MMEA Fall 2018 Issue

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Vol. 65, No. 1

Fall 2018

MARYLAND MUSIC EDUCATOR Official Journal of the Maryland Music Educators Association

In this issue: MMEA Awards for Excellence Nomination Forms 2019 Young Composers Project Information Choral Music Review - What You Should Know The Benefits of Music Teaching Students to Practice Managing the Music Classroom

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Find Fi d personall attention tt ti in i a conse ervatory t setting tti along l h having access to a variety of student experiences and with reso ources associated with a public research university.

TH RIVE IN THE NATION N’S CAPITAL Apply your skills and knowledge th hrough our partnerships with majo or cultural institutions in the Baltimore-Washington, D.C. metropolitan area.

IMP PACT YOUR COMMUN NITY Enrich the region as a teacher and performer through our com mmunity engagement initiative es.




Maryland Music Educator

Fall 2018

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NEWTototal Percussion Series

Sound. Quality. Design.

At Yamaha, we believe that the first instrument in one's musical journey must provide excellent quality and tuning consistency. With that in mind, the new YX-230 xylophone is designed for the beginning percussion student. Featuring professionally tuned Padauk wood bars, this instrument produces a beautiful Yamaha sound that has been familiar to music educators for over 30 years. Weighting only 22 lbs. and just over 45" in length, this xylophone offers a 3 octave range (C52-C88) with 1-1/2" wide bars. A pair of ME-103 mallets are included along with a cover to protect the instrument from dust and scratches. An optional stand (YGS-70) and soft case (PCS-YX230) are sold separately.

YX-230 Xylophone

Visit for complete details

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“a s tunning music hall w ith s umptuous acous tic s” – New Y “a Yo or k T Tiimes

...c halleng i ng , i nnov ati ve pr og r am s t h a t com bin e r ig or o u s mu s ic a l e du c a t ion w i t h s t r on g m e n tor o s hip, t h e f l ex ibili t y to explore, and many oppor tunities to expand musical horizons in s t a te - o f- t h e - a r t f a c ili t ie s . . .com p r i s e d o f a dy d y namic an d di ve r s e co ll e c t ion o f f a c ul t y per f o r mi ng, c r ea t ing, and tea c hin g on t h e wor l d s t a g e . . . h om e to t h he e i nnov atti ve an d interdiissscip cip iplinarry y L i ne han A r t i s t Scholars Progr Sc g am

Ex E xplore all UMBC Music xp of fer fe fe errs rs a and nd ar r ange nd ge to v i s i t the the d de ep e par tm par pa tment nt and c am and an a m p u s:

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Maryland Music Educator

Fall 2018

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Maryland Music Educator Official Journal of the Maryland Music Educators Association

Fall 2018 Volume 65, Number 1



Choral Music Review - What You Should Know by James L. Turk, MCEA Choral Music Review Chair


Young Composers Project by Richard A. Disharoon, MMEA Young Composers Project Chair


How Music Is Part of Being Human and Why that Matters by Z. Randall Stroope, Oklahoma State University


This Is Supposed to be Fun, Isn’t It? by James Bicigo, University of Alaska Fairbanks (Retired)


Management Potential by Lori Schwartz Reichl, Author, Conductor, Teacher

Contents… 06 Executive Board Directory 06 Sponsors 07 Hall of Fame Members, Editors 07 MME Submission Deadlines 08 MMEA/NAfME Membership 11 Writing for Maryland Music Educator 12 Young Composers Project Teachers 21 The President’s Page 22 Eastern Division Encores 23 Calendar of Events, 2018 - 2019

24 MBDA News 25 MCEA News 27 MODA News 28 MGMTA News 29 Call for Poster Presentations 34 The Editor’s Page 34 MMEA Conference Dates 40-46 Awards for Excellence Forms 47 MMEA Sponsorship Donation Form

Advertisers Index American College of Musicians............34 Choral Arts Society of Frederick ..........12 Frostburg State Univ. Dept. of Music...10 Ithaca College School of Music............16 James Madison University ......................9 Loyola University Maryland .................26 Maryland Band Directors Band............24 Masterworks Press ...........................17-19 Menchey Bowed String Gallery ..............7 Menchey Music Service........................13 Musicale, Spectrum of Richmond ........20 Sunderman Conservatory of Music ......27 Univ. of MD Baltimore Co. ....................4 Univ. of Maryland School of Music ................................................(Cover 2) 2 Yamaha Band & Orchestra......................3

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), four times annually in the months of September, December/January, 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”. A PDF of Maryland Music Educator will be distributed digitally to all Maryland music teachers, all MMEA )members, and all advertisers. It will also be posted on the MMEA website at (MMEA Executive Board decision, June 8, 2018). Send change of address promptly to the editor and to NAfME, 1806 Robert Fulton Drive, Reston, VA 22091, or use the web address: Editor: Felicia Burger Johnston, P. O. Box 3362, Cumberland, MD 21504-3362; 304-613-2871; E-Mail:

The Maryland Music Educators Association is supported by a grant from the MD State Arts Council, an agency funded by the State of Maryland and the National Endowment for the Arts.

Fall 2018

Maryland Music Educator


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MMEA Executive Board Directory Elected Officers

Appointed Officers

President: Angela St. Pierre Old Mill High School 600 Patriot Lane Millersville, MD 21108 410 969-9010; E-Mail:

Advocacy Chair: Ronald P. Frezzo 712 Tanley Road Silver Spring MD 20904 301-379-2814 E-Mail:

President-Elect: Paul Dembowski Broadneck High School 1265 Green Holly Drive Annapolis, MD 21409 410-757-1300, x356 E-Mail: Immediate Past President: Katherine A. Murphy Fine Arts Content Specialist Montgomery County Public Schools 850 Hungerford Drive, Suite 256 Rockville, MD 20850 301-279-3250 E-Mail: Recording Secretary: Emily Hill, Urbana Middle School 3511 Pontius Court Ijamsville, MD 21754 240-566-9243 E-Mail: Member At Large: Ashley Ashman Robert Frost Middle School 9201 Scott Drive Rockville, MD 20850 301-279-3949 E-Mail:

Collegiate Membership Advisor Melissa McCabe Towson University 8000 York Road Towson MD 21252 410-704-5175 E-Mail: Collegiate Representative: Shefali Shah Frostburg State University E-Mail: Composition Projects Chair: Dr. Richard A. Disharoon 2615 Meadowland Court Baltimore, MD 21234 410-661-6778 E-Mail: Conference Exhibits Chair: Jan Strevig 2920A N. Rolling Road Baltimore, MD 21244 410-265-6222, cell 410-274-4486 E-Mail:

Component Association Presidents

Membership Chair Janet Gross Mt. Harmony Elementary School 900 W. Mt. Harmony Road Owings, MD 20736 410-257-1611 E-Mail:

Band Directors (MBDA): John R. Stevenson South Carroll High School 1300 W. Old Liberty Rd. Sykesville, MD 21784 TEL: 410-751-3575 E-Mail:

Membership Development Chair Judith Hawkins Prince George’s County Public Schools 5500 Danby Avenue Oxon Hilll, MD 20745 301-333-0961 E-Mail:

Choral Directors (MCEA): Michelle Searle Kim Seneca Valley High School 19401 Crystal Roack Drive Germantown MD 20874 W 301-353-8019 C 301-801-4900 E-Mail:

Music Industry Chair: Zach Viccica, Music & Arts Centers, Inc. 4626 Wedgewood Blvd. Frederick, MD 21703 800-237-7760, x1238 E-Mail:

Orchestra Directors (MODA): Jennifer Murray Dora Kennedy French Immersion School 8950 Edmondson Road Greenbelt, MD 20770 301-918-8660 E-mail:

Music Supervisors Representative: Amy Cohn, Coordinator Office of Music and Dance Education Baltimore County Public Schools Jefferson Building, 4th Floor 105 West Chesapeake Avenue Towson, MD 21204 443-809-4024 E-Mail:

General Music Teachers (MGMTA): Jennifer Kauffman Crofton Elementary School 1405 Duke of Kent Dr Crofton, MD 21114 410-222-5800 E-Mail:

Private Schools Chair: Joseph Shortall St. Paul’s School 11152 Falls Road Brooklandville MD 21022 410-852-4400 E-Mail:

College Music Educators (MSMTE): Stephanie Prichard University of Maryland 8270 Alumni Drive College Park MD 20742 301-405-5508 E-Mail:

Public Relations Chair: Deborah Turner, Central Middle School 221 Central Ave. E, Edgewater, MD 21037 410-956-5800 E-Mail:


Research Chair: Brian Schneckenburger Baltimore County 105 W. Chesapeake Ave., Room 408 Towson, MD 21204 443 809-9735 E-Mail: State Dept. of Education Representative: Alysia Lee Maryland State Department of Education 200 W. Baltimore Street Baltimore, MD 21201-2595 410-767-0352; FAX 410-333-1146 E-Mail: Technology Chair: Theresa Iacarino Joppa View Elementary School 8727 Honeygo Blvd Baltimore, MD 21128 410-887-5065 E-Mail: Tri-M Chair: Charlie Doherty, Damascus High School 25921 Ridge Rd. Damascus, MD 20872 301-253-7075 E-Mail: Staff Members Executive Directors: Mary Ellen Cohn E-Mail: Mariama Boney E-Mail: 791 Aquahart Road, Suite 117 Glen Burnie, MD 21061 410-768-2626; Toll Free: 800-94-MUSIC Publications Directors E-Mail: Business Manager: Thomas W. Fugate 27 Meadow Lane Thurmont, MD 21788-1737 301-271-7269 Publications Editor: Felicia Burger Johnston P. O. Box 3362 Cumberland, MD 21504-3362 304-613-2871 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

Event Updates:

Maryland Music Educator

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- – Angela St. Pierre 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

Maryland Music Educators Association Sponsors President's Club: Music and Arts Centers, Inc. R. Thomas and Joan Lee-Powell Patrons: Mary Ellen Cohn Esther and Thomas W. Fugate Barbara F. King Friends: Wayne Gorski Felicia B. and Cyril Johnston Glenn Luedtke Contributors: Bel Air Community Band Lisa Mezrich Jim and Cindy Stockbridge Jennifer Tisdale Jerry and Gail Weiss

Fall 2018

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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 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 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) Maryland Music Educator Issue

Submission Deadline

Winter 2018-2019

October 1, 2018

Spring 2019

January 2, 2019

Summer 2019

March 15, 2019

Fall 2019

August 1, 2019 Please send submissions to: Felicia B. Johnston, Editor

Fall 2018

Follow MMEA on Twitter! @MMEA_Maryland 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 1973-84 – 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

Maryland Music Educator

Updates, news, and more at: 7

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BACHELO OR OF MUSIC DEG REE PROGRAMS jmu.ed du/music/admissions/un ndergraduate.shtml ndergraduate.shtml



j d / i / dmissions/dma.shtml i i /d ht l

2018 – 2019 AUDITTION DA AY YS S


November 5, Janua ary ar ry 26, February Februar ry 9, Februar February ry 18

2019 JUNIOR AUD DITION DA AY A Y A ril 13 April Apr

School of Music Admissions MSC 7301 Harriso onburg, V VA A 22807 540.568..3851

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• • • •


• • •


e . 21) 2019 MU USIC SCHOL ARSHIP AUDITIONS U – Thursday, Feb. 14, 2019 (Snow Date:e Feb APPLY ONLINEE | DEADLINE Thursday, Feb. 7, 2019, at 5 PM CHECK US OUT ONLINE CONTAC T US

w w w.frostburg.eddu/music

m music@fr | 301.6877.4116 s department Frostburg Music Departm ment

FSU is committed to makingg all of its pr p ogr g ams, services and activvities accessible to ppersons with disabilities. To request q accommodation through g the ADA Comppliance Office, call 301.687.4102 or use a Voice Relay Operator at 1.800.735.22588. Frostburg State University is a smoke-free cam mpus.


Maryland Music Educator

Fall 2018

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Have you ever wanted to...

• be a published writer? • help beginning music teachers? • share your music teaching expertise?

You can!

You can write for Maryland Music Educator*! TOPICS to CONSIDER:

• • • • • • • • • • •

successful warm-ups motivating students intonation sight reading general music assessment small-group learning serving at-risk students visual aids technology remediation

enrichment rehearsal techniques All State preparations scheduling advocacy dealing with downsized programs • summer music camps • communicating with parents, colleagues, administrators • fund-raising • • • • • •

If you would like to write for Maryland Music Educator, please submit inquiries or articles to be considered for publication to: - Felicia Burger Johnston, Editor Deadlines for quarterly issues: August 1, October 1, January 2, March 15 *Maryland Music Educator is the official journal of the Maryland Music Educators Association ( MMEA is a federated state unit of NAfME: The National Association for Music Education. MMEA’s mission is to advance music education in Maryland schools. The organization sponsors student All State events, assessment festivals, and teachers’ professional development through conferences, in-service days, and publications.

Fall 2018

Maryland Music Educator


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#"! " "! " # " ! ! " ! " " " # " ! " "! ! ! "! " ! "! " " "! " "!

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The he Chorra all Art Arts rts ts Socie ety ty off Frrederick will kick--off the ďŹ rs rstt of thrree 75 5th th h Anni Ann Anniv ive ersary rsar rs ary ry co onc ncer erts ert rts with A W Wiint i ter in e Ju Jub Jubilee ubi bil ile le ee; e featuring turing fav avo orit rite ess frrom past se e easons as well e as works orks o ks by Ola O Gj Gjeilo, Gjeilo Mack Wilberg W lberg and Eric Whita Whitacr acrre. This will be a ye ear-lon ar-lon ng celebr elebrration of commu unity ty y, song and fun!

Friday, No Frida November mber 30 30 att 7:30 7:30 p.m. p.m. & Satur Saturda day, Dec December mber 1 at 3 p.m p.m. JAC JA CK K B. KUSSMAUL KUSSMAUL L THEA AT A TER T ER at at Frederick Frederick Co Community o College College Ticke Tickets ets at at www ww..mdtix. mdtix mdti om/ m/ /c / casoff..html casof ca html or at at the box office office at at perform perform mances mances

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Maryland Music Educator

Fall 2018

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Fall 2018

Maryland Music Educator


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Maryland Music Educators Association 2018 Awards for Excellence Hall of Fame Dr. Gilbert A. Brungardt (Posthumous) Towson University

Corwin Taylor Music Education Leadership Award Dr. Michael L Mark Towson University (retired)

School Administrator Award Jazmin G. Lawhorn, Crofton Elementary School Anne Arundel County

Exemplary Music Program Award Homestead-Wakefield Elementary School, Harford County Kateri Morrison, Rachel Reid and Miranda Strobel, Teachers

Outstanding Music Teacher Awards Kenneth Dasher, Pittsville Elementary and Middle Schools Wicomico County Paul Heinemann, Rocky Hill Middle School Montgomery County Anne Marie Patterson, Theodore Davis Middle School Charles County Thomas K. Pierre, Jr., Glassmanor Elementary School Prince George’s County James Woomert, Atholton High School Howard County The Executive Board of MMEA congratulates this year’s award recipients for their outstanding achievements as music educators, administrators, and music supporters. These extraordinary men and women devote their professional lives to educating the whole child, ensuring that students whom they teach, supervise, or support have a strong and complete music education. They were honored for their accomplishments at the Annual Awards for Excellence Luncheon at Turf Valley Resort in April.

MMEA 2019 Awards for Excellence nomination information and forms are in this issue of Maryland Music Educator and at 14

Maryland Music Educator

Fall 2018

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By Ashley Ashman MMEA Member at Large

Help Highlight Educators Who are Committed to Music Education Know an educator who is enthusiastic and passionate? Know an educator who mentors and shares expertise with others? Know an educator who has demonstrated tremendous dedication to the musical experience of students? Know an administrator who is an ally and avid supporter of music? Know of an exceptional music program that serves countless developing musicians?

SHINE A LIGHT & NOMINATE NOMINATIONS DUE BY DECEMBER 13, 2018 ALL MATERIALS DUE JANUARY 8, 2018 Please complete the online nomination form, see nomination forms in this issue of Maryland Music Educator, or check the MMEA website for nomination forms:

Questions/Comments can be directed to

Ashley Ashman via email: Fall 2018

See pages 40 - 46 for 2019 MMEA Awards for Excellence Nomination Forms. Maryland Music Educator


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DECEMBER 8, 2018 JANUARY 26, 2019 FEBRUARY 2, 2019 FEBRUARY 9, 2019

Dallas, TX Boston, MA Los Angeles, CA Chicago, IL

JANUARY 19, 2019 JANUARY 20, 2019 JANUARY 20, 2019 JANUARY 21, 2019

Application Deadline: DECEMBER 1


NOVEMBER 12, 2018

Register at and click on the events tab to sign up.


Maryland Music Educator

Fall 2018

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District Sight-Reading Exercises for study and use in preparation for the

MCEA Festival Now in PDF format with FREE delivery by email. The charts on the next pages include all the sight-reading exercises from the 2001 through 2014 MCEA Festivals. Each page includes the melodic and rhythmic exercises for a specified voicing (left of chart) and school classification (top of chart)—see sample, below.

You can purchase specific pages by circling the page number(s) desired, and phoning or mailing or faxing the pagesto the publisher along with a check, credit card information, or purchase order. Individual pages can be purchased for $1 each.


Each page may be freely reproduced for your students’ use. Middle School High School MS 1 MS 2 MS 3 MS 4 HS 1 HS 2 HS 3 HS 4 HS 5 HS 6 S 101 102 109 SA 103 111 SSA 106 115 119 123 127 B 110 TB 112 TTB 116 120 124 128 SC* 104 ST 113 SB 105 114 SAT 117 SAC* 107 SAB 108 118 121 125 129 SATB 122 126 130

* C = Cambiata

Select by Year and Grade Level

You can also purchase any entire year of exercises—Middle School, High School, or both — by circling your choice(s).

Finally, you can purchase the entire High School set or the entire Middle School set by circling that option for a discounted price.

Select Entire Set by Grade Level 301 3 $1 20 401 3 $26 3

Middle School (all years - 179 pgs.) High School (all years - 500 pgs.)

V isit our website and download a copy of our full sight-singing catalog at: Masterworks Press ad continued on next pages

Fall 2018

Maryland Music Educator


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MCEA District Sightreading Exercise es Middle School










High School HS1 HS2

Select by Year and a Grade Level


565 555

567 560





577 581 585


578 582 586

566 556 568 561 557 569 570 571

558 559 562 563 501


574 575

HS $23 $23 $23 $23 $23 $23 $23 $22 $22 $22 $22 $22 $22 $22

Pric ce includes complete Middle e School or High School materia als for year(s) selected.

517 510


579 583 587 580 584 588

515 505

MS $13 $13 $13 $13 $13 $13 $13 $8 $8 $8 $8 $8 $8 $8

2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001



527 531 535

Select Entire Sett by Grade Level


3014 $133 4014 $286

506 518 511


Middle School (all years - 192 pgs.) High Schoo ol (all years - 523 pgs.)

528 532 536


512 513 451


524 525

529 533 537 530 534 538

466 460



475 479 483

465 467 461


476 480 484

457 468 469 470

458 459 462 463 403

477 481 485 478 482 486

Expiration date: ___________ Security Codde:_________ If Debit card, PIN: _________________________________ Cardholder’s name & credit card billing addreess:



â?‘ MassterCard â?‘ Visa â?‘ Discover _________________________________________________

414 410


â?‘ Purcchase order (must be attached) #________________ Account Number:

473 474


Metho od d off Payment P t â?‘ Check enclosed (payable to Masterworks Press)



Your materials will be emailed to you as PDF P files at no additional charrge.

464 455


Total paym ment (add up all items ordered):: $________

519 520 521

508 509


425 429 433


_________________________________________________ _________________________________________________



417 411


426 430 434


412 413 351


Choir Director s Name:______________________________ 423 424

427 431 435 428 432 436

364 355


Phone: (_____) _____- __________ Email aaddress: ____________________________________ If this puurchase will be paid for or reimbursed by school:

366 360


Email to:

418 419 420

408 409


375 379 383


School Name: ______________________________ Address: ___________________________________



367 361


376 380 384

357 368 369 370

358 359 362 363

373 374

* = Cambiata

(Continued on next page.)

377 381 385 378 382 386

Return this s form to:

Or, fo r fast er se errvice,

#"! ! !! " " "


Phone: 1-800-300-9229 or Fax: 1-360-943-6808

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MCEA District Sightreading Exercises (2001-2009 ) Middle School

High School

MS1 MS2 MS3 MS4 HS1 301




162 163


















SSA 264











267 268








































































69 71 66 70 72




73 65
















159 160





155 156





151 152

113 105




























111 106


SATB 202


109 103

244 247 237
















B 245



SSA 241





239 233



143 135










SATB 231














141 136




139 133





TB 276














SSA 280



328 275 269 262





273 265











173 165

308 312














171 166

TB 311



B 317

















High School





Middle School HS6






310 302








77 78















51 52

55 56

59 60

SATB 218

221 222

225 226

229 230


* = Cambiata



* = Cambiata


39 33

41 36 40 42

34 43 44


47 37 38


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The President’s Page

Angela St. Pierre


The Year of Thick Skin


ello, Fall! You bring premature darkness and foreboding, yet you also bring color and light. I do not enjoy arriving at work in the dark and often leaving work in the dark, but I do enjoy your moderate temperatures and the promise of brilliant colors and scents. Change can be frightening, but it not always bad. I can honestly say that this last year has been the year of thick skin and courage. At our January 2018 Board meeting, Mary Ellen Cohn, Executive Director of MMEA, announced her retirement by June of 2019. Understanding that Mary Ellen possesses an extraordinary amount of institutional knowledge is an understatement. She was a music teacher; she served on the board as the festival director; and has served as the Executive Director since 1998. The Search Process We had no protocol for replacing an Executive Director, so I reached out to NAfME and some colleagues in the Eastern Division. Executive Director Steve Schopp from New York’s NYSSMA shared their process with me and described how he experienced it from both positions: as a former NYSSMA President, and then also as a candidate for Executive Director. Though our two states are quite different in many ways, I was able to make some modifications that suited our needs. • The team was made up of five people, and I was to serve as facilitator. • We sought representation from different parts of the state. • We sought representation from different

Make sure there is joy in what you are doing, and that you bring that joy into the lives of your students as they share this musical journey with you. ~ Stephen W. Miles MMEA Past President; Music Supervisor, Washington County Fall 2018

component associations. • We sought representation from both music teachers and music supervisors. We began by advertising the position. It was more challenging to spread the word than we thought it would be. Many sites and organizations require membership (fees) to advertise, and we had no budget for that. We got most of our leads from a popular job website. Once we had posted the job and had set a deadline, we began to collect résumés. My job was to distribute them to the team so that they could review them and sort them into “interested” or “not interested”. If a candidate received three or more “interested” endorsements, I would set up a Skype™ interview with as many members of the team who were available. We used Doodle™, an online service for scheduling meetings and appointments, quite a bit to schedule these appointments. Once the candidates did the preliminary interview, the team would decide if they should move on to the final interview with the Board. Our goal was to forward no more than six and no less than two candidates. We ended up needing two search committee teams, as our first round was unsuccessful - our two final candidates backed out in the last few days before the final interview in June. It was a devastating blow, but we started all over. I assembled a new team - with President-Elect Paul Dembowski being the only carry-over (to give the others a break). Thanks to some suggestions from MSDE Coordinator of Fine Arts Alysia Lee, we were able to tweak the job announcement and have some of our fellow arts associations advertise the position for us. The budget committee had been able to address the subject of salary and create a strategy to move forward and create some opportunities to increase future income in MMEA’s June budget meeting. The second search team had to navigate summer. They all sorted through résumés and conducted Skype interviews from conferences, vacations, and work. Somehow, we made it work, though, and I think I can say that we honestly enjoyed our Skype time. We conducted several Skype interviews and they Maryland Music Educator

made three recommendations to the board. At the board’s August 25 retreat, two candidates came for live interviews, and a third gave a Skype interview. Next came crafting and then negotiating a contract, which took a bit of time. Happily, on Wednesday, September 19, Paul, incoming Executive Director Mariama Boney, and I sat down at the MMEA office and signed the contracts. Mariama met Mary Ellen, and plans were made to make contact for Mariama’s start November 1. I am grateful to the members of both teams for their hard work and patience. I am grateful to the board for their patience and trust in the process. We had to keep many aspects of the process confidential at the time since some of our own colleagues were candidates, and we definitely wanted to keep the process fair and without bias. I am sharing this with you now because one of the platforms that Paul and I both believe in is a need for association transparency. Future Guidelines Moving forward: we will have to evaluate whether this process is the best to suit our needs in the future, and if so, how to communicate it or codify it. We expect many changes to occur in the next year. Some may cause growing pains, but if we keep our mission “to advance music education in Maryland schools” as our guide and compass, I think all will go well. Many thanks to all of those who sent encouragement along the way, and many, many thanks to Mary Ellen Cohn for agreeing to smooth the transition by working alongside the new Executive Director and then being available for consultation in the future.

Follow MMEA on Twitter! @MMEA_Maryland 21

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The Eastern Division President’s Page

Marc Greene


Eastern Division Encores


elcome back to a new school year and all the challenges and rewards that are coming our way along with pumpkin spice, freshly picked apples, and falling leaves. I am still waxing poetic over my experiences this past year attending state conferences in New Hampshire and Connecticut. The beauty of autumn in Manchester and the vibrancy of Hartford in spring were great reinforcements to the warm welcomes, spirited camaraderie, and superb musicianship of both events. This school year I will have the honor of visiting with colleagues in Delaware, Europe, Massachusetts, Maryland, Maine, New Jersey, New York, Pennsylvania, and Vermont. It is so exciting to know that I will be surrounded by so many like-minded professionals with a passion for music and education. But of course, the grandest event of this year will be taking place April 3-7, 2019! We will be convening for our 56th NAfME Eastern Division Biennial In-Service Conference at the David L. Lawrence Convention Center in Pittsburgh,

Pennsylvania. This is one of the best opportunities for innovative and best practice professional development in music education in the country, so plan to take advantage of this stellar experience. Highlights of the conference will include: • An overarching conference theme of Innovation, Access & Insights • A rousing conference kick-off event featuring inspirational messages from Peter Boonshaft and Dr. Tim Lautenheiser, a performance by the Williamsport Area HS Millionaire Strolling Strings and the energizing a cappella stylings of Business Casual • A fun Thursday Gala Opening Reception in the Exhibit Hall • The Pittsburgh Symphony Orchestra in concert Thursday evening especially for the NAfME Eastern Division Conference attendees at the exquisite Heinz Hall • A thought-provoking Friday general session featuring NAfME President Kathy Sanz, the Duquesne University Electronic Ensemble and Anne Fennell, Chair of NAfME’s Council for Innovations

• An optional run-out field trip to observe state-of-the-art music education in action in the Pittsburgh City Schools • A Friday evening performance by the United States Navy Concert Band and Sea Chanters • A mini “TED Talk”-style event on Saturday featuring Elizabeth Biesel, three-time Olympic swimmer AND accomplished violinist • Awesome performances by the PMEA All-State Ensembles on Saturday and the Eastern Division Honors Ensembles on Sunday • Over 150 workshop sessions and 47 performing groups representing states from across the NAFME Eastern Division. If you think you may need a “special invitation” to attend this conference to present to your school administration, please contact me at It would be my pleasure to send you a customized letter of invitation that includes a request for you to host a session or introduce a clinician!

Maryland Music Educator Now All-Digital! Beginning with the Fall 2018 issue, the MMEA quarterly journal, Maryland Music Educator, will be emailed to all Maryland music educators and will be posted on the MMEA website at The journal will no longer be available in a printed version (MMEA Executive Board decision, June 8, 2018). 22

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Maryland Music Educators Association Calendar for Students and Teachers 2018 - 2019 HS: High School

January 17 Jan. 31-Feb. 3

February 1-2 February 21-23

MS: Middle School

Deadline: All State Jazz Band Authentication Forms & DVDs to be received at MMEA office by January 17 All State Junior Band, Senior Band, Senior Orchestra, Senior Mixed Chorus, Senior Treble Chorus Baltimore Convention Center and Morgan State University Annual In-Service Conference Baltimore Convention Center All State Jazz Band, UMBC

March 1-3 March 29

All State Junior Chorus and Junior Orchestra in Towson Deadline: High School Band, Chorus, Orchestra Festivals Applications

April 4-7 April 5 April 18

PMEA/NAfME Eastern Division Conference, Pittsburgh Deadline for all State Solo and Ensemble Applications Deadline for Receipt of State Instrumental S&E Eligibility Forms Deadline: Middle School Band, Chorus, Orchestra Festivals Applications

April 19

April 29-May 3

State Band, Chorus and Orchestra Festivals

May 6-10 May 11 May 18

State Middle School Band, Chorus and Orchestra Festivals State String and Vocal Solo and Ensemble Festivals State Wind and Percussion Solo and Ensemble Festival Towson University Fine Arts Building

Fall 2018

Maryland Music Educator


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Maryland Band Directors Association

John Stevenson, President


MBDA News Don't expect to see a change if you don't make one. ~ Unknown


s the new MBDA President, I’ve been thinking a lot about change and how to manage it. I’m reminded of the many former MBDA Presidents and Board members who have worked so hard to create, support, and grow our Association and I hope that I’m able to live up to the high bar that they’ve set. I’d like to thank Todd Burroughs, MBDA Immediate-Past President for his leadership over the past two years. Under his leadership, MBDA celebrated Maryland composers and conductors and instituted several technology upgrades. It’s a testament to his leadership that the entire 2017-2018 MBDA Board has agreed to continue to serve for 2018-2019. Thanks to Todd and the entire MBDA Board

for their past and continued work! As MBDA President, I want to live in dialogue with and facilitate discussions among music educators in order to be responsive to the needs of Maryland music educators and students. That said, I need your help. Please let me know what you think MBDA is doing well and what you think we need to be doing better. This is your association - the MBDA Board and I work for you and your students. You can send your comments to me at Please know that all input will be taken seriously and shared anonymously with MBDA Board for consideration. Fall In-Service Day We planned a great Fall In-Service Day October 19, 2018 at Long Reach High School in Howard County. Clinicians this year included Deborah Confredo, Temple University; Brian Balmages, FJH Music Company; Lisa Schultze, Baltimore County; Sally Wagner and Dave Fedderly, Baltimore Brass; and Keith Hodgson and Mark Lortz from The University of the Arts and Stevenson University, respectively. The Towson University Symphonic Band, under the direction of Christopher Cicconi, performed recent additions to the MBDA Literature List (grades 1 - 6). Special thanks to Music and Arts for supplying the music for this session. All State Auditions • November 10 (All State Junior Band) • November 17 (All State Senior Band) • January 17, 2019 (All State Jazz Band Video Deadline) The All State Auditions Handbook has been posted online at Please


Maryland Music Educator

click on all of the associated links and review the relevant materials. Instrumental auditions will take place at Edgewood High School in Harford County. 2019 All State Conductors Junior Band - Sally Wagner, Eleanor Roosevelt High School, Retired Senior Band - Col. Timothy Holton, U.S. Army Band, Retired Jazz Band - Rick Hirsch, Composer, Arranger, Saxophonist and Educator I’m looking forward to my two years as your MBDA President. I am excited about the upcoming events and possibilities that lie ahead!

Save the Dates! MMEA Annual In-Service Conference February 1 - 3, 2019 Baltimore Convention Center and Morgan State University

Registration Information at

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Maryland Choral Educators Association

Michelle Searle Kim, President




earest Friends and ColleaguesWelcome back to another school year! I hope that you all had an amazing summer filled with relaxation, family, fun and rejuvenation. I also hope you are as excited as I am to begin this new school year and to make meaningful connections with teachers and students alike. As I start my second and final year as MCEA president, I would like to take this opportunity to thank my fellow MCEA and MMEA Board members who have been so vital in keeping this organization running strong. As I evaluate my first year, I am in awe of the behind-the-scenes work of so many people, on a volunteer basis, for our organization. It is truly humbling, and I am honored to be a part of it. I would like to especially thank my President-Elect, Katie Meloro. Katie is a phenomenal teacher and leader who is doing exceptional work at Atholton High School. She is extremely talented, has many new ideas, and I am ecstatic to have her as my partner. Important Topics In the past few months, there has been such turmoil in our world that it is difficult to comprehend. This has been a challenging year to say the least, and we music educators play such an important role in the lives of our students, ensuring they have a safe space to come to daily where their needs will be met. Through music, students have a chance to express the many feelings they may be holding on to and struggling with. Trust me when I say that you do make a difference, even when you are emotionally drained, and you feel completely isolated. Know that what you do is life-changing. We are continuing to increase conversations about the topic of gender as it relates to choral classrooms. Our charge as music educators is to include and welcome students of all races, religious backgrounds, cultures, and genders and introduce them to the wonderful world of choral singing in a safe, accepting environment. We have incorporated this Fall 2018

topic into many of our sessions for the upcoming year and we are excited to learn from some outstanding guest clinicians. Fall Conference This year, the Fall In-Service Day was on October 19 at Long Reach High School in Howard County. We were excited to have an excellent lineup, which included the High School Tenor/Bass Demonstration Chorus under the direction of Nathan Carns from Perryville High School in Cecil County. We offered Elementary, Middle, and High School Music Reading sessions with Carla Wardell, Angela Pope and Diana Sáez, as well as a session on vowels in the choir by Chris Fox and Laurel Wacyk. In addition, we were pleased to have Dr. Kathryn Evans from Towson University present sessions on “Universal Design for Learning”, in which participants explored strategies for implementing UDL; and “Music that Moves You - DOK ”, in which participants explored a variety of strategies incorporating elements of Dalcroze, Orff, and Kodály (D-O-K) to energize and engage their students. February Conference This year, the MMEA Annual In-Service Conference is February 1-3. These dates are much earlier than at last year’s conference, but in booking these dates, we are again able to host both the All State Senior Choirs at the Hilton Baltimore Hotel, which is connected to the Baltimore Convention Center. We are happy that both those All State groups will again be back in the same hotel. We are delighted to welcome as conference clinicians Dr. Deanna Joseph, Associate Professor of Music and Director of Choral Activities at the Georgia State University School of Music, and Dr. Joshua Palkki, who serves on the faculty of the Bob Cole Conservatory of Music at California State University, Long Beach, as Assistant Professor of Vocal/Choral Music Education. We are also eager to have Dr. Edward Maclary (University of Maryland) as the All Maryland Music Educator

State Senior Mixed Chorus Conductor; Mrs. Mary Jane Pagenstecher (recently retired from Holton-Arms School in Bethesda, now at Waynflete School, Portland, Maine) as the All State Senior Treble Chorus Conductor; and Mr. Ken Berg (Music Director and Resident Composer for the Birmingham Boys Choir) as our All State Junior Chorus Conductor. We also welcome Julie Culotta (Artistic Director of the Deer Creek Youth Choir) as the Elementary Demonstration Chorus Conductor. All State Auditions Please mark your calendars for All State auditions, which are on Saturday, November 10 for Junior Chorus, at Urbana Middle School, Perry Hall Middle School, and Broadneck High School and Saturday, November 17 for Senior Choruses, at Urbana High School, Perry Hall Middle School, and Broadneck High School. The application deadlines were September 28th for Junior Chorus and October 5th for Senior Choruses. We are always in need of judges for our All State auditions and chaperones for our All State weekend. If you would like to be considered for either of these tasks or any other tasks, please contact me at Final Thoughts As I begin this second year as MCEA President and start my 22nd year of teaching, I look forward to this school year and making an impact on choral music in the state of Maryland. I have had the opportunity to meet many new teachers and develop new friends and mentors and I am so thankful for those opportunities. I am continuously amazed by the wealth of knowledge and talent of the music teachers in our great state. I wish all of you an outstanding, fulfilling start of the school year and very much look forward to seeing all of you very soon.


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Maryland Choral Educators Association

James L. Turk, Choral Music Review Chair


Choral Music Review What You Should Know


ach spring, over 100 of the finest choirs from around the state of Maryland perform for the annual State Choral Assessment, either on the Middle School or High School level. In order to qualify for that honor, they must first have earned a Superior rating at their District festival. The adjudicated repertoire to be performed at either the District or State level must be selected from the approved MCEA Choral Festival List. Rules and regulations regarding that selection process are available on the MMEA website at, and through District music supervisors.

ing the chairmanship, I was for several years a committee member, having a vote in determining the level of each newly submitted piece for consideration. Committee members were provided with a set of established rubrics, but also encouraged to use our knowledge and experience in making those determinations. The Music Review Committee never met face to face, communicating first by US mail, then by Google Forms, but with no actual interaction. The chairman ultimately averaged the scores submitted by com-

a committee member, looking at (and listening to, or singing through) excerpts from over 200 total submissions. I’m convinced that this interaction is extremely healthy to the review process, and I am grateful to those directors who have already served. Please contact me if you would like to serve on this year’s committee.

All-Digital CMR Application Process This fall we’re taking a dramatic leap into the 21st century, with an all-digital CMR application process. No music will be sent by mail; the completed Application Form is submitted electronically, along with a PDF scan of the entire score. Our rubrics have also AT LOYOLA UNIVERSITY MARYLAND changed, thanks to the input from our good friends SUMMER MASTER’S DEGREE PROGRAM of the Virginia Choral Music Educators Association. • OAKE Endorsed Kodály Certification Levels I, II, III Among the upgrades is a • M.Ed in Kodály Music Education requirement that each sub• Kodály methodology based on current research mitting director, after refer• Teaching Lab with AKI Demonstration Singers ring to the new rubrics, • Build and play dulcimer, guitar, and ukulele must make a recommenda• Learn hundreds of songs, folk dances, and play parties tion as to the level of that • Elementary General or Secondary Choral Track piece. Upon receiving each score and application, the Apply Today! Courses run July 6-26, 2019. committee will then deterAttend a Free Saturday Workshop – Register Online! mine a final level which will be posted to the list on the HOW WILL YOU DRIVE EDUCATION MMEA website.


THE LIST First, a word about THE LIST. As it turns out, my willingness to chair the committee also resulted in my (unofficial) guardianship of that document. There are over 5,000 titles represented, accumulated over several decades. Admittedly, there are still, after much cleanup work, MANY discrepancies, inaccuracies, and redundancies; some of which may never be corrected. Having said that, please know that I remain committed to fixing as much as I can. You LOYOLA.EDU/KODALY can be of tremendous help in that process by drawing those issues to my attention. I mittee members, then updated THE LIST at promise to work with the Choral Music the end of each season’s process. Review (CMR) Committee to address your In-Person Meetings concerns. Two years ago, when I took over leadership This is my third year chairing that commit- of Choral Music Review, I chose to chair a tee, and I’d like to share with you a brief committee, the members of which would description of where we’ve been and where meet to discuss the music face to face. We we’re going with this process. Prior to assum- have gathered twice each fall at the home of


Maryland Music Educator

Acknowledgements, Contact Information My sincere gratitude goes out to Executive Director Mary Ellen Cohn and the MCEA Board for their support of this process. I especially want to thank Chris Fox, Angela St. Pierre, Libbi Nixon, Michelle Rafter, and my wife Susan, for their specific assistance in the upgrades. Please contact me at with any questions, suggestions or concerns.

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Maryland Orchestra Directors Association

Jennifer Murray, President




elcome back to school, Colleagues! I hope everyone had a restful summer and the start of the new school year is going well. Every year I like to create a “new school year’s resolution.� This is basically my professional goal but a little less formal. Every year I resolve to be more culturally relevant to my young students or to not yell as much. This year, I am going to try to make personal music connections to every student. I am going to invite students to my performances and I

encourage you colleagues to do the same. Maryland Orchestra Directors Association has been working hard to bring you more events and to streamline/solve many problems that many are seeing. Thank you so much for bringing things you notice to the attention of the board; please continue to do so. We had excellent sessions at our Fall InService Day. We had the pleasure of having Anne Pape (Harford County) give us tips on using manipulatives to help with technique and Michelle Roberts (Montgomery County)

helped our ensembles sound like the Berlin Philharmonic! We welcomed back Maggie Lubinski from Fairfax County in Virginia, who shared tips on working with special needs students in beginning and intermediate-level orchestra classrooms. Thank you so much to all of the teachers who have already signed up to volunteer this year for MODA events. We still need help with auditions, All State chaperones, and other needs. I look forward to seeing you this year.

Band, Choral, and Orchestra Music Review/Submission Forms are posted online at

Bachelor of Arts in Music Bachelor of Arts in Music DPNCJOFE XJUI B TFDPOE NBBKKPS

Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: XX X XX X HFUUZTCVSH FEV NVTJD Sunderman Conservvaatory of Music Gettysburg College, Gettysburg, P PA A 17325 UFM t XXX X HFUUUZZTCVSSHH FEV V NVTJD

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Jennifer Kauffman, President ==================================================================== Maryland General Music Teachers Association



Calvert County. Christie is also a well-orga- needs. They are also a venue for you to con-

y name is Jennifer Kauffman and I have the honor of being the current president of Maryland General Music Teachers Association (MGMTA) for the next two years. Currently, I am a K-5 general music and chorus teacher at Crofton Elementary School in Crofton, MD. As a teacher who has taught in Baltimore, St. Mary’s, Calvert, Allegany, and now Anne Arundel counties, I hope that I can bridge my knowledge of these communities to support all of you. During the next two years as your President, I hope that MMEA will provide high-quality general music conference sessions and also increase support to the secondary general music educators of Maryland. I have learned a lot from our Immediate Past-President Kecia Coleman. Many of you know what a hard worker Kecia is and all of the organization and team effort she has brought to MGMTA. There is an endless list of time spent and tasks accomplished with Kecia at the helm over the last two years. Thank you, Kecia, for all you have done for MGMTA! And it’s a privilege to work with the current President-Elect, Christie Cook, who teaches middle school general music and orchestra in

nized hard worker who has already given much input into making MGMTA improvements. Welcome to MGMTA, Christie! In addition to the President-Elect, MGMTA has an advisory board of general music educators to assist and advise on general music matters. I’d like to introduce the current board members to you: Shoshanah Drake (Montgomery County), Marci Fleck (Calvert County), Lydia González (Anne Arundel County), Rodney Lewis and Thomas Pierre (Prince George’s County), Kristin Smith (Howard County), and Stephanie Thompson (Calvert County). Thanks to all of you for your past two years of service and for agreeing to continue on the board! If you have an interest in helping us by serving on the advisory board, please email me at Thanks to the help of the advisory board, we were able to collect proposals for, approve, and schedule a super-packed MMEA Fall InService Day held Oct. 19 at Long Reach High School in Howard County. The in-service events are a great way to pick up a new idea, a new strategy, or a new point of view a time for you to get some personal professional development that will meet your

nect with other music teachers from around the state. Fall In-Service Day sessions for general music teachers included multiculturalism, Document-Based Questions (DBQs), round singing, Orff, assessment, teaching in self-contained classrooms, teaching general music in middle school, melodica, ukuleles, and much, much more! It’s up to you to put your plan in action - to be the best general music educator you can be in 2018-2019. We look forward to seeing you at upcoming inservice events; the Annual In-Service Conference is scheduled for February 1-2, 2019, at the Baltimore Convention Center. Whether a veteran teacher or a first-year teacher, we like to stay connected. Feel free to find us on Snapchat™, Twitter™, Instagram™ and Facebook™ page to network, collaborate, and share new ideas about teaching general music. Take a moment to join and share our social outlets with other general music teacher friends. It’s going to be a great year for MGMTA and we are glad that you are along for the ride. Feel free to approach me or anyone on the advisory board with questions, comments, concerns, or suggestions.

“When people, serious people, Follow believe in you, they give you some of their best, MMEA so - take care of it…”

on Twitter!

~Mr. Harsanyi, Pianist and Teacher, to his



Piano and Voice Student Thea Kronborg, in The Song of the Lark (1915), a novel by Willa Cather, American Author, 1873 - 1947

Maryland Music Educator

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Fall 2018

Maryland Music Educator


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MMEA Young Composers Project Chair

Richard A. Disharoon


Young Composers Project Maryland Music Educators Association YOUNG COMPOSERS PROJECT GUIDELINES 2018-2019 The Young Composers Project supports Maryland music educators in their efforts to incorporate the National Standards for Music Education and the Maryland State Music Standards in their classrooms and rehearsals. As such, the Project is designed to encourage and enhance the instructional experiences of Maryland school students and music educators through providing professional critiques, enhanced recognition, and selected presentations for the on-going creative work of students in Maryland schools. DESCRIPTION: Students in Maryland schools are encouraged to submit their creative work to the Maryland Music Educators Association for professional review, evaluation and recognition. (Visit for examples of previous submissions to the Young Composers Project.) ELIGIBILITY: Open to Maryland school students enrolled in school music classes grades PK12. SPONSORING TEACHER MUST BE A MEMBER OF NAfME/MMEA. DESCRIPTION OF CREATIVE WORK: • Can be composed by an individual, class or ensemble. • Can be an original arrangement of public domain works. • Duration must not exceed five (5) minutes in length. • May be for a solo, small or large ensemble. • Presentation may be for an electronic, instrumental, multi-media, or vocal medium. • Must reflect ‘Creating’, in 2014 Music National Anchor Standards 1, 2, and 3. (Visit standards at; search 2014 standards; composition theory.) Works that do not address the ‘Creating’ standards will not be accepted. • Must address ‘Creating’ standards at a selected grade/level: PK-8: select grade 5, 8, or level; for middle school: select Novice or Intermediate; for high school: select Proficient, Accomplished or Advanced. Works failing to select a specified grade or level will not be accepted. continued on next page 30

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Young Composers Project Guidelines, continued from previous page

HOW TO APPLY Complete an online application and upload required materials at: • Individual Student Submissions: • Class/Ensemble Submissions: Required Submission Materials: 1. scores (works for solo instruments, chorus, band, orchestra, chamber ensembles, electronic realizations, multi-media) with a title on the first page, STUDENT NAME MUST NOT APPEAR ON TITLE PAGE OR ADDITIONAL PAGES. All measures must be numbered. 2. A digital recording (live performance or electronic realization/midi) of the work submitted as an mp3 file. The work’s title should appear as the file name. Student name MUST NOT appear on the file name. 3. a one (1) to two (2) page student(s) narrative reflecting on the process of creating the work, i.e. ‘How was the work submitted ‘Imagined’, ‘Planned’, Made’, Evaluated’ and ‘Refined’? THE NARRATIVE MUST BE ORGANIZED BY EACH AREA. NO name(s) should appear on any page. 4. a one (1) page teacher generated narrative identifying and reflecting on the instructional strategies implemented to enable student(s) to create the work, i.e. What instruction was provided to help student(s) ‘Imagine’, ‘Plan’, ‘Make’,’ Evaluate’, and Refine’ the work submitted?’? THE NARRATIVE MUST BE ORGANIZED BY EACH AREA. NO name(s) should appear on any pages. 5. A scan or photo of a completed signature page. This page is included on the next page of the guidelines. Multi-Media Work: includes any and all combinations of visual, auditory or physical movement (Example, film scores, ballet, scenes, etc.). Please submit a MP4 of the entire project. All creative rights, including copyrighting, remain with the creator(s). Submissions with names, without a title, without all measures numbered, or without recordings will not be accepted. Applicants will receive their comments and evaluation in June 2019.


continued on next page

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Young Composers Project Guidelines, continued from previous page

SIGNATURE PAGE Upload to your online application a scan or photo of this completed page (Required Submission Material #5). SIGNATURES REQUIRED FOR INDIVIDUAL SUBMISSION: 1. Parent signature grants the following legal permission to MMEA: The Maryland Music Educators Association or its designee has my permission, in the event of a public performance or presentation, to photograph or to create an audio and/or video recording of my child at an MMEA sponsored/hosted event. Parent Signature: ___________________________ 2. Student/Teacher signature grants the following legal permission to MMEA: 1. The Maryland Music Educators Association or its designee has permission to post work submitted on the MMEA website. 2. Media releases will be provided for all performers of my composition. The signature also certifies that the work submitted is original and has not been published. I understand that I retain all rights, including copyrights, and that MMEA will retain all materials. Student Signature: _____________________ Teacher Signature: ______________________ SIGNATURES REQUIRED FOR CLASS/ENSEMBLE SUBMISSION: 1. Teacher signature guarantees the following for legal purposes: 1. I certify that the work submitted is the original work of students and has not been published. I understand that all rights, including copyrights, are retained by the music teacher or classroom teacher and that MMEA will retain all materials. 2. For class submissions, the teacher is required to secure permission from the parent/ guardian of EVERY child for MMEA to photograph, film or videotape their child at the MMEA Conference. Please use the permission form provided below for this purpose. A separate form must be submitted for every class or ensemble member. 3. The Maryland Music Educators Association or its designee has permission to post work submitted on the MMEA website. Teacher Signature: ___________________________

The Maryland Music Educators Association or its designee has my permission, in the event of a public performance or presentation, to create an audio and/or video recording of my child at an MMEA sponsored/hosted event. Parent/Guardian Signature_____________________________ Date________ continued on next page


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Young Composers Project Guidelines, continued from previous page

REVIEWS/EVALUATION Each work submitted: • Will be reviewed and evaluated by a panel of judges. A panel may include current or retired school music educators, members of the music industry, composers, or qualified university composition faculty. Review comments and evaluations will be provided for each work submitted. All comments and evaluations will be final. • Will be evaluated as being either ‘Superior’, ‘Excellent’, ‘Good’, ‘Fair’, or ‘Needs Improvement.’ • Will be reviewed and evaluated focusing on: 1. Originality: Creative work exhibits a personal/unique style clearly demonstrating the ability to create, use and/or organize sound for expressing personal or group musical intent. 2. Compositional Technique and Presentation: Creative work clearly exhibits characteristics of the elements of music being accurately and effectively understood and manipulated and presented for expressive purposes. Includes organization of rhythmic and melodic elements, formal design, writing for instruments and/or voices, correct usage of musical notation, etc. 3. Compositional maturity: Creative work clearly demonstrates a depth of knowledge, understanding and effective application of the elements of music for expressive purposes. Includes a high level of appropriate professionalism in presentation of score and recording. 4. Overall Appeal: Creative work includes effective handling of unity/variety, dynamics, tension/release, articulations, text setting, etc. Suggestions for Students and Teachers: 1. Remember that a grade level student, student ensemble or an electronic medium should perform each work submitted. 2. Remember, neatness counts! Creative work exhibiting attention to presenting a clean full score, clear copies, and a sensitive recording, shows careful attention to preparation. 3. Above all, creative work should be an extension of your personal ideas, thoughts and experiences. A work should be meaningful to each person, class or ensemble.

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The Editor’s Page

Felicia Burger Johnston


Maryland Music Educator: First Digital Issue


elcome to the first all-digital issue of our quarterly journal, Maryland Music Educator! It is being distributed in PDF form to all Maryland public and private school music teachers at all levels, all MMEA members who are not Maryland music teachers, Maryland music supervisors, Maryland colleges and universities, other state MEA editors, and Maryland Music Educator advertisers. It will also be posted at, MMEA’s website. Maryland Music Educator will no longer be printed; MMEA will continue to print the fall and winter conference programs. We are experiencing great amounts of “newness” that come with change, and we are excited about the possibilities ahead as we continue to learn.

In This Issue In this issue are insightful columns by MMEA leaders; 2018-2019 Young Composer Project guidelines for composition submissions due May 1, 2019; 2019 Elementary Demonstration Chorus guidelines and application form; nomination forms for the 2019 MMEA Awards for Excellence recognition awards; and choral music review pointers. Feature articles in this issue are “How Music is Part of Being Human and Why That Matters”, about the benefits of music, by Z. Randall Stroope; “This is Supposed to be Fun, Isn’t It?”, about teaching students to practice, by James Bicigo; and “Management Potential: A Purposeful and Passionate Plan for Managing the Music Classroom” by Lori Schwartz Reichl.

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. Our publications email address is I look forward to hearing from you!

“One does not discover new lands without consenting to lose sight of the shore for a very long time.” ~ from The Counterfeiters with Journal of the Counterfeiters, by André Gide, French Author, 1869-1951

Save the Dates! MMEA Annual In-Service Conference February 1 - 3, 2019


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How Music is Part of Being Human and Why That Matters by Z. Randall Stroope, Oklahoma State University; Higher Ed Vice President, OkMEA Reprinted with permission from Oklahoma Music, Fall 2018, Vol. 25, Issue 1

Despite the enormous sums of money spent on mood-and behavior-altering medications that are often not particularly effective, nothing compares to iPods when it comes to improving the quality of life. ~ Tony Lewis, President and CEA Cobble Hill Health Care Brooklyn, New York


r. Lewis was referring to the physical, mental and emotional benefits of music listening. The demise of the iPod™ brand, like political common sense, is well under way since 77% of Americans now own a smartphone (according to the Pew Research Center). But the point to the statement above was not an encouragement to take your electronic device to the local antique store, but an affirmation that music listening and engagement leads to a broad array of benefits to better health for any age. “Music is structural, mathematical and architectural. It’s based on relationships between one note and the next. You may not be aware of it, but the brain has to do a lot of computing to make sense of music.” (John Hopkins Medicine) According to Music and Memory, Inc. (New York non-profit organization) and Carina Louart’s article “Music to Heal Memory,” • Our brains are hard-wired to connect music to long-term memory. • Music can be a valuable tool in efforts to reduce medications related to psychological challenges. • Music (most music, anyway) calms chaotic brain activity which can lead to greater focus and more thoughtful decisionFall 2018

making for many people. • Music can relieve stress, and lower blood pressure. • Music activates every known part of the brain. • If learning a new language, phrases are easier to remember if sung. • When we hear music, the brain interprets it within 250 thousandths of a second setting off a literal neuron ‘symphony’. • Music connects BOTH sides of the brain, and in particular Broca’s area or the language region. • Elderly people who have played music for a few years are less at risk of developing a neurodegenerative disease than those who have not. • Students with the greatest amount of musical experience did better on mental acuity tests. • Music and rhythm have been an important part of our physical and emotional well-being ever since we were babies in our mother’s womb, listening to her heartbeat and breathing rhythms. (Franz Wendtner) • Albert Einstein improvised on the violin when he was working out difficult problems. • On low birthweight babies, music had noticeably positive effects on oxygen saturation levels, heart rate, and respiratory rate. (Cassidy) • The part of the brain that stores music memory is remarkably spared in Alzheimer’s disease. (Tanzi) Music has played an important part, past and present, in every human culture. Music is universal because people everywhere respond to music in a similar way. The interconnection of music with society can be seen throughout history in every known culture on earth.

Maryland Music Educator

“Music is part (Oliver Sacks)




Words set to music are easiest to remember (do you recall the “ABC song”?). The oral tradition goes back to antiquity - Homer’s Odyssey and Iliad were chanted or sung, not read out loud. Even many of the modern poets sing their poetry. Whether it’s the Mozart effect, Vivaldi effect, “domino effect,” or some other “effect,” music has acute benefits on the quality of human life - mentally, socially, physically, emotionally, and in simply enjoying life. Isn’t it gratifying to know that each music teacher makes a significant difference in our society? The level at which musicians are appreciated is not always congruent with the academic and medical findings of the effects of music, but it should make musicians walk a little taller, feel a greater sense of accomplishment, and know that their discipline has been important since time began.

About the Author: Z. Randall Stroope is an American composer, conductor, and university professor. He has 180 published musical works, has guest conducted in 10 countries, and has toured 22 other countries with his choirs. He has led 44 All State choirs and numerous other music festivals in the United States. His best-known works include Conversion of Saul, Psalm 23, Lamentationes de Jeremias, Go Lovely Rose, Omnia Sol, Homeland, Dies Irae, and American Rhapsody. He is a Professor of Music at Oklahoma State University, where he oversees the undergraduate and graduate conducting program. Dr. Stroope maintains a website at Comments are welcome and may be directed to Dr. Stroope at 35

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This is Supposed to be Fun, Isn’t It? by Dr. James Bicigo, University of Alaska Fairbanks (Retired), Clinician, Performer, Teacher Reprinted with permission from Alaska Music Educator, Winter 2010, Vol. 48, No. 2


usic teachers have spent decades, perhaps hundreds of years, trying to motivate students to practice. The issues about practicing seem to be the same regardless of age group or experience: • When do I have time to practice? • Practicing is boring. • Practicing is frustrating. • I don’t have a good place to practice. • I practice, but I never seem to get any better. Everyone has dealt with these issues and usually they stem from practice that is not effective. How then can teachers motivate students to practice and help them to do so effectively? The first key is to remember and to help our students remember that we play our instruments because doing so is fulfilling, fun, challenging, and interesting. Then we must find a way to bring those elements into our practice and that of our students. The first step is to choose music for our students that is fulfilling, fun, challenging, and interesting. Ensemble music must have individual parts that are interesting (or have significant interesting sections) for each instrument. A tuba part with oom-pahs or one note per several measures of rest may be fine when playing in the ensemble, but it certainly won’t motivate individual practice; the tuba part must have a significantly interesting section in order to do that. Ensemble music should also challenge students enough to make practicing necessary, but not so much that individual practice is discouraging or even impossible. Finally, some of the music our ensembles play should be just plain fun! Selection of solo music and etudes must follow the same rules. Scales and exercises are necessary, but they must have a clear purpose and an element of musicality to them. Etudes should develop technical skill in a musical way. Solo music should have enough musical


value to remain interesting, fulfilling, and fun long enough for students to master and perform it. Quality music that keeps us engaged is music that motivates us to practice. The second key is to provide students with the tools necessary to practice effectively on their own. These tools include such things as an organized practice plan, a metronome, tuner, recorder, SmartMusic™ program, and recordings. An organized practice plan can guide students through their practice in a way that will help them to practice smart instead of hard. It includes time for a proper warm up and a daily routine of basic skills, time to work on technical and music skills through etudes and studies, time to work on ensemble music and solo music, and time to play music just for the fun or it. These elements can be organized in any way that will motivate students throughout the practice session. For example: • warm ups, 5 minutes; • songs (pop or folk), 5 minutes; • etudes and studies, 10 minutes; • ensemble music, 10 minutes; • solo music, 10 minutes; • and fun music and improvisation, 5 minutes is a varied 45-minute practice session that covers all of the elements, but it prevents students from getting stuck on any one thing. Within this plan, the teacher would then prescribe certain goals or tasks. For example, within ensemble music, the teacher might assign a specific section that needs work and give a plan for accomplishing that work: play measures 235-250 at m. m. 72 three times in a row without mistake, then play at m. m. 80 once. The next day the teacher would assign a plan to master m. m. 80 over the next section. Once students know how to do this practice planning, they can set their own goals and make their own plans. Some students will not be able to sit down and accomMaryland Music Educator

plish a 45-minute (or 2-hour, or 4-hour) practice session in one sitting. For those students, the 5 and 10-minute segments can be split into separate sessions. It is amazing to many students how much they can accomplish in an organized ten to twenty-minute practice session. Three or four or these spread over the day can accomplish the necessary amount of practice. It is important for students to have the necessary tools to practice effectively. It isn’t effective for students to attempt to work on intonation without a tuner or at least a very in-tune piano. A metronome is essential for building steady and even technique and rhythm. Students cannot develop good characteristic sound and proper playing posture without a proper chair and a music stand. Programs like SmartMusic™ have many tools for practicing, including a metronome and tuner, but they also include the ability to loop sections of music; to analyze the students’ playing for correct notes and rhythms; and to record and email their practice sessions to their teachers. This program also allows students to play with a band or with an accompanist on solo music. Each of these tools plays a role in creating an effective practice routine. For students on the move, many of these tools are available for their mobile devices, making practice much more portable so students can do part of their practice at school, part at home, and part at another location (a friend’s house). For students who do not have time to practice, many of whom have time to watch TV, play video games, or spend time on Facebook™ or other internet apps and sites, it is possible for them to practice during commercial breaks (with the sound on mute) or plan breaks into their TV, game, or internet time. These 5, 10, and 20-minute sessions, if well organized, can be combined to produce continued on next page

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the necessary effective practice time. Finally, students learn by example. Teachers can open their rooms for practice before school, after school, and at lunch times. This encouragement is even more effective when the teacher is practicing too. Students can practice together this way and reinforce the learning each one is experiencing. The following is a breakdown of what effective practice can be. Why Practice? Practice is physical exercise. Playing an instrument is an athletic endeavor. Muscles used for breathing, embouchure, and finger, slide, stick, and bowing technique need exercise to stay in shape. Practicing a structured daily routine is like a workout schedule. It keeps our instrument-playing bodies in shape. Practice is memorization. Muscle memory and musical memory are keys to excellence in performance. Our ears, hands, breathing muscles, and embouchure work in a finely-tuned balance to create the music we hear in our minds. Practicing reinforces this balance so that we can recreate musical ideas consistently every time we play. Practicing for memory includes practicing melodies for tone and expression, common

musical and slide patterns, scales and interval studies for technique, and literature for musical expression. Practice is preparation. Whether it is for an upcoming recital, concert, audition, or gig, practice prepares us to do the job when the pressure is on. It is easier to do something under pressure that we have done many times in a relaxed situation than it is to do something new under pressure. Practicing correctly creates successful habits we can call on at the gig (see practice is memorization). Practice is entertainment. Presumably, we enjoy playing our instruments. If we didn’t, how could we spend so much of our lives perfecting our skills and pursuing music as a career? In that pursuit, it is easy to lose sight of this enjoyment, so we must practice music that we enjoy as well as practice our daily diet of exercises and etudes. Someone who works out every day also generally plays a sport (or many), and might enjoy getting outdoors to hike or rock climb. They apply the strength and skill they gain from working out to doing something they love to do. We also must apply the strength and skill we get from practicing to playing music we love. Practice and enjoy!

Information about the 2018-2019 Young Composers Project is in this issue of Maryland Music Educator and will be posted on the MMEA website,

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About the Author: James Bicigo is a Yamaha Performing Artist on Trombone and an internationally active soloist and clinician. He is an endorsing artist for Wedge Mouthpieces. With his wife, trumpeter Dr. Karen Gustafson, he released the album Pacific Crossings in 2017. He has performed solo recitals and served as a presenter at festivals and conferences. With Borealis Brass, he toured Alaska, Malaysia Australia, Puerto Rico, Japan, and Italy. His performances have been broadcast internationally. Bicigo earned the Doctor of Musical Arts degree in Trombone Performance from Michigan State University where he studied with Curtis Olson and Phil Sinder. His Master of Music degree in Music Education is from Western Michigan University where he studied with Steve Wolfinbarger, and his Bachelor of Music Degree in Trombone Performance and Music Education (with distinction) is from The University of Michigan where he studied with H. Dennis Smith. Dr. Bicigo is a noted advocate of women in music and has been responsible for commissioning, performing, and recording several new works for trombone, tuba and other brass instruments, and ensembles by women composers. His new CD features works by three of these composers, Katia Tiutiunnik, Syafiqah Shuib, and Odelia Kamal, as well as other music composed specifically for Dr. Bicigo. Bicigo retired from his position as Associate Professor of Music at the University of Alaska Fairbanks in 2016. Since moving to Red Deer, Alberta, Canada, he has joined the Altius Brass (Calgary) and the Rocky Mountain Symphony Orchestra (Calgary), as well as appeared as a soloist at various venues and with various ensembles throughout Alberta. Bicigo is trombonist with the Borealis Brass, and with the newly formed Central Alberta Chamber Players. He served on the music faculty of Red Deer College in 2017-2018, and is an active clinician, performer, and teacher. For more information, please see, which includes a link to contact Dr. Bicigo.


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Management Potential A Purposeful and Passionate Plan for Managing the Music Classroom by Lori Schwartz Reichl, Author, Conductor, Teacher This article previously appeared in the teacher's edition of In Tune Monthly magazine. Reprinted with permission.

“We are what we repeatedly do. Excellence, therefore, is not an act, but a habit.” ~ Aristotle


or my third professional teaching assignment, I was asked to establish a music program at a brand-new middle school. My mission required me to inspire students who had been affiliated, in total, with 27 previous music programs. Had I not formulated a vision for the new program and created a motto for success, then my ability to manage such a diverse classroom would have been difficult, exhausting, and perhaps impossible. However, the power of a motto doesn’t just emerge magically from reciting it. I have to believe in it, live it, and teach its inspirational message each day - and I have to be consistent in managing my students and their behaviors. In a well-managed classroom, routines are always evident and can serve many functions. If implemented purposefully, routines can enhance organization, eliminate chaos, ensure safety, focus students’ attention, and save time. If implemented passionately, routines can also unite students. When they follow directions as a cohesive unit, students perform more musically as an ensemble, and when a sense of community is achieved, students are motivated to maintain it. Set the standard of excellence in your classroom before making music. Envision how students will respectfully enter your classroom. Be prepared with procedures for how this will look and sound. Which door will students use to enter the classroom? How will they obtain materials, where will they rest their belongings, when and where can they assemble instruments, and where should they store cases? Model the behaviors you expect from your students within each phase of the class period. Demonstrate the routine. This will 38

ensure your students’ safety, along with the safety of their instruments. Develop a pattern for posting each lesson agenda. If you have access to a computer and LCD projector, create your agenda in a slide show format. By doing so, you can update the slides at your convenience, rather than having to physically be in your classroom to erase or write on a board. The daily agenda should include materials to be used, vocabulary to be reviewed, methods for warming up and tuning, literature to be rehearsed, and announcements to be shared. Be certain that each student can see the projected agenda from all angles of the classroom. If you notice anyone standing or straining to see, then request that the black, smart, or white board be raised in height or moved elsewhere. Consider playing a different musical recording each day as students enter your classroom. This technique can excite them, calm them, or focus their attention on a musical question. It also trains students to achieve proper audience etiquette, by listening silently when music is performed. If you expect your ensemble members to become silent listeners and focused observers when you stand on the conductor’s podium, then model this behavior too. Practice stepping on and off of the podium while students are seated in an ensemble setting. Demonstrate to your students what behaviors should look and sound like when a conductor steps off the podium and how behaviors immediately improve when a conductor steps on the podium. Relax your body and converse with a student in the first row while you are standing on the floor. The moment you stand on the podium, become silent and still, enhance your body’s posture, and intently stare at your students. This routine will immediately focus students’ attention on the task at hand, improve their playing posture, and prepare them for making music together. Maryland Music Educator

Once positioned on the podium, formulate a quick and non-disruptive way to take attendance and check that your students have whatever materials they need each day. Nonverbal cues work well for this routine. For example, when checking for a pencil, simply raise a pencil to your own face. Encourage your students to do the same and scan each row, checking for students’ preparedness. No talking on your part or on the part of the students is necessary during an attendance or materials check. When implemented daily, this silent routine can save precious rehearsal time. Expectations must be clearly set for how you desire your students to learn within your classroom. If you set an expectation, then be prepared to provide a consequence if a student fails to comply. Consider this brief sequence of disciplinary actions:

1. a warning will be given to the student from the teacher 2. a consequence will be given to the student from the teacher 3. a conference between the parent/guardian and teacher will occur 4. disciplinary action will be taken by administration 5. removal from the course/music program will occur. Extreme circumstances may result in immediate movement to steps 4 or 5 at the discretion of the teacher and/or administration. While using a purposeful and passionate plan for managing my classroom, rarely have I progressed beyond step 3. It is my strong belief that it is my responsibility and no one else’s to manage my classroom. An administrator will support your teaching methods much more if you can make use of them with little need for reinforcement from others. Don’t forget the most important routine: connecting with students as human beings. Fall 2018

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Gain their admiration, respect, and trust before making music with them. Never miss an opportunity to greet and dismiss them at your classroom door. Make eye contact with each of them and smile as they enter the classroom. Be jovial. Compliment them on their appearance or a nonmusical accomplishment. Discuss an interest with them, such as fashion, news, or sports. Your attention, smile, or kind word could be the only compassion they experience each day. Upon dismissal, offer students a high-five, fist bump, or musical praise. If necessary, offer an individual behavioral warning or musical critique as they exit the classroom. Remember that your music course is most likely an elective. If you are unable to make each individual child feel unique when he/she is in your presence, then that child may choose not to remain in your program. Ignite excitement with your students. Reflect on your classroom management techniques. Are you teaching behaviors

before content? Are you showing your students what you expect to hear or see from them at each phase of the class period? Demonstrate it. Enforce it. Then listen, watch, and savor as students from various

locations, ethnic and financial backgrounds, and many different levels of talent build a successful musical family together.

About the Author: Lori Schwartz Reichl is the author of the series “Key Changes: Refreshing Your Music Program”, published monthly in the teacher’s edition of In Tune Monthly magazine. Her work has also been published in Maryland Music Educator and she has contributed to articles in Teaching Music. Within Maryland, Mrs. Reichl serves as adjunct faculty at Towson University where she fulfills the role of Music Education Intern Supervisor and is codirector of the Howard County Public School System Middle School Gifted & Talented Band. As assistant director for the Regional Repertory Wind Ensemble, she has collaborated with composers Brian Balmages, Samuel Hazo, Richard Saucedo,

Robert Sheldon, and Frank Ticheli. Mrs. Reichl served as band director at Daniel Boone Area Middle School in Berks County, Pennsylvania, and at Oakland Mills Middle School and Thomas Viaduct Middle School, both in Howard County, Maryland. Mrs. Reichl earned her B.S. in music education from West Chester University, her M.M. in music education from Lebanon Valley College, and additional training in classroom management, supervision of student teachers, and teacher leadership from various collegiate institutions. Lori Schwartz Reichl can be contacted at


A NAfME MEMBERSHIP Congratulations! NAfME Collegiate members are eligible to receive up to a 50% discount on dues when you become a full active member. This offer is only valid for one year after you graduate. Act now. Deadline: Offer extends from June 30 of your graduation year until June 30 of the following year. Visit: 1-800-336-3768

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MMEA Awards for Excellence Program

(This page may be duplicated)

Maryla and Music Ed ducatorrs As ssociation Awa ards fo or E xccelllen nce Outsttandin ng Mu us ic Tea ache er Awa ard Purpose: To recognize and honor music teachers for their outstanding service to the music students in public, parochial, or independent schools in the State of Maryland. CRITERIA: I. Leadership A. Must be a member of the Maryland Music Educators Association (MMEA and NAfME) before nomination. B. Consistently produces/produced music groups of high performance level. C. Consistently performs/performed programs of high musical quality. D. Has made an outstanding contribution to the community and to the state through music. E. Has made outstanding contributions to the improvement of music groups in Maryland through participation and leadership in professional organizations. F. Must have had student participation in honors performing groups such as All County or All State groups when appropriate. G. Has hosted student teachers, meetings, festivals and/or presented workshops/clinics, adjudicated ensemble groups, or guest conducted ensemble groups. H. Has written articles for various music journals and/or participated in curriculum work. I. Maintains/maintained contact with feeder schools where applicable and encourages/encouraged students to continue their music education. II. Profess ional Growth A. Has taught a minimum of ten years (career teacher); five years (new teacher). B. Continues to improve knowledge by enrolling in education courses for advanced degrees, and by attending workshops, in-service programs, clinics, etc. C. Has been recognized by area organizations, school, P.T.A., or community groups. III. Human Relations A. Demonstrates/demonstrated a caring attitude toward students and serves as an excellent role model. B. Has received letters in personnel file from students, colleagues, parents, and/or supervisor/administrator relating to contributions to the growth of students. C. Demonstrates/demonstrated the ability to inspire students to learn. D. Has encouraged and helped students to build self-esteem and confidence. E. Has worked cooperatively with total school staff, parents, and community. F. Has demonstrated performance above and beyond the call of duty. IV. Award Pro cedures The Awards Committee will serve as judges to review the nominations and select the eligible candidates. Awards are given in each of two categories. Awards may be given annually. (If there are not enough candidates, one or both of these categories may not be awarded.) • Career Teacher: A tenured teacher with a minimum of ten years teaching experience. • New Teacher: A tenured teacher with five years teaching experience. V. Award Presentation Awards will be presented at an Awards Reception with time and place to be announced. A letter of distinction will also be sent to the appropriate administrator for the teacher’s personnel file. This contact information must be included in the application packet. Recognition of the recipients will be included in the Maryland Music Educator, official publication of the Maryland Music Educators Association.


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MMEA Awards for Excellence Program

(This page may be duplicated)

Maryla and Music Ed ducatorrs As ssociation Awa ards fo or E xccelllen nce Outsttandin ng Mu us ic Tea ache er Awa ard Name of Candidate ______________________________________________________________________ School _________________________________________________________________________________ School District _________________________________________________________________________ Home Address ______________________________________________ ZIP _______________________ Phone _________________________________________________________________________________ Email _________________________________________________________________________________

owiing inform mattion (diigitally or ph hysiica ally) a fter completing Submit the follo the online nom ination form ( www.mmea-m maryla and..orrg): A photo of the candidate. Letters of recommendation. Any materials relative to demonstrating the criteria. 3. Nomination summary (details below). S ummarize e why you feel this candidate is deserviing of this award by respond ing to the following qu uestions on separate paper. Us se specific exa amples where poss ible. he committee will score each ans wer individually. Th

How does this person inspire students to learn music? How does this person encourage creativity in students and demonstrate quality music instruction? How does this person help to build student self-esteem and confidence? How does this person demonstrate leadership qualities? How does this person display a warm, caring attitude toward students and colleagues? What honors has this person received? (School, P.T.A., Community Groups, etc.) What honors has this person received with his/her school organization? Please feel free to make additional comments. E n d orsem en t

I endorse this nomination in the be lief tha t the cand idate has demons trated outs tand ing service to m us ic ed uca tion. Nominator’s Signature

N o m i n a t o r ’s N a m e

N o m i n a t o r ’s P h o n e & E m a i l All ques tions m ay be d ire cted to: il. com Ma il the com pleted form and the accom panying letters by Janua ry 8, 2019 to: A sh le y A sh m a n RFM S 9201 Scott Drive Rockville, MD 208 50

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MMEA Awards forr E xcelle encce Prrogrram

(This page may be duplicated)

Maryla and Music Ed ducatorrs As ssociation Sccho ool Ad miinistrattor Awa ard Selection (check one)

Elementary Principal

This award is for a non-arts administrator

Secondary Principal Superintendent Supervisor Other (specify)

Name of Candidate _______________________________________________________________________________ Title ____________________________________________________________________________________________ School/District ___________________________________________________________________________________ Phone ___________________________________________________________________________________________ Address _________________________________________________________________________________________ ZIP ___________________________________________ Submit the following information (digitally or physically) after completing the online nomination form ( ): A résumé. A photo of the candidate. Two letters of support (at least one from member of the music faculty). Any materials relative to demonstrating support of the music program. Nomination summary (details below). Summarize why you feel this candidate is deserving of this award by responding to the following questions on separate paper. Use specific examples where possible. The committee will score each answer individually. How long has the school, district, or department been under the administrator’s supervision? Describe some of the features of the school, district, or department under the administrator’s leadership that demonstrate how the music program is exemplary. Include the following in your description: the curricular offerings in music and time allotment for students, how the music programs in the school/district have been expanded or improved as a result of the administrator’s efforts, and if the students or programs in the school or district have won awards for achievement or recognition in the arts. How has the administrator been an active advocate for music and arts education in the school and community? How has this administrator demonstrated financial commitment to music programs in their school/district? Give examples of the administrator’s strong leadership, good school management, and good rapport with teachers, parents, and students. Add any other information that supports selection of this administrator. Endorsement

I endorse this nomination in the be lief tha t the cand idate has demons trated outs tand ing service to m us ic ed uca tion. Nominator’s Signature

N o m i n a t o r ’s N a m e

Nom ina tor’s Phone & Email All questions may be directed to: il. com Ma il the com pleted form and the accom panying letters by Janua ry 8, 2019 to: A sh le y A sh m a n RFM S 9201 Scott Drive Rockville, MD 208 50


Maryland Music Educator

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MMEA Awards for E xcellence Program

MMEA/NA AfM ME E xemplary Music Prrogrram Awa ard Applicatiion Foorm Purpose: This award is to recognize outstanding music programs. The award will be based on the extent to which the program meets the standards set forth in the NAfME publication, The School Music Program: Description and Standards. Any school that has not received the award within the previous five years is eligible.

Name of School Name of Principal


School Address School Telephone Name of School District/County in which the school is located List names of the school music faculty Name of the district supervisor or coordinator, if applicable ____________________________________ Type of program Name of Superintendent Central Office Address Central Office Telephone Submit the following information (digitally or phys ically) after completing the online nomination form ( Supporting documentation which may include: description of curriculum, printed programs, program goals & objectives, statistics regarding student participation & honor ensemble participation, unique materials and teaching strategies, and other pertinent information. Letters of support. Any materials relative to demonstrating the criteria. Nomination summary (details below). Using separa ate e she eets of paper, proviidee the follo owiing informattion: 1. Describe the innovations and/or teaching strategies that single out this program for recognition. 2. Cite evidence of support for the music program on the part of the local administration and/or the board of education. 3. Indicate the extent to which there is community involvement and support, such as: number of students involved in community musical organizations, parental involvement, community recognition, and other pertinent information. Endorsement

I endorse this nomination in the belie f that the candidate has demonstrated outstanding service to mus ic education. Nominator’s Signature

N o m in a t o r ’ s N a me

____________________________________________________________________________________ Nominator’s Phone & Email All questions may be directed to: Mail the completed form and the accompanying letters by January 8, 2019 to: Ashley Ashman RFMS 9201 Scott Drive Rockville, MD 20850 Fall 2018

Maryland Music Educator


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MMEA Awards for E xcellence Program

Maryla and Music Ed ducatorrs As ssociation Corwin Taylo or Musiic Edu ucatiion Lea aderrshiip Aw ward Purpose: This award is to recognize an individual who has made a significant contribution to the music education of Maryland’s youth, whether as a teacher, administrator, parent, industry representative, performer, or in another capacity. The Corwin Taylor Music Education Leadership Award was established in 1993 in memory of Dr. Corwin H. Taylor (1905-1992), noted musician, composer, author, and educator. Dr. Taylor, an active member of the Music Educators National Conference (now National Association for Music Education, NAfME) and the Maryland Music Educators Association, was Supervisor of Instrumental Music for the Baltimore Public School system from 1945 to 1968 and a faculty member at the University of Maryland at College Park from 1968 to 1976. He will always be remembered for the great impact he had on the lives and careers of his students and colleagues. The award may be presented annually. Name of Candida te: Add ress C it y

S ta te


P hone

Submit the following information (digitally or physically) after completing the online nomination form ( A photo of the candidate. Letters of recommendation. Any materials relative to demonstrating levels of contribution. 3. Nomination summary (details below). Summarize why you feel this candidate is deserving of this award by responding to the following questions on separate paper. Use specific examples where possible. The committee will score each answer individually. Your relationship to the candidate. A description of the candidate and his or her connection to music education in Maryland. The ways in which the candidate has made a significant contribution to the music education of Maryland’s


Why the candidate is deserving of this award. Endorsement

e liief tha t the ca and idate has demons trated outts tand ing serviice to m us ic ed uca tion. I endorsee thiss nomiinattion in the be Noominator’ss Siignature

N o m i n a t o r ’s N a m e

hone & Em mail Nominator’s Ph

gma il. com All ques tions ma y be d ire cted to: Ma il the com pleted form and the accom panying letters by Janua ry 8, 2019 to: As hley As hman RFMS 9201 Scott Drive Rockville, MD 208 50


Maryland Music Educator

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MMEA Awards for E xcellence Program

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Maryla and Music Ed ducatorrs As ssociation osemarry an nd Ja ames Wa alters Awa ard fo or Seerviice The Ro Purpose: This award is to recognize an individual who has made a significant contribution to the Maryland Music Educators Association. The Rosemary and James Walters Award for Service to the Maryland Music Educators Association was established in 2001 in memory of Rosemary and James Walters. Their teaching careers were in Maryland, spanning 30 years until a tragic accident in April 2001. Jim taught instrumental music, most recently at Francis Scott Key Middle School in Montgomery County. Rosemary taught choral music. Together, they characterized the essence of supporting the music education profession. They supported their colleagues, young and seasoned, and they supported every professional activity of the association and the school music community. Jim served as MBDA president, but his contribution was not limited to band activities. Rosemary eventually left the classroom to work full time in church music, but her involvement as a substitute music teacher and as an accompanist continued. At nearly any MMEA event, it was typical to see Jim and Rosemary offering to assist when they were not “on duty,” doing whatever needed to be done. The award may be presented annually. Name of Candidate: Address

Phone City



Submit the following information (digitally or physically) after completing the online nomination form ( A photo of the candidate. Letters of recommendation. Any materials relative to demonstrating levels of service. 3. Nomination summary (details below). Summarize why you feel this candidate is deserving of this award by responding to the following questions on separate paper. Use specific examples where possible. The committee will score each answer individually. Your relationship to the candidate. A description of the candidate and his or her connection to music education in Maryland. The ways in which the candidate has made a significant contribution to the music education of Maryland’s youth. Why the candidate is deserving of this award.


andidate has demonstrated outstanding service to music education. I endorsee thiss nomiinattion in the be lief that the ca Noominator’ss Siignature

Nominator’s Name

hone & Em mail Nominator’s Ph All questions may be directed to: mmea.membe r. a t. la rge@gma il. com Ma il the com pleted form and the accom panying letters by Janua ry 8, 2019 to: As hley As hman RFM S 9201 Scott Drive Rockville, MD 208 50

Fall 2018

Maryland Music Educator


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MMEA Awards forr E xcelle encce Prrogrram

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Maryla and Music Ed ducatorrs As ssociation Ha all of Fa ame No omination Form Name of Candidate Teaching Field

Name of School Current Status (check): Active_____Retired _____Deceased_____

How many years in teaching or administration in music in Maryland?


Nominee’s Address City





Submit the following information (digitally or physically) after completing the online nomination form ( A photo of the candidate. Three letters of recommendation. Any materials relative to supporting the nomination. Nomination summary (details below). In your nomination summary, please address these qualifications: Member of MMEA/NAfME (formerly MENC); if the nominee is retired, he/she must have been a member while teaching. Excellence in teaching and/or administration. Contributions and improvements made in music education. Betterment of the profession through exemplary service or acts. Professional offices, publications, awards, recognitions, performances. Professional ideals and academic integrity. Endorsement

e liief tha t the ca and idate has demons trated outts tand ing serviice to m us ic ed uca tion. I endorsee thiss nomiinattion in the be

Noominator’ss Siignature

N o m i n a t o r ’s N a m e

Nom ina tor’s Ph hone & Em mail

All questions may be directed to: gma il. com Ma il the com pleted form and the accom panying letters by Janua ry 8, 2019 to: A sh le y A sh m a n RFM S 9201 Scott Drive Rockville, MD 208 50


Maryland Music Educator

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Duplicate as needed.

Fall 2018

Maryland Music Educator


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Vol. 65, No. 1

Fall 2018

Official Journal of the Maryland Music Educators Association Maryland Music Educators Association, 791 Aquahart Road, Suite 117, Glen Burnie, MD 21061 This issue of Maryland Music Educator will be posted at



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