Maryland Music Educator - Spring I 2020 Vol. 66, No. 2

Page 1

Vol. 66, No. 2

Spring I 2020


Official Journal of the Maryland Music Educators Association

In this issue: • Welcome New Executive Director JJ Norman • Protecting Teachers’ Health with Earplugs and PAs • Professionalism in Teaching • Letters from Retirement • 7 Job-Hunting Tips • Communicating with Your Community

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Maryland Music Educator Official Journal of the Maryland Music Educators Association

Spring I 2020 Volume 66, Number 2


16 19 21 23

MMEA Welcomes New Executive Director JJ Norman with Message from JJ Norman


7 Job-Hunting Tips by Alicia Mueller, Towson University, Maryland; Jill Sullivan, Arizona State University; Barbara Payne McLain, University of Hawaii


Communicating with Your Community by Marcia Neel, President, Music Education Consultants, Inc.; Senior Director of Education, Yamaha Band and Orchestral Division

Protecting Teachers’ Health with Earplugs and PAs by Tom Dean, Editor, J. W. Pepper & Son, Inc.; Past President, Eastern Division of NAfME Professionalism in Teaching: Treating the Pursuit of Excellence as a Daily Habit by Lori Schwartz Reichl, Author, Conductor, Teacher Letters from Retirement by Richard A. Disharoon, Baltimore County (retired); Past President of MMEA, MCEA, Eastern Division of NAfME; MMEA Hall of Fame Member


02 MMEA/NAfME Membership 08 MMEA Executive Board Directory, Presidents, Article & Ad Information 09 MMEA Giving and Sponsorship, MMEA Hall of Fame, Award Recipients, Executive Directors, Editors 17 National Arts Organizations: Arts Education is Essential Statement 18 Editor’s Page

NAfME Resources 02 MMEA/NAfME Membership 15 NAfME Collegiate Membership 18 NAfME Professional Development 20, 24 Virtual Learning Resources 22 COVID-19 Instrument Cleaning Guides 24 Educational Use Copyrighted Music 27 NAfME Free Music Curriculum Units 26 (Back Cover) NAfME Career Center

Advertisers Index Frostburg State Univ. Dept. of Music......4 Ithaca College School of Music ............10 James Madison Univ. School of Music ..12 James Madison Univ. Jr. Audition Day..13 Loyola University of Maryland..............14 Menchey Music Service ........................11 Univ. of Maryland Baltimore Co. ............6 Wells School of Music, West Chester University ..................5 Yamaha Corporation................................3

On the Cover: © Can Stock Photo. Artist: cienpies. Number 10486377. Used with licensed permission. Licensee: Felicia B. Johnston. The Maryland Music Educator is published for the members of the Maryland Music Educators Association, Inc., a federated state unit of the National Association for Music Education (NAfME), and music teachers in Maryland four times annually in the months of September, January/February, late March, and May. Articles for publication must be submitted to the editor by August 1, October 1, January 2, and March 15, respectively. Publication dates, advertising rates, and closing dates may be found on the MMEA web page,, under “Resources/Publications”. Maryland Music Educator will be distributed digitally to all Maryland music teachers and all MMEA members. It will also be posted on the MMEA website at (MMEA Executive Board decision, June 8, 2018). Editor: Felicia Burger Johnston, P. O. Box 3362, Cumberland, MD 21504-3362 304-613-2871 E-Mail: Maryland Music Educators Association (MMEA) is the professional association for the school music teachers of Maryland. MMEA is a 501 (c)(3) not-for-profit association incorporated in the State of Maryland. MMEA's mission is to advance music education in Maryland schools. We do this by providing professional development for music teachers, involving students and teachers in opportunities for excellence through state-wide music activities and events, and serving as an advocate for music education.

MMEA is supported in part by a grant from the Maryland State Arts Council (, an agency funded by the State of Maryland and the National Endowment for the Arts. MSAC on Facebook™: MSAC on Twitter™: @mdartscouncil Spring I 2020

Maryland Music Educator


MMEA Executive Board Directory 2019-2020 The MMEA Executive Board and staff listing is updated at Elected Officers

Appointed Officers

Interim President Angela Adams Anne Arundel County

Advocacy Chair Ronald P. Frezzo Montgomery County (retired)

President-Elect Brian Schneckenburger Baltimore County

Interim All State Chair Robert Mattera St. Mary’s County

Immediate Past President Paul Dembowski Anne Arundel County

Collegiate Membership Advisor Laura Hicken Towson University

Recording Secretary Emily Hill Frederick County

Conference Exhibits Chair Shefali Shah Anne Arundel County

Member at Large Ashley Ashman Montgomery County

Membership Chair Janet Gross Calvert County

Component Association Presidents

Membership Development Chair Judith Hawkins Prince George’s County

Band Directors (MBDA) John R. Stevenson Carroll County

Music Industry Representative Scott Schimpf Music & Arts

Choral Directors (MCEA) Katherine Meloro Howard County Orchestra Directors (MODA) Dan Sitomer Anne Arundel County General Music Teachers (MGMTA) Jennifer Kauffman Anne Arundel County College Music Educators (MSMTE) Stephanie Prichard University of Maryland

Music Supervisors Representative Karl Stewart Carroll County Private Schools Representative Joseph Shortall Private School Public Relations Chair Deborah Turner Anne Arundel County Research Chair Cathleen Russell Baltimore County Sight Reading Committee Chair Todd Burroughs St. Mary’s County

Special Learners Chair Paul Tooker University of Maryland Eastern Shore State Dept. of Education Representative Alysia Lee Maryland State Department of Education State Large Ensemble Festivals Chair Scott Engel Baltimore County Tri-M Chair Erick Von Sas Anne Arundel County Young Composers Project Michelle Roberts Montgomery County Staff Members * Board Member *Executive Director JJ Norman PMB#472 6710 F Ritchie Highway Glen Burnie, MD 21061 Event & Membership Assistants (Part-time) Kayde Deardorff Andie Sante

MMEA Presidents 1941-43 – Robert S. Bolles 1943-45 – C. James Velie 1945-47 – Frances Jackman Civis 1947-49 – Miriam Hoffman 1949-51 – Mary M. Hunter 1951-53 – Mary de Vermond 1953-55 – Thomas R. Lawrence 1955-57 – Blanche F. Bowlsbey 1957-59 – Mildred B. Trevvett 1959-61 – Emil H. Serposs 1961-63 – Chester J. Petranek 1963-64 – Ward K. Cole 1964-65 – Chester J. Petranek 1965-67 – Donald Regier 1967-69 – Nicholas Geriak 1969-71 – Alice S. Beer 1971-73 – Joseph Chalker 1973-75 – Bert L. Damron 1975-77 – Robert E. Kersey 1977-79 – David Marchand 1979-81 – Thomas E. Silliman 1981-83 – Thomas W. Fugate 1983-85 – Clarence T. Rogers 1985-87 – John E. Wakefield 1987-89 – R. Bruce Horner 1989-91 – Patricia W. Teske 1991-93 – Phyllis R. Kaplan 1993-95 – Roger J. Folstrom 1995-97 – Barbara F. King 1997-99 – Richard A. Disharoon 1999-01 – Michael L. Mark 2001-03 – Michael L. Mark 2003-05 – Ann Vaughn 2005-07 – Amy Cohn 2007-09 – Chrystie Adams 2009-11 – Carol Howell 2011-13 – Ginny Flynn 2013-15 – Stephen W. Miles 2015-17 – Katherine A. Murphy 2017-19 – Angela Adams June-Dec. 2019 – Paul Dembowski Dec. 2019 – Interim Pres. Angela Adams

*Publications Editor Felicia Burger Johnston Upshur County, WV (retired)

Updates, news, and more at: Find MMEA on Facebook, LinkedIn, and Twitter

Maryland Music Educator Official Journal of the Maryland Music Educators Association Issue

Article Submission Deadline


Ad Contract Submission Deadline

Fall 2020

August 1, 2020

Fall 2020

August 1, 2020

Winter 2020-2021

October 1, 2020

Winter 2020-2021

October 1, 2020

Spring 2021

January 2, 2021

Spring 2021

January 2, 2021

Summer 2021

March 15, 2021

Summer 2021

March 15, 2021

Please send article submissions to: Advertising information & contract submission for Maryland Music Felicia B. Johnston, Editor, at Educator and the MMEA In-Service conference programs: or submit articles at mmea-content-submission-form. 8

Maryland Music Educator

Spring I 2020

MMEA Awards for Excellence Recipients Rosemary & James Walters Service Award 2002 – Thomas W. Fugate 2003 – Chrystie L. Adams 2004 – Richard A. Disharoon 2010 – Mabel Leonore Sawhill 2011 – Howard L. Miskimon 2011 – Sabra C. Steward 2012 – Deborah Turner 2013 – Jan Strevig 2014 – James L. Turk 2015 – Sally Wagner 2017 – Ginny Flynn 2020 – Janet Gross Corwin Taylor Music Education Leadership Award 1994 – Karen Douglas 1995 – Rosa Fletcher Crocker 1996 – Mary Ann Mears 1997 – James L. Tucker, Jr. 1998 – Roger J. Folstrom 1998 – Phyllis T. Kaplan 1999 – Barbara F. King 2002 – Mary Ellen Cohn 2004 – Chris Tuel 2005 – Linda Patton 2006 – Gary Beauchamp 2009 – Joan Orcutt 2010 – Katherine A. Rodeffer 2011 – Richard J. Deasy 2012 – C. Nelson Fritts 2013 – Nancy S. Grasmick 2017 – Anita Lambert 2018 – Michael L. Mark 2019 – Scott Herman 2020 – Todd J. Burroughs

MMEA Hall of Fame 1988 – Margaret Black 1988 – Robert S. Bolles 1988 – David Burchuck 1988 – Frances Jackman Civis 1988 – John Cole 1988 – Mary G. Cross 1988 – John Denues 1988 – Nicholas Geriak 1988 – Thomas L. Gibson 1988 – Rose Marie Grentzer 1988 – S. Fenton Harris 1988 – Miriam Hoffman 1988 – Mary M. Hunter 1988 – John Itzel 1988 – Henrietta Baker Low 1988 – Otto Ortmann 1988 – Philip S. Royer 1988 – Osmar Steinwald 1988 – Charles C. T. Stull 1988 – Eugene W. Troth 1988 – Homer Ulrich 1988 – C. James Velie 1988 – Levi Wilder 1988 – Dorothy Willison

Maryland Music Educators Association: Giving and Sponsorship MMEA provides in-service networking and professional learning for music teachers, opportunities for thousands of music students and teachers, and serves as an advocate for music education. MMEA provides student and teacher enrichment by sponsoring professional learning conferences, annual Awards for Excellence, and eight music groups for student All State music events. MMEA and five component associations, with over 300 volunteers, host district and state Solo and Ensemble events. During the spring, orchestras, bands, and choruses perform in festivals with nearly 10,000 students participating. Give Today! Become an MMEA Sponsor!

Executive Directors Maryland Music Educators Association – Mary Ellen Cohn 1998-Dec. 2018 Editors, Maryland Music Educator 1954-57 – Homer Ulrich 1957-61 – Corwin H. Taylor 1961-65 – James L. Fisher 1965-67 – Robert E. Kersey 1967-73 – W. Warren Sprouse 1988 – William Llewelyn Wilson 1989 – Alice S. Beer 1989 – Thomas R. Lawrence 1989 – Corwin H. Taylor 1990 – Robert E. Kersey 1990 – Dorothy S. Pickard 1991 – John Fignar, Jr. 1992 – Blanche F. Bowlsbey 1992 – Joseph F. Chalker 1992 – James L. Fisher 1993 – Thomas W. Fugate 1993 – C. William Johnson 1993 – Michael Pastelak 1994 – Mildred R. Reiner 1994 – Shirley J. Shelley 1994 – Donald Regier 1995 – David Marchand 1995 – W. Warren Sprouse 1996 – James H. Avampato 1996 – Carmelo J. Palazzo 1997 – Clarence T. Rogers 1998 – Maurice R. Feldman 1999 – Sr. Mary Theresine Staub S.S.N.D. 1999 – Nancy M. Cook

Nov. 2018-Feb. 2020 – Mariama Boney – JJ Norman May 20201973-84 – James H. Avampato 1984-86 – W. Warren Sprouse 1987-96 – Thomas W. Fugate 1996-01 – Ray H. Zeigler 2001-08 – Thomas W. Fugate 2008-09 – Dawn Farmer 2008-09 – Felicia Burger Johnston 2000 – Mildred B. Trevvett 2003 – Leroy Battle 2003 – Glenn Patterson 2004 – Roger J. Folstrom 2004 – Phyllis R. Kaplan 2005 – Barbara F. King 2005 – Michael L. Mark 2006 – Mary Ellen Cohn 2006 – John Wakefield 2007 – Olivia W. Gutoff 2008 – Richard A. Disharoon 2008 – James L. Tucker, Jr. 2009 – Leone Y. Woodall 2010 – Bruce D. Wilson 2011 – Lee Stevens 2012 – C. Scott Sharnetzka 2012 – Cherie Stellaccio 2013 – Ray Danner 2014 – Dana Rothlisberger 2018 – Gilbert A. Brungardt (Posthumous) 2019 – Chris Vadala (Posthumous) 2020 – Charles Haslup (Posthumous)

MMEA welcomes new Executive Director JJ Norman! See page 16. Spring I 2020

Maryland Music Educator



Take your musicianship to new levels through the continuous study of theory, practice, and performance.

ON-CAMPUS AUDITIONS December 14, 2019 January 25, 2020 February 1, 2020 February 8, 2020 Application Deadline: DECEMBER 1

REGIONAL AUDITIONS Los Angeles, CA January 12, 2020 Austin, TX January 19, 2020 Boston, MA January 19, 2020 Chicago, IL February 2, 2020 ! |


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Spring I 2020

Maryland Music Educator


BACHELOR OF MUSIC DEGREE PROGRAMS E.)@F-)G.)*+"G6-.+**+$/*G)/-F7976-)6CF@*#C.% E.)@F-)G.)*+"G6-.+**+$/*G)/-F7 976-)6CF@*#C.%






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THE JMU AUDITION CLINIC FOR SOPHOMORES AND JUNIORS SATU R DAY, APRIL 18, 2020 Students thinking about applying to study music at a university won’t want to miss this free, one-day event featuring mock auditions in a friendly, non-threatening environment. Students will have an opportunity to gain insight into what it is like to audition at a university music school. They will have the chance to perform a short practice audition for university music professors. Following the audition, faculty members will provide feedback on students’ strengths and areas for improvement, and share strategies for preparing for a college audition. Students will also learn about what to expect as a collegiate music major, including a typical day/week/year, workload, courses and potential career paths.


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WWW. LOYOLA.EDU/KO ODALY Program Information: 240-993-9181 or Application Information: 410-617-7741 or


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Maryland Music Educator


MMEA Welcomes New Executive Director JJ Norman


fter an extensive nationwide search for a new MMEA Executive Director, a search committee, chaired by Interim President Angela Adams, brought final candidates to the MMEA Board of Directors for virtual interviews. The MMEA Board of Directors has named JJ Norman as MMEA Executive Director, effective May 18, 2020. JJ comes to MMEA after serving at NAfME for five years; his biography follows. Noted as being a mover and a shaker, JJ Norman is an experienced association manager. Having served the National Association for Music Education (NAfME) since 2015, Norman has dedicated his career to music education advocacy and serving the professional needs of music educators across the United States. During his time at NAfME, he was responsible for the association’s online learning platform, managing sessions at national conferences, and overseeing the association’s collegiate membership, including the annual Collegiate Advocacy Summit that brings students from all over the United States to Washington, D.C., to learn about advocacy and leadership and to visit their members of Congress on Capitol Hill. Through his work, he has offered engaging and interactive sessions at state and national conferences. Norman is skilled in event planning, teaching, professional learning, leadership, and public speaking. JJ earned a bachelor’s degree from the University of Tennessee at

Martin, where he majored in music education and was awarded the 2015 Carl Seale Student Teaching Award for outstanding performance and promise as a leader in the profession. In 2019, JJ was honored with the Young Alumni Award from the department of music and began his tenure as a member of the Young Alumni Council (2019 - 2022). Additionally, Norman holds a master’s degree from The George Washington University in human development and education with a focus in organizational leadership and learning. He continues to make music with the Alexandria Choral Society, where he is currently serving as vice president of the board of directors. A proud Eagle Scout and Middle Tennessee native, JJ now lives in Alexandria, Virginia, with his husband Samuel and puppies Titan and Aria.

Message from New MMEA Executive Director JJ Norman Dear Music Educators, First and foremost, I hope you and yours are all well during this difficult time. I am thrilled to join your community as the next Executive Director of the Maryland Music Educators Association. I could not be any more excited to further my career in association management and as a music education advocate. At some point, I will share with you how my elementary and middle school music teacher set me down this path - it is all thanks to Mrs. Lundy! I would be remiss not to address the current state in which we find ourselves. As we all could have expected, the world is turning to music and the arts for comfort during a time of deep uncertainty and pain. Music educators make that possible. You provide people with 16

the skills to express themselves in a constructive and artistic way. You are the ones students turn to when others seem distant. And we, MMEA, will continue to work tirelessly to ensure every child has equitable access to music education even as the field of education shifts below us. Additionally, I would like to thank the Executive Board for their trust in allowing me to join the team as we face the future, together, as a strong community of music educators. I look forward to meeting and getting to know you all very soon.

JJ Norman

Maryland Music Educator

Spring I 2020 As like-minded arts and education organizations, NAfME and 52 other national groups have come together to release a unified statement on the necessity of arts education for all students, “Arts Education Is Essential.” We have listened to educators across the country as you grapple with uncertainty in the next and coming school years. With fellow organizations working to preserve music and arts education, we have provided this clear statement of support for educators and other stakeholders, which also provides you talking points as you make the case with administrators and other decision-makers for your own music program in your school district. Three principles are spelled out in “Arts Education Is Essential”: • “Arts education supports the social and emotional well-being of students, whether through distance learning or in person.” • “Arts education nurtures the creation of a welcoming school environment where students can express themselves in a safe and positive way.” • “Arts education is part of a well-rounded education for all students as understood and supported by federal and state policymakers.” We encourage you to share this statement with your own network, and share why you believe “Arts Education Is Essential” on social media using the hashtag #ArtsEdIsEssential and tagging @NAfME. Reach out to local, state, and federal elected officials with the statement, and urge them to increase funding for state education budgets while also supporting music and arts education. Please contact the NAfME public policy team at with any questions you may have.

We are in this together. Spring I 2020

Maryland Music Educator


The Editor’s Page

Felicia Burger Johnston


Teacher Health, Job Hunting, Communication, and More!


inter brought COVID-19 and the subsequent cancellation of five MMEA All State ensemble concerts and the Annual Conference, which was to be held this year on March 1315, 2020, at the Baltimore Convention Center. Board members had worked hard to offer an exciting array of sessions for your professional development. This issue of Maryland Music Educator has been revised from a pre-conference issue to a Spring I 2020 issue. The Spring II and Summer issues will be posted normally. Current and past issues of our quarterly journal are posted online at The 2020 MMEA Awards for Excellence recipients have been selected; they were to be recognized with an event ceremony at the conference. These recipients are recognized at MMEA welcomed new Executive Director JJ Norman in mid-May! Information about JJ is in this issue on page 16. In This Issue “Protecting Teachers’ Health with Earplugs and PAs” will be of interest to all music teachers. The article is by Tom Dean, Past President of the Eastern Division of NAfME, Choral Editor, and Elementary and Secondary General Music Editor for J.W. Pepper & Son, Inc. Tom states, “While instrumental teachers may be the most vulnerable, choral and classroom teachers can also suffer hearing loss from their work with students in the classroom,” and adds, “…damage to the ear and hearing is always permanent.” Frequent contributor Lori Schwartz Reichl, Author, Conductor, and Teacher, shares “Professionalism in Teaching”, citing her own tips as well as those of well-known teacher, clinician, and author, Sally Wagner (Prince George’s County, retired). Another frequent contributor, Richard A. Disharoon, offers “Letters from Retirement”, continuing a longtime

tradition of previous Maryland Music Educator editor and MMEA Hall of Fame member Corwin H. Taylor. Dr. Disharoon is a Past President of MMEA, MCEA, and Eastern Division of NAfME; an MMEA Hall of Fame Member; and retired from Baltimore County Public Schools. “7 Job-Hunting Tips”, by another Maryland colleague, Towson University’s Alicia Mueller, with Jill Sullivan, Arizona State University; and Barbara Payne McLain, University of Hawaii, will interest collegiate members as well as practicing teachers considering a change of job placement. The article is republished from NAfME Blogs and was based on Alicia Mueller’s October 2003 Maryland Music Educator article entitled, “TIPS for Job Hunting THROUGHOUT the College Years”. Marcia Neel has shared with MMEA in recent years as a conference clinician and journal article contributor. Her article in this issue, “Communicating with Your Community”, offers extensive ideas for communicating the value of your music program to stakeholders, through a written Annual Report of the music program. She suggests a wide range of distribution recipients that may not have occurred to us. Marcia is the President of Music Education Consultants, Inc., and Senior Director of Education, Yamaha Band and Orchestral Division. Writing for Maryland Music Educator Articles written about an aspect of your teaching are helpful to your peers. Article submissions are always welcome - completed articles or those providing content for which I provide writing assistance. Session outlines or handouts from In-Service sessions you have presented can often be developed into articles. I welcome your articles, article topic suggestions, and suggestions for improvement. I am here to serve you as you serve Maryland’s music students. A list of issues and submission deadlines is on page 8 of this journal.Our publications email address is I look forward to hearing from you!

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Maryland Music Educator

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Protecting Teachers’ Health with Earplugs and PAs by Tom Dean, Editor, J. W. Pepper & Son, Inc.; Past President, Eastern Division of NAfME Reprinted with permission from J.W. Pepper’s Cued In blog, originally published October 4, 2017.


hen school is in session, as teachers, we all know to stock hand sanitizer, disinfectant wipes, and tissues, and schedule the annual flu shot. While these are all very important, there are several other areas that all teachers - but in particular music teachers - need to be concerned about: our voices and our hearing. Our voices and our hearing are critical to our professional lives as well as to our musical lives. Ignoring the stresses that being a teacher can put on these systems can damage them…permanently! Music classrooms are inherently noisy. First, there is the ventilation system to compete with - especially difficult in the large spaces in which we typically teach. That is only compounded by the size of our ensembles - generally at least 30 students. And, of course one cannot forget the instruments! Competing with all of this takes a toll on the voice. By the end of the day, having to project above all of the noise of a normal classroom makes speaking nearly impossible. I remember many times throughout the school year when I basically had no voice by the end of the final class - and as a knowledgeable voice/choral teacher, I was being very, very careful! Luckily there are solutions that can help in the classroom, most of which are portable, so they can be taken to the concert hall or any other space in which you find yourself: The Samson XP106wDE Expedition portable rechargeable PA is the perfect system for the teacher who uses multiple spaces. It is a lightweight, portable and completely wireless system which comes with a wireless headset to allow for complete freedom of movement. The system also has several auxiliary line inputs so you can play audio from external devices at the same time you are using it to save your voice. The Anchor Audio Megavox Pro PA is another portable, wireless (battery powered) solution for the classroom, large space, or even outside. It comes with two built-in wireless receivers, and you can choose the type of microphone that fits you best - headset, collar or lapel, handheld, or headband mic. The system also has line-in and line-out jacks so you can play audio from external devices or piggyback it to another speaker.

It is important that you take into consideration that damage to the ear and hearing is always permanent. Once a hair cell in the cochlea has been damaged or destroyed, it cannot be repaired - so take care of your ears and your students’ ears!

© Can Stock Photo. Artist: Jinnaritt. Number 77494588. Used with licensed permission. Licensee: Felicia B. Johnston.

If you are looking for something with a bit more power, the Anchor Audio Liberty Dual Package may be the best solution for the classroom, a large space, or outside. It has two speakers that can use AC or rechargeable batteries that last up to eight hours, built-in Bluetooth, auxiliary line input, and an optional CD/MP3 player. Like the Megavox Pro, it has two built-in wireless receivers so you can choose your preferred microphone. In a study by Joseph Pisano of Grove City College, 42 band directors were tested for noise-induced hearing loss. It found that 86% showed some degree of damage. That statistic should scare us all! While instrumental teachers may be the most vulnerable, choral and classroom teachers can also suffer hearing loss from their work with students in the classroom. This came to my attention when I was visiting the European Music Educators Association, which is made up of teachers who teach for the Department of Defense Education Activity. During that visit I found that the Department of Defense takes hearing loss so seriously that they require both the teacher and the students in the band to wear noise-reducing earplugs during any class where there can be excessive sound or when electronic equipment is played. We even had a wonderful presentation about hearing loss from one of the Army doctors that was truly enlightening. Some interesting facts: • Noise levels for the average band rehearsal regularly reach 110 db. • Noise levels for the average marching band rehearsal regularly reach 125 db. • Noise levels for the average choral or general music classroom regularly reach 100 db. • 90-95 decibels is the level at which sustained exposure may result in hearing loss. • 125 decibels is the level at which pain begins. • 140 decibels is the level at which even short-term exposure can cause permanent damage. continued on next page

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In a study, the National Institute for Occupational Safety and Health found that a band director’s noise exposure reached and exceeded occupational exposure limits that they recommend (85 db over an eight-hour exposure). They also found that the noise levels were greater in the band room than in the cafeteria, and that the average band room was not a large enough rehearsal space for the number of students in the high school marching band. These are all reasons that music educators and probably every student in the instrumental program should use hearing protection each and every day. You will want something different than the foam earplugs sold at the corner drug store. While those protect against noise levels, they also distort the sound and eliminate certain frequencies. Instead, you will want to get a set of high-fidelity earplugs like: The Etymotic ETY Earplugs reduce most noise to safe levels while preserving the clarity of speech and the richness of music. They allow you to hear the sound exactly as the ear would hear it, only quieter. The Etymotic ER20XS Earplugs are a bit smaller and more discreet, having a lower profile that sits snugly in the ear without protruding but again, allowing you to hear the sound exactly as the ear would hear it, only quieter. The Earasers Musicians’ Earplugs were developed by an engineer who has been a musician for over 20 years. They are great for very loud environments, allowing you to hear at a safe, comfortable level. The Etymotic Electronic Musicians’ Earplugs are state of the art, protecting your ears and providing two modes: a low position which provides a 15dB decrease in sound pressure, and a high position which provides for a 6dB gain for soft sounds and a 9dB cut for loud sounds. It is important that you take into consideration that damage to the

While instrumental teachers may be the most vulnerable, choral and classroom teachers can also suffer hearing loss from their work with students in the classroom. ear and hearing is always permanent. Once a hair cell in the cochlea has been damaged or destroyed, it cannot be repaired - so take care of your ears and your students’ ears!

About the Author: Tom Dean is a Choral Editor, and the Elementary and Secondary General Music Editor for J.W. Pepper & Son, Inc. Prior to working for Pepper, Tom taught instrumental and choral music as well as audio engineering at the high school level in the Delaware public schools for 32 years. He is a member of the American Choral Directors Association (ACDA) and is active in the Delaware Music Educators Association, where he served in numerous positions including President; All-State Coordinator; Technology chair; and Composition chair; and in NAfME, where he served as Eastern Division President and as a National Executive Board member. He also was a member of the music writing team that developed the new music standards for the National Coalition for Core Arts Standards (NCCAS) project.

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Maryland Music Educator

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Professionalism in Teaching Treating the Pursuit of Excellence as a Daily Habit by Lori Schwartz Reichl, Author, Conductor, Teacher Reprinted with permission from the January 2019 teacher’s edition of In Tune Monthly magazine.

The most valuable resource that all teachers have is each other. Without collaboration our growth is limited to our own perspectives. ~ Robert John Meehan


everal years ago, I attended a professional development session given by a colleague: “10 Things You Can Do to Keep Your Job.” The session presenter, Sally Wagner, was obviously the epitome of professional, and she indeed kept her job - for 34 years as band director at Eleanor Roosevelt High School in Greenbelt, Maryland. Having parents who were both well-respected teachers, I learned early on the importance of professionalism. Sally’s session reiterated what my parents had demonstrated. Her suggestions were on point and simple. (For more from Sally, see her book The Pursuit of Excellence: A Band Director’s Guide to Success, available through Meredith Music Publications.) I have found that Sally’s suggestions are invaluable while mentoring others in how to be more professional. She even inspired me to create my own list of behaviors for professional courtesy. These reminders may spark inspiration for even the most experienced in our field. With Sally’s permission, I have included her behaviors (the first three listed which are marked with an asterisk*) followed by my own interpretations for pursuing excellence: • Be on time.* Arriving early to school or staying late is often necessary. Some people may prefer one option over the other to complete such tasks as preparing lesson plans, organizing the classroom, responding to messages, entering data and so forth. Regardless of your choice of arrival and departure time, there is no excuse for arriving late to a class, rehearsal, or meeting. Set the example for punctuality. • Dress respectfully.* Dressing for success may make you feel more effective in your role as educator and motivator. Especially with younger students, a particular accessory that you are wearing may even be the magic to holding their attention! Dressing respectfully should boost your confidence, helping to ensure recognition as the classroom leader. • Be positive.* If you do not demonstrate pride in your students, program, and school, then do not expect others to do the same. Positivity is contagious! • Never complain. If you plan to share a frustration with a colleague or administrator, be prepared to offer a solution. Complaining accomplishes nothing, and may toxify your working environment. (That said, sharing frustrations with a friend or family member outside the walls of the school may be a necessary outlet.) Blame no one. If you are making excuses for your ensemble’s per•

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formance or your students’ behavior, then you haven’t done your best to prepare your students for success. When an educator is consistent in his or her communication, management, organization, and tutelage, it is evident in the performance and behavior of the musicians. Are you teaching behaviors before content? Demonstrate it. • Smile. A smile offers a kind gesture when speaking may not be possible. You will be invigorated, students will feel welcome, colleagues will feel included, and supporters will sense appreciation. • Compliment. Give compliments to your students and colleagues on their accomplishments. Your kind words could be the only empathetic attention they experience on that day. • Ask for help. There is no shame in this. Find inspirational people to serve as a resource for you. Invite them into your classroom or rehearsal space and ask them to adjudicate your teaching or ensemble. Accept their feedback. • Listen with your eyes and ears. Listen carefully at meetings and read all correspondences in a timely fashion. Mark your calendar accordingly - don’t expect reminders of due dates to be sent by colleagues and supervisors. When a deadline is given, prepare for it and meet it. • Proofread and obtain approval. Employ a new set of eyes to review the content, grammar, formatting, and legalities of a document or e-mail. If suggestions or changes are made, update and reproof for errors. Particularly if you are a new teacher, be sure to show the document to your administrator before printing and distributing. Ask him or her to review it, offer suggestions, and continued on next page approve all content.

Maryland Music Educator

© Can Stock Photo. Artist: marinini. Number 1554728. Used with licensed permission. Licensee: Felicia B. Johnston.


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• Acknowledge others. If a colleague’s work interests you, kindly ask before implementing it for your own purpose. Credit that person, program, or school if you plan to use the exact words or ideas, regardless of the quantity. Do not plagiarize. • Respect the tenured. If a colleague is having difficulty learning a new technology or procedure, this does not mean that he or she will never learn it. Are you aware of all the ways this experienced person may have added to the value of music education for your program, school, and community through the years? • Maintain your musicianship. If we want our students to practice effectively and perform enthusiastically, then we must model this discipline in music-making. Creating ways to showcase your own musical talent to students and the school community may end up eliciting admiration, fundraising, and other support. Maintaining your musicianship doesn’t only advance your cause - it can inspire and benefit others in your school and community. • Show gratitude. Show appreciate for all who have supported you, for your students, and for your program throughout the school year. Some people may choose to tag these people on a social media post, but that is not truly thanking them directly. Personalize your gratitude. Write the thank you notes.

ness and professionalism. We must aim for a purposeful and compassionate experience. What habits do you practice? As Aristotle reportedly said, “We are what we repeatedly do. Excellence, therefore, is not an act, but a habit.”

About the Author: Lori Schwartz Reichl actively serves as an adjudicator, author, clinician, conductor, private instructor, and speaker. Lori is the author of the “Tools for Educators” series entitled “Key Changes: Refreshing Your Music Program” published monthly for In Tune Monthly Magazine’s Teacher’s Edition where she provides resources to enhance the music classroom and rehearsal space. Her articles are also featured each month as part of the National Association for Music Education’s Music in a Minuet Blog. In addition, her publications have frequently appeared in Maryland Music Educator and The Woman Conductor journals. Lori also serves as a journalist for Teaching Music magazine and writes program notes for composers. In Maryland, she serves as coordinator of Howard County's Secondary Solo & Ensemble Festival, artistic and executive director of the Regional Repertory Wind Ensemble, and the Maryland state chair for Women Band Directors International (WBDI). Visit her at

A key goal for music educators is to create a superior sound, but this should not come at the expense of treating others with kind-

COVID-19 Instrument Cleaning Guidelines: 22

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Letters From Retirement by Richard A. Disharoon, Baltimore County (retired); Past President of MMEA, MCEA, Eastern Division of NAfME; MMEA Hall of Fame Member


n the early years of the twentieth century, among the music educators striving to ensure that music was included in the education of Baltimore’s children were Henrietta Baker Low, head of Peabody’s School Music Program; John Denues, Supervisor of Music in the Baltimore City Public Schools; and Llwelyn H. Wilson, a teacher at Frederick Douglas High School. Mr. Wilson contributed to Baltimore’s musical heritage and fame through students Cab Calloway; Anne Wiggins Brown, who created the role of Bess in Gershwin’s Porgy and Bess; and Avon Long, who starred as Sportin’ Life in the 1942 Broadway revival of Porgy and Bess. Beginning with the very first Baltimore Symphony Orchestra (BSO) concert season in 1916, penultimate rehearsals served as education concerts for Baltimore City high school students. Denues and Low, along with other leading Baltimore musicians such as Peabody Director Harold Randolph, were among the hosts for those concerts providing information about composers and the music.

MMEA Hall of Fame In 1988, when the MMEA Hall of Fame was established, Low, Denues, and Wilson were included in the inaugural class of twentyfive pioneering music educators who had worked tirelessly for the advancement of music education in the state. In addition to teaching in the schools, many of them had worked together to provide special experiences for students through activities sponsored by the Band and Orchestra Association and the All-Maryland Chorus. The professional growth they experienced through working together led to the beginning of discussions in the fall of 1940 about forming a professional association affiliated with the Music Educators National Conference (MENC, which was renamed NAfME in 2011). One year later, in the fall of 1941, MMEA became a reality when the first annual organizational meeting of MMEA was held. 1988 MMEA Hall of Fame members Osmar Steinwald and John Boles, influential in Baltimore public school and community music from the earliest years of the century, were two of the elected officers. Another founder, Thomas R. Lawrence, inducted into the MMEA Hall of Fame in 1989, went on to serve as MMEA president and was a major figure in establishing music education in the Baltimore County Public Schools and an influential community music leader in Catonsville, MD. Many of us among the older retired generation were privileged to know and benefit from the knowledge, wisdom, and experience of these music

Many of us...were privileged to know and benefit from the knowledge, wisdom, and experience of these music educators on whose shoulders we have built Maryland school music programs and MMEA into the association it is today.

educators on whose shoulders we have built Maryland school music programs and MMEA into the association it is today. Dr. Corwin H. Taylor Another 1989 MMEA Hall of Fame inductee many of us were fortunate to know was Dr. Corwin H. Taylor, who arrived in the Free State at the end of World War II, served on the Music Education faculty of the Peabody Conservatory of Music, and was Supervisor of Instrumental Music in the Baltimore City Schools (1945-1968).He finished his career as Professor of Music Education at the University of Maryland, College Park (1968-1976). Throughout his career, Corwin was active in MMEA. If he had come to Maryland before 1940, there can be no doubt that he would have been involved in the creation of MMEA. Taylor served as editor of this journal, Maryland Music Educator, for five years (1957-1961), and immediately upon retiring began work on A History of the Maryland Music Educators Association: 1941-1977, published in 1978. Dr. Taylor’s influence was felt throughout the state. Everyone looked to him for guidance. (At the MENC National Conference in Washington DC in 1970, I came upon a large crowd engaged in conversation with a man seated in the center of them. I asked someone to identify the man; it was Dr. Taylor.) In1993, the MMEA Executive Board honored Dr. Taylor’s contributions to Maryland music education by establishing the Corwin Taylor Music Education Leadership Award “…to recognize individuals who make significant contributions to the music education of Maryland’s youth.” In addition to music educators, recipients of the award have included administrators, a music industry executive, and parent advocates. A personal remembrance: As a graduate student at College Park in the early 1970s, I had two courses with Dr. Taylor that met from 7-10 PM on Monday night. He lived in Annapolis, but never seemed in a hurry to leave at 10 PM and would stay for quite some time talking with some of us who also had long trips home. These “after hours” chats provided opportunities to pick his brain about a variety of professional topics and ideas. Although the road home was long and the morning came all too soon, it was an opportunity not to be missed. When I think of Dr. Taylor, I also remember consulting with him in his garret cubicle under the roof of the Tawes Fine Arts Building. He leaned back in this swivel chair propping his feet up on his desk. Two trombones hung crisscrossed above his head (before the war he had played trombone in the Cincinnati Symphony). “Well, Dick” he said, ”what’s on your mind?” As usual, he was settled in for however long I needed him. Toward the end of my graduate days, he provided significant help with research related to Baltimore City Public Schools. Dr. Taylor’s “Letters from Retirement” Retirement was not an idle time for Dr. Taylor. This issue of Maryland Music Educator marks the 39th anniversary of the continued on next page

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inception of a journal column, “Letters from Retirement”, that he wrote faithfully for 12 years until his passing at age 87 in December 1992. Throughout the forty-eight columns, Dr. Taylor regaled us with his humor: one article was entitled “Patience, Practice and Pachyderms”. If you knew Dr. Taylor, you could hear the humorous words in his columns softly tumbling out in his low-key voice and picture the straight-faced delivery. He had deep philosophical and psychological insights into the profession - he taught psychology at the University of Baltimore during his early years in Baltimore - and what seemed to be unending knowledge and wisdom about teaching and learning. Dr. Taylor informed all retired members in his first column in the winter 1980-81 issue of the journal, “…that this is their column. It is open to their problems and their projects, their concerns and their complaints (did you ever know a music teacher without a complaint?)” He added that he hoped retired members would contribute, “…for they are otherwise condemned to read this writer’s prose which is sometimes less than stimulating.” My intention in re-birthing this column is the same. I call on retired members to share your memories of days in the classroom, concerts, leadership experiences, thoughts on music education today, under-

I call on retired members to share your memories of days in the classroom, concerts, leadership experiences, thoughts on music education today, undergraduate training, graduate school experiences...What advice do you have for today’s young teachers? graduate training, graduate school experiences, or just anything on your mind. What advice do you have for today’s young teachers? Letters to the Writer In addition, this is also a “Letters to the Writer” column. Please respond to any topics I write about. In Dr. Taylor’s day, contributions had to be shared, by what we now refer to as snail mail, to his home address. Email makes it much easier to submit contributions. Please send your contributions to me at, placing “Letters from Retirement” in the subject line. Some of you may hear from me. I know you have interesting thoughts to share. So be forewarned and be ready!

About the Author: Richard A. Disharoon, MMEA Hall of Fame member and Past President of MMEA, MCEA, and the Eastern Division of NAfME, has been a choral music educator and voice teacher for over fifty years. He earned his B.S. degree in Elementary Education from State Teachers College at Towson (now Towson University); his M.A. degree in Music Education from Teachers College, Columbia University; and his Ph.D. in Secondary Music Education at the University of Maryland, College Park. For forty years he was the Chair of Visual and Performing Arts and Choral Director at Pikesville High School, Baltimore County Public Schools; and he was Director of Music at Arnolia United Methodist church for twenty years. From 1985-1990 he was Director of Choral Activities at the Essex Campus of the Community College of Baltimore County where he founded the Greater Baltimore Youth Chorale. He was Director of the Parkville Summer Choral Workshop from1988-1999. Dr. Disharoon has guest conducted several Maryland high school and middle school honors choruses. He is active as an adjudicator for Solo and Ensemble and large ensemble festivals. Dr. Disharoon was an Adjunct Professor of Choral Music Education at Loyola University of Maryland, the Peabody Conservatory of Music, and Towson University. His many articles on Choral Music Education based on teaching these graduate courses were published in Maryland Music Educator. Dr. Disharoon maintained a private voice studio for several years and at the Maryland Conservatory of Music from 2005-2009. He specialized in working with male developing voices.

NAfME Resources for Current Teaching Needs

Music Publishers Agree to Allow Educational Use of Copyrighted Music The article connected to the link above was first published by the National Federation of State High School Associations.

Virtual Learning Resources for Music Educators Ideas from NAfME Members for Fellow Music Educators 24

Maryland Music Educator

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7 Job-Hunting Tips by Alicia Mueller, Towson University, Maryland; Jill Sullivan, Herberger College of the Arts’ School of Music, Arizona State University; Barbara Payne McLain, University of Hawaii Reprinted with permission from NAfME Blogs, January 21, 2016:


re you about to graduate? Here are some valuable job-hunting tips and suggestions from college music educators, including NAfME member Alicia Mueller.

1. Resume and/or Portfolio Maintain an updated resume/portfolio emphasizing your strong points and major accomplishments. Ask one or two music education professionals to proofread your documents. For sample cover letters, resumes, and interview practice questions, visit A Career Guide for Music Education, provided by NAfME member Barbara Payne McLain. Consider building this resume/portfolio online. A simple Google search will reveal several free websites where personal and professional files can be stored and easily shared with prospective employers. 2. Letters of Recommendation When asking for letters of recommendation, whether it’s for a specific job or a placement file, provide each person with a copy of your resume and job-description information. Include a stamped addressed envelope and give plenty of time to meet all deadlines. 3. Letters of Inquiry Send out letters of inquiry and your resume to school systems where you’re interested in teaching. Ask if they anticipate a job opening in your area of specialization. Acquire information regarding the job application and procedures. 4. Personal File Maintain a personal file for each school system, and eventually for specific jobs. Follow the correct job application procedure for each school system or specific job. Meet all deadlines and do not hesitate to follow up by mail, e-mail, or a phone call. When building these files, also rank them from most interested to least. Consider student demographic, cost of living, school and district performance, personal interest, pay, etc. Doing this will help you focus your efforts and make the decision making process easier when multiple job offers arise. 5. Contact Information Be sure you have an accurate, reliable means for school systems or specific schools to contact you. You can even provide an appropriate voicemail message for incoming calls. 6. Networking Network through former graduates, colleagues, professors, and university administrators, and inform them of your specific job interests. Veteran teachers will be the absolute best resource for networking. Don’t hesitate to approach any lifelong educator you recognize and form a relationship. Attend and actively participate Spring I 2020

© Can Stock Photo. Artist: alexskopje. Number 15758039. Used with licensed permission. Licensee: Felicia B. Johnston.

in NAfME state, regional, and national conferences. Check out local and regional job fairs/centers and be aware that job interviews may be conducted in these settings. 7. Be Flexible! Don’t limit yourself to geographical locations, school sizes, or music teaching subject areas. Venture out from the state where you’re living or going to school. Entertain the idea of teaching abroad or participating in an exchange program. Refer back to the online article “Job Hunting Throughout the College Years” for more information. Mueller says, “This is a challenging yet exciting time for our music education profession. The possibilities are endless, and the opportunities are expansive! Creating and maintaining a career development plan will not only increase your chances for landing a great job, it will contribute toward a great enjoyment of your music education profession.”

About the Authors: Alicia Mueller is associate professor of music and the Elementary/Early Childhood General Music Specialist at Towson University in Towson, Maryland. Jill Sullivan is an associate professor of Instrumental Music Education in the Herberger College of the Arts’ School of Music at Arizona State University. Barbara Payne McLain is a professor of Music Education at the University of Hawaii. This article is adapted from an article in the October 2003 Maryland Music Educator, the Maryland MEA Journal, entitled, “TIPS for Job Hunting THROUGHOUT the College Years,” by Alicia Mueller.

Maryland Music Educator


Communicating with Your Community by Marcia Neel, President, Music Education Consultants, Inc.; Senior Director of Education, Yamaha Band and Orchestral Division Republished with permission from School Band and Orchestra, January 2015


o better inform the community about the purpose, structure and achievements of the school’s music program, provide an annual written report to the appropriate supervisor and, with permission, to parents and the community. Steps to Success in Communicating Goals and Accomplishments The Content • Data! Data! Data! People are busy, so respect their time by providing easy-to-decipher data about every aspect of your program. Include data on enrollment, program growth, percentage participation within the school, average student GPA, number of performances, number of students participating in Honor Groups, All State Ensembles, etc. This data should provide measurable information that would be used for comparison in prior and subsequent years. In addition, this will assist you in setting goals for the future. • The report could also include more generalized information about the music program, special community performances, and appearances by guest artists. The music program is a wonderful public relations component to the school; administrators know this, so use it to your advantage. Make the school and your students the focus of all of your good news. • Use student quotes about the value of being in the program, and place those quotes strategically in the document. (Be sure to secure written permission to use the quotes.) You could also include quotes from adjudicators, parents and other community notables about how wonderful the school’s music program is and its benefits for participating students. • Detail every positive contribution in the school or community - no matter how small - by individuals or groups, students and staff. The Process • Start an annual report file at the beginning of each school year and add material to it regularly. It is much easier to eliminate excess information than to create it just before the deadline. • Sort the entries by useful categories, such as ensemble types or grade levels. Review each event with the perspective of whether it is a selling point for the program or an interesting detail for an administrator. The Format • Use a spreadsheet to report your data. It should be easy to understand at first glance. You may want to show it to a colleague before submitting it to your administration. Remember that the format established for your report will be used in subsequent years to

make comparisons and show overall program growth. • Consider the appearance of the finished report. Think about how many photographs and charts to include and what size the report should be. One standard size is 8-1/2 x 11 inches, which prints on an 11 x 17 sheet that yields four pages. Deal in multiples of four pages. (It is impossible to have an odd number of pages unless one page is blank.) Also consider the texture and quality of paper you will use. • Secure permission beforehand if you want to include photographs in your report. Parents must provide written permission for photos of students to be included. • It is important that the report is submitted to your supervisor before it is distributed elsewhere. Work with this person to determine how best to proceed with additional copies and distribution. Graphically Appealing • Leave enough white space so that components don’t look crammed together. • Think about the size of the text (10-12 point works well); the space between lines of text (consider a minimum of a 1/2 point larger than the type size). • Consider the kind of type style used - serif versus sans serif - the printer can show you examples of these type styles. Studies have shown reading speed and comprehension are 30 percent better with serif typeface. Avoid using too many different sizes and type styles. • Pictures and graphs are appealing. A small number of photos showing only a few people are better than too many tiny photos or large ones of an entire ensemble. Position photos so the dominant subject looks into the page, not off into space. • Pay attention to page balance. Organize • Before you start writing, organize. • Include all pertinent information. • Prioritize information. • Determine which information can be further illustrated with charts or graphs, or enhanced by other visuals, such as photos. • Remember to include information about the importance of music education to student success. Use the “Write Stuff” • Attractive graphics will interest readers, but the core of any publication is its editorial substance. Write professionally and have your report proofread before taking it • continued on next page


Maryland Music Educator

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continued from previous page

to your administration. Be sure to ask for permission to publish the report beyond the confines of the school and ask for input from your supervisor before you make additional copies for others. • Write in simple, direct language to convey information of significance and interest, but with a meaningful message. • Outline first. • Use strong action verbs. • Use short sentences and paragraphs. Use the active voice. • Keep people in mind. • Use educational jargon sparingly but appropriately. It is important that you are seen as up-to-date on all current issues related to education, so use the proper terms. Use quotes when possible. Be concise; avoid wordy descriptions. • Select familiar words. • Simplify; then simplify again. • Check and double-check your grammar and spelling, then have someone else check it yet again. You will be judged by the quality of this document. • Write headlines that say something. Headlines need to communicate so that the people who scan your report can also learn something. Choose titles and headlines that will give a snapshot of the feeling you want to create. • Once you have designed an annual report that seems complete, ask for comments from a variety of others including an English teacher as well as a parent and an administrator before sending the report to be printed or sent out over the internet. They may not only find typographical errors, but may suggest something you have overlooked. Distribution • The final step is to distribute the report to the school board, administrators, parents, feeder schools (and the administrators, music educators and counselors in these feeder buildings), the local media, and local politicians. Be sure to inform your supervisor about which people you want to receive your report. Make extras to keep on hand and be sure that the principal’s office is provided with extra copies so that they can share them with visitors. • You can also use the report for background information when applying for grants, or as an internal tool to help assess the program. Consider expanding your distribution to include local service • groups, especially since you may find yourself asking them for financial support in the future. You could also distribute a copy to each visitor to the music department, including student teachers and guest artists. Give copies to real estate agents who might have clients looking for a community with a strong music program.

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Project Reminders • Have clear goals for what you want to accomplish by producing an annual report. • Enlist the help from other faculty members and students in producing the report. Communicate your goals and what you are trying to accomplish. Talk with journalism and art faculty to create a team approach to producing the most dynamic, content-driven report possible. • Work with a local printing company in understanding time and cost considerations. Ask for their input, based upon their experience and expertise. Get preliminary cost estimates so that you have an idea of the amount involved for the number of copies you want to distribute. • Talk with your booster or parent group to request funding to accomplish your goals in producing an annual report. • Share the process with your students so they can learn the importance of telling others about the value of music.

The material above was commissioned by the Music Achievement Council and is taken from Tips for Success. The Music Achievement Council is an action-oriented 501(c)(6) non-profit organization formed for the express purpose of enabling more students to begin and stay in instrumental music programs and to share real-world strategies for success developed by leading instrumental music educators. The comprehensive Tips for Success, along with a series of Recruitment and Retention resources, are complimentary and available to download at About the Author: Marcia Neel is president of Music Education Consultants, Inc., and serves as educational advisor to the Music Achievement Council (MAC). In this capacity, she provides sessions at conferences, district in-service days, and dealer workshops, sharing practical success strategies to help educators with the many and varied elements of the successful music education program. She presented sessions at the February 2019 Maryland Music Educators Association Annual Conference in Baltimore. Marcia also serves as Senior Director of Education for the Yamaha Band and Orchestral Division and was recently appointed to the Percussive Arts Society Board of Directors. Contact to inquire about sessions in your area.

Maryland Music Educator


MARYLAND MUSIC EDUCATOR Vol. 66, No. 2 Spring I 2020 Official Journal of the Maryland Music Educators Association Maryland Music Educators Association, PMB#472, 6710 Ritchie Highway, Glen Burnie, MD 21061 This issue of Maryland Music Educator will be posted at

WANT TO HIT A HIGH NOTE IN YOUR CAREER? Visit the NAfME Career Center Whether you are seeking a position or want to locate your next employee, NAfME’s Career Center will guide you every step of the way. You can view available jobs – or job-seekers – from across the country. Career Coaching: Coming from a variety of professional CBDLHSPVOET GSPN CVTJOFTTFT UP BTTPDJBUJPOT PVS DFSUJţFE coaches have the experience, training, and expertise needed to help you achieve your career goals. R esume W riting: Whether you are an emerging music leader, Resume Writing: B TVQFSWJTPS PS KVTU FOUFSJOH UIF UFBDIJOH ţFME PVS FYQFSUT are ready to critique your existing resume or help you craft a document that gets you noticed. You can also: • • • • • •

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