Spring Anthology 2025

The way The way II see see it... it...

Articles from Music Technology Thought Leaders, Innovators, and Influencers

Originally published on the SoundTree Blog February-April 2025

www.soundtree.com

The way The way II see see it... it...

Articles from Music Technology Thought Leaders, Innovators, and Influencers

Vol.1 - 2025 Spring Anthology Originally published on the SoundTree Blog February-May 2025 www.soundtree.com

subscribe to our newsletter Articles, Classroom Profiles, Product Features, Promos, Contests

What is SoundTree?

SoundTree, the education division of Korg USA, serves the Education market in a way that no other manufacturer or distributor does.

Simply put, our focus is on education.

When you contact SoundTree, you get the expertise of a pioneer in music technology labs with over 30 years of experience working with K-12 schools through graduate studies programs. SoundTree takes the guesswork out of configuring a music lab that's right for you and integrating it into your program.

Our Education Technology Specialists are industry experts, professional educators, and performing musicians who can help you create a technology solution that will meet your needs today, and provide enrichment to your program for years to come.

Mission Statement SoundTree specializes in turnkey learning systems for education integrating electronic music instruments, audio recording and production components, and software. We provides advice, planning, complete installation services, staff training, and after-purchase support. With SoundTree you get more than a company that sells technology.

You get a long-term support specialist that will work with you as an educational partner.

www.soundtree.com Visit us online for additional information on our solutions and services, the SoundTree Blog, and music tech products.

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Impact of Technology

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New Music Programs

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Wayne Splettstoeszer Director of Instrumental Music/ Music Technology Torrington High School, CT

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at Los Nietos School District Justin Francis Music Teacher Los Nietos School District, CA

It’s not a dilemma for you.

It’s an opportunity for the kid.

Mark Mussina Lycoming County Commissioner Montoursville, PA

The Moment I Almost Gave Up on Music And Why I Built a New Way to Learn Graeme Winder Music Teacher Founder and Creator of Keys & Kingdoms

The History of SoundTree, part 1 Lee Whitmore Vice President B2B and Education Focusrite Group

Relevancy in Music and Audio Education Lee Whitmore Vice President B2B and Education Focusrite Group

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Celebrating 30 Years of TI:ME

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STEAM in the Music Clasroom

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Ignore the Headlines! Focus on What You Control

Mike Lawson Executive Director of TI:ME

Pam Andrews Choral Director and Piano Teacher Liberty Creek High School, TN

Bob Morrison Founder and CEO Quadrant Research

www.soundtree.com 2

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Sound Seeds, part 1

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Take a Closer Look

Ty Boyland Emmy-Nominated Producer/Engineer, Music Teacher Crosstown High School, TN

Darla S. Hanley, Ph.D. Professor of Music Education Berklee College of Music, MA

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Expanding Participation in Music through Modern Band

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Amplifying Opportunity: How the NFHS is Powering the Future of Music Education

Associate Professor of Music Education and Music Technology, Montclair State University | Chief Program Officer, Music Will

Dr. James Weaver Director of Performing Arts and Sports, NFHS

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Podcasting: The New Voice of Your Students

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Atlanta-Based Non-Profit is Empowering Youth One Note at a Time

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Tuning Into the Future: Youth Empowerment Through Music and Media

Wayne Splettstoeszer Director of Instrumental Music/ Music Technology Torrington High School, CT

An Introduction to The Music Education Group in Atlanta, GA

The Music Education Group, part 2

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Impact of Technology Wayne Splettstoeszer Director of Instrumental Music/Music Technology Torrington High School, CT

Technology has transformed nearly every aspect of modern life, and its impact on education and creativity is especially profound. In classrooms around the world, technology empowers students to engage deeply, explore creatively, and express themselves authentically. Nowhere is this more evident than in the realm of music production and digital storytelling, where students are not just passive consumers of information but active creators of content.

For students, technology offers an unprecedented opportunity to find their voice. Platforms such as Soundtrap, GarageBand, and Logic Pro allow learners to dive into the world of music production, remixing, and podcasting. These tools make what was once the domain of expensive studios accessible to anyone with a laptop or tablet. By exploring these platforms, students learn technical skills such as audio sampling, editing, and mixing, as well as broader concepts like collaboration, project management, and critical listening.

Top: The new music technology lab at Torrington High School, supplied and installed by SoundTree

Originally Posted Feb. 13, 2025 4

Podcasting has become a particularly powerful medium for student engagement.

Whether sharing stories, exploring complex topics, or conducting interviews, students use podcasts to express their ideas in unique and meaningful ways.

The act of planning, recording, and editing a podcast requires critical thinking and creativity. It encourages students to explore topics deeply and articulate their perspectives clearly. For many, podcasting is their first real opportunity to speak to an audience beyond the classroom, and it can be transformative in building confidence and communication skills.

The use of technology in the classroom significantly enhances student engagement by making learning interactive, personalized, and

The use of technology in the classroom significantly enhances student engagement by making learning interactive, personalized, and relevant. relevant. Interactive platforms encourage students to participate actively rather than passively absorb information. Tools like digital audio workstations and podcasting software create a dynamic learning environment where students feel a sense of ownership over their projects.

Personalization is another key aspect; technology allows educators to tailor assignments to individual interests and skill levels, fostering a deeper connection to the material. Furthermore, the relevance of using professional-grade tools and real-world applications ensures students see the value in their work, making them more invested in the learning process.

The role of sampling and remixing in music production further highlights the relevance of technology.

Sampling teaches students to appreciate the artistry of others while developing their own creativity. By deconstructing and reconstructing tracks, they not only learn the mechanics of music but also explore their personal artistic style. Remixing goes a step further, allowing students to reimagine existing works and infuse them with their own interpretations. These processes mirror the collaborative nature of the modern music industry, where innovation often stems from blending diverse influences.

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Moreover, technology enables students to see themselves as part of the broader music industry. Social media and streaming platforms offer immediate ways to share their work with the world. By creating and publishing their own content, students gain real-world experience and begin to understand the dynamics of an industry shaped by digital tools. They also develop an appreciation for the effort and expertise required to produce high-quality work, whether it’s a polished song, a compelling podcast, or an engaging remix.

The integration of technology in education also aligns with the needs of a digital-first generation. Today’s students are not only consumers of content but also creators and curators. By offering hands-on opportunities with tools that professionals use, educators make learning relevant and engaging. This relevance fosters deeper connections to the material and inspires students to pursue their passions beyond the classroom.

Ultimately, the impact of technology on students’ creative journeys cannot be overstated. From exploring new ideas to mastering industry-standard tools, students are gaining skills that prepare them for future careers while discovering what makes their voices unique. As technology continues to evolve, it will undoubtedly open even more avenues for students to engage, explore, and express themselves, ensuring that creativity remains at the heart of education.

Wayne Splettstoezer is in his 22nd year as Director of Instrumental Music/ Music Technology at Torrington High School. His music technology program has been nationally recognized and featured at All-State conferences in Connecticut, Massachusetts, Rhode Island, and Texas. Most recently, THS was featured as a Best Practice for Music Education at the 2018 Audio Engineering Society High School Educators Conference.

WSplettstoeszer@torrington.org

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New Music Programs at Los Nietos School District Justin Francis Music Teacher Los Nietos School District, CA

It has been an incredible adventure to champion the design of a new instrumental program in a district that hasn’t had music offered to their schools. My name is Justin Francis and I am implementing the Korg GEC5 Keyboard Lab as a big part of our District Music Program.

One of the features that really intrigued me was the possibility of using it with technology to bring about greater integration with real world tools like Digital Audio Workstations and Sound Production. Because of the connectivity of the SoundKey Keyboards, we’re able to use the students Chromebooks to interface with them. The keyboards then act as a MIDI Controller for their computer.

Originally Posted Feb. 13, 2025 7

Top: Music students at Ada S. Nelson Elementary School with their new SoundKEY keyboards and Korg GEC5 lab

While building the design, our team investigated several software companies that pair music education with technology. After some piloting of these programs and experimenting with their features, we landed with Music First Elementary and Music First Classroom. Their web based DAW is perfect for younger students to grasp the tools and explore MIDI sequencing, looping, sound editing, sampling, creating beats, mixing, and sound design. We have offered both a keyboard class during the day as well as a Music Production class after school at all the schools. These classes fill up fast and have had a waitlists due to popularity.

We have offered both a keyboard class during the day as well as a Music Production class after school at all the schools. These classes fill up fast and have had a waitlists due to popularity.

The Keyboard and Music Production Lab offers fourth grade through middle school students a unique opportunity to develop essential music skills while exploring cutting-edge technology. By learning to play keyboards and create music digitally, students enhance their creativity, problem-solving, and collaboration skills, which are valuable in both music and beyond. The program nurtures confidence as students turn their musical ideas into finished works and provides a strong foundation for future endeavors in music, technology, and creative arts.

The Keyboard and Music Production Lab offers fourth grade through middle school students a unique opportunity to develop essential music skills while exploring cutting-edge technology. By learning to play keyboards and create music digitally, students enhance their creativity, problem-solving, and collaboration skills, which are valuable in both music and beyond. The program nurtures confidence as students turn their musical ideas into finished works and provides a strong foundation for future endeavors in music, technology, and creative arts.

Soundtree and Korg helped us setup the equipment list and sent us all the gear we needed to get these going and the students are on their way to gain hands-on experience with industry-standard tools to compose, record, edit, and mix original music. Not only did we get a robust keyboard lab with professional sounding instruments and equipment, but we built 3 Recording stations at each school. With these recording interfaces, speakers, mics, and equipment, students can work together on group productions, learning teamwork and creative communication. Currently our Music Production classes are working on their own podcasts that they are scripting, recording, editing, mixing, underscoring, and exporting to post for their schools!

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Soundtree and Korg helped us setup the equipment list and sent us all the gear we needed to get these going and the students are on their way to gain hands-on experience with industry-standard tools to compose, record, edit, and mix original music. Not only did we get a robust keyboard lab with professional sounding instruments and equipment, but we built 3 Recording stations at each school. With these recording interfaces, speakers, mics, and equipment, students can work together on group productions, learning teamwork and creative communication. Currently our Music Production classes are working on their own podcasts that they are scripting, recording, editing, mixing, underscoring, and exporting to post for their schools!

The program is designed to support all skill levels, from beginners to advanced musicians, with lots of room to grow and experiment. As a teacher I enjoy getting to share some of the ideas and tools with my own kids. Soundtree was so kind to send us a gift of a small Drum Machine (Korg KR-11) that can be programmed in many different ways. I brought it home to learn its features and showed my 8-year-old son, Ezekiel, who has always enjoyed playing EVERY sound on our keyboard and exploring combinations of sounds and beats. He was so excited to try it out and loved exploring every feature and every type of beat. He found a way to use it as a tone keyboard and starting figuring out how to play the song from Willy Wonka called “Pure Imagination” (one he has been practicing lately). As he sat there so proud of his discovery and practicing more, I was in awe of the power of these tools and how they can excite and inspire the next generation of musicians toward creativity and excellence. This was a day that made me grateful for what I get to do, bringing a great music technology program to a district that’s never seen it before. Not only are these students getting to experience the joy of music making first hand, but they get to see how music production relates to careers in the music industry, technology and media.

Some of these students are already finding they have an untapped passion for music because of these unique tools!

Thank you Ken Greene, Walt Straiton, SoundTree and Korg for your partnership and support as we forge forward with these great tools for music education.

Tailor-made for lab use, the GEC-ready SoundKEY is equipped with 20 onboard sounds and built-in speakers. A clean, straightforward user interface makes teaching a snap, while power over Ethernet enables quick, easy setup in any space.

Learn more...

Our Music Production Classes were given an assignment to take video footage of the Ocean that started completely silent and add Sound FX that would be a realistic representation of what was happening on screen. We discussed the role of a Foley Artist in the Film Industry and how they record everything you see on the screen that makes sound.

Ian’s Foley Sound Project 6th Grade

Watch Ian’s Foley Sound Project Video

My 5th grade student, Ian Martinez, submitted an exemplary project that accurately grasped this concept. Ian used a Chromebook with the DAW software “YuStudio” from Music First Elementary.

He also used the EVO4 Audio interface from Audient with a Shure SM57 to capture a few sound FX, the SoundKey Keyboard and Logitech Headphones for mixing. He is a student from Rancho Santa Gertrudes Elementary School in Santa Fe Springs, CA. Justin Francis | Music Teacher LOS NIETOS SCHOOL DISTRICT justin_francis@lnsd.net

Music Teachers, Share Your Music Tech Classroom Success Stories with us!

Music Teachers, do you have a student success story to share involving music technology? Contact us today!

Tell us about the great things happening in your classroom.

We’ll showcase your students’ successes in our new blog series, helping you gain support for your music program while inspiring others along the way.

Share Pictures, Video, and Audio + Student and Teacher Testimonials + Engaging Projects + Collaborative Works To show our appreciation, we'll send you a free KORG TM-70T tuner metronome combo pack!

(No catch! Includes tuner/metronome and contact mic.

Available in white or black.)

Use this form to start the conversation about your success story, or contact Ken Greene, SoundTree Education Technology Specialist, at keng@korgusa.com.

We look forward to hearing from you!

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The History of SoundTree, part 1 Lee Whitmore Vice President B2B and Education Focusrite Group

In the 90s I was working for Korg USA in Long Island as a digital piano project manager, and something happened one day at a local doughnut shop that subsequently changed my career trajectory to this day.

It has also impacted music education for hundreds of thousands of students and teachers for three decades. With some of the company's senior leaders, including KORG President Mike Kovins, we took a break from the office, walked up the street, and chatted about how we could create an education division.

We grabbed a napkin and sketched the first "business plan" for SoundTree.

I served as SoundTree's first managing director, missed it when I left, and went back for a second term heading the organization. During that time, SoundTree became the first supplier of digital keyboard labs for the nascent Save The Music Foundation, offered professional development and training services for school districts and campuses across the United States, and began the journey that continues today— making a difference in young people's lives by helping schools bring engaging, culturally relevant music education to their students.

Top: Early SoundTree music tech labs, c.2004

Originally Posted March 4, 2025 12

In the early days of SoundTree, I have fond memories of working with the St. Louis Public Schools to design and implement its first music labs, regularly offering professional development sessions for NYC Department of Education teachers from all five boroughs, teaching and producing summer graduate courses in music technology for in-service educators on Marthas Vineyard and the University of Wisconsin, Villanova University and Central Connecticut University, and participated in many state, regional, and national music educators' conferences.

We all worked together to build a community of technology and creativity-focused classroom practitioners that still come together regularly through organizations like the Technology Institute for Music Educators. Korg and SoundTree helped found TI:ME. Having started its first regular publication for teachers, I'm honored to write this contribution to SoundTree's newsletter. SoundTree has expert leadership and staff that can assist any music education program. It also partners with market-leading hardware and software companies that work well in classrooms and hold up under the hands of droves of students coming in and out of classrooms daily.

Dr. Lee Whitmore is a thought leader in music, audio, creative digital media, and education. He’s the Vice President for business-to-business (B2B), including education, pro, post, and government, at Focusrite Group, which includes Focusrite, Novation, Sequential and Oberheim, ADAM Audio, Martin Audio, Optimal Audio, Linea Research, and Sonnox, and more.

With a career that spans three decades, his professional assignments have included leadership positions at music industry companies Avid, Sibelius, and Korg USA, which included serving as the founding Managing Director for their education division, SoundTree, as well as the GRAMMY Music Education Coalition and Berklee College of Music. He has a doctorate from Columbia University Teachers College in music education and technology.

Because music has dramatically affected his personal life and career, Lee is a vocal advocate for access to music and related arts for all young people.

Lee is an author, educator, public speaker, and industry and education executive. Well-read articles include pieces for the Inter-American Development Bank, the Hechinger Report, and the Washington Post.

Dr. Whitmore's commitment to music, community, and education is evident in his active involvement in various organizations. He serves as a board member for We Make Noise and The MIDI Association, where he also holds an executive board position and serves as treasurer. His leadership extends to the MIDI in Music Education (MiME) Special Interest Group, which he leads.

Contact Lee at lee.whitmore@focusritegroup.com.

www.soundtree.com Originally Posted March 4, 2025

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Lee Whitmore Vice President B2B and Education Focusrite Group

In the mid-Nineties when SoundTree was conceived, music technology in classrooms was a relatively new thing. The cost of electronic musical instruments, and the equipment to connect them was had becoming affordable enough for school systems and campuses to seriously consider investing in and integrating music and audio technology into programs and devising or purchasing whatever curricular resources administrators and teachers could find.

on a weekly and monthly basis. I was able to apply that work with first the Korg Group Education Controller (GEC), a high-quality networked audio system for electronic keyboard and electric guitar labs. The first GEC was tested at Teachers College, and it now exists in a fifth-generation design.

In the early days of music technology classrooms, schools implemented labs and studios for engagement, and the clear ties to effective implementation of the National Standards for Music Education, including teaching and assessing music fundamentals, performance proficiency, music composition, and more. For teachers and students, learning, playing and creating labs is also just downright fun.

At that time, I was working on my doctoral dissertation at Columbia University Teachers College and focused the work on effective integration of electronic keyboard labs in middle school general music classrooms and was able to practically test the work and my writing in schools

Top: KORG multi/poly analog modeling synthesizer and Korg multi/poly native software

Originally Posted March 10, 2025 14

All this said, what’s the need and relevance of music and audio technology in today’s music programs?

It embodies everything I’ve already mentioned, and I think there’s even more to it.

Literacy and some level of mastery in working with music and audio are useful and sometimes essential skills for just about every student who will enter the workforce. From audio for presentations to podcast creation and production and social media, there are very few jobs and careers that don’t benefit from a person’s ability to communicate effectively with sound and music.

I have the good fortune to work with Career and Technical Education (CTE) programs that focus on media production and music and audio skills are integral to their makeup and success. In these programs students learn to manipulate, create, record and mix music and sound, and then integrate those skills in show production, including lighting, stage practice, film and TV, broadcasting, and a lot more.

Korg GEC3 Teacher Controller

Today’s music and audio labs are less expensive, and there are many available curricular resources and exemplars, making learning the skills needed to teach effectively, and stellar music programs with fast growing enrollment common. And SoundTree has been a trusted leader and school, district, and campus partner in realizing music and audio technology successfully and affordably a reality for three decades.

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Click for video

"It’s not a dilemma for you. It’s an opportunity for the kid."

Mark Mussina Lycoming County Commissioner, Montoursville, PA Originally posted on Facebook

It’s strange how life works, but this is now two years in a row that one of my proudest moments from the basketball season came during the school musical.

Last year, Kingston [a student] wanted to do both. In all my years as a player and a coach, I don’t ever remember a kid playing basketball and doing the school musical, but Kingston wanted to try, and it actually worked out pretty well. He kind of broke down the barrier.

This year, it was Shaw. He auditioned for The Little Mermaid and landed a big part, Grimsby. He also played a big part on our team. He wasn’t a starter, but he was a classic “role player” who came off the bench and contributed every game, so we needed him at practice, but…they also needed him at rehearsal. So we worked it out.

Some days he would show up and say, “I have to bail a little early today.” Other days he would text me and say, “I’m gonna be a little late, but I’ll be there by about 4:15.” Every day, Shaw just went up and down that long hallway between the auditorium and the gym, and again, it worked out fine.

In fact, it’s gone so smoothly, I’ve never even had to meet with the musical’s director and hash out a plan. The kids have just kept me posted on their schedule, and we figure it out. There were a couple times we had to alter our practice plan, and I would say, “I don’t want to go over this until Shaw gets here,” or, “we need to run through this before Shaw has to leave,” but overall, at least from my perspective, it was seamless.

My most memorable part of the process was one day when he walked into the gym, and I said to him, “how’s the show going so far?”

Originally Posted March 18, 2025 16

He kind of shook his head and said, “I have a lot more lines than I expected.”

I also remember asking some of the cheerleaders who were also in musical, “How’s Shaw doing?” And in their theatrical, overdramatic way, they said, “He’s really good.”

And he was…at least on opening night. The place was packed, and these kids killed it. Shaw included.

Sports and theatre are similar in many ways. You’ve got the team/cast concept. The practice/rehearsal time. Then game night/show night. But going on stage takes a different kind of courage than playing a sport. I’m not going to say it’s harder. I’m not going to say it’s easier. I will say the stage was way scarier, at least it was for me when I did it. I think it was for Kingston too. I’ll wait until Sunday night and ask Shaw what he thinks.

It’ll also be interesting to ask him, twenty years from now, which he remembers more. Nailing his role in the spring musical, or nailing those two last-minute free throws, earning him a shout-out from one of the region's prominent sports writers that read, “[Shaw] comes up big late, and Montoursville edges Loyalsock in a cross-creek thriller.”

I’ll bet he cherishes both memories. I’m glad we again figured out a way to let him have both memories.

And I encourage all kids who want to try to do both to give it a go. It’ll be a lot of work, but you’ll never regret it.

And to any coaches posed with this scenario, remember, it’s not a dilemma for you. It’s an opportunity for the kid. An opportunity he or she may never get again. And the kid is the one doing all the work. If they can pull it off, so can you. And when it’s over, you’ll feel good about helping them in their journey.

Mark Mussina, Lycoming County Commissioner, Montoursville, PA, is a realtor, a property manager, and an equity partner at NCPA Media LLC. A long-time athlete and sports enthusiast, in 2019, Mr. Mussina was inducted into the West Branch Sports Hall of Fame. He has also served for many years as a league official, umpire, and has coached multiple sports on both the boys and the girls’ side. In 2023, as boys’ basketball coach at Montoursville, Mr. Mussina was named the “Most Sportsmanlike Coach” by the local referee’s chapter.

Mr. Mussina is also greatly involved in the artistic/creative world, having written the screenplay for the 2013 film “A Bet’s a Bet,” starring Mena Suvari and Keenan Thompson, and a 2020 novel titled “A Mile in Her Shoes.” Mr. Mussina sits on the Board of Directors for Williamsport’s Community Theatre League and starred in the CTL’s 2019 production of “It’s a Wonderful Life.”

www.soundtree.com 17

The Moment I Almost Gave Up on Music–And Why I Built a New Way to Learn Graeme Winder Founder and Creator of Keys & Kingdoms

When I was a kid, music was everything to me. As the child of two immigrants, I grew up in an apartment building in Colorado Springs. One day, a neighbor who was moving asked if we wanted their small upright piano. We said yes, and they rolled it right down the hallway into our tiny apartment. That piano changed my life.

Then, when I was thirteen, everything changed.

One day, my teacher caught me looking at the wrong page while I played. She stopped me and said, “Start here, in the middle of the song.” I couldn’t do it. She looked at me for a long moment and then said something that rocked me to my core: “You can’t read, can you?”

From the moment my fingers touched the keys, I was hooked. My mom found a local church organist to teach me, and I eagerly started lessons. But there was a problem—I wasn’t a good reader. Not just with books, but with music too. I didn’t process things visually the way other kids did, but I could play anything I heard. So at five years old, I developed my own system. At the end of each lesson, I’d ask my teacher to play the new piece for me. As soon as she left, I’d rush to the piano and pick it out by ear. For the next eight years, I relied on this strategy.

I admitted that I couldn’t—not very well. Then she said the words that nearly ended my love for music: “You probably shouldn’t be in music anymore.”

At thirteen, I felt like my world had collapsed. How could something I loved so much not love me back? Was I really not meant for music just because I learned differently?

That moment stayed with me. And over time, I realized something: I wasn’t alone.

Top: Graeme Winder at his piano

Originally Posted March 24, 2025 18

Many kids struggle with traditional, notationbased music education. Some are auditory learners, like I was. Others need movement, creativity, or interactive experiences to fully engage. But for so long, music education has focused on a one-size-fits-all approach— reading music first, creativity later.

This is why multi-modal learning is so important.

Students learn in different ways, and we, as educators, have to meet them where they are.

Technology allows us to do this better than ever.

Student playing Keys & Kingdoms at home

A teacher recently reminded me of this when he shared a story about a young girl in his class. She never engaged in music—she sat quietly in the corner, head down, disconnected. Then one day, he put Keys & Kingdoms in front of her, placed headphones on her ears, and told her to play. Over the next few weeks, everything changed. She became immersed in the music, her playing improved rapidly, and by the end of the semester, she performed a song from the program live in front of her classmates. It wasn’t just her musical ability that transformed—it was her confidence, her connection to music, and the way she carried herself.

That’s exactly why I created Keys & Kingdoms—to give students like her, and like me, a different way into music. A powerful gateway into self-expression and creativity through music. Instead of forcing notation from day one, it nurtures the ear, encourages improvisation, and builds confidence. It’s the kind of tool I wish I had as a kid—the kind that would have told me, You belong in music.

Graeme Winder 2x Founder & CEO. Music Educator & Creator of SRM Method. https://keysandkingdoms.com/ Contact Graeme graeme@team.keysandkingdoms.com (949) 395-6174

www.soundtree.com 19

Celebrating 30 Years of TI:ME Mike Lawson Executive Director of TI:ME

I learned that an organization called “TI:ME”—originally standing for Technology Institute for Music Education, now known as Technology in Music Education—was formed shortly after receiving funding from NAMM in 1997. I reached out and was invited to join the advisory board; I attended its inaugural meeting during Summer NAMM in Nashville, TN, at the Renaissance Hotel that same year.

It was exciting to see a group of forward-thinking educators striving to make music relevant to the times, as computers were increasingly used for production, composition, and arrangement. I wanted to contribute—especially since, as a kid, school felt limiting with only traditional paths such as becoming a band director or choral conductor.

The initiative was championed on the “MI” side by the late Mike Kovins, then president of KORG, who collaborated with NAMM’s Bob Morrison. Together, they secured funding to launch a nonprofit that, in partnership with companies such as Casio, Yamaha, Roland, and others at the forefront of integrating technology into music programs, created college-level training programs designed to prepare music teachers for the new generation. These programs replaced traditional chalkboards with CRT displays, musical keyboards, QWERTY keyboards, and more. KORG played a pivotal role in TI:ME’s founding, with its SoundTree initiative among the first in the industry to develop dedicated music tech lab programs. Our Teacher of the Year award is named in honor of Mike Kovins.

Originally Posted March 24, 2025 20

From left to right: TI:ME Co-Founders John Dunphy, George Pinchock, and Tom Rudolph, Music Industry Member Gerson Rosenbloom, and the late Mike Kovins. Photo taken at the first TI:ME National Conference in conjunction with the Pennsylvania Music Educators Association conference in Valley Forge, PA, April, 1999.

Now, as we celebrate our 30th anniversary—my 14th year as executive director and my 28th year serving this charity—we have evolved into a vital provider of free professional development training for music educators nationwide. Each year, TI:ME offers over 7,000 hours of training sessions in partnership with organizations such as NAMM, TMEA, OMEA, MDMEA, WMEA, NYSSMA, NJMEA, and others. These events not only deliver a diverse array of sessions but also foster a network where teachers can collaborate, exchange ideas, and share knowledge. For over three decades, we have helped evolve the use of technology in the music classroom, and we remain committed until the modernization of music education is complete and the tools that students have grown up with become ubiquitous.

TI:ME logos from 1995 to present

A founding participant of TI:ME since 1997, Mike is a lifelong professional musician and audio engineer with a deep passion and dedication for music education. Former editor (now owner) of School Band & Orchestra + Magazine (SBO+) and MMR Magazine. Mike was a Grammy Trustee, publisher of over 200 books/videos on audio/music production, and has released eight albums in his career featuring multiple RnR Hall of Fame members and others. Mike still performs over 30 shows a year as a guitarist/vocalist. https://ti-me.org/board-of-directors/

www.soundtree.com 21

STEAM for the Music Classroom Pam Williams Choral Director and Piano Teacher Liberty Creek High School, Gallatin, TN

Two- and one-half years ago Liberty Creek High School was about to launch. Due to community growth Sumner County Schools desperately needed a new 9-12 school and finally the dream of many was about to come true. LCHS’s principal, Dr. Phillip Holt was attending parent meetings across our county to provide information to students who would be attending LCHS. I had the joy of speaking at those events.

I shared about my dreams for the music department. One of those dreams as a piano instructor was to create a lab for students to learn to play the piano. A dear friend of mine had shared pictures of her lab with me and I immediately knew that a piano lab would be a wonderful and innovative addition to Liberty Creek. Financial support would be the key to this dream becoming reality.

Top: Pam Andrews' Piano Lab at Liberty Creek High School

Originally Posted April 1, 2025 22

My principal, Dr. Holt is also a visionary. He could see the need for technology in the fine arts area at Liberty Creek. Yes, he supports the arts in every way at Liberty Creek, but he also could see the joy of adding a piano lab with innovative technology.

STEAM…SCIENCE, TECHNOLOGY, ENGINEERING, ARTS, AND MATH…is a critical area of learning in all schools today. He also could see that adding the lab with the latest technology would be an amazing addition to Liberty Creek High School. Thus, at the end of the first year we were open, Dr. Holt had me begin to research a piano system that would enhance the fine arts programs at LCHS. Music is a performance art. Music and technology is partnered together in the Korg GEC5 system making it student/teacher friendly. I am so thankful that my goal was to get a piano lab for Liberty Creek High School. I am so grateful that my principal, Dr. Holt was totally supportive and in fact, encouraging about the addition. I am also so very grateful to Sumner County Schools for their financial support toward this effort.

As a teacher it is my goal to change lives for the good. I love to see smiles of success and looks of passion for hard work on the faces of my students. We are experiencing music in a 2025 style at Liberty Creek High School. The kids love the piano lab (There is always a waiting list!) and I as a teacher am so honored to have this wonderful tool to bring music in the hearts and lives of students.

Pam Andrews is the choir director and piano teacher at Liberty Creek High School in Gallatin, TN.

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Ignore the Headlines! Focus on What You Control Bob Morrison Founder and CEO, Quadrant Research

With a wave of federal pronouncements, executive orders, and directives making headlines, music and arts educators may wonder: What does this mean for my classroom? The influx of policy discussions at the national level can create confusion, but it’s important to understand how these federal actions interact with state and local education systems before reacting.

As a longtime advocate for music and arts education, a school board member, and a policymaker over the past five decades, I would like to provide clear guidance on how educators can navigate these discussions.

Understanding the Role of Federal Policy It’s essential to remember that the federal government does not determine curricular content. That responsibility lies with state education agencies, which establish learning standards, and local school

Top: Image from Quadrant Research website https://quadrantresearch.org/

Originally Posted April 3, 2025 24

districts, which develop the curriculum accordingly. While federal policies may influence education funding, reporting, and regulatory aspects, they do not dictate what is taught in music and arts classrooms.

Understanding the Role of Federal Funding It is also important to understand that the federal government’s contribution to education funding averages 8% of total education spending annually. That means 92% comes from state and local funds.

These federal funds are targeted for special needs such as Title I (low-income students), IDEA (special education), and SNAP (school nutrition).

Who’s in Control?

Well, if the federal government does not set standards or what is taught in schools and provides a very small portion of education funding, the reality is this: STATE AND LOCAL GOVERNMENTS ALREADY CONTROL EDUCATION. This idea that states will suddenly have authority over education is a farce.

States and local communities have ALWAYS had authority over education. The federal government has NEVER had authority over public education, ever!

What Should Educators Do? Given this framework, here are the key takeaways: Stick to your locally approved curriculum. Federal discussions or proposals do not require immediate action at the classroom level.

Do not alter instruction based on news reports or proposed policies that your school administration has not enacted or clarified.

If unsure, seek guidance from your school district or building administration. Your supervisors are the appropriate sources of information for policy changes.

As long as educators follow their district-approved curriculum, there is no immediate reason for concern. Many federal policy proposals take time to move through the legal system, and some may face legal challenges before taking effect. Preemptively changing instruction in response to headlines is unnecessary and could lead to confusion.

Focus on What You Can Control If and when your district provides guidance based on legal or policy changes, that will be the appropriate time to assess and adjust. Until then, focus on what music and arts educators do best—providing students with meaningful, high-quality arts education experiences.

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By following the established education chain of command, educators can avoid unnecessary distractions and keep their focus on what truly matters: fostering creativity, expression, and lifelong appreciation for the music and the arts.

Robert B. Morrison is a nationally renowned leader in arts and music education, recognized for his pioneering research, influential advocacy, and transformative policy initiatives. As founder and CEO of Quadrant Research— the nation’s leading arts education data analytics and market research firm—Morrison has driven groundbreaking advancements in expanding access to music and arts programs across the United States.

A tireless advocate for arts education policy, Morrison played a pivotal role in establishing New Jersey as a national model. He founded and directed Arts Ed NJ, New Jersey’s statewide arts education policy group, and spearheaded initiatives that led to the state being the first in the country to include arts education in annual school reporting. In Arkansas, his collaboration with the governor helped mandate music and arts programs for all public school students, a policy later adopted

by Louisiana.

Bob Morrison

Morrison’s research efforts have been equally transformative. He authored the seminal report The Sound of Silence: The Unprecedented Decline of Music Education in California Public Schools, which helped catalyze a $1 billion reinvestment in music and arts education. He has also leads the national Arts Education Data Project and a host of statelevel projects in nearly three dozen states, providing critical data that has influenced policy and improved access to arts education for millions of students.

Before founding Quadrant Research, Morrison established Music for All, one of the nation’s most influential music education organizations, and served as CEO of the VH1 Save The Music Foundation, where he directed the donation of over $25 million in musical instruments to restore programs in more than 1,200 schools. His leadership roles also include senior positions at the National Association of Music Merchants (NAMM) and the American Music Conference, where he worked alongside Michael Kamen and Richard Dreyfus to create the Mr. Holland’s Opus Foundation.

Morrison’s extensive contributions have earned him numerous accolades, including a Prime-Time Emmy, a Peabody Award, the New Jersey Governor’s Award for Arts Education, and an honorary doctorate from the State University of New York. He is a founding member of the National Coalition for Music Education, a champion for the National Standards for Arts Education, and a sought-after board member for leading national and local arts organizations. Through his ongoing work, Robert B. Morrison continues to shape the future of music and arts education, ensuring that every child has the opportunity to experience the transformative power of the arts.

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The SoundTree Blog

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The Way I See It + Music Tech Classroom Success Stories + Lab Spotlights + Featured Products + History www.soundtree.com/blog

Sound Seeds, part 1 Ty Boyland Emmy-Nominated Producer/Engineer, Music Teacher, Crosstown High School, TN

At a young age, I was bitten by the music bug. I wanted to be near it, surrounded by it, and immersed in it at all times. But the part of music I longed to participate in wasn’t easily accessible to me. I didn’t have the vocabulary for it back then, but what I truly wanted was to be a producer. How were these incredible songwriters able to turn their ideas into fully realized songs, recorded and shared with the world?

This is Part 1 of how I built the classroom I wish I had when I was in school.

Top: Students at he control center in Ty Boyland's Music Production classroom, Crosstown High School, Mempihs, TN

Originally Posted April 8, 2025 28

I remember being about 9 or 10 years old when I got my first real taste of music equipment — a mini, 25key, battery-operated keyboard and a blue radio with a microphone attached. That Christmas gift became my world. I wore out those cassette tapes, pressing play, rewind, fast forward, and stop until the buttons couldn’t take it anymore. I was determined to learn every song on every tape, but with no guidance and no one to show me the way, I was left to teach myself. And for a while, I was bad — really bad.

But I kept at it.

About a year and a half later, I had gotten better. I had taught myself to play by ear, picking out melodies from most of the songs I loved. I even started using the radio to record myself playing them. Still, something was missing — that polish, that magic.

Fast forward to 9th grade. I joined the band, convinced this was finally where I’d learn what I craved. Finally, the mystery behind the music would be unlocked! Sadly, I was wrong. There I was, stuck on the tenor saxophone, playing old songs written by old composers — music that didn’t resonate with me. By then, I had notebooks filled with my lyrics, my ideas. I was frustrated because, while I was being taught that music mattered, it felt like my music didn’t.

As kind as my band director was, he couldn’t teach me what I needed most — songwriting, production, engineering. I felt stuck, like I was peeking through a window but couldn’t open the door.

The podcast station in Ty Boyland's Music Production classroom at Crosstown High School

Then, like something out of a movie, fate stepped in.

One day, my best friend and I were at a local music store buying reeds for our saxophones when I noticed a Korg X3 keyboard set up for demo. Like a moth to a flame, I rushed over and started playing.

By then, I had gotten much better at combining chords and melodies. I started playing every song I knew from the radio, catching the attention of an older gentleman who approached me and said, “Hey, sounding pretty good, man! You got anything you’ve made? ”Without hesitation, I replied, “Do I!?” and played him my latest song, Lucky Star. He smiled and said, “I like that! Are you trying to record it?” I proudly answered, “I recorded it at home on my radio.”

The man and the store clerk chuckled and said, “No, I mean in a studio — a real studio.”

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At that moment, I only knew about the legendary STAX and Sun Studios, both of which were no longer operating. He handed me his card and invited me to bring my parents by. A week later, I walked into a professional studio for the first time — and I knew, without a doubt, this was what I was meant to do for the rest of my life.

Production stations in Ty Boyland's Music Production classroom at Crosstown High School

My first visit was just a tour. But days later, I was back, learning about drum machines and sequencing.

Up until then, I was using the pre-programmed drums on my little keyboard, but now I was hands-on with professional equipment. All I could think was, Why don’t we have this stuff at school? If I had daily access to this, they would have had to kick me out just to get me to leave.

Eventually, my best friend and I recorded Lucky Star at that studio. The owner handed me two cassette tapes and the reel-to-reel master — what I later learned meant I owned my masters. The next day, we went back to school and asked our band director if we could play it for the class. Thankfully, he agreed.

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As soon as the song ended, you would’ve thought we were celebrities. Our classmates were amazed.

They, like us, had no idea that making and recording our own music was even possible. That validation — from my parents, the studio owner, and now my peers — was priceless. But it wouldn’t have meant half as much without access. Access changed everything.

Though I didn’t always enjoy being in the band, I fully recognize the importance of music in education. But I also recognize the necessity of offering diverse musical experiences within that education. There’s more than one way to engage with music, and every student deserves to find their way in.

This series will take you inside the kind of classroom I longed for as a child — and the one I’ve now created. Together, let’s explore what happens when we plant Sound Seeds.

Ty Boyland is an Emmy-nominated producer/engineer and Music Production Teacher at Crosstown High School in Memphis, TN. Founder of Ty Boyland Consulting LLC Author of " How To SEL Music: Tuning Into Emotions: A Guide to Music in SEL"

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Take a Closer Look Darla S. Hanley, Ph.D. Professor of Music Education, Berklee College of Music

Some lessons are unforgettable. Early in my career (30+ years ago) I learned valuable lessons from a 12-year-old boy… and I’m still talking about them.

Jimmy was in my general music class. He was smart and funny, outgoing, and a real influencer in the group. I can’t recall Jimmy misbehaving or challenging me in a way I couldn’t handle until…

I was teaching a unit on the Blues sharing stories about artists and playing albums. Muddy Waters, Howlin’ Wolf, and Jimi Hendrix were definitely in the mix. I remember having my back to the class as I wrote on the board (bad idea) when I first heard Jimmy singing. That’s right, a middle school student spontaneously started singing in general music class. Right there I should have capitalized on the musical gift that was being handed to me, but nope. Instead I barked at Jimmy telling him to stop.

Top: Image from Berklee College of Music website https://summer.berklee.edu/programs/musicproduction-workshop

Originally Posted April 14, 2025 32

My exchange with Jimmy was epic. The more I told him to stop the louder he sang. This went on for too long while students watched in amazement. Just when I thought it was ending, Jimmy climbed up on his chair and sang from the top of his voice—on top of the furniture! What was happening?

“If you don’t get down right now, I’m giving you a detention,” I said. “Okay, that’s a detention.” He kept singing. This student was hijacking my teaching. He was completely in control of the class and I stood there looking up at him giving him detention after detention—for singing. (For the record: I gave Jimmy 30 detentions before I stopped. That’s right, 30.)

When I told the principal what happened he had me call Jimmy’s parents. I reluctantly made that call and heard my own voice telling parents their son was being punished for singing in music class (?!?). They graciously understood the disruptive nature of the situation and supported my need to follow through with what I assigned.

Jimmy and I stayed after school together for an entire month.

So what lessons did I learn from Jimmy other than it’s never cool to lose your cool in the classroom? I learned that he didn’t connect with the Blues. He was bored in my class. He loved music, but couldn’t relate to what I was teaching. He was a good kid and was sorry he interrupted my teaching but would probably disrupt again if found in the same situation. My curriculum and the manner in which I was presenting it wasn’t relevant to him. I wasn’t meeting him where he was.

Berklee Online: Music Production Degree Program

Fast forward. It’s decades later and I’m still talking about meeting students where they are so I can take them where I want them to go musically, academically, socially—the whole thing. We know as teachers we make choices that can draw students in to engage and learn, or the opposite. We also know we need to have them reach essential learning targets.

Now, in my work with teachers and students around the world I use a Creative Pedagogy approach.

Creative Pedagogy is a way to teach and learn that emphasizes personal/artistic expression, imagination, improvisation, and innovation as core components of the educational process. It encourages us as teachers to foster environments where students explore, experiment, and apply prior knowledge in new ways. The idea is to combine creativity, critical thinking, collaboration, and play to meet students where they are and facilitate learning that is dynamic and personally meaningful for everyone.

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Importantly, my music teaching always includes streaming audio. In my view, students need to hear examples that reinforce concepts they are learning, inspire and support original expressions, and connect “school music” with the outside world. With millions of tracks available to us to hear any day, any time, we need to harness this vast resource to educate and motivate students. The real challenge here is curating playlists that address learning targets, illustrate musical styles and artists, and show an historical trajectory of music. Once we have this, it’s critical to label and organize playlists in such a way that tracks are easily found to show a particular music concept or idea. We need to use technology like a digital filing cabinet.

Streaming audio is a game changer, but it's only the tip of the iceberg. Access to music technology in its many forms (e.g., hardware; software; interactive music technology rooms; multimedia computer labs; online subscriptions; open source apps for creating, playing, and printing music; support services) promotes original composition, arranging, production, recording, and distribution. These tools put music squarely into hands and make it possible for students (and their teachers) to fully engage at a high level.

Finally, teachers teach what they know… and use the tools available to them. In my view, teachers should use a variety of tools to make music come alive for the students in the room—meeting them where they are.

I believe most teachers have stories about classroom management gone wrong including student(s) derailing instruction. Instead of getting angry or frustrated when something happens… take a closer look to see what’s really going on. Oftentimes it’s not what we think.

Darla Hanley is the author of "Darla Hanley's Music Room" on Substack and co-author of “Jazz Is Elementary: Creativity Development through Music Activities, Movement Games, and Dances, for K-5” (© 2022 Hal Leonard/Berklee Press). She currently serves as Professor of Music Education at Berklee College of Music.

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Podcasting: The New Voice of Your Students Wayne Splettstoeszer Director of Instrumental Music/Music Technology Torrington High School, CT Podcasting has emerged as a transformative tool in education, giving students a platform to explore their creativity, articulate their thoughts, and connect with their peers in meaningful ways. It is easy to implement, highly relevant to today’s digital landscape, and offers a safe space for students to express themselves. In many ways, podcasting is becoming the new voice of students, offering opportunities for personal growth, engagement, and even therapeutic benefits.

Top: Podcasting station at Torrington High School, Torrington, CT

Originally Posted April 22, 2025 35

The EVO4 Audio Interface from Audient

One of the greatest strengths of podcasting is its simplicity. With just a microphone and basic editing software, students can dive into the process of creating their own podcasts. Platforms like Audacity, Soundtrap, and Anchor are user-friendly and widely accessible, allowing even novice users to produce polished audio content. This ease of use removes barriers and ensures that podcasting is an inclusive activity, enabling students from diverse backgrounds to participate and thrive.

Podcasting is also highly relevant to the interests and habits of today’s students. In a world dominated by digital media, students are already familiar with podcasts as a source of entertainment and information. By incorporating podcasting into the classroom, educators tap into a medium that resonates with their audience. Students see podcasting as more than an assignment; they view it as a chance to engage with real-world formats and communicate in ways that feel modern and meaningful.

Podcasting aligns seamlessly with 21st-century learning objectives, which emphasize critical thinking, creativity, collaboration, and communication. These skills are essential for success in an increasingly complex and interconnected world. By engaging in podcasting, students develop their ability to analyze information critically, synthesize ideas, and present them effectively. The creative aspect of podcasting encourages innovative thinking and problem-solving, as students must determine how to best convey their message and captivate their audience. Collaboration often plays a significant role in podcast creation, as students work together to script, record, and edit episodes, honing their teamwork and interpersonal skills. Additionally, podcasting reinforces the importance of communication by requiring students to articulate their ideas clearly and compellingly.

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More than just a creative outlet, podcasting significantly improves student engagement.

It transforms passive learners into active participants by giving them ownership of their projects. Students choose topics they are passionate about, whether it’s social issues, music, science, or personal stories.

This freedom fosters enthusiasm and a deeper connection to the material. The process of planning, scripting, recording, and editing podcasts develops critical thinking and organizational skills, while the collaborative nature of podcasting builds teamwork and communication abilities.

Creating a podcast also provides students with a safe space to express themselves.

For many, speaking into a microphone feels less intimidating than addressing a classroom. This comfort allows students to share thoughts and emotions they might otherwise keep to themselves.

The act of speaking and being heard can be deeply validating, helping students build confidence and self-esteem. Podcasting can also serve as a form of therapy, offering students an outlet to process experiences and reflect on their lives in a structured yet creative way.

EVO SR1 Condenser Mic - included in the EVO Start Recording Bundle

The versatility of podcasting is another reason for its growing popularity in education. A podcast can be anything the creator wants it to be—a storytelling platform, an investigative series, a showcase for music, or a deep dive into a specific topic. This flexibility encourages students to think outside the box and explore their unique interests and talents. It also ensures that every podcast is as distinctive as its creator, highlighting the diversity of voices and perspectives within a classroom.

Ultimately, podcasting empowers students to find their voice and share it with the world. It nurtures creativity, fosters engagement, and provides a safe, supportive environment for self-expression.

As more educators embrace podcasting as a teaching tool, its potential to transform learning and enrich student experiences will only continue to grow.

Visit Wayne’s Podcasting page on the Torrington High School Music Department website. http://www.thsmusic.net/podcasting

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An Introduction to The Music Education Group Music Education Group’s programs provide participants with hands on, industry driven experiences designed to expand their interest in career options relating to music, film and digital media. Programs cover a diverse range of career opportunities within these expanding Georgia Industries while advancing the health and well-being of young people.

Together, with our dedicated community and corporate partners, sponsors and volunteers, MEG provides multiple unique, customizable programs and initiatives.

A Critical Need Georgia has been ranked the #1 place to do business for 9 years in a row. In order to remain at the top and continue to improve we must look for growth areas and deficiencies. In early 2023, leaders in Georgia’s music, film, and gaming industry began to point to a shortage of audio engineers to meet the demands of an increasingly important sector to Georgia’s economy.

Top: Students recording a podcast episode

Originally Posted April 28, 2025 38

Left: Podcasting station and music production desks installed in Atlanta-area training facility by The Music Education Group

Georgia has also experienced exponential growth in the production end of the Entertainment Industry.

The need for a well-educated workforce in the areas of film, digital production and gaming has been particularly great. The reality, however, is that entertainment companies often must bring their workers with them to Georgia.

Our state’s educational efforts have not kept pace with the need for qualified workers. MEG along with the help of many other local community-based organizations is working in collaboration to reverse these trends. The state and business community must be willing to invest the necessary resources to keep education on pace with job creation.

Visit The Music Education Group's Website at themeg.org

Ric Ross, MEG Founder and Board Chairman Ric Ross, an Atlanta native and 30-year music industry veteran, began his career at Warner Music Group, holding key roles at Reprise, Elektra, Island, Capitol, and Atlantic Records. An expert in promotion and strategic marketing, he has worked with artists like Anita Baker, T.I., and Mary J. Blige. As founder of the Music Education Group (MEG), a nonprofit teaching life skills through music, film, and digital media, Ross is dedicated to providing equal educational opportunities for underserved youth in Metro Atlanta.

James Caldwell, MEG Executive Director James Caldwell, owner of The Caldwell Group and a partner at Wholeteam Enterprises, has supported independent artists through event activation, music integration, and media campaigns. As Executive Director of the Music Education Group since 2012, he leads efforts to teach life skills through music, film, and media to underserved youth in Atlanta.

www.soundtree.com 39

The Music Education Group, part 2 "Our workforce development initiatives immerse students in music, film, and digital media, equipping them with the skills needed to succeed in both life and career."

The Music Education Group, Inc., (MEG), is an Atlanta-based STEAM 501(c3) whose mission is to teach students life skills and career development through music, film and digital media. We are looking forward to working with you as we continue to expose our young people to hands on, technology-based programs inspired by music related careers. Introducing the next generation of creators from Georgia to careers in Audio Technology and Production begins with having access to industry standard hardware and software.

What We Do We currently serve as a vendor for Cobb, DeKalb, APS and Fulton Counties as well as for the Cities of Atlanta and Fairburn. We operate multiple training facilities both in-school and after-school. The facilities are designed to provide students with hands-on access to industry standard hardware, software and training. Making the connection between what they are learning in school and what it means to their future is one of the most crucial and overlooked steps in the development of our young people who aspire to work in the creative services industries.

Top: Atlanta-area music students creating and collaborating on music tech equipment provided by The Education Group

Originally Posted May 5, 2025 40

Our organization provides hardware, software and teacher training in support of Georgia's Music and Audio Technology career pathway. During the 2024-2025 school-year we completed new facilities at South Atlanta, Westlake, and Langston Hughes High Schools. We are completing a facility at Mays High School this April. Additionally, through our partnership with the Save the Music Foundation, we provide support and training for students and teachers in an additional 15 middle and high schools in metro Atlanta.

Our initiatives aim to enhance infrastructure capacity, provide training, and support students and teachers in exploring careers within the creative services industries. This comprehensive approach equips participants with relevant skills, fostering a deeper understanding of these fields and their professional opportunities. Providing training and support for students and educators can have a profound impact on their future careers and the local community. By exposing students and educators to creative services industries, you're: Enhancing career awareness and exploration Developing relevant skills for in-demand jobs Building a pipeline of talented professionals Contributing to the economic growth and development of Georgia”

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Expanding Participation in Music through Modern Band Bryan Powell Associate Professor of Music Education and Music Technology, Montclair State University | Chief Program Officer, Music Will

My father was a high school band director—in fact, he was my high school band director. Growing up in a musical household with both parents as teachers, I knew from an early age that I wanted to follow in their footsteps and become a music teacher. During college, as I trained to become a music educator, it never really occurred to me that while school music had worked for me, it wasn’t working for the vast majority of students I went to high school with.

Top: Bryan Powell (r.) coaching Modern Band students

Originally Posted May 5, 2025 42

I definitely noticed that most students chose not to participate, and even friends of mine who were deeply musical—playing in rock bands or writing songs—rarely engaged with school music. I understood the benefits that school music could offer, and I knew those benefits weren’t equally distributed among all students, but I hadn’t thought seriously about what I could do as a future music teacher to expand access and participation.

That changed when I began teaching in East Harlem, at a New York City public school. My students were passionate about music—they lived musical lives—but many weren’t interested in concert band or school choir. The music we offered simply didn’t reflect what they were engaging with outside of school. This was eye-opening for me; traditional approaches to school music had worked for me, but they were leaving most students behind.

After a few years, I introduced a guitar class, a music technology program, and an after-school rock band. I saw firsthand how contemporary music experiences engaged more students. I also came to realize that while access to music education is critical, access alone isn’t the goal. If students have access to a program but don’t want to participate, that’s not a win. (I often joke that my 15-year-old daughter has full access to the lawnmower in our garage, but she never wants to mow the lawn!) Many well-intentioned advocacy efforts focus on increasing access to music education—and that’s important—but without participation, students miss out on the transformational power of making music with others.

What I learned in East Harlem is that giving students the opportunity to play music that’s meaningful to them, in ways that are meaningful to them, empowers them and expands the doorway into school music.

Bryan Powell

Since I started teaching in East Harlem over 20 years ago, the inclusion of popular music in public school music programs has become more common. Much of this growth has come through the development of modern band programs. Modern band is an approach to music education that expands the repertoire and instrumentation typically found in school ensembles. Modern band emphasizes music that students know and love: the kinds of genres you’d find on their playlists—rock, rap, EDM, country, metal, reggae, and others. In this context, “popular” music doesn’t just mean Billboard hits, it means music that’s “of the people,” in this case, of the students. By incorporating modern band, music classrooms can better reflect the lived experiences of students and bridge the gap between school music and community music.

Students see themselves in the curriculum. By validating and building on the cultural capital of our students, music educators can create deeper connections, especially with students who have often felt left out of traditional programs.

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There’s a growing body of research showing that modern band programs can expand access and engagement, particularly for non-White students and those receiving free or reduced lunch. Similar trends are emerging in music technology programs. Simply put, when we offer more kinds of music in schools, more students participate. While this blog isn’t the place for an exhaustive review of the research, it’s crucial that music educators understand the why behind adding modern band, and not just the how.

And let’s be clear: adding modern band in school music programs is an addition, not a replacement. It’s an and, not an or. Schools can add modern band and music technology programs without dismantling existing band, choir, or orchestra traditions. As I’ve said elsewhere, music education is a broad and evolving field. We can preserve what’s working and what’s valued, while also expanding our vision to include new genres, new tools, and new ways of making music. In doing so, we ensure that music education remains meaningful, relevant, and accessible for all students.

Bryan Powell is Associate Professor of Music Education and Music Technology at Montclair State University, and Chief Program Officer at Music Will.

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Amplifying Opportunity: How the NFHS is Powering the Future of Music Education Dr. James Weaver Director of Performing Arts and Sports, NFHS

Walk into any American high school gymnasium, auditorium, or stadium, and you’ll see the heartbeat of our communities - students performing, competing, and connecting.

While the National Federation of State High School Associations (NFHS) is widely recognized for writing the rules of the game for high school sports, many don’t realize that we’re also the driving force behind the nation’s largest and most influential network for high school performing arts.

From marching bands and show choirs to orchestra festivals and debate championships, the NFHS Performing Arts Department exists to ensure students in music, speech, debate, and theatre have the same access, advocacy, and protections as their athletic peers. We do this by developing best practices and standards, supporting adjudication systems, leading national partnerships, and advancing advocacy initiatives that keep the arts thriving in our schools.

Originally Posted May 28, 2025 45

Who We Are: A National Platform for Education-Based Performing Arts The NFHS represents all 51 state high school associations (50 states plus D.C.), serving more than 19,500 high schools and over 8 million students in athletics and 9 million students engaged in music, theatre, and speech programs. We are a nonprofit organization founded in 1920 and headquartered in Indianapolis, Indiana, but our reach and impact extend to every corner of the country.

Our Performing Arts Department supports teachers, administrators, and state leaders with tools, training, and standards that enhance student learning and elevate the professionalism of school-based performing arts. We’re not here to create stars, we’re here to create opportunities.

What We Do At the core of our work is arts advocacy grounded in equity, access, and education. We lead national efforts that build bridges between education policy and classroom practice. Through our artsadvocacy.nfhs.org website, we offer schools a comprehensive resources school music programs, complete with research data, workforce resources, and case studies.

Some of our current projects include: Make Music Day (June 21): Encouraging schools to participate in the global celebration of musicmaking, with incentives like the $15,000 Alfred Music Sweepstakes for participating schools.

Careers in Music: Helping students and parents understand the broad scope of music industry careers, from acoustical engineering to arts management.

National Adjudication Standards: Developing consistent and equitable frameworks for music, theatre, speech and debate evaluation across state events and festivals.

Federal & State Policy Engagement: Partnering with organizations like NAfME, NAMM, ASTA, ACDA, and Music for All to monitor and influence legislation affecting arts education access.

Sustaining a Pipeline of Music-Makers When public school programs are strong, the music ecosystem is strong. Our work supports not only students and teachers, but also the entire creative economy. NFHS is helping to fill the teacher pipeline through the Teach Music Coalition, address copyright clarity in performances, and create AI policy frameworks that safeguard student creativity in an increasingly digital world.

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Through our leadership, the performing arts are not just surviving, they are evolving. We’re integrating performing arts into CTE (Career and Technical Education) frameworks, reinforcing the economic value of arts education, and showcasing how music education builds both cultural capital and workforce readiness.

Looking Ahead to the Future In a time when education faces ongoing budget battles, the arts must not be treated as extracurricular.

They are essential. Every music stand, every downbeat, every student stepping onto a stage is a declaration that learning is happening in powerful, profound ways.

At the NFHS, we believe that access to high-quality performing arts education is a necessity. We will continue to advocate with the same vigor and vision that has defined our work for over a century.

To the educators, students, administrators, and advocates reading this, thank you for standing with us.

Together, we will ensure that music remains not just in our schools, but in our future.

As the Director of Performing Arts and Sports for the National Federation of State High School Associations (NFHS), Dr. James Weaver is a driving force in high school arts education. Since 2016, he has pioneered initiatives that have elevated participation, training, and advocacy across the nation. During the pandemic, his leadership in the International Coalition for Performing Arts Aerosol Study helped bring the arts back to life in schools. Dr. Weaver also spearheaded the creation of NFHS's essential copyright education programs. He currently serves as president of the National Music Council, continuing his unwavering commitment to advancing arts education nationwide.

Discover the Evolution of Modern Music Creation The KORG Gallery is a new permanent installation at The Musical Museum, Brentford, West London.

Watch the video!

Since 1963, KORG USA Inc. has been a sales and marketing leader in the music industry as the exclusive US distributor of the world’s finest musical instrument brands. At KORG USA, we don't collect brands. We build them.

Visit the KORG USA website to learn more.

We also distribute Novation, M-Audio, Akai, Casio, Focusrite, QSC, PreSonus, Mackie, Shure, Audio-Technica, AKG, Blue, RØDE, Sennheiser, Logitech, Hosa, On-Stage, Gator Frameworks, AVID, Sibelius, Soundbeam, and much more.

Contact your SoundTree Education Technology Specialist for assistance. info@soundtree.com 800-963-8733 www.soundtree.com/contact