Expand your range in the foothills of the Rockies.
Advanced musical training, professional-level experiences, diverse opportunities for collaboration and a spirit of inclusive excellence await you at the University of Colorado Boulder College of Music.
Our faculty are deeply dedicated pedagogues standing by to support your success in your musical endeavors— whether your passion is to teach, perform, compose, research or rethink music entirely.
Application deadline: Dec. 1, 2024
Summer Master of Music Education application deadline: March 1, 2025
Audition dates: Jan. 18, Jan. 25, and Feb. 8, 2025
undergraduate.music@colorado.edu
graduate.music@colorado.edu
Colorado Music Educator
Colorado Music Educator is the official publication of the Colorado Music Educators Association, a federated state unit of NAfME: The National Association for Music Education (which is an affiliate of the National Education Association) and is affiliated with the Colorado Education Association.
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
Appreciate-Ins Appreciate-InspireSupport-Guide
Happy early Fall!
I’m very late in writing this article! I just received a reminder that it was due two weeks ago… TruthfullyLife circumstances keep getting in the way. My father-in-law recently passed away and the memorial service didn’t go the way the immediate family had hoped. Lots of details to care for, possessions to sell or give away, relationships to rekindle and nurture, support each other to begin the healing process… The pause button was pushed for everything else. The outreach of family and friends has been extremely welcomed, and professional counsel was sought out for legal and financial decisions.
I didn’t realize when putting together the theme for our upcoming conference in January that it would represent the theme our
family would be living out over the next few months. It now seems very clear to me that the words in the CMEA banner above are much more important than what I intended when I chose them. At that time, I was thinking about a teacher’s focus on their students. Today, I’m centered on targeting my colleagues! How might we better Appreciate, Inspire, Support, and Guide those who teach music education? I cannot answer for you. I would need to consider a colleague’s situation, the classes they teach, the area they live in, school dynamics…, and a multitude of specifics that change with every position. However, I can suggest ways that our colleagues can find help in each of these areas.
Each of us has the responsibility to offer help to our music-teaching brothers and sisters. That may seem like an impossibility because
Appreciate-Ins
CASEY
CROPP CMEA PRESIDENT
Finding ways to make music education stronger, helping each other to better equip students musically, teaming together to be more efficient, caring, and effective
we often find ourselves overloaded and run down with the schedule and tasks that are constantly looming. But it may turn out to be a blessing in that, many times, helping a colleague brings a return on your investment. They may surprise you by doing something to help your program that you may not be able to do by yourself. Building relationships with fellow music teachers has been the most impactful and positive tool in my teaching arsenal. I didn’t understand when I started teaching that music teachers are the most unselfish, giving, and generous individuals I could surround myself with! I have leaned on many throughout my career for all needs, whether they were instructional, student behavior, literature selection, or my nemesis –technology (I started teaching just as desktop computers were becoming a “thing” and I still only type with two fingers!!).
Being the CMEA President, you will expect that I encourage and hope you will attend CMEA in late January/
early February, but please consider the following few thoughts.
APPRECIATE – INSPIRE – SUPPORT – GUIDE
These originally were intended to be terms that would help the music teachers in Colorado. However, after experiencing “life” over the past few weeks, I’d encourage you to look with a different perspective upon the meaning of those four words… I’d ask you again to consider your role in what you might do for your colleagues… What role and responsibility do you have in laying a stronger foundation for the work we do in Colorado not just for students, but with our fellow teachers?
CMEA is not the solution!! It’s only a beginning!! A beginning to finding ways to make music education stronger, helping each other to better equip students musically, teaming together to be more efficient, caring, and effective. It’s only a beginning in developing relationships with dynamic and creative people who
share the love of music. It’s only the beginning of friendships that last a lifetime and have powerful meaning and purpose for more than a career.
That’s my perspective. That’s how it has worked for me. It wasn’t CMEA! It was the opportunity that CMEA - and events like it - that have allowed me a change in perspective. Those of you who are “experienced teachers” like me (which only means we’ve performed Holst’s Suite in Eb more than 25 times in our career) will remember a quote from President John F. Kennedy that resonates with me… “Ask not what your country can do for you… ask what you can do for your country!” I pose this same sentiment to each of you as members of music education - What are you willing to do to help your colleagues?
CMEA may not be the answer, but it may very well be the start!!
I hope you’ll all join us in Colorado Springs this upcoming January. Until then, my best wishes to each of you for all you do!!
Vocal News Vocal Council News
As you approach the busy winter concert season, I hope this message finds you thriving and inspired by the music being created in your classrooms. This fall, I want to focus on a crucial aspect of our success as choral educators—parental involvement and community engagement. Building strong relationships with the families of our students and our broader communities can greatly enhance the impact of our choral programs and provide students with a more enriching musical experience.
Fostering a Culture of Parental Involvement
Parents can be invaluable partners in the success of a choral program.
One way to involve parents is by forming a Choir Booster Club or a similar parent support group. These groups can assist with logistical tasks such as concert setup, fundraising, and coordinating event chaperones, freeing you to focus on teaching and preparing your choir. Involving parents in non-musical roles also allows them to feel invested in the program and see firsthand the value their children gain through choral music.
Another strategy is to host “Parent Open Rehearsals” once a semester. Invite parents to attend a regular rehearsal to give them a glimpse into the music-making process. You might even let them participate in a simple warm-up or two. This not
The Power of Parental Involvement and Community Engagement in Choral Programs
only gives parents insight into their children’s hard work but also shows them the collaborative and supportive environment of your choir classroom.
Engaging the Broader Community
In addition to working with parents, developing a solid connection with your local community can elevate your program to new heights. One way to do this is through community performances. Whether it’s performing at local events, collaborating with community choirs, or singing at a nearby retirement home, these opportunities provide students with real-world experiences and help raise the profile of your choir within the community.
Consider establishing partnerships with local businesses to sponsor your choir’s activities. Many local businesses are eager to support youth programs in exchange for recognition in concert programs or online. These partnerships can help fund special projects, travel, or equipment, and they create mutually beneficial relationships that strengthen the community’s support for the arts.
Creating a Shared Vision with Parents and Community Members
One key to fostering ongoing support from both parents and the community is transparency and communication. Hosting annual or semester “Choir Town Halls”—either in person or virtually—can give you a platform to share your program’s vision, goals, and upcoming events with families and community stakeholders. This also allows parents and community members to ask questions and offer input, creating a collaborative atmosphere.
Additionally, maintaining regular and positive communication through newsletters, social media, or a choir website can keep parents and the community informed and engaged with your program. Celebrate your students’ achievements, share updates on upcoming performances, and highlight how parents and community members can continue to support your work.
Parent and Community Involvement as a Teaching Tool
Beyond logistical support, parental and community involvement can be a powerful teaching tool for students. Invite parents or local musicians to participate as guest artists or speakers in your rehearsals. Parents who
are professional musicians, vocalists, or even amateur singers can provide students with new perspectives and insights, enriching their learning experiences.
When students see their parents and community taking an active interest in their choral journey, it reinforces the value of what they are learning and contributes to their sense of pride and responsibility within the ensemble.
In Conclusion
Building strong relationships with parents and the community enhances the practical aspects of running a choral program and enriches the musical and personal experiences of your students. I encourage you to consider how to further involve these key stakeholders in your program, fostering a collaborative environment that supports and uplifts students and educators.
As always, please don’t hesitate to reach out with questions, concerns, or ideas. Thank you for your ongoing dedication to vocal music education and for continually striving to make your programs a cornerstone of your school and community.
ALYSSA MILLER
VOCAL MUSIC COUNCIL CHAIR
General General Music Council News
Welcome back to school for the 2024-2025 academic year! It is always refreshing to start the new year with a clean canvas and a plethora of creative ideas. It’s a new adventure, and hopefully, this one will be joyful as it unfolds!
As your General Music Council prepares for the upcoming conference, we are excited about what’s in store. This is not a conference you will want to miss! We have some amazing sessions and clinicians lined up for this year. Our West Music headliners, Sandy Lantz, and Gretchen Wahlberg, will be bring-
ing us a variety of sessions, including a black light party experience and a session highlighting the unique abilities of students with autism.
We are honored to have David Row joining us as the RMC-AOSA-sponsored clinician! David is a Nebraska native and Midwesterner at heart, who now lives and teaches in the Kansas City metro area for the DeSoto Unified School District. David is an active clinician and has presented workshops at national, state, and local conventions across the United States and Canada. He is an AOSA-approved Orff Schul-
KALINDA THEOBOLD GENERAL MUSIC COUNCIL CHAIR
As your General Music Council prepares for the upcoming conference, we are excited about what’s in store
werk teacher educator and teaches Level I Pedagogy each summer in Orlando and St. Louis. On his blog, MakeMomentsMatter.org, and through his podcast, David shares ideas about classroom content, management, lesson plans, critical thinking, and more. You won’t want to miss his sessions!
That’s not all! We have John Jacobson returning to move and groove with us again. He will share fun new ideas for dance, movement, and musicals, and he will bring the incredible Stacy Werner with him! Stacy will present some incredible sessions utilizing instruments in the classroom.
We will once again offer “Modern Band 101” through Music Will on Wednesday, January 29th. This is an all-day training for those interested in diving deeper into the world of modern band. Mary Claxton will lead this training and present quite a few amazing sessions for the remainder of the CMEA conference.
I wish I had time to tell you about all the amazing sessions coming your way at CMEA 2024, but instead, I will give you a taste.
• Sessions focused on Kodály, Orff, Modern Band, and technology
• Sessions on songwriting, popular music, improv, and children’s literature
• Sessions for ukulele, bucket drums, classroom percussion, and modern band instruments
• Sessions on inclusion, choice, SEL, students with autism, and an entire session for beginner teachers
• Reading sessions of new music with Andy Beck from Alfred Publishing
• A wide variety of cultural experiences from Latin America to Japan
• Three amazing performances, including a ukulele ensemble
It is safe to say that CMEA 2025 will be an amazing conference, and I hope you plan on being there! Please feel free to contact me with questions about the conference or to just say hello. You can reach me at cmea. gmc@gmail.com.
Instrumental Council News
As we embark on this new school year, let’s embrace the possibilities it holds for our students and ourselves as educators
Instrumental
TIM LIBBY INSTRUMENTAL MUSIC COUNCIL CHAIR
Welcome back to another exciting school year filled with music, creativity, and collaboration. I hope you had a rejuvenating summer and began the school year with renewed energy and enthusiasm!
The Instrumental Music Council is excited about the fantastic lineup of performances and clinics at the CMEA Convention from January 30th-February 1st at the Broadmoor. The conference promises an invaluable opportunity for music educators to learn, collaborate, and cultivate excellence. We are incredibly excited to announce that on Wednesday at 5:30pm, Peter Boonshaft will present a clinic on ways to energize your rehearsals,
followed by a concert presented by the Colorado Wind Ensemble at 7:30pm! Registration is now open on the website at cmeaonline.org.
As music educators, fostering creativity in our students is at the heart of what we do. This fall, let’s strive to inspire our young musicians by providing them with the tools they need to explore their creative potential. From composing original pieces to learning new instruments and using new technologies, let’s encourage our students to think outside the box and find their unique musical voices. If you have innovative classroom ideas, techniques, or resources to share with fellow educators, don’t hesi-
tate to contribute to our journal.
Mentorship has a profound impact on both new and experienced educators. If you’ve been in the field for a while, consider offering your wisdom and guidance to younger teachers who are just starting their careers. If you’re newer to the profession, don’t be afraid to seek out mentors who can provide valuable insights and support. The CMEA convention is a great opportunity to make these connections.
As we embark on this new school year, let’s embrace the possibilities it holds for our students and ourselves as educators. Let’s nurture creativity, mentor one another, and come together at the convention to celebrate the transformative power of music.
College/ University Council News
The aesthetic value of the arts is something unique in our lives, and you have an important role in bringing that experience to your students and community
University News
MARTINA MIRANDA COLLEGE/UNIVERSITY MUSIC COUNCIL CHAIR
On behalf of the council, I want to thank you for all of the time and effort you are putting into this busy season as we head into concerts, holiday celebrations, report cards, and planning for the Winter quarter. For many music teachers it does feel like the busiest time in the school calendar both at work and at home. While demanding, it is also rewarding to see the progress our students are making, and inspiring to share the beauty of the music we share. The aesthetic value of the arts is something unique in our lives, and you have an important role in bringing that
experience to your students and community. Thank you!
I’m excited to share a preview of our sessions for the upcoming conference. The council reviewed many strong proposals, and we feel confident you will appreciate the variety of topics and the perspectives of our clinicians. Our two featured clinicians from outside Colorado are:
Dr. Gerard Morris (University of Pugent Sound) sharing, “Recognizing what your students know and can do: Streamlining meaningful feedback with assessment in the music classroom.”
Dr. Matthew Schlomer (University of Wyoming) sharing, “Unraveling the Mysteries of Time and Rhythm in Teaching and Conducting.”
Additional topics include rural music education, assessment, Spanish integration, seeking a job (interviews and materials), building learning communities, and assisting students with practice strategies.
I look forward to seeing many of you in January, and wish you all the best through the rest of the fall.
Tri-M News Tri-M News
Nothing makes my day more complete than receiving a notification that a school is starting a Tri-M Chapter. It makes me smile all over. I love the fact that more schools are discovering that Tri-M can open so many doors for you and your students. I enjoy hearing how schools are creating their own chapters and doing what is best for their students. Do any two chapters look alike? Probably not and that is totally fine. Do what is best for your program. Do you want an induction ceremony, or do you just send invitations to join? The choice is yours. Visit NAFME Tri-M for more ideas
and to answer general questions on getting a chapter up and running. https://nafme.org/student-opportunities/tri-m-music-honor-society/
Of course, now that your chapter is active you do have Tri-M Day down on your calendar, right? Wednesday January 29th is going to be the best day ever. We have so much planned for you. Peter Boonshaft is our keynote this year. His session is called “If you Don’t Know, I Can’t Tell You”. I can hardly wait to hear his session. Students may choose 3 sessions to create their own convention. Here is a brief rundown:
1. Middle Schoolers on the MoveDance with Kathryn Ward
2. Part -Time Army Musician, Full Time Benefits- Kelsie McCallum
3. How to Practice: Frameworks from Athletic Training- Cayla Bellamy
4. Choral Improvisation: It’s not just for Jazz Choirs- Leila Heil
5. Developing your Low Brass: Beauty. Accuracy, Resonance and Power- Sean Flanigan
6. Developing an “ Adopt a Student Program” in your Tri-M Chapter- Erik Johnson
7. Move and Groove High School Session- Dance with Kathryn Ward
9. Composition and Arranging 101: Discover a new Hidden Talent or pursue your dream-Kevin Padworski
10. Beautiful Bowings: Developing the Bow arm to increase Tone Production- David Pope
MICHELLE EWER TRI-M CHAIR
Tri-M can open so many doors for you and your students
11. Zoom In Zoom Out: Fostering a Healthy and Sustainable Practice Mindset Through Self-Awareness, Self-Reflection, and Problem Solving- Sarah Off
12. The College Audition ProcessHow Planning and Preparation can Lead to a Successful Audition- Margaret Miller
13. Understanding Meter Through Conducting -A hands on Approach- Jennifer Grice
14. Know Yourself: Addressing and Integrating identities into our Well Being- Rebecca Jonas
15. Taking the Chaos out of Collaboration in the Vocal ClassroomClelyn Chapin
16. Practice Makes Practice: A Progressive Guide to Learning Musical Independence- Michael Wyndham and Kajsa Shea
17. Music after High School-What are my Options?- Lindsey Fulcher
18. Get Grooving- Erik Applegate, Dana Landry, Jim White and Steve Koyalcheck
How are you going to choose from so many incredible sessions? Registration opens in November. Plan on attending Tri-M Day 2025, January 29th. Broadmoor Hotel. Please reach out with any questions. If you are not on my email distribution list for Tri-m reach out to: TriMChairCMEA@ cmeaonline.org
Retired Members Retired Membership News
Well, didn’t summer go fast? I hope you were able to participate in some special activities, maybe some traveling, camping, hiking, working in the garden, or enjoying many of the outdoor activities in your community. It’s wonderful that so many different activities are available (many for free!) in the summertime.
CMEA is busy planning for the upcoming convention. This year’s theme is Cultivating Excellence: Appreciate, Inspire, Support, and Guide. I hope you will be able to attend and that you notice a few changes. In addition to offering clinics geared towards instrumental, vocal, and general music classrooms/teachers, a new category
KIRK VOGEL RETIRED MEMBERSHIP CHAIR
Retired members will preside over the new “Music in General” sessions
will encompass all those disciplines. There are some clinics applicable to all levels and all disciplines, so this new clinic category is titled “Music in General,” and the presiders at each of these sessions will be CMEA retired members. So, not only will you get a great clinic and excellent clinician with a topic applicable to any musician, but you will also get to run into one of your retired members. What an exciting time and an excellent opportunity to be involved at the CMEA Conference! I hope you can attend one or more of these sessions.
Last newsletter I challenged you to pass on your knowledge to those in the classroom. I hope you have been able to schedule a visit to a school to help out with a local music program. Your expertise is so valuable and will be welcomed in any class-
room. I am reminded of advice an elder family member passed on to me. They shared that we should all have friends of different ages than us because those in different age groups can offer much to us, and we can offer much back in return. I find that musicians are a great bunch of people with whom to foster connections. The band I play in is chocked full of 40-year-olds. When I was 40, I played in a band with an 88-year-old and a 16-year-old. Music brings us all together! I hope you can include multi-generational friends with your circle of friends so that you can enjoy the rich diversity that they bring while adding to their lives, too. What a fantastic way to exemplify this year’s conference theme to appreciate, inspire, support, and guide each other!
Membership Membership News
As we approach the winter months, it is time to look forward to the Colorado Music Educators Association Conference, which will take place January 29 – 31 and February 1, 2025. Now is the time to register for the conference and secure your accommodations at the exquisite Broadmoor Hotel. This stunning venue offers the perfect backdrop for professional development, making connections with colleagues, and, of course, a little bit of personal relaxation. Rooms
fill up quickly, so I encourage you to make your reservations as soon as possible.
As Membership Chair, I want to emphasize how important it is to attend the conference yourself and share this experience with others. Take a moment to reach out to your colleagues within your school district. Whether they’ve attended before or this would be their first time, now is the perfect time to talk with them about the benefits of joining us at the conference. Let’s
Membership
TREY TAFOYA MEMBERSHIP CHAIR
Download this document and share with your principal to support your attendance at the conference
work together to bring someone new into our community of music educators.
To simplify the process, I have created a document you can share with your principals to support your attendance at the conference. It outlines the professional development opportunities available, and I encourage you to present it as part of your request for professional leave.
Beyond the conference, I would like to remind you about the importance of keeping your membership active. Membership in the Colorado Music Educators Association (CMEA) and
the National Association for Music Educators (NAfME) connects you with a vast network of music educators, resources, and opportunities that benefit you throughout the year—not just at the conference. Be sure to take full advantage of these year-round benefits and encourage others to do the same. From advocacy efforts to professional development, your membership helps strengthen the music education community within Colorado and our presence throughout the United States.
I look forward to seeing you at the conference this January!
Technology Technology News
Ihope this First Quarter of the school year has been a smooth one and that you’ve found a replacement for Finale if you use their software for music notation (read more about this by clicking here).
In the ever changing world of Music Technology, it sometimes can feel hard to be “caught up” with the latest trends and at the same time I can’t begin to count how many times I’ve thought to myself, ”why didn’t they teach me something
about this in college.” I feel that this has always been especially true with anything that involves running a soundboard, microphones, or making recordings.
Like many of you, the vast majority of my knowledge I’ve obtained I learned on the fly (thank you YouTube). Technology has certainly had a tremendous impact on “Live Sound” with new advancements coming out all the time in an
Technology
SEAN HEDDING TECHNOLOGY CHAIR
Why didn’t they teach me someting about this in college?
already confusing and complicated field. I’m sure I’m not the only music teacher that has been overwhelmed trying to buy new sound equipment: the kind of microphone (wired vs. wireless, dynamic vs. condenser); the kind of soundboard (analog vs. digital); the kind of speakers (active vs. passive). In fact, “Live Sound” is such a vast and specialized topic that you can be a full-time Sound Engineer for US Military Bands. What chance do we stand as music educators if the United States Army declares that they need reinforcements?!
With that sentiment in mind, I’d like to highlight a few Technology Sessions at January’s conference that I’d really encourage you to attend if your conference schedule allows it:
• Live Audio for Beginners and Beyond! presented by Ryan Unangst
• Optimizing Your Digital Mixer presented by Ryan Unangst
If you’ve not seen the wonders that new digital mixers can do, you are really missing out! I was blown away by a recent digital mixer purchase for my music program that allowed us to automatically set the gain levels on 18 different inputs on the sound board; the mixer did the work for us, saving precious rehearsal time.
• A Practical Guide to Making Great Recordings presented by Ben Justis
If you’ve ever listened to a recording of your group’s performance and thought, “I wish the recording reflected what happened on stage…” then this session is for you. Higher quality recordings improve the educational experience for students evaluating their own performance and higher quality recordings might also help your ensemble stand out when submitting your recordings to perform at CMEA or other festivals. Judges can only give credit for what they hear.
I wish you success on all of your Fall performances and hope you can find time for yourself in these busy months.
CEASC News CEASC News
Incredible Opportunity for Young Singers: Colorado Elementary AllState Choir! The Colorado Elementary All-State Choir is looking forward to our 12th Concert season. This annual event offers students in grades 4-6 the chance to sing in a prestigious choir, learn from worldclass conductors, and share an unforgettable musical experience with peers who share their passion.
This year’s clinic conductors, Dr. Susan Brumfield and Victor Johnson, are both renowned for their expertise and ability to inspire young singers. Dr. Brumfield, a distinguished professor and composer, is celebrated for her engaging approach to teaching choral music and is no stranger to CMEA.. Victor Johnson, an accomplished composer and conductor, brings infectious enthusiasm and creativity
News
Incredible Opportunity for Young Singers: Coloardo Elementary All-State Choir
to every performance. Together, they will provide an enriching and exciting experience for our students.
The Colorado Elementary All-State Choir is not just about honing vocal skills; it’s about building confidence, fostering teamwork, and creating lifelong memories. It’s an opportunity for young singers to grow both musically and personally. So many of our students continue on to audition for Middle and High School All-State and continue to dedicate their time to choir in their schools.
Important Dates:
• Registration Closes: Friday, October 11th, 2024
• Repertoire and Choir Announcements: Monday, October 14th
• CEASC Event: Saturday, February 1st, 2025
For more information and to begin the registration process, visit the CEASC Website or contact chairceasc@cmeaonline.org.
MELISSA VANDER STELT
COLORADO ELEMENTARY ALL-STATE CHOIR CHAIR
CHASSANews CHASSA News
The Colorado High School Activities Association (CHSAA) and the Colorado Music Educators Association (CMEA) have a long-standing partnership in supporting and promoting music education and performance in Colorado schools. Over the years, CHSAA has managed various high school activities, including music events, to ensure students have the opportunity to compete and showcase their talents. At the same time, CMEA has focused on the professional development of music educators and advancing high standards in
music education. Our collaboration has strengthened music programs statewide, and I am proud of the work we continue to do together through organizing music festivals and competitions, which align with our shared educational goals and foster student growth.
One key opportunity we offer through this partnership is the “Pathway to a Large Group Festival” program. This initiative brings a skilled, veteran CHSAA adjudicator directly to your school for a fullday, six-hour clinic. The adjudicator
CHASSANews
RASHAAN DAVIS Assistant Commissioner Colorado High School Activities Association
Through our collaboration with the Colorado Music Adjudication Association, we are exited to grow our pool of music adjudicators
listens to your entire program, offers personalized feedback, clinics each group, and holds a one-on-one session with the director to review the program and discuss strategies for growth. This is an excellent opportunity to prepare for the CHSAA Large Group Festival.
We also provide opportunities for schools to perform at CHSAA Large Group Festivals, where ensembles perform for a panel of adjudicators and receive a rating. These ratings serve as a valuable tool for students and educators to gauge progress and further develop their programs. The festivals are held at various locations across the state. If your school is interested in hosting a festival, please reach out to our office. For those looking to participate in a festival, registration will open on the CHSAA website in early October.
In addition, through our collaboration with the Colorado Music Adjudication Association (CMAA), we are excited to grow our pool of music adjudicators. The CMAA aims to standardize the adjudication process, promote the welfare of music education, and foster cooperation with organizations connected to music education. This year, we have streamlined the process for becoming an adjudicator. Choir, orchestra, and band directors can now submit a video of their group’s performance to CHSAA. Applicants will be asked to evaluate these performances alongside current adjudicators following CMAA guidelines. Final certification will take place at the 2025 CMEA Conference.
If you can help us by sharing a video of your group, we would greatly appreciate it. Please send your
group’s video to rdavis@chsaa.org. Your submission does not need to be of concert performance quality. We need our adjudicators to share ratings on all types of performances. Please share all performances no later than October 15, 2024.
On behalf of the CHSAA staff and our 370-member organization, we are proud to partner with the Colorado Music Educators Association. The values, vision, and service provided by CMEA align with CHSAA’s mission, and together, we are committed to supporting Colorado’s music educators and students. I look forward to our continued partnership and all the great things we will accomplish together.
rdavis@chsaa.org
Research Burnout and Self Compassion
Education is currently experiencing a difficult juxtaposition. Research shows that in order for students to be successful, they need more time, energy, caring, and support from teachers (Antrop-Gonzales & de Jesus, 2006; DeMeulenaere, 2012; Duncan-Andrade, 2009). Students need to feel that they can trust their teachers (DeMeulenaere, 2012; Fine, et al., 2010) and feel as if their cultural identity, knowledge, and community matters (Gay, 2002; Gonzalez et al., 2001; Ishimori et al., 2023; Lind & McKoy, 2016; Moll, et al., 1992, Yosso, 2005).
However, there is a teacher retention problem: thousands of teaching positions are left unfilled each year. These teachers complain of burnout (Bottiani et al., 2019; Herman et al., 2018; Papastylianou et al., 2009), low pay and lack of social and administrative support (Bottiani et al., 2019; Brasfield et al., 2019; Sarros & Sarros, 1992), lack of self-efficacy (Herman et al, 2018), student misbehavior (Bottiani, et al., 2019; Herman et al, 2018; Oberle et al., 2020), and depression (Papastylianou et al., 2009; Split et al., 2011; Varona, 2018). Teach-
ers are also speaking out about the prevalence of behavioral issues in the classroom, many of which have worsened since Covid-19 (McGuire, et al., 2023; Simsir-Gokalp & Akyruek, 2024; Smith & Quick, 2023). Students’ increasing use of technology, and especially of social media, have often resulted in negative behavioral aspects such as “mood changes…and symptoms of withdrawal” (Simsir-Gokalp & Akyruek, 2024, p. 199), which can affect students’ ability to exhibit self-control when in the classroom environment. The urge to play games or check social media is almost constant, making it difficult for them to focus on their music lesson. Student executive function may be impaired or underdeveloped, presenting as a lack of impulse control (blurting out), emotional control (overreacting, getting upset), working memory (following directions), flexible thinking (coping with change), task initiation (procrastination), organization (losing supplies), and self-monitoring (difficulty self-correcting, upset by negative feedback) (Parkes & Sabo, 2023, p. 30). When teaching
GENTRY REGSDALE
PHD CANDIDATE, MUSIC EDUCATION
UNIVERSITY
OF COLORADO AT BOULDER
Letting Go to Gain Control: Ameliorating Burnout via Self-Compassion
large classes, many of which include expensive instruments, student lack of executive functioning can cause a myriad of issues for music educators. Many students are experiencing trauma at home or elsewhere, which often presents in the classroom as trouble focusing, poor relationships and self-regulation, and issues with executive function (Smith & Quick, 2023). These behaviors and challenges can impact students’ success, both behaviorally and academically (Granger, et al., 2024). They can also inhibit the teacher’s ability to uphold rigor and structure, important aspects of student engagement in rehearsal (Shaw, et al., in press). There are many teaching frameworks that recommend a variety of ways of dealing with these issues. However, these frameworks almost always focus on the wellbeing of the child without acknowledging the potential toll on the teacher.
If the research suggests that students will benefit from more time and effort on the part of the teacher, yet those student needs can create burn-
out for teachers, what is the solution? Teachers cannot pour from an empty cup. While all elements of educator retention issues are important, music teacher burnout and its amelioration through various methods of self-care will be examined, with a focus on compassion cultivation training.
Burnout of K-12 Teachers
According to the American Psychological Association, burnout is defined as:
physical, emotional, or mental exhaustion accompanied by decreased motivation, lowered performance, and negative attitudes toward oneself and others. It results from performing at a high level until stress and tension, especially from extreme and prolonged physical or mental exertion or an overburdening workload, take their toll (American Psychological Association, 2023, Dictionary section).
A 2022 Gallup poll revealed that over 44% of K-12 teachers in the United States either “often” or “very often” feel burned out at work, with females
Burnout and Self Compassion
identifying higher levels of burnout and lower levels of self-compassion than males (Gallup, 2022; Kelley et al., 2019; Neff, 2003). Low wages, navigating the dynamics of students, parents, administration, lack of resources, and policy changes have added to teachers’ stress loads; educators under 30 years of age are most at-risk from being negatively influenced by these factors (Varona, 2018). These stressors are resulting in an unprecedentedly high number of educators engaging in absenteeism, expressing intentions to leave their jobs, and then actually leaving the profession (Gallup, 2022; Hamann & Gordon, 2000; Maslach et al., 1996; Napoles, 2022). Marginalized groups and people of color experience higher rates of distress than their White counterparts, are less likely to feel appreciated in the workplace, and report that they feel they must work harder than their peers to counteract the effects of an allostatic load (Fine, et al., 2010; Hamann & Gordon, 2000; Pitts, 2020). Teachers who identify as introverts or perfectionists experience higher levels of anxiety than their counterparts (Kelley et al., 2019). Those who do stay in the teaching field may experience less commitment to their job (Maslach et al., 1996). According to Maslach and Leiter’s research (1996), there are six factors that lead to burnout:
(1) workload, (2) control, (3) reward, (4) community, (5) fairness, and (6) values (pp. 354-355). These factors are experienced either in a deficit manner (e.g., lack of curricular control) or a manner of excess (e.g., the workload is too much for an extended period of time). The combination of these stressors in the workplace can lead teachers to experience physical and/or psychological symptoms, such as tension and depression, which can have a negative effect on student learning (McLean & McDonald, 2015; Oberle et al., 2020; Napoles, 2022).
Psychological Symptoms Associated with Burnout
While it is not always easy to recognize teacher burnout, many teachers have been seen to exhibit signs of disinterest and unapproachability (Stern & Cox, 1993). Some educators describe themselves as having a “short fuse,” and may find that they dread entering their classrooms; these teachers may also avoid their friends, family, and even their own students (Hamann & Gordon, 2000; Renshaw, 1997). Many display signs of irritability or anxiety (Jinpa, 2015; Scarlet et al, 2017).
An inverse correlation exists between a teacher’s perception of control and agency in their classroom; the less influence a teacher feels they have, the more likely
they are to experience a lack of engagement at work (Maslach & Leiter, 2016). These teachers are also less likely to feel a sense of optimism or personal initiative when teaching (Kelley & Farley, 2019). This is problematic, as teacher burnout tends to impact and influence others around them—both colleagues and students (Maslach & Leiter, 2016; Stern & Cox, 1993). In times where it seems like standardized testing takes precedence, music educators can feel like their classes and curriculum are not prioritized.
Physiological Symptoms Associated with Burnout
Teachers experiencing physical symptoms of burnout often display varying levels of anxiety, irritability, interpersonal aggression, depression, and even cynicism, also called depersonalization (Hamann & Gordon, 2000; Maslach et al., 1996, 2016; Napoles 2022). One of the most frequent complaints is exhaustion and fatigue (Maslach & Leiter, 2016), with others experiencing physical tenseness (Renshaw, 1997). Exhaustion is “typically correlated with such stress symptoms as headaches…gastrointestinal disorders, muscle tension, hypertension, cold/ flu episodes, and sleep disturbance” (Maslach & Leiter, 2016, p. 353).
Teacher Burnout Effect upon Students in the Classroom
Students are affected by the diminished psychological, social, and
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physical capabilities of teachers experiencing burnout. According to Napoles (2022), these teachers may not be receptive to answering questions, responding to student needs, or be encouraging. Teachers can become less approachable, show less interest in creating interesting and engaging lessons, and express little enthusiasm for teaching (p. 50). Teachers experiencing burnout often do not have the energy to make creative and interesting new lessons; students experiencing boredom from repetition do not enjoy rehearsal as much (Shaw, et al., in press) and may act out. Music educators Stern and Cox (1993) illuminate a larger issue: “Students are very perceptive individuals and cannot easily be fooled—they know and can feel when a teacher does not want to be in the classroom teaching” (p. 33). When burned out teachers remain in the classroom, research has shown that students’ autonomous motivation is negatively correlated (Oberle et al., 2020; Preechawong, et al., 2021). Reluctant learners will be less likely to be challenged, which hinders their enthusiasm and ability to learn; eager students will be more likely to become bored and frustrated because they are not challenged appropriately (Shaw, et al., in press; Stern & Cox, 1993). Stern and Cox give a cogent synopsis:
The apathetic attitude displayed by the teacher [is] readily transferred to the student. Students [are] able to recognize the problem, but they [cannot] do anything about it. The only person who [is] able to control the problem…did not recognize, or did not want to recognize, that a problem exist[s]. [I]t is the teacher’s responsibility to constantly monitor his or her effectiveness in the classroom and to be aware of the…burnout problem (p. 34).
This synopsis gives an overview of the larger picture, highlighting the transparency of the situation. If students need to know that teachers care in order to trust (Antrop-Gonzales & de Jesus, 2006; DeMeulenaere, 2012), then educators need to become more proactive at taking care of themselves and their mental health.
A Move Toward Mental Health
Many teachers are able to successfully build relationships with students while simultaneously withstanding the pressures of their jobs and the demands of life. This success is accomplished in part by proactively engaging in positive mental health practices. The attractive part of a positive mental health practice is that it is something that is within the educator’s
control. Parents, students, administration, budgets—those stressors have many elements that will always be beyond a teacher’s control. There are many popular methods available for ameliorating the effects of burnout, including mindfulness practices, lifestyle/diet changes, pharmaceutical intervention, and resilience training. Another method is practicing self-compassion, which will be the focus of the rest of this article.
Setting: A middle school band classroom. Scenario: Students are constantly blurting out popular TikTok words or making interruptive sounds while the teacher is speaking. A teacher who is not showing themselves compassion could internally react in several ways, such as “Why do they keep doing this? Why are they disrespecting me? Ugh. I’m getting ticked off.” Or “I don’t know what to do anymore. I can’t take this. Kids didn’t used to act like this…I feel hopeless this year.” These music teachers are displaying negative thought patterns. Someone responding to this situation with self-compassion might have several thoughts, all of which could be more helpful: “I’ve noticed that behaviors are all over the place this year. I am fairly certain it’s not me—I’m doing similar stuff, and several of my classes are fine. I wonder if I could add a movement activity to get the wiggles out and see if that helps them…”. The teacher with
Burnout and Self Compassion
self-compassion honored that they were doing their best. How do teachers create a habit where positive thoughts will be more likely to come before negative ones? Will learning to be kinder to oneself lead to better connections with students? Can this “inside-out” approach really make that big of a difference?
Self-Compassion and Compassion Cultivation Training
Condon and Makransky (2020) define compassion as “a caring attitude toward a person or group by someone who is aware of their suffering and wants to alleviate it (p. 1). Self-compassion, according to researcher and compassion expert Dr. Kristin Neff (2003), has three essential components:
(1) extending kindness and understanding to oneself rather than harsh self-criticism and judgment; (2) seeing one’s experiences as part of the larger human experience rather than as separating and isolating; and (3) holding one’s painful thoughts and feelings in balanced awareness rather than over-identifying with them (p. 224).
These components are complimentary and can also be used for emotional regulation, which tends to be more difficult to manage the
longer a person is dealing with the emotional toll of stress, anxiety, and/or burnout (Hanson, 2021; Neff, 2003). This is especially pertinent for music educators, many of whom have long hours due to before- and after-school commitments.
Research shows that when people are better connected to themselves and are present, or in the moment, several functional improvements can be observed, including reduced stress and anxiety (Jazaieri et al., 2014; Scarlet et al., 2017), increased compassion toward self and others (Condon & Makransky, 2020; Jazaieri et al., 2014; Kelley et al., 2019; Scarlet et al., 2017), increased job satisfaction (Scarlet et al., 2017), increased sense of happiness (Jazaieri et al., 2014; Kelley & Farley, 2019; Scarlet et al., 2017), a possible decrease in chronic pain (Chapin, et al., 2014), and other cognitive and emotional factors. A director who is not worried about a parent meeting after school may be fully present to make small talk at the door before class and build relationships.
Scarlet et al. (2017) conducted a study of compassion cultivation training (CCT) and its effect on burnout and job satisfaction in healthcare workers. Over eight weeks, researchers followed the weekly protocol of the training
schedule (Scarlet et al., 2017, pp. 118-119). CCT was shown to increase the participants’ mindfulness, self-compassion, and job-satisfaction scores (Scarlet et al., p. 121). While the study did not find significant effects upon burnout scores per se, the authors posit that it may be due to the floor affect—the participants may not have been “burnt out enough” to show significant improvement (Scarlet et al., p. 121). Results did show an inverse relationship between burnout and self-compassion scores: the less compassionate a person is toward themselves and others, the more likely they are to experience burnout (Scarlet et al., p. 121). Other positive improvements from researchers include: better ability to deal with interpersonal conflict (lower selfscores), reduced worry, reduced depression, reduced pain and anger, and reduced rumination (Jinpa, 2015; Jazaieri et al., 2014).
Jazaieri et al. (2014) conducted research concerning the effects of CCT upon factors that would support psychological flexibility, or a person’s ability to adapt to new or difficult situations (Jazaieri et al., 2014, p. 23). This could certainly pertain to music educators teaching in a post-Covid world. The researchers used measures from the literature to test the participants’ feelings of mindfulness, positive and negative affect (short-term moods, long-
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term moods, stress reactions, and attitudes (Jazaieri et al., 2014, pp. 23, 25) and emotional regulation (Jazaieri et al., 2014, p. 23). Importantly, emotional regulation also encompasses expressive suppression, which is where a person does not show others what they are feeling on the inside (Jazaieri et al., 2014, p. 25); this aligns with Jinpa’s (2015) teachings as well regarding the need to express feelings. The authors discuss “cognitive reappraisal,” or reframing of an emotion-causing situation to deescalate the thought process and help calm the person down; its uses for promoting self-efficacy are discussed as well (Jazaieri et al., 2014, p. 25). According to the authors, “Beyond enhancing compassion, compassion training might enhance cognitive reappraisal as it encourages present moment attention, reframes the meaning and importance of suffering, and enhances psychological flexibility” (Jazaieri et al., 2014, p. 25). As self-efficacy is linked to motivation (Kelley & Farley, 2019; Stern & Cox, 1993) these findings can have important implications for the teaching community. Jazaieri et al.’s findings included the suggestion of CCT enhancing mindfulness and a reciprocal relationship between compassion and mindfulness (Jazaieri et al., 2014, p. 30). Unfortunately, there were no significant
positive results regarding CCT’s effect on self-efficacy of the participants; the authors suggest that one of the fundamental elements of CCT’s ability to be effective is if a person is willing to be aware of the suffering of others and themselves and to not be distracted by outside events, lack of focus, and habitually negative thoughts (Jazaieri et al., 2014, pp. 30-31). One of the most important aspects of CCT is to help people focus inward, to focus on themselves. When a teacher can feel empathetic to both themselves and their students, they leave room for opportunities in the classroom and for creativity—they can improve their classroom dynamics, including engagement and buy-in, because they are less focused on controlling student behaviors.
Compassion Cultivation Training: Operationalizing
One way that a music teacher can begin to assess their own burnout and self-compassion starting-place is to take a questionnaire. Two scales that are the most popularly accepted are the Maslach Burnout Inventory (MBI) and the Self-Compassion Scale by Neff (Maslach & Leiter, 2016; Neff, 2003; Neff, et al., 2007). When a teacher can see their strengths and deficits, they can make intuitive determinations of how to proceed. For example, if in the MBI a person scores highly in
“resentment,” then because of the inverse relationship between scores, they would score lower in the “compassion” area. This could mean a director could have less compassion for themselves and less compassion for their students. As discussed earlier, students can tell when a teacher is not “all in,” and when the teacher is not willing to put in the effort, why would the student? In the diagnostic tests, which can be found online, the scores can be interpreted using literature available online as well. These are excellent places to being the self-compassion journey, as the teacher can determine their strengths and weaknesses and examine the literature involving those “deficits,” so to speak.
Compassion Cultivation Training is offered by many universities and research institutes. The Compassion Institute offers several variations of the training, each focusing slightly more or less on different areas (Maslach & Leiter, 2016), and tailored to those in careers such as education, law enforcement, and health care (www.compassioninstitute.com, 2024). Most training sessions are eight to nine weeks long and are led by people trained either in psychology or meditation methods. The Compassion Institute’s training consists of a program where educators learn the tenets of CCT and how psychology and neuroscience can be applied to real-life sit-
Burnout and Self Compassion Research
uations. Whatever form of training a teacher chooses (book, audio instruction, video courses, or in-person training sessions), the benefits have been statistically significant and hold up to later post-testing for at least six months in several studies (Neff, 2016; Neff & Germer, 2022; Smeets et al., 2014). These promising benefits offer a solution that could appeal to many music teachers. With all the elements in a career that make music teachers feel like they are not in control, this type of self-work can help educators reclaim their sense of self, learn to cope with and surmount the difficult and stress-inducing elements of the profession, and be more successful in their professional lives.
Other Strategies
When used in conjunction with compassion training and mindfulness, some strategies can have a cumulative effect and thus may decrease a music educator’s sense of burnout. If a music teacher is interested in exploring self-compassion, but not ready to commit to a full training, they could benefit from beginning with Dr. Kristin Neff’s self-compassion materials, which fall on a spectrum of individual (books/videos) to commu-
nity (online trainings, group work) (www.self-compassion.org). Finding a quality teacher mentor, using a team-teaching strategy, utilizing student strengths, and working with a paraprofessional are ways to help alleviate strain in the classroom (Hanson, 2021). Educators can focus more on mastery-based goals predicated on curiosity instead of performance-driven goals (Neff, 2003). Music teachers can also reduce the frequency of attending competitions or concerts, seek clarity in their job descriptions, and become “more comfortable with saying ‘no’ to extraneous tasks and opportunities” (Hanson, 2021, p. 8). In the classroom, teachers can control their “classroom quality.” Classroom quality is “primarily conceptualized as a teacher-driven, multidimensional construct with core dimensions including emotional support, instructional support, and classroom organization” (Granger, et al., 2024, p. 209). Educators can work on the most critical aspects that affect child behavior issues: routines, boundaries, and recognition of students who are doing the right thing; they can also slowly give students more “say” in everyday choices in order to develop ownership and investment (LaCaze & Kirylo, 2012; Smith & Quick, 2023). Lastly, other
strategies include ongoing career training in student behaviors and trauma (Granger, et al., 2024; McGuire, et al., 2023), as these trainings can lower stress and attrition rates for teachers (Harris, et al, 2019).
Conclusion
Self-compassion is an excellent resource in helping music teachers learn to deal with their internalized problems and issues. While self-compassion is not a catch-all resource that will fix all problems, the training can give music educators new tools to help them take the pressure off themselves and reduce their allostatic load. If teachers are not so stressed and dissatisfied, they have room to be creative and curious. They can connect with their students because they are fully present and engaged. If educators can tap into compassion and love for themselves, they can better show their students compassion and love as well.
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Reflection A Time to Reflect
We music educators wield a baton of transformation, orchestrating not just music but profound impacts on the lives of our students. From the first sounds of a beginner to the climactic conclusion of their final performance, we music educators guide students through a journey that transcends mere musical proficiency; we mold character, foster creativity, instill citizenship, all the while creating a lasting enjoyment of music that goes beyond any classroom.
But how did we get here to this point? Each one of us followed a path in and out of music in some way. Along that path, educators, di-
rectors, and coaches likely helped shape our trajectory. Whether young or old in music education, it is important to take some time and reflect on those in our life who gave us direction and grew in us our love for music. While the following educators are the influences in my life, I would encourage all readership to take time to reflect on their journey and perhaps reach out to them and send them a quick thank you!
Reflection Taking Time to Reflect: Honoring Music Educators in My Life
Susan Harding
Mary Blair Elementary School, Retired
My first experiences in music education outside of piano lessons as a little boy were with the wonderful general music educator, Susan Harding. I’d venture to guess that many of us remember elementary general music as a blur of time in our lives. It was just our “fun” specials class we went to once or twice a week. However, I can distinctly remember many experiences with Mrs. Harding from spectacular, large-scale Christmas concerts, expansive keyboard units, recorders, and so many games & dances. If I never had elementary music, I may just never have done music in the first place!
Thank you, Mrs. Harding, for imparting on me a wondrous joy of exploring the possibilities in music at a young age.
Leonard Kellogg Conrad Ball Middle School, Retired
As a middle school band director now myself, I’d be remiss to not include my own middle school director, Leonard Kellogg or Lenny Kellogg as many of his friends referred to him as. He was an incredible influence in my life and spurred on my interest in sticking with Band when many other electives were tempting to choose. Distinctly, I can remember all my experiences he provided us, but our Colorado Music Educators Association Clinic/Conference performance in 2003 playing Malaguena with the trumpets in drum corps fashion on the front line playing each other’s horns in a unison lick. Spectacular!
Thank you, Mr. Kellogg, for guiding me to the trombone all those years ago and taking a spark of curiosity in band and cultivating it through diverse experiences!
CODY JACSKON
Peter Toews Mountain View High School
High school is a formative time in life. Mr. Toews spurred on in his ensembles the creative and emotional human elements found within music. Amid all of the marching band camps, football games, CU Band Days, UNC/Greeley Jazz Festivals, concerts, honor bands, competitions and world premieres, there are two moments that sticks out the most to me. During a rehearsal while playing the final measures of Pageant by Vincent Persichetti, Mr. Toews dropped his baton and proceeded to explain that these simple half-note chords needed to be played as “pillars of humanity”. That resonated with me in that moment. Second, we had the opportunity experience Frank Ticheli’s An American Elegy and I know I grew emotionally through the power of that piece and what it meant to any Colorado musician at that time.
Reflection
A Time to Reflect:
Thank you, Mr. Toews, for showing me that the emotion and humanity found within music is something to cherish and model in music as you did for me.
Dr. Richard Mayne University of Northern Colorado, Retired
Just about everyone in the current music education community in Colorado knows of the contributions to music in the state from Dr. Mayne. So many of us educators have much to thank him for. I had the fortunate privilege to play under Dr. Mayne my entire time at UNC. I will always remember Dr. Mayne’s genuine character and approach to his students and colleagues. He was stern and honest when he needed to be but equally kind-hearted. One moment in particular during a symphonic band rehearsal sticks out to me the most Dr. Mayne was getting on us about not practicing a particular tune and he stopped and simply said “Don’t mistake my kindness for stupidity.” We all learned a valu-
able lesson that day that our effort equated to the quality of outcome we desired.
Thank you, Dr. Mayne, for giving me a clear direction forward through your incredible character education in music and preparing me to take on teaching music with intent and quality.
Dr. Nat Wickham University of Northern Colorado, Retired
Growing up in Loveland, CO I had the fortunate opportunity to build some collegiate connections by living within 30 minutes of campus! Part of this connection making was being able to play in the concert band, take trombone lessons, and perform with the UNC Trombone Choir during my senior year in high school. Before I reached UNC, it was safe to say that I was a scattered musician with potential, but still did not have the focus necessary to succeed as a musician yet. Through rigorous instruction from
Dr. Wickham, a phased approach to learning, and a no-excuses level performance quality, he pushed my personal musicianship. In one particular tough lesson day, I remember having a conversation with me stating to him that “I’m here to be a teacher and not a performer.” The intense conversation that followed lead me down a new path of thought; I finally understood that by pushing my personal musicianship my standards as an educator grew along with it.
Thank you, Dr. Wickham, for teaching me that my personal musicianship increases my success as a music educator; to not accept less than my best in any moment. Hard work reaps great accomplishment.
Scott Schlup Rocky Mountain High School, Retired
As we all expect as prospective educators, student teaching can and will always be the most formative time in our development to take on our first job outside of school. I had the privilege to work alongside Scott
Honoring Music Educators in My Life
Schlup! Scott and I sat down once and did a listening of literature and he said to me, “Cody, I don’t like to pick music that sounds like band music.” He then went on to explain the organic nature of music. I think about that thought to this very day! He also instilled in me a sense of making the most of every moment with students.
You never know when those opportunities may disappear; so if you have the chance to wear some giant spirit pants to increase band spirit and morale, you should probably do it!
Thank you, Mr. Schlup, for making me uncomfortable in a myriad of ways to grow and to remind myself each day that we need to cherish each and every moment with students.
Mike Perez Kinard Middle School
As the final hurrah in my preparation to becoming a full-fledged music educator, I had the incredible opportunity to student teach with maestro Mike Perez. At the onset of this final placement, I really didn’t know what to think of it all. Mr. Perez wanted to meet up with me prior to accepting my interest in his program at Kinard. We conversed for a little over an hour at a Starbucks and it concluded with one of the most powerful questions anyone has ever asked me about myself as a music educator at that time. He asked me if I thought of myself as
a performance-oriented educator or a relationship-oriented educator. I know I shared some kind of answer with him, but the concept of it sticks with me to this day. We are all on a spectrum of approach to music education and have influence in our own way, but calibrating our approach daily is important!
Thank you, Mr. Perez, for showing me the love for middle school students I have today and setting the standard for what achieving new heights at even the youngest levels of band can be!
While these are specific influences in my life, I think many of you can relate and had similar experiences that shaped you. If you have the ability to, reach out and send a nice message to those educators who shaped your journey. It is an effort worthy of the effort they put into us!
Cody Jackson (BME, MME) currently serves as the director of bands at Heights Middle School in Farmington, New Mexico.
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.
