment that will support that learning. Improvisation relies on students feeling safe and comfortable to be themselves.
In my classroom, I find it is not about the action of improvisation, but the reaction to a child’s improvisation that is more important. Students spend so much time following directives in class, it is natural that the looseness of improvisation can cause anxiety. We must support them with our caring, constructive, and specific feedback. Students want to create something musically to please the teacher, but I think it is our job as music educators to get the students to create with the intention of self gratification. Frankly
Paul Maley General Music Council Chair
it doesn’t matter if I like what they improvised nearly as much as if they liked it. If they like it, they will keep doing it.
Other pieces to creating success around improvisation in the elementary music classroom are breaking it down into pieces. Take the skills and split them up. The main two pieces are melodic and rhythmic. Trying to do both as a young improviser can be brutal and detour future motivation to try again. Starting with no restrictions is always a nice way to get all students excited and feeling great about creating. However, it becomes apparent quickly to all involved that more structure starts to be required. Starting with a plan that works for you is the best way to get started. Start with one note, then they are allowed to use two, then the pentatonic, etc. Then, to simplify on the other side, start with a rhythm prompt. Students can use any note names, but they have to use this rhythm. Then, as the year goes on, the skills get put back together and students get to fully explore, but they have a tool box this time around.
Students presenting / performing their improvisations is crucial in building a musician’s confidence around the skill. It is important for all students to see each other create, be successful, struggle, support, be supported, etc. I do give my students one opportunity to pass in a class share, but eventually everyone does. And to be honest, everyone eventually wants to share. Giving time for the students to practice is very important. I make it a point to find games that incorporate opportunities for improvisational practice.
One fun way to give students an opportunity to practice improvising is elimination games. I use circle passing games as a time for kids to get to take a chance to accompany a song. For example, in the French Folk Song, Son Macaron, there is a circle game that goes with it where the students are tapping on each other’s hand in just a way that one student gets out each time the song is sung. That student walks to a xylophone and improvises using C and G during the song as the game continues. I am keeping the base of the song going on the piano. This is a great transition as
well as an excellent opportunity for the students to just play the instruments.
Improvisation in the classroom does not always need to be done on an instrument. Vocal exploration is a very fun way to get kids in their head voice. The reality is, kids improvise using their voice all the time, the only difference is it usually annoys us and this time we are asking for it. Body percussion, unpitched percussion instruments, and outside findings (rocks, sticks, leaves, etc.) are great tools to work on rhythmic improvisation. It separates from the melodic side completely.
The biggest thing to remember when guiding your students into the unknown and enchanted world of improvisation is to be positive. This is them putting themselves out there musically, so it is our duty to model how to support each other through that vulnerability. Also, improvising is fun and kids think so too.
Paul Maley CMEA GMC Chair www.paulmaley.com
College/University Council News
Greetings!
As we all settle into the rhythm of our classroom, the possibilities of the school year begin to reveal themselves to us and our students. I always enjoy how this time of year seems to capture the imagination, curiosity, and culture of our students and sets the trajectory of what we will all accomplish together. It is also an important time of year for our soon-to-be educators are immersed in their student teaching placements, I am reminded of how transformative this stage is for their professional growth. Student teaching is more than an academic requirement; it is the bridge between theory and practice, where future music educators discover the realities of classroom dynamics, refine their rehearsal techniques, and
Brett Keating General Music Council Chair-Elect
begin shaping their unique teaching identities. The mentorship, challenges, and successes they encounter now will resonate throughout their careers, equipping them with the resilience, creativity, and passion needed to inspire the next generation of musicians. I would like to extend my deepest gratitude to the supervising teachers who give so generously of their time and expertise in service to both their students and the music education profession. It is a season of both learning and becoming, and its impact cannot be overstated. I wish everyone a great Fall!
Dr. Brett Keating, Chair-elect, College-University Council
Vocal Music Council News
Hello Choral Educators! This is Bryan Kettlewell from the Vocal Music Council with a fall update for you. Hopefully, your school year has gotten off to a smooth start, and you have also found some time to do something for yourself to keep your sanity during this busy time of year. First of all, for those preparing students for the all-state audition process, whether it is for middle school (www.msallstatechoir.org) or high school (www.aschoir.com), please ensure you have checked the website for each organization for all the details you need to set your students up for success. Auditions for Middle School are due October 10th, and the live auditions for high school happen on one specific weekend in October, depending on your region. Happy preparations for you and your students, and best of luck!
Next, I am very excited to announce that our headliner presenter for this upcoming CMEA conference is renowned composer, educator,
and church music director Victor Johnson. Victor brings a wealth of experience from all these realms, and he will present a variety of sessions accessible to choir teachers of any level. Here are some brief descriptions of the headliner sessions that will be offered at this year’s conference: quick-fix techniques to boost rehearsal efficiency, energizers and icebreakers to build classroom community, two separate curated reading sessions for both high school and middle school choirs packed with fresh, engaging repertoire. You’ll also find guidance for sustaining energy and purpose in music ministry, practical tips for transforming poetry into meaningful choral settings, and strategies to develop tone, teamwork, and confidence in tenor-bass choirs.
I want to encourage everyone to register for this year’s CMEA Conference as soon as possible. The earlier you register, the cheaper the price is for you or whoever pays for your registration. This year, con-
Bryan Kettlewell
Vocal Music Council Chair
ference-wide wi-fi will be included for all conference attendees. I know that has been an issue in years past, and we are excited to provide this service to everyone.
Although it is only October, it is time to start thinking about whether your choirs and ensembles should submit an audition for the following year’s CMEA Conference. Let’s say you have a stellar group of Sophomores and Juniors, or a great 6th-7th grade group of kids. Please consider submitting them for selection. Remember that any recording from the current school year can be used for your audition, so even your upcoming October concert can be used as part of your audition. Materials are not due until May 2026, but that doesn’t mean you have to wait to record them until then.
Finally, we are still seeking individuals to run for election and join our Vocal Music Council. This year we are looking for people from districts 2, 4, 6 and 8 to join us on the VMC. If you don’t know which district you
are in, simply go to the CMEA website, www.cmeaonline.org and check out our map listed there. Serving on the council is truly a rewarding experience, and it helps you get to know more educators from across the state. You also have a direct voice in helping select the sessions and ensembles that are presented at the upcoming CMEA Conference. If elected, you will serve a two year term and get to add your unique voice to the process. I highly encourage anyone to run for elections, or encourage a colleague to run. If you are interested, please fill out the following google form to let us know who you are: Election Google Form We are greatly looking forward to this year’s conference, and we’d love to talk to you in person when we’re there. You can also reach out via email at any time: vocalmusiccouncilchaircmea@cmeaonline.org. Thank you all very much, and I wish you all the best as you continue through this school year.
Chadron State College Music Program
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Tri-M News
Greetings from Tri-M,
I know it is already the middle of October, and yet for those who started school a week later, you are still feeling overwhelmed and behind. Know that you are not alone, and you can only move as fast as your program will allow you to move. Easier said than done but know that whatever you do your students still benefit every day.
If you are a first-year teacher or a veteran, I encourage you to consider starting a Tri-M Music Honor Society chapter at your school. Directors carry so much on their plates and there are never enough hours in the day to get it all done. Tri-m can help with some of those details you don’t have time for. They can help organize your sectionals and provide entertainment for events that your administrator requests at the last minute. They can tighten and repaint those music stands
that have been broken for over for a year. Regardless of what your needs may be, a Tri-M chapter may be just the thing you are looking for. What are you waiting for? Start a chapter today at www.nafme.org. Hover over the “Student Opportunities” tab and click on Tri-M. There you will find information on how to start a chapter, renew your chapter, or get ideas of what a Tri-M chapter looks like. You will even find fundraising opportunities and chapter projects.
I would like to take this opportunity to invite you and your students to Tri-M Day 2026. It will take place on Wednesday January 28th at the Broadmoor Hotel in Colorado Springs. Students can create their own schedule and select sessions that meet their musical needs. We have sessions for Band, Orchestra, and Choir. You will find nationally recognized clinicians, as well as fantastic in-state and out-of-state clinicians. Registration will start
Michelle Ewer Tri-M Chair
around the first of November. Watch for it at cmeaonline.org
Back by popular demand, the 101st Army Band will bring their Jazz Band with vocals and perform for us. Dance, sing, and form a conga line as our own 101st Army Band entertains us.
If you are a new chapter or you have moved schools, please email
me at TriMChairCMEA@cmeaonline.org to share your contact. This way I can add you to my distribution list. Please reach out with any questions. I am always happy to talk Tri-M anytime.
Sincerely,
Michelle Ewer
Colorado Tri-M chair TriMChairCMEA@cmeaonline.org
Colorado Music Educator
Member News
Welcome Back!
I hope your school year is off to a strong and fulfilling start for you and your students. By this point in October, many of us are deep into concert preparations, marching band competitions, and getting our students ready for honor ensemble auditions. Remember the importance of dedicating time for yourself just as much as you dedicate time to your students and your music programs. Keep up the good work and know that you are making a difference in the lives of your students every single day!
On behalf of the Colorado Music Educators Association (CMEA), thank you for your continued commitment to excellence in music education. CMEA, in partnership with the National Association for Music Education (NAfME), is here to provide you with a network of support in the important work that you do every day you step into a classroom.
Renewing Your Membership
At this time of year, it is essential to ensure that your membership with NAfME and CMEA is active. Membership in NAfME and CMEA go hand in hand and both are renewed together. You may renew or join at: https://nafme.org/membership/join/
If there are new music educators in your district, please share this link with them as well. Joining early in the school year ensures that they are immediately connected with the professional resources, the community, and the advocacy efforts that will support them in their teaching career.
Please also remember that NAfME/CMEA membership is a requirement for participation in all Colorado All-State honor ensembles. Directors must be active members when auditions are submitted. Auditions begin as early
Trey Tafoya Membership Chair
as October! If a director’s membership is not current at the time of the audition, their students will be ineligible to audition for the honor ensembles. Renewing now ensures that your students will not miss out on these important and impactful opportunities.
Looking for Support from Your Administrators?
To help ensure your continued participation as an active member, we have included a formal letter for your school and district administrators [CLICK HERE]. This letter explains the importance of CMEA membership and outlines how attending the conference directly benefits both teachers and students.
Last year, many of our members reported that the letter was helpful and beneficial in explaining the importance of our work and why participation is so crucial. In some cases, sharing this letter
with school administrators helped teachers secure professional development funds to cover costs of registration and membership dues. Some administrators even went further, providing financial support for travel and lodging so their teachers could attend. I encourage you to present this letter to your administrator as soon as possible and use it as a tool to advocate for the professional support that you need to maintain your membership and attend our conference.
The Benefits of Membership
Remember that membership provides a wide variety of resources that can make a direct impact in your classrooms and your programs. Some highlights of membership include:
• Professional Learning: Access to journals such as the Music Educators Journal and Teaching Music. These two publications are written by teachers for teachers,
and they provide tools, resources, and insights that you can use tomorrow!
• Advocacy: The resources that NAfME has compiled for educators to use to advocate for music education are beyond comparison. Look through all of the guidelines and toolkits available to help you advocate for your students.
• Student Opportunities: Membership ensures that your students can participate in state honor ensembles and the Tr-M® Music Honor Society, both of which provide invaluable experiences that will shape your students and help them grow as musicians and future leaders.
These are just some of the benefits of active membership. I encourage you to explore more of what CMEA and NAfME have to offer by visiting either of our websites.
We Have a Shared Commitment
The Colorado Music Educators Association is committed to advancing music education for all students in our state. Renewing your membership and attending the CMEA Conference are vital ways to remain engaged, supported, and connected. By investing in your own professional growth, you are investing in your students and the future of music education in the great state of Colorado.
I am honored to serve as your current Membership Chair and to work alongside you as a fellow music educator, building a strong and vibrant community of music educators. Please do not hesitate to reach out if you have questions about membership or if I can support you in any way.
Warm regards,
Trey Tafoya CMEA Membership Chair
Colorado Music Educator
Retired Members
Hello Retired Members,
I hope you have all had productive and enjoyable summer months and are looking forward to a beautiful fall. With the extra moisture we’ve had in Northern CO, we’ve had beautiful flowers in our yard all summer, and now a bumper crop of vegetables from the garden, but we’ve also had the weeds. Oh, the weeds! Once again, like clockwork, the middle of August comes around, and you can feel an extra bit of crispness in the air in the morning. By the end of August, there are signs on a few trees that let you know fall is on the way. I’ve just returned from a few nights camping in Rocky Mountain National Park, and the elk are bugling all night, all morning, all evening, and even sometimes during the day. It got me thinking of other sounds in nature that remind me of the beautiful places we can enjoy outdoors. Some of my favorites are the sounds of coyotes in the desert, loons on a lake, bird calls echoing through the
canyon, and water running past your campsite. What are some sounds of nature that you enjoy?
Well, if fall is in the air, the CMEA Conference can’t be too far off.
At the conference last year, retired members presided over a new category of sessions, offerings that would appeal to all disciplines. That will continue this year with sessions focused on educational buzzwords, restorative practices, student-teacher/mentor-teacher experiences, using AI, thriving, passion for the profession, empowering underrepresented voices, and how retired you want to be (can’t miss that one!). Are you interested in presiding at one of these sessions? If yes, click here to sign up.
Please attend the retirement banquet at the CMEA Convention! There’s great food, and you can meet up with friends and have some relaxing, wonderful conversations. We have changed the starting time of the banquet to 12:00 (for a
Kirk Vogel
Retired Members Chair
If Fall is in the air, the CMEA Conference can’t be too far off.
more convenient time to eat lunch, as you requested), and we have extended the duration to 90 minutes to allow for more casual conversation. The banquet is included in your registration if you register by December 23, so enjoy the benefit of being a retired member and see all your retired friends at the banquet! Your guest must also be registered by December 23. Sorry, we cannot make any exceptions if you miss the deadline.
Attending the conference always includes at least some grumbling about the prices of everything. The registration is too much, the hotel is too much, etc. Last year, I attended a conference in Columbus, OH, where my room in a regular downtown hotel was the same price as the conference rate at the Broadmoor. The Broadmoor gives you a lot for the price! Spending time in the Library Room, sitting on the Mezzanine talking to friends, playing backgammon or having fun in the hotel bar on the Mezzanine are all unique Broadmoor offerings,
and the beautiful surroundings of the property all provide a wonderful setting. This is all above and beyond the conference offerings of wonderful clinics and outstanding performances. Additionally, various registration options include or exclude NAfME membership. This might be an attractive option for some retirees. I hope that you can find a way to attend the CMEA Conference affordably. There’s a lot there for you!
Come for the grandeur of the Broadmoor, come for the beautiful music of Colorado students, come to see your colleagues, come for the beautiful banquet, and wonderful retired folk. Whatever the reason, just come to the Broadmoor for the annual CMEA Conference, you’ll be glad you did, and we’ll be glad to see you!
I started in a new position in a different school and district this school year and while this is my 18th year teaching, it was as challenging a start to a year as I’ve ever had. Combining pre-existing systems, processes, procedures, and merging my new ideas into what was pre-established while learning building and district rules, procedures, and norms was a lot to handle. With end of the year concerts and celebrations still resonating in my mind, I always forget how rough it is to even get to the first day of music making; instrument distribution, instrument rental contracts, locker assignments, method book distribution, revising syllabi and handbooks, and never enough time during in-service days leading up to the first day to get it done. It was the perfect school year for me to try a new philosophy. “Start with A.I.” As music educators we always have
too much to do and as educators, we all know the feeling of more and more getting piled onto our plates without anything ever off. And this is where I think using A.I. (such as Chat GPT or Google Gemini for example) can come into play. Here are a few things that I used A.I. for in the first few weeks of school:
• Syllabus writing – drafting or polishing course syllabi in student-friendly language.
• I uploaded last year’s syllabus and asked for additions that I needed
• I also asked A.I. to generate sequential syllabi so my three concert bands had similar language/wording, while still being differentiated by course ability level
• Classroom rules & expectations
• We create classroom agreements as a class but A.I. gave us a starting point for inclass discussions
Sean Hedding Technology Chair
Important note: this article was written by a human
• First-week activities and Icebreakers
• Grading rubrics
• Goal-setting (SMART Goals, anyone?)
• Create a “I forgot my instrument rehearsal follow-along form”
A controversial addition to the list… using A.I. to help formulate a reply to an upset parent or difficult situation. I struggle with taking my job performance and critique thereof very personally. Handing off the first draft to A.I. has really helped me avoid dwelling on this after hours.
Leaving my limited scope of Technology Chair for a minute, I also have to share that A.I. shouldn’t just be limited to things for work. I’ve used A.I. to help create a diet to meet my health and fitness goals while giving me meal by meal preparation instructions and grocery lists all while avoiding foods I dislike. I was able to cancel sub-
scriptions to meal planning services and food meal prep delivery and haven’t had a repeated meal in my first few weeks this school year.
There really is no limit to what A.I. can take off your plate. My only advice, other than to start with A.I., is to remember that you are ultimately responsible for your program. A.I. is far from perfect and A.I. is great at giving you a head start on your tasks. I don’t think A.I. should be in charge of all your communication, lesson planning, or be the guiding light in your classroom. You are the music educator, afterall.
I wish you all the best this school year and hope you can find something A.I. can take off your plate.
Best wishes,
Sean Hedding Technology Chair
Krissie Weimer Research Chair
Krissie Weimers Research Chair
Reseach News
Welcome back to another academic year! We are looking forward to hosting two research sessions at CMEA, and will share more details about presentation topics and presenters closer to the conference. While the submission deadline for presenting research at CMEA has passed, we invite all researchers to
ologies, including literature reviews and action research. This is a nice publication opportunity for junior faculty and graduate students. Please see previous journals for examples of work published: https:// cmeaonline.org/publications/. Manuscripts should be emailed directly to both Krissie Weimer and Margie
Colorado All-State Jazz Bands
The Colorado Bandmasters Association announces the 2026 Colorado All-State Jazz Bands, which will perform during the Colorado Music Educators Association Clinic/Conference at the Broadmoor Hotel, Colorado Springs, January 29–31, 2026. The culminating concert is scheduled for Saturday, January 31, at 2:00 PM in the Broadmoor International Center.
tise with schools and universities nationwide. As a bandleader and recording artist, she has performed at major jazz venues and festivals across the United States, including an upcoming appearance at the 2026 JEN Conference in New Orleans. In 2023, she co-founded Brava Jazz Publishing, a pioneering platform dedicated to amplifying the work of women composers and arrangers in jazz.
Auditions are due via video submission by Monday, November 17, 2025, at 5:00 PM with a $30 fee. Selected students pay a $50 participation fee and must attend all rehearsals and performances.
The Colorado All-State Jazz Band will be directed by Caleb Chapman (Soundhouse), a GRAMMY-nominated saxophonist and nationally recognized music educator. Chapman has served as President of the Jazz Education Network (JEN), directed the Jazz Band of America, festivals, and shares her exper-
Colorado Middle School
All-State Choir
Colorado Middle School All State Choir is excited to be in the midst of another year offering seventh and eighth grade students across the state an opportunity to work with some of the best choral directors in the business! All auditions were due on October 10, 2025 at 5pm. Directors will be notified of their students’ results by email by December 1st.
Colorado Middle School All State Choir will be held on February 12-13, 2026 at the Colorado Convention Center culminating in a concert in the 5,000 seat Bellco Theatre at 6:30pm. We invite any and all to come and support our hardworking and dedicated students. Tickets are $20/Adult and $15/Senior/Child. Ticket sales will go live in December, a link can be found on our website. We are so excited for our 2026 Clinicians Dr. Clelyn Chapin (UNC), Mary Biddlecombe (Blair Academy at Vanderbilt), and Joel Duarte (Booker T. Washington High School for Performing and Visual Arts).
ing as many avenues to participate in our event as possible. The CMASC Board voted to enact a “One Per School” policy which guarantees at least one student per school will be accepted as long as their audition scores are above a cutoff score that is determined each year. We first used this policy in 2024-2025 and saw representation from 11 new schools. We want to continue to make our all state event truly representative of our entire state.
We would like to thank all our amazing music educators, supporters and members of the CMASC Board who work tirelessly to make the event a huge success every year. If you have any questions or need any additional information we’d be happy to help! Please contact either co-chairs or your district governor. All info can be found on our website: https://www.msallstatechoir.org/.
Co-Chairs, Carly Bright (CBright@lps.k12.co.us)
Julia Wirth (julia_wirth@dpsk12.net)
Colorado All-State Orchestra
Ben Dale, Chair
Colorado All-State Orchestra is thrilled to welcome Dr. Chris Cicconi and Brian Balmages as guest conductors for our 74th annual Colorado All-State Orchestra, February 5-7, 2026, CSU Ft. Collins!
Dr. Cicconi will lead the Philharmonic Orchestra in a performance to include Of Our New Day Begun by Omar Thomas, Huapango by Jose Moncayo and Hungarian Rhapsody No. 2 by Franz Liszt (Doppler).
Mr. Balmages and the Symphony Orchestra will perform Through Waterless Places, a work by Mr. Balmages, Bernstein’s Overture to Candide, and Jennifer Higdon’s blue cathedral.
As always, Colorado All State Orchestra is grateful for the overwhelming support and generosity of Colorado State University and the faculty and staff who make the event possible.
Recorded auditions are due Friday, November 14, 2025 by 5:00 pm. More details about the event including audition information can be found at: www.coloradoallstateorchestra.org
Wishing you all the best, Ben Dale, Chair coloradoaso@gmail.com
Colorado Music Educator
NAVIGATING IMPOSTER PHENOMENON (IP) IN GRADUATE MUSIC PROGRAMS
HIM
Does it make you feel any better to know that other graduate students experience [IMPOSTER PHENOMENON] too?
ME
No. It doesn’t. In fact, it’s infuriating that [IMPOSTER PHENOMENON] is such a widespread experience, almost like a prerequisite to acquire a graduate degree!
What is Imposter Phenomenon and where does it come from:
When advancing your education becomes a legitimate question of self-worth and belonging, sincere reflection is necessary to sustain a graduate school lifestyle. For me, it arose in seemingly small and insignificant thoughts: the feeling as if what I offer in class is not as valid, exciting, or relevant as what my peers can share and noticing how I feel received by others in comparison. While graduate music programs should intentionally advance the skills and knowledge of their students, it should not require a mental detriment to successfully obtain the degree. This composition will provide a brief historical relevance of Imposter Phenomenon, highlight five established views of competence, and outline steps that can be taken to minimize the impacts of IP in graduate music programs. While the context is presented for graduate music students and professors, students and teachers of all levels may find the information pertinent to their success with music education. Dr. Rick Hanson along with his son, Forest, of
the “Being Well” podcast, define the shame driven feelings of IP as “self-doubt and inadequacy brought on by the perception that [one] is not actually good at what they are being asked to do or that they do not belong in a group, despite external evidence that they are high-performing and capable.” Dr. Rick further clarifies the pattern as “a fearful habit inside your own mind, not letting it land that you’re good enough, and deeply not letting it land when enough is actually enough. I’ve known people who are very attached to that fear-based cycle.”
The original conceptualization of IP stems from a 1978 article titled “The Impostor Phenomenon in High Achieving Women: Dynamics and Therapeutic Intervention” by Dr. Pauline Clance, Professor Emerita of Psychology at Georgia State University, and Dr. Suzanne Imes, clinical psychologist. The initial research focuses on 178 high achieving women and discovered that they consistently found “means of negating any external evidence that contradicts their belief that they are, in reality, unintelligent.” Clance and Imes
Lauren Milbourn Guest Article
also identify that these “clinical symptoms more frequently reported are anxiety, lack of self-confidence, depression, and frustration related to inability to meet self-imposed standards of achievements.” Despite this research being of the 1970’s, its findings remain incredibly relevant today, to people of all identities.
Five Views of Competence with Imposter Phenomenon:
Dr. Valerie Young, Ed.D., founder of The Imposter Syndrome Institute, assures us that more than one of these competence views may be applicable for an individual encountering the phenomenon.
The Perfectionist: has a primary focus on “how” something is done. A prime example from Dr. Young describes The Perfectionist mentality as “one minor flaw in an otherwise stellar performance, or 99 out of 100, equals failure and thus shame.” The Perfectionist may often find themselves focusing on the quality of their work, to the point of demanding perfection and avoiding new things. In fact, the fear of making a mistake can create paralysis leading to procrastination. To reframe this value in a healthy way, The Perfectionist must reflect on standards and prioritizations. Try and redefine what you mean by 100%. This is
not lowering your standards. Perfection is a never-ending journey, and acceptance should include always having room for improvement.
The Superhero: is someone who measures competence based on “how many” roles they can both juggle and excel in. Falling short in any role evokes shame because they feel they should be able to handle it all — perfectly and easily. What this kind of person may fail to realize is how anxieties or guilt complexes arise because of unjustly pushing oneself beyond healthy limitations. Developing the capacity to ask for help and delegation may serve The Superhero most effectively rather than demanding too much of themself.
The Natural Genius: feels that competence is measured in terms of ease and speed. Encountering struggle, hardship, or multiple attempts in pursuit of mastering a skill or task may evoke shame. Someone with this mindset may believe that all things must come easily to them, and in turn, experiencing challenging times will be perceived as failure. The final performance is a product, however, most of our time is spent preparing to get there. Acceptance that learning is a necessary part of success debunks The Natural Genius theory. This can be a challenging, yet powerful, mental
shift.
The Expert: the primary concern is on “what” and “how much” they know or can do; someone who believes they must know everything and have all the answers. When, inevitably, they do not have all the answers, they may consider themselves a fraud. No one possesses all the answers by their debut, but it is the courage of engaging in one’s craft and passion regardless of not knowing everything that leads to growth, knowledge, and expertise in the future.
The Soloist: feels that they must do everything themselves. To make it on the achievement list, it must be The Soloist, and them alone. For this perspective, needing help is a sign of failure that evokes shame. Perhaps it is fear of how others will perceive them, sensing they are a burden to others, or even a combination of both. To avoid the need for task isolation, people who hold this value must identify those who they can trust and complement them well.
Changing the Channel from Imposter Phenomenon:
Dr. Wendy Sims, Director of Undergraduate/ Graduate Studies in Music Education at the University of Missouri, and Jane Cassidy, Professor of Music Education at Louisiana State University, defend this sentiment: ”IP feelings are not just low self-esteem, Type A tendencies, or generalized anxiety that result from stressful tasks; they are a unique and unfortunate blend of psychological disturbances that can have tremendous consequences for the sufferers, from lack of energy, insomnia, to an inability to enjoy one’s own success.” Sims and Cassidy completed a study to determine how variance in individual identities can affect feelings of IP in music graduate music students: including 130 master and doctoral students, ranging from ages 26 to 35. The results were substantial, reflecting a profound impact of Imposter Phenomenon throughout their participants: Full-time student status was associated with stronger IP responses than part-time sta-
tus, as was working on the degree in-person versus hybrid. More frequent and intense impostor feelings were experienced by females versus males, students who were not married or in a committed relationship, and those who were the first in their family to attend graduate school. Master’s and doctoral students’ IP responses were not different, but successive years in the graduate program were associated with stronger impostor feelings.
One of my favorite, tangible examples of IP comes from Matthew Tomatz, Embedded Therapist with the College of Music at the University of Colorado Boulder. Tomatz offers his observations on patterns of procrastination and vulnerability with graduate students:
One thing that does relate more correctly to IP is I have seen grad students - in all realms - use teaching or TA duties in a sense as a defense from the vulnerability of the task that is more vulnerable; i.e. sharing your work, preparing a proposal. It is a form of procrastination to protect yourself from the vulnerability - which means shame - of saying “Here is my idea” and someone saying “No, it’s not good enough.” “At least I know how to do the schedule for the marching band,” it’s easy in a way, rather than “I’m going to write a thesis that is going to be evaluated and judged; or prepare my score which will be evaluated and judged.”
Based on the detrimental effects of strong impostor feelings, the findings should raise concern for students, their instructors and mentors. Since the ramifications of Imposter Phenomenon are individualistic, intrinsic perspective shifts may work in some cases while extrinsic adjustments may be necessary for others.
Extrinsic elements for aiding IP will be primarily affected by a graduate student’s advisor, professors, and the institution’s
environment. Matthew Tomatz provides this perspective for advisors and collegiate professors to strive for with their students: ”The primary teacher or advisor is central to how people perceive themselves within their career. Once they are your student they belong. You need to foster a sense of belonging and welcoming of intelligence. If you do not quite understand it, just support the intelligence that is there and help it take structure.” Collegiate advisors must constantly reflect on if their expectations, guidelines, and feedback are clear and being presented in a positive manner for all graduate students. Using early, lowstakes assessment, providing quick feedback, and allowing students to submit draft writing for feedback were suggested as ways instructors could help reduce student anxiousness. Having established guidance and positive reinforcements from advisors in music programs can make a significant difference externally.
Internal elements for reducing IP will be primarily attributed to the student’s alignment of personal values and reflections as they relate to their own graduate school performance. Martha Knudson, executive director of the Utah State Bar’s Well-Being Committee for the Legal Profession, offers additional strategies for graduate students to alleviate IP. First you must notice your emotions and recognize when you are struggling. Next, one must trace the trigger(s); identifying clearer indications of what activated these feelings and acknowledging that there may be multiple causes. Third, reframe distorted beliefs. Knudson offers questions which call back to the five competence views of IP: “Is being perfect the only way to be successful? Do you really have to go it alone?” In this stage, one will cross-examine the distorted belief that they are incapable and consid-
er the evidence that they do have what it takes. Finally, treat oneself with kindness and respect. “Berating [oneself] for being human in the face of challenge is counterproductive. Everyone feels overwhelmed and anxious sometimes. Offer yourself encouragement and treat yourself like a friend.”
Dr. Rick Hanson highlights intrinsically motivating questions to redirect one’s attention toward a more productive way of evaluating competence. He refers to them as Inner-Directed Standards: Am I trying hard? Am I showing up? Am I learning from mistakes? Am I managing my activities in a workplace environment? Am I building alliances? Am I ticking the internal boxes in a situation that is externally pernicious? These intrinsically motivating questions, along with learning to rely on the support of those closest to me and mental health professionals, made a substantial difference in my graduate school experience. This exploration has helped me form a new mantra: no matter how teachers, colleagues, and friends in [a] graduate program perceive me, it is imperative to keep my personal growth, focus, aspirations, and passions in the forefront. Dr. Hanson offers that “small steps sustain over time.” All components to resolving IP are valid and successful when consistently achieved. The influence of Imposter Phenomenon merged with the stressors of graduate school can leave its students with insistent feelings of distress and insecurity, having lasting repercussions such as job burnout in music and impacts of energy, sleep, personal sense of fulfillment and pride in one’s accomplishments. Necessary reflection must be prioritized by students and professors alike to allow for a sustainable and positive graduate school lifestyle.
References
Clance, Pauline, and Suzanne A. Imes. “The imposter phenomenon in high achieving women: Dynamics and therapeutic intervention,” Psychotherapy 15, no. 3 (1978) 241-247. https://doi.org/10.1037/h0086006.
Crawford, Julia T. “Imposter Syndrome for Women in Male Dominated Careers,” Hastings Women’s Law Journal 32, no. 2 (2021): 26-75. https://research-ebsco-com.colorado.idm. oclc.org/linkprocessor/plink?id=96682510-b248-3cbf-b844-8ef1d190bfb9.
Hanson, Forrest and Rick Hanson. ”How to Overcome Imposter Syndrome: Self-Doubt, Confidence, and Authenticity,” May 29, 2023, in Being Well with Forrest Hanson and Dr. Rick Hanson, podcast, audio, 57, https://www.forresthanson.com/being-well.
Knudson, Martha. “Overcoming Imposter Syndrome: What It Is, What It Isn’t, and What You Can Do About It,” Utah Bar Journal 35, no. 6 (2022): 39-43. https://research-ebsco-com.colorado. idm.oclc.org/linkprocessor/plink?id=b3a8490c-a95d-37a9-bc79-099fe807205e.
“Imposter Syndrome.” The Decision Lab. Accessed May 24, 2025. https://thedecisionlab.com/reference-guide/organizational-behavior/impostor-syndrome.
“The Ultimate Guide to: Imposter Syndrome for Musicians.” Musical U. Accessed March 24, 2025. https://www.musical-u.com/learn/the-ultimate-guide-to-imposter-syndrome-formusicians.
Tomatz, Matthew. “Tomatz Conversations.” Interview by Lauren Milbourn. TMUS 6957, March 19, 2024. Audio, 47:14.
Schwartz, Susan E. “Imposter Syndrome and The ‘As-If’ Personality in Analytical Psychology: The Fragility of Self.” London: Routledge, 2023. https://doi.org/10.4324/9781003315254.
Sims, Wendy, and Jane W. Cassidy. “Imposter Phenomenon Responses of Early Career Music Education Faculty.” Journal of Research in Music Education 67, no. 1 (April 2019): 45-61. https://doi.org/10.1177/0022429418812464.
——— “Imposter Feelings of Music Education Graduate Students.” Journal of Research in Music Education 68, no. 3 (October 2020): 249-263. https://doi./10.1177/0022429420946899
Lauren Milbourn is a passionate advocate for music education and resource accessibility. A versatile musician, her work spans teaching, conducting, music research, and international performance on bass clarinet and clarinet. Lauren holds a Bachelor’s Degree in Music Education from the University of Nebraska Omaha and a Master of Music in Wind Band Conducting from the University of Colorado Boulder. Milbourn previously served as Assistant Director of Bands at Millard South High School, where she taught for four years at both the elementary and high school levels and served on the district instrumental leadership team. In the summer, she works with the George N. Parks Drum Major Academy and the Nebraska Masonic All-star Marching Band, helping young musicians develop their musicianship and leadership skills. Outside of music, Lauren enjoys traveling with her husband, Brian, and their two cats, Stella and Toshiko.
Past Presidents of CMEA
1943-1946 Hugh E. McMillen+*
1946-1948 Katharyn Bauder*
1948-1950 Gus E. Jackson*
1950-1952 Mabel Henderson*
1952-1954 Paul Zahradka*
1954-1956 Warner L. Imig*
1956-1958 John T. Roberts+*
1958-1960 John Held+*
1960-1962 Byron Syring*
1962-1964 Charles Meeker*
1964-1966 Leo Meyer*
1966-1968 Jo Ann Baird+*
1968-1970 Dwight Dale *
1970-1972 James Miller*
1972-1974 Alex Campbell+*
1974-1976 Ralph Levy*
1976-1978 Larry Perkins*
1978-1980 E’Rena Hockenberry*
1980-1982 Kevin McCarthy
1982-1984 Herbert Goodrich
1984-1987 Earl Berglund*
1987-1990 Elza Daugherty+*
1990-1992 Norma Hess*
1992-1994 Mike Weiker*
1994-1996 Willie Hill, Jr.# 1996-1998 Bette Lunn*
1998-2000 Frank Montera* 2000-2002 Michael Kornelsen
2002-2004 Janet Montgomery* 2004-2006 Steve Meininger 2006-2008 Michelle Ewer 2008-2010 Cindy McCaskill 2010-2012 Tricia Kidd+ 2012-2014 Richard Shaw 2014-2016 Mark Hudson 2016-2018 Raleigh “Butch” Eversole 2018-2019 Mark Walters* 2019-2022 Kevin Beaber 2022-2024 Cynthia Eversole
*deceased
+SWMENC President
#MENC President
In Memoriam guidelines
As a community, CMEA publicly honors the passing of current, retired, and past educators that were members of CMEA in our quarterly Colorado Music Educators Journal. If you know of someone who has past and should be recognized you are asked to submit the following information to Margie Camp at communicationscmea@cmeaonline.org.
Following are the guidelines for these notices
• Upon the passing of current, retired, and past educators that were members of CMEA, a notice will be posted in the In Memoriam section of the CMEA Journal in the Fall, Winter, or Spring issue. These notices will include the deceased’s First and Last Name, a brief description of where they were employed, positions held on the CMEA board or state assembly, the date of passing if known. You are also asked to include a link to any publicly available information about funeral or memorial arrangements.
• We invite anyone to share news of the passing of a current, retired, and or past educators that were members of CMEA, so that we can honor them. Please send such information to communicationscmea@cmeaonline.org.
